THE WATCHER

written by Raisa Breslava [written text comes with a DVD] HEAD IS FULL OF OPENINGS WINDOWS FOR THE SENSES LET THE EYES REST IN DEEP POOLS OF THE EYE SOCKETS LET THE HEARING DEEPEN SOFTEN THE TONGUE IN THE CAVE OF THE MOUTH ALLOW THE NECK TO LENGTHEN UPWARD OUT OF THE ROUNDNESS OF THE RIBS SUPPORTING THE HEAD HIGH IN THE AIR SEE THE VIEW FROM THE TIP OF YOUR SPINE OPEN ALL THE WINDOWS OF THE HEAD THE PORES OF THE SKIN THE HEAD TAKES THE WHOLE BODY ON A JOURNEY THE WHOLE HEAD IS: TOP BACK UNDERNEATH SIDE FRONT OPENING LISTENING IN ALL DIRECTIONS
Tufnell, Miranda, Crickmay, Chris, 1990, Body Space Image: Notes Towards Improvisation and Performance, Dance Books, Great Britain.

It's 25th of September, 2010 and i have sat down to write some words on my contextual study paper for college. i am running out of time. in this running out of time it feels quite harsh to start creating something that is not rooted in a knowing of what wants to be talked about or explored. As I write this I feel all the layers of resistance whilst pushing myself into a state of knowing what to say. in the meantime, having the awareness to see that sitting beside 'me' who feels unprepared and worried is the Witness or my internal Watcher, always available. Something within me is watching the part that can't quite see itself or articulating something that hasn't yet found the words to speak itself. it's like a CCTV camera that lives within me and is always filming. this camera seems to have been always there. This camera that we have now managed to clone electronically, placed in all our public areas, and to which we have given an appearance and function so powerful that it has become an externalized version of ourselves. Watching while we are absent. Watching while we sleep. an external hard-drive of our consciousness which we save for later later reminding ourselves about ourselves earlier. reminding of something that had been forgotten or unseen. this eye this witnessing this camera that has all my liveness recorded and saved all in one archive. this archive is me.

i want to talk about the phenomena of witnessing ourselves using the camera as a tool as a vehicle and a metaphor TO BE WATCHED. AND TO BE THE WATCHER. CLOSE YOUR EYES ONCE YOU HAVE READ THE NEXT FEW LINES AND WATCH WHAT HAPPENS WITH YOU FOR THE NEXT 2 MINUTUES. WATCH THE THOUGHTS THAT COME AND GO. WATCH ANY FEELINGS... BODY SENSATIONS... ANY NOISES... SMELLS... We are beginning to re-awake our inner watcher.

We look to cross the road We look at things surrounding us space, images, TV screens, we look at ourselves. We look at others. We look at others when they talk. Have you noticed that you usually want to see the person that's talking? We do. Try it next time you hear someone talking in a film or in life, shut your eyes for 15 seconds and see what changes. You will probably notice an urge to want to see, to Watch. After reading 'Performance in a mediatized culture' I wanted to take Auslander's exploration of 'Liveness' and create a very personal search and a scientific study about the time we live in. The questions I set myself for this study are: Have we forgotten about our inner Watcher and given this ability/function away to the media, outside of ourselves, therefor dis empowering ourselves in front of the camera or is this camera lens and this archive just a mirror/a reinforcement and support for who we already are? Does this digital reality empower us or dis empower? To whom do we give away our power and who is in control of how we see ourselves? At the core of my practice I place issues that concern this time I live in, the relationships and dynamics that make up our society. I look into how this society is built, exploring it's functions and dysfunctions, in search of alternatives/ possibilities I try and mirror my findings to the audience, sometimes sharing very awkward, uncomfortable experiences. For example, in my last year's one-to-one performance I invited audience members one at a time to spend time with me drinking tea and chatting. The root and subject of this performance was the relationship that got created between me and the audience member. I was exploring human behavior and tendencies in an intimate situation, making this everyday action a study into social relations, anthropology and psychology. This time The Watcher is an excuse and reason for me to search for reinventions, by looking into our ability to see ourselves: how do we see? what do we see? fear of looking what defines what we see and who has the power to impose what we see? I, as a performance maker can control what the viewer sees, but only to a certain degree, we can never fully control this process of what others see fully. So what are the other sources of control that dictate what we see?

INTRODUCING... THE EXTERNAL WATCHER

A body throws itself out of a burning tower, diving through the air in the agonizing moments before the impact of concrete below will smash the life out of it. We are watching live on network television. There is nothing we can do. A group of unremarkable people are locked in a house for two months, bored and bickering; cameras record their every mundane move. We watch in our millions, interrupting busy schedules to catch up on the ins and outs of lives restricted to the entirely inconsequential. McGrath J. E., 2004, Loving Big Brother: Performance, Privacy and Surveillance Space, Routledge, London, P. vi

Digital image. JOSEPH KLEIN. Big Brother to Control YOU on the Internet . Web. JUNE 17 . <http://www.newsrealblog.com/2010/06/17/big-brother-to-control-you-on-the-internet>

George Orwell's 1949 novel '1984': 'On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.'
Orwell George, ''Nineteen Eighy-four'', Life Research Universal.com, 13 October, 2010, <http://www.liferesearchuniversal.com/1984-1.html#one>

I propose that today's reality show Big Brother described by John E. McGrath above reflects the power and control of a civilization who reconstruct God to form an idealized, all-seeing version of themselves. Since the beginning of Religion, from the Old Testament onwards, Judaism, Islam and Christianity have used the idea of God always watching you to control their people with guilt. Nowadays CCTV performs a similar function. Have we exchanged God for CCTV and because of the power of reality of these new eyes we seem to trust this God more. we use this electronic media to send human beings to years of incarceration or even death

 The use of surveillance cameras by governments and businesses has dramatically increased over the last 10 years. In the U.K., for example, there are about 4.2 million surveillance cameras1 camera for every 14 people.[29]'
''Closed-circuit television'', Wikipedia.com, 13 January 2011, November 2010, <http://en.wikipedia.org/wiki/Surveillance_cameras>

a camera for every 14 people? is this to protect them or control them? do we feel safer with all these new electronic eyes upon us or uncomfortable being constantly, invisibly watched? is it a comfort that God is always watching you? or a pressure?

