{"id":409,"date":"2023-07-25T22:11:02","date_gmt":"2023-07-25T22:11:02","guid":{"rendered":"https:\/\/privacyand.com\/?page_id=409"},"modified":"2023-09-13T19:33:44","modified_gmt":"2023-09-13T19:33:44","slug":"privacyand-art","status":"publish","type":"page","link":"https:\/\/privacyand.com\/?page_id=409","title":{"rendered":"Visuals"},"content":{"rendered":"\n

There are two themes in this section; the contribution arts makes to privacy and the contribution computational sciences may make to the arts.  ‘Art’, ‘artist’ and ‘fine arts’ in another value laden, cultural specific term, one that I am wholly unqualified to discuss.  I suggest you start here<\/a>.<\/p>\n\n\n\n

Meanwhile, I can say that artists often engage in critical social commentary.  Surveillance artists help inform expectations with data subjects (aka all of us).  This comes at a time when a critical eye is turning towards artistic endeavors that invade traditional privacy norms.  Most recently, there was a short film produced by two directors using a drone to film actors having sex on a rooftop in Brooklyn.  Although it was staged, it brought to bear a social conversation about the potential use of drones and how they may capture our data.  See below as an example, and the comment threads in particular.<\/p>\n\n\n