Litz 3the most part, due to the handicapped and those who cannot take stairs. Also, becausethey are pricey to build and maintain, they symbolize wealth and, to an extent, power. Inever do anything out of the ordinary in an elevator, because I know that there could be acamera. One elevator out of six has a very blatant camera, a huge orb in the corner, whilethe other five do not have visible cameras – however, the fear that one could be hidden isso great that it keeps me in fear of doing anything weird. I then enter my office area,which consists of roughly a hundred cubicles. I can hardly believe that there would be a better example of discipline in the workplace. All the cubicles are set up in an orderlyfashion, one after another, and all about the same size. Once these one hundred or soworkers go into their cubicles, they become just as equal as the person next to them,regardless of position. I see that some workers try to make their cubicle original andunique, but mostly on the inside so pretty much they’re the only ones that can see thedécor. Some will put something on the outside or change their nameplate, but, in the end,they are all the same workers. This is an example of the art of distribution, whichrequires a location such as a school or office, the cubicles are cellular, and they are easilyinterchangeable.The head of the department does not have a cubicle, but an office room,and it is located at the end wall of the entire office. From this room, she could technicallysee all the cubicles, and while she does not have vision that can see through walls, it isassumed that she can “see all” from her spot in the office. This seems to be an aspect of panopticism – as well as the art of distributions regarding cubicles to office rooms andrank. Foucault, when describing the Panopticon, in
the Eye of Power
(1974) stated, “. . .You have the system of surveillance, which on the contrary involves very little expense.
Add a Comment