By 9 pm on Tuesday September 21, please post a 600-word (min) response to the following questions:
How does Hasan Elahi's Tracking Transience and Monica Enríquez-Enríquez's Asilo Queer and/or Objetos de Memoria critique specific U.S. state surveillance practices? How does each artist use specific mediums (cell phones technologies, GPS, digital video, interviews, written text, etc.) to comment on how bodies are produced through visual culture? How are race, gender, sexuality, and citizenship at work in these artists' pieces and in the arguments they make about state surveillance?
Remember to link to at least 1 visual text in your response (make sure to correctly attribute the image, citing who made it and where you found it).
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