Trace Recordings

Trevor Paglen  They Watch the Moon  2010 digital c-type print, 91×122cm

Shinseungback Kimyonghun  Memory  2013 digital tablet, custom software and wooden frame 30×24.5×3 cm

Paolo Cirio Street Ghosts 2012–ongoing printed paper, site-specific dimensions vary

Mahwish Chishty  MQ-9/1, MQ-9/2  2011 30×76 cm gouache, gold leaf and tea stain on handmade paper

James Bridle A Quiet Disposition  2013 printed books, computer monitor, networked software dimensions vary

Heather Dewey-Hagborg  Stranger Visions  2012 3D prints, wooden box, documents, found samples dimensions vary

Denis Beaubois  Everybody Happy  2000

Denis Beaubois  Here, Now, Infinitely There  2000

€œWe know where you are. We know where you'€™ve been. We can more or less know what you'€™re thinking about.'€ These aren'€™t lines from Nineteen Eighty-Four but the words of Eric Schmidt, Google'€™s notoriously frank Executive Chair and former CEO.

Find out about the activities of GCHQ and the NSA with this animation from The Guardian.

This image is a parody of a famous image made by poster street and silkscreen artist Shepard Fairey (of Obey fame). Here is a link to an article on Fairey's response to his iconic Obama poster being appropriated in response to the recent PRISM surveillance affair.

Trace Recordings, an exhibition at the UTS gallery, Sydney, suggests that much as much as we might value our individuality, we are at some fundamental level just averaged out data

  Make a version of Memory for your class group. You could do this in a number of ways. You could set up a photo booth, and photograph each member of your class in the same way and at the same scale (you might want to use markings in the camera viewfinder, and make sure the camera doesn’t move). In photoshop, make an ‘average’ of all of your photographs. There are a number of ways to do this. See if you can work out the most effective way. Once you have succeeded, try making an average photo of the students in another class. How about your whole school?

Camoufleurs were professional camouflage specialists in the defense forces during WWI and II. It was a very special and esteemed position. Camoufleurs were often professional artists (you may have heard of Paul Klee and Franz Marc). The word originally referred to people serving in the French military camouflage unit in WWI.

Wilkinson was put in charge of naval camouflage, and moved in to a new headquarters in the basement of the Royal Academy of Arts in London. There he worked with a team of artists, model-makers, camoufleurs, construction preparators and draughtspeople. Together they designed different types of dazzle, tested them out on models and sent plans out to the docks where another set of artists would apply their designs to the ships.