Recording California's Carceral Landscapes

Paglen, Trevor

doi:10.2307/4134474

Cited by 4 publications

(11 citation statements)

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“…data centers), the associated environmental and resource demands, as well as its role in reconfiguring the urban (e.g. Lally et al, 2019; Paglen, 2010; Shelton et al, 2014b). Work seeking to materialize the virtual often has a quality of pulling back the curtain or of an expedition into the unknown (Mattern, 2016).…”

Section: Upon Concrete Cloudmentioning

confidence: 99%

Geographies of infrastructure II: Concrete, cloud and layered (in)visibilities

Furlong

2020

Progress in Human Geography

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In this second progress report on infrastructure, I concentrate on the evolving infrastructures of our digital worlds, or ‘cloudfrastructures’. While there is an extensive literature in geography on the digital, less attention has been paid to its infrastructures. In this report I explore their relationships to other infrastructures, to nature, and to flow. I argue that paying attention to cloudfrastructures calls for new thinking on the axiom of (in)visibility in infrastructure studies, alerting us to (in)visibility as layered, multiple and orchestrated. Thinking of (in)visibility in this way also calls for an engagement with infrastructure beyond materiality.

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Section: Upon Concrete Cloudmentioning

confidence: 99%

Geographies of infrastructure II: Concrete, cloud and layered (in)visibilities

Furlong

2020

Progress in Human Geography

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“…Trevor Paglen (2010) ‘Anasazi Cliff Dwellings, Canyon de Chelly, Spacecraft in Perpetual Geosynchronous Orbit, 35,786 km Above Equator’. C-Print, 40 × 50 inches.…”

Section: Exposuresmentioning

confidence: 99%

“…The topics addressed include data collection, military surveillance, drone warfare and the systems of power connected to them. It comprises images of secret military installations and restricted government areas, as well as painstakingly tracking the dozens of CIA-chartered planes used for extraordinary rendition to open a window into the dark worlds of state secrecy and the surrounding spying network (Paglen, 2009, 2010, 2012). A further example of his work is a photo essay by Paglen (2014) of a drone series set against abstract, celestial skyscapes.…”

Section: Exposuresmentioning

confidence: 99%

Geographies of landscape: Representation, power and meaning

Carrabine

2018

Theoretical Criminology

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Green criminology has sought to blur the nature-culture binary and this paper seeks to extend recent work by geographers writing on landscape to further our understanding of the shifting contours of the divide. The paper begins by setting out these different approaches, before addressing how dynamics of surveillance and conquest are embedded in landscape photography. It then describes how the ways we visualize the Earth were reconfigured with the emergence of photography in the nineteenth century and how the world itself has been transformed into a target in our global media culture.

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“…2 Paglen's critical refl ections on Mark Lombardi's network drawings, and the limitations of 'mapping' as a catch-all horizon for aesthetic research into contemporary spatial confi gurations of power (Bhagat and Mogel, 2007: 43-44) are signifi cant in this respect, echoing as they do Neil Smith's comments on the limitations of the mapping metaphor in his very important Uneven Development (Smith, 2008: 223-229). See also Paglen (2009a) and Kinkle (2010);and Paglen (2010) for the experimental geographer's artwork, and for his account of his 'Sources and Methods ' (2010: 144-151 Paglen's reliance on communities of plane-and satellite-spotters for his research on extraordinary renditions and the 'deep state' is a vivid instance of how to involve communities of research in an attempt to map the complex and covert operations of the new security state (Paglen, 2009a;Paglen and Thompson, 2007). The activist architect work of An Architektur on the Geography of the Fürth Departure Centre is an important and compelling case of militant and experimental geography (see the map in Bhagat and Mogel, 2007, and the interview on pp.…”

Section: Notesmentioning

confidence: 99%

“…2Paglen's critical reflections on Mark Lombardi's network drawings, and the limitations of ‘mapping’ as a catch-all horizon for aesthetic research into contemporary spatial configurations of power (Bhagat and Mogel, 2007: 43–44) are significant in this respect, echoing as they do Neil Smith's comments on the limitations of the mapping metaphor in his very important Uneven Development (Smith, 2008: 223–229). See also Paglen (2009a) and Kinkle (2010); and Paglen (2010) for the experimental geographer's artwork, and for his account of his ‘Sources and Methods’ (2010: 144–151).…”

Section: Notesmentioning

confidence: 99%

Seeing it Whole: Staging Totality in Social Theory and Art

Toscano¹

2012

The Sociological Review

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Can, or should, social theory try to ‘see it whole'? This article explores some of the aesthetic, political and conceptual issues that arise when we pose the problem of representing social totality today. It revisits two influential assertions of theory's calling to generate orienting and totalizing representations of capitalist society: C. Wright Mills' plea for the ‘sociological imagination’ and Fredric Jameson's appeal for an ‘aesthetic of cognitive mapping’. Mills and Jameson converge on the need to mediate personal experience with systemic constraints, knowledge with action, while underscoring the political urgency and epistemic difficulty of such a demand. The article contrasts these perspectives with the repudiation of a sociology of totality in the actor‐network theory of Bruno Latour. It explores this contrast through the ‘panorama’ as a visual practice and a metaphor for theory itself. Against Latour's proposal to reduce and relativize totality, it argues that sociology can learn from contemporary artistic efforts to map social and economic power as a whole. ‘Panoramic’ projects in the arts, such as Allan Sekula's and Mark Lombardi's, can allow us to reflect on sociology's own deficit of imagination, and on the persistence of the desire to ‘see it whole’ – especially when that whole is opaque, fragmented, contradictory. A live sociology can only gain from greater attention to the critical experiments with forms and methods of representation that are being carried out by artists preoccupied with the staging of social totality.

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Recording California's Carceral Landscapes

Cited by 4 publications

References 0 publications

Geographies of infrastructure II: Concrete, cloud and layered (in)visibilities

Geographies of infrastructure II: Concrete, cloud and layered (in)visibilities

Geographies of landscape: Representation, power and meaning

Seeing it Whole: Staging Totality in Social Theory and Art

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