This collection of essays engages with a wide range of disciplines including art, performance, film and literature, to examine the myriad effects of contemporary surveillance on our cultural psyche. The volume expertly articulates the manner in which cultural productions have been complicit in watching, seeing and purporting to ‘know’ race. In our increasingly mediated world, our sense of community is becoming progressively virtual, and surveillant technologies impact upon subjectivity, resulting in multiple forms of artistic and cultural expression. As such, art, film, and literature provide a lens for the reflection of sociocultural concerns. In Surveillance, Race, Culture Flynn and Mackay skilfully draw together a diverse range of contributions to investigate the fundamental question of exactly how surveillant technologies have informed our notions of race, identity and belonging.

From 9/11 to the Snowden leaks, stories about surveillance increasingly dominate the headlines. But surveillance is not only 'done to us' – it is something we do in everyday life. We submit to surveillance, believing we have nothing to hide. Or we try to protect our privacy or negotiate the terms under which others have access to our data. At the same time, we participate in surveillance in order to supervise children, monitor other road users, and safeguard our property. Social media allow us to keep tabs on others, as well as on ourselves. This is the culture of surveillance. This important book explores the imaginaries and practices of everyday surveillance. Its main focus is not high-tech, organized surveillance operations but our varied, mundane experiences of surveillance that range from the casual and careless to the focused and intentional. It insists that it is time to stop using Orwellian metaphors and find ones suited to twenty-first-century surveillance — from 'The Circle' or 'Black Mirror.' Surveillance culture, David Lyon argues, is not detached from the surveillance state, society and economy. It is informed by them. He reveals how the culture of surveillance may help to domesticate and naturalize surveillance of unwelcome kinds, and considers which kinds of surveillance might be fostered for the common good and human flourishing.

In Crisis Vision, Torin Monahan explores how artists confront the racializing dimensions of contemporary surveillance. He focuses on artists ranging from Kai Wiedenhöfer, Paolo Cirio, and Hank Willis Thomas to Claudia Rankine and Dread Scott, who engage with what he calls crisis vision—the regimes of racializing surveillance that position black and brown bodies as targets for police and state violence. Many artists, Monahan contends, remain invested in frameworks that privilege transparency, universality, and individual responsibility in ways that often occlude racial difference. Other artists, however, disrupt crisis vision by confronting white supremacy and destabilizing hierarchies through the performance of opacity. Whether fostering a recognition of a shared responsibility and complicity for the violence of crisis vision or critiquing how vulnerable groups are constructed and treated globally, these artists emphasize ethical relations between strangers and ask viewers to question their own place within unjust social orders.

In Dark Matters Simone Browne locates the conditions of blackness as a key site through which surveillance is practiced, narrated, and resisted. She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the eighteenth-century slave ship Brooks, Jeremy Bentham's Panopticon, and The Book of Negroes, to contemporary art, literature, biometrics, and post-9/11 airport security practices. Surveillance, Browne asserts, is both a discursive and material practice that reifies boundaries, borders, and bodies around racial lines, so much so that the surveillance of blackness has long been, and continues to be, a social and political norm.

In a world of ubiquitous surveillance, watching and being watched are the salient features of the lives depicted in many of our cultural productions. This collection examines surveillance as it is portrayed in art, literature, film and popular culture, and makes the connection between our sense of ‘self’ and what is ‘seen’. In our post-panoptical world which purports to proffer freedom of movement, technology notes our movements and habits at every turn. Surveillance seeps out from businesses and power structures to blur the lines of security and confidentiality. This unsettling loss of privacy plays out in contemporary narratives, where the ‘selves’ we create are troubled by surveillance. This collection will appeal to scholars of media and cultural studies, contemporary literature, film and art and American studies.

This edited collection examines the culture of surveillance as it is expressed in the built environment. Expanding on discussions from previous collections; Spaces of Surveillance: States and Selves (2017) and Surveillance, Race, Culture (2018), this book seeks to explore instances of surveillance within and around specific architectural entities, both historical and fictitious, buildings with specific social purposes and those existing in fiction, film, photography, performance and art. Providing new readings of, and expanding on Foucault’s work on the panopticon, these essays examine the role of surveillance via disparate fields of enquiry, such as the humanities, social sciences, technological studies, design and environmental disciplines. Surveillance, Architecture and Control seeks to engender new debates about the nature of the surveilled environment through detailed analyses of architectural structures and spaces; examining how cultural, geographical and built space buttress and produce power relations. The various essays address the ongoing fascination with contemporary notions of surveillance and control.

From everyday apps to complex algorithms, Ruha Benjamin cuts through tech-industry hype to understand how emerging technologies can reinforce White supremacy and deepen social inequity. Benjamin argues that automation, far from being a sinister story of racist programmers scheming on the dark web, has the potential to hide, speed up, and deepen discrimination while appearing neutral and even benevolent when compared to the racism of a previous era. Presenting the concept of the “New Jim Code,” she shows how a range of discriminatory designs encode inequity by explicitly amplifying racial hierarchies; by ignoring but thereby replicating social divisions; or by aiming to fix racial bias but ultimately doing quite the opposite. Moreover, she makes a compelling case for race itself as a kind of technology, designed to stratify and sanctify social injustice in the architecture of everyday life. This illuminating guide provides conceptual tools for decoding tech promises with sociologically informed skepticism. In doing so, it challenges us to question not only the technologies we are sold but also the ones we ourselves manufacture. Visit the book's free Discussion Guide: www.dropbox.com

In Dark Matters Simone Browne locates the conditions of blackness as a key site through which surveillance is practiced, narrated, and resisted. She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the eighteenth-century slave ship Brooks, Jeremy Bentham's Panopticon, and The Book of Negroes, to contemporary art, literature, biometrics, and post-9/11 airport security practices. Surveillance, Browne asserts, is both a discursive and material practice that reifies boundaries, borders, and bodies around racial lines, so much so that the surveillance of blackness has long been, and continues to be, a social and political norm.

Considered the father of multicultural education in the US and known throughout the world as one of the field’s most important founder, theorist and researcher, James A. Banks has collected here twenty-one of his most important and best works from across the span of his career. Drawing out the major themes that have shaped the field of multicultural education as well as outlining the development of Banks’ own career, these articles, chapters and papers focus on eight key issues: black studies and the teaching of history research and research issues teaching ethnic studies teaching social studies for decision-making and citizen action multiethnic education and school reform multicultural education and knowledge construction the global dimensions of multicultural education democracy, diversity and citizenship education. The last part of the book consists of a selected bibliography of all Banks’ publications over his forty-year career, as a source of further reading on each of these pivotal ideas.

Surveillance has infiltrated all aspects of our lives, forcing us to reconsider established notions of privacy, subjectivity, and the status of the individual. This book brings together an interdisciplinary group of scholars to explore the social, political, and cultural implications of surveillance in contemporary society.