From surveillance to Dataveillance, we have seen a radical change in the way we are monitored, shifting from visual forms of surveillance to a mass gathering of data on individuals. Unnoticed and overlooked, the sudden emergence of digital surveillance has sneaked past our guard and has been implemented everywhere. Visual surveillance used to be the only source of surveillance, a method for watching people; data surveillance was nonexistent. With large investments in technology, cameras became cheaper, smaller, and more accessible. The form of the record moved from paper to digital and enabled images to be cheaply and rapidly transmitted, examined and accessed. With the advances in technology, the usage of big data in the form of dataveillance has become comparably cheaper to visual surveillance and much more effective than its predecessor. This dissertation aims to study the implications of big data, the digital surveillance economy which shrouds the internet and how artists are responding to the themes of surveillance, privacy, and big data in new ways.
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