rounded up all of our Japanese citizens and put them in internment camps, but we did close them after the war. So I thought that the pendulum would swing back after 9/11. You could say that is naïve - America was exercis-ing its power pre-9/11, but not with things like legalizing torture. To justify torture in legal memos, or have a prison where people can be
held indenitely without charge, that is a new
chapter. As an American citizen, the policies are done in my name. I have a certain platform and protection as a U.S. citizen that allows me to address and expose these issues with less risk than others. Glenn and I have talked about this—about the obligation we have to investigate these policies.TB: It looks to me that they protect you until you start bothering them. As soon as you put your nose into a certain situation...
They’ve harassed me and tried to send a message to try to get me to stop doing what I’m doing, but it could be worse.TB:
Were you imagining this kind of parable
would be touching people in their daily lives, like what’s happening with ethical resisters and whistleblowers?
I never imagined there would be this kind of attacks on whistleblowers and journalists.
Look at the resources the U.S. has used in the
post-9/11 era—and for what? More people
now hate us. I have seen that rst hand. It’s
baffling how the priorities have been calcu-lated.TB: This is just my comment, but being Ital-
ian, I can say that after the Second World War Italy became a sort of secret colony of the U.S., and also the Cold War is telling us
that it’s nothing new happening, but now it’s more evident, and more tied to the American daily life of the people. But a certain kind of politics has been happening already before.
I agree on one level, but I mean, we legal-ized torture! That’s going pretty far. I think we are in a new era where in the name of nation-al security everything can be transgressed. The United States is doing things that I think if you had imagined it thirteen years ago you
would be shocked. Like drone strikes. How
did we become a country that assassinates people from the sky? Is that what you think of when you think of a democracy?TB:
What is the last part of the trilogy teaching
you, and how is this new experience adding meaning to the others described in the previ-
ous movies? What is coming next?LP:
The world that Snowden’s disclosures have opened is terrifying. I have been in war zones, and I think that this is so much scarier. How this power operates and how it can strip citizens of the fundamental right to commu-nicate and associate freely. The scope of the surveillance is so vast. About what’s next, I imagine that I will work
on the issue of surveillance beyond the lm. I
was entrusted to make sure this material gets reported on. The scope of it goes beyond any
one lm. I have an obligation to report.
TB: The fact that you are a woman dealing
with sensitive subjects, traveling alone lming
across off-limit countries, and developing technical skills to protect your data makes you very unique. How do you see such experiences from a woman/gender perspective? Being a
woman made it easier of more difcult to ac
-cess the facts and information you reveal via
Speaking about technology, I do not think
it is gender specic. Women can operate
cameras, learn how to use encryption. That is a gender stereotype. TB:
Well, let’s count how many women will be
at the CCC Congress.
Yes, that’s true (laughter). I do not have those kinds of skills either. I have good
instincts of security, and I know how to gure
out how to use tools, and I know how to ask questions when I need to. But I don’t know how to build these tools. A lot of time when you speak about issues of encryption with people, I think that often the question is what you perceive is at risk. Because I have experienced being detained at the U.S. border for so many years, I know that the risk is real. If you look at any activist group in any dictatorship – if you go to South Arabia and you look at political activists – they know how to use encryption. They are no any smarter, but they know that the state is dan-gerous. I think that if you perceive the state as dangerous or a threat, which I do as a journal-ist who needs to protect source material, you learn how to use these tools. It is not brain
surgery – anyone can gure them out.
Once you understand that a phone has a GPS device in it, you understand that it is geo-locating you and that potentially is dangerous, so you turn it off, or you stop carrying a phone.
I do not think this is gender specic.
In terms of being a woman doing work in
the eld, overall it has made the work easier.
In the Iraqi context, to be a woman allowed me more access because it is a very gendered segregated society. If I was a man I would have not been able to live in the same house
with the people I was lming. I was able to lm with the women and also hang out and lm
with men. As a western woman you can get a free pass in both places.TB: Did you have the impression that they were taking your work seriously in the Arabic countries where there is a strong gender divide?
They really thought that I was an alien. They didn’t have any context for me, I was breaking every normative rule, being alone in
these countries, going to war zones, lming,
etc. I think they just thought that I was from another planet.But it is a good question if they took me seriously.
When I was lming in Iraq I remember I
was inside the Green Zone and Richard Armit-age gave the speech to the State Department. There wasn’t supposed to be any press there, but I just had a small camera and I started
lming. He gave a speech where he said, “we
are going change the face of the Middle East.” He was speaking to a group of people from the State Department inside the Green Zone and he would have never said that if he thought that there was anyone from the press there.TB: In my writing I claim that networking is an artwork. The point is not to produce artistic objects, but to generate contexts of connectiv-ity among people. Following this tradition, that goes from Fluxus to networked art, generat-ing an artwork means to create connections that are unpredictable, to imagine how they
would t, and what would come out of them.
You experienced one of the most interesting connections you could imagine, and from that, besides what Snowden revealed to you, you
HASHES TO ASHES
Chaired by Tatiana Bazzichelli
THE ART OF DISCLOSURE. BY TATIANA BAZZICHELLIINTERVIEW WITH LAURA POITRAS