tactical invisibility “in the context of ubiquitous capture, being tactical might mean doing the opposite, which is to say making oneself invisible?” ⤴️ “if the principle of tactical media practice as originally problematized by Lovink and Garcia was to forcibly insert oneself into a wider culture from which one had felt excluded, could it be that today the principle is to deliberately exclude oneself from the dominant frameworks of digital culture through technical manipulations of its very components?” ⤴️ ...
tactical overvisibility “radical openness.” ⤴️ “a form of an over- compliance to the rules and demands of the techno-political system or overidentification with the task that was imposed upon him.” ⤴️ following their rules to the extreme that their rules stretch their resources - mallicious compliance “applying the dominant ideology “even more consistently and scrupulously than the rest of society” (Dragona, 2016).” ⤴️ “Elahi subversively puts under a question mark the very logic and efficacy of extensive data collection and mass surveillance. As he mentions in one of his lectures, in basic economic terms his project can be seen as an unheralded intensification of supply over demand, which drastically deregulates the value of what’s demanded (Rocky Mountain College of Art + Design, [RMCAD], 2014).” ⤴️ “this thorough and compulsively constructed display of Elahi’s life does not seem to truly account for it.” ⤴️ “It does not let the viewer in, quite the opposite—it seems to constitute an unbreakable wall.” ⤴️ this is also what i do sometimes as a personal defense mechanism socially - offer bountiful normal everyday problems to take the space of the gaping uncomfortable problems “it invites the gaze yet does not satisfy it.” ⤴️ “Elahi’s use of mnemotechnologies certainly does not aim to serve his own interest in the details of his life. His goal is to satisfy the authority’s preoccupation with them.” ⤴️ “an inventive response to the power distribution in capture culture” ⤴️ “simultaneously serious and sarcastic a commentary on the military-entertainment complex that underlies today’s network technologies (Lovink, 2011)” ⤴️ “inevitable collision of the empowering and disempowering sides of present-day mnemotechnologies.” ⤴️ “one indication for how to inventively reconfigure one’s attitude to dominant technologies and subvert, or to some degree counter-balance the unequally distributed power.” ⤴️ ”, creative strategy for “living with Big Brother” (Elahi’s phrase, emphasis mine)” ⤴️ “paradoxically merges the principles of obfuscation (which is to say, rendering one’s presence opaque) with conventional life-logging (being as accurate as possible” ⤴️ “willful subversion of the elements of technical systems (e.g. flow of data, online trackers, surveillance cameras, facial detection systems) to impede the construction of involuntary archives or deliberately construct what we might call counter-archives, which, while technically rich in “personal” data, yield little or no significance through their tendentiously obfuscated nature.” ⤴️ ”. By “added meaning” or benefits I mean, on the one hand, a stronger, more confident and autonomous position in relation to the forces that attempt to control his life, and on the other hand, more control of the flow of his personal data and mediated memories which, framed and re-articulated in terms of art, also benefits him in his artistic and conceptual line of work.” ⤴️ “Elahi’s project hints at another way of approaching and articulating “tactics” and “the tactical.” In Elahi’s work, the tactical emerges not through an impulsive response, but a conceptual shift and attitude to the forces and power dynamics that coordinate his daily itineraries. Instead of attempting to openly counter- act them, to elude their effects, through a conscious shift in perception and the introduction of self-developed coordinates and objectives he in- corporates them into his life, regaining a degree of control over their impact on his daily life.” ⤴️ ...