摘要：Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a range of approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work at the intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillance and bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it is CCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages with such artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense of identity in a surveillance society.