'Jesus Is Watching You Masturbate'. Satirical. http://minnesota-meanderings.blogspot.com . 20.03.2010. <http://minnesotameanderings.blogspot.com/2010_03_01_archive.html>

"When it comes to bullshit, big-time, major league bullshit, you have to stand in awe of the all-time champion of false promises and exaggerated claims, religion. No contest. No contest. Religion. Religion easily has the greatest bullshit story ever told. Think about it. Religion has actually convinced people that there's an invisible man living in the sky who watches everything you do, every minute of every day. And the invisible man has a special list of ten things he does not want you to do. And if you do any of these ten things, he has a special place, full of fire and smoke and burning and torture and anguish, where he will send you to live and suffer and burn and choke and scream and cry forever and ever 'til the end of time! But he loves you." comedian, George Carlin
Carlin, George. George Carlin On Religion. http://www.rense.com .1999. December 2010. <http://www.rense.com/general69/obj.htm>.

This control has made a society that's not only afraid of an external force constantly judging them but also terrified and powerless in front of such punishments. when God is here he exists to those who believe that they are watched by him, whereas others aren't aware of such a watcher they want proof in this sense the surveillance that we have man made is unarguably a far more trustworthy God, delivering measurable data. We are being watched whether we want to be or not though and archived. but rarely do we get to see this footage of ourselves. this archive remains untouchable watchable only by the establishment, by the governments institutions and businesses, who are controlling the society by having us on their screen and collecting us as statistics and de-humanised information. In the meantime, the audience watching their tv screens at home decides who 'stays' or who 'goes'. Or so it seems that they decide... giving the audience this illusion of power, they, as the Watcher have the power to be the judge the almighty God that decides upon others' destinies. and because we are so hungry for power this seeming power and control is so electrifying that the system has got us once again hooked in. our power to watch and judge others has become a lot of people's highest entertainment.

The control of the masses by religion is based on the premise that God is a more perfect judge than you. God knows better than you do about what choices you should make in your day to day life. This disempowers us by feeding us the idea that we are unable to make the right choices for ourselves. It presumes that we are too low, too selfish, too sinful to act alone. God and Big Brother are only idealized self-projections of ourselves. this is what Big Brother is made of. this is what god is made of an idealized version of yourself. and in that case the only way how you can stop playing the game the game of the system is by deciding you don't want to be that projection and this means re-thinking the definition of who you are and deciding to be different then what you are told to be, to dare to reclaim the power and responsibility.

What if the next step of evolution is to grow out of this God, The Big Brother and internalize the Watcher and decision maker. Embracing the possibility that we are worthy of the power of deciding for ourselves without an idealized parent figure. This is where we can claim back the images from our external electronic hard drives and learn to see and trust the images and signals within ourselves.

i wonder, on what grounds are you going to decide who you want to be?

What we really crave from a parent figure is love, acceptance and approval. This validation from outside makes us feel that we are valuable and loved and will not be rejected or abandoned. But what if we learn to give this to ourselves? To trust our own inner Watcher, not be dependent on the external mirrors for our sense of well-being, then maybe we will be free of all needs to seek that security elsewhere. I have noticed that people are very judgmental of themselves, very self-conscious, self-critical, scared and awkward being filmed and photographed. It's as if they are suddenly placed under a microscope to be inspected and dissected. This awakens the guilt impulse that allows them to be controlled. A vulnerability occurs here which I want to experiment with. EXPERIMENT 01: being filmed and interviewed not seeing myself. My aim here was to find out what effect a camera (this specific piece of digital equipment) can have on a subject, in order to find it's empowering and dis-empowering qualities. I wanted to see what happens to me when I am being filmed and watched by an external figure, and what change occurs in me being watched verses me being watched and also seeing myself. WATCH CLIP 1 ON DVD looking at how the camera affects me. looking at how the watcher alters the state of the one who is being watched. looking at how uncomfortable i feel being watched. Conclusions: what i experience when i am being watched but can't see myself: i feel uncomfortable and anxious not knowing how i am being seen but speculating on the judgments of what the perceiver makes of me which are based on the judgments that i have about myself, judgements which I have picked up from society's control mechanisms. EXPERIMENT 02: being filmed and interviewed whilst also seeing footage of myself live. WATCH CLIP 2 ON DVD

looking at how the live footage/seeing myself affects me. Being filmed by another and observing footage of myself whilst notions of my imperfections arise. Conclusions: what i experience when i am watching myself is that the process becomes fascinating. I seem more relaxed, confident and seeing myself, I know what changes i want to make. It becomes a dialogue between me and a live version of me on the screen. FINAL CONCLUSIONS are made when looking back on the footage of two experiments and comparing the subject (myself) and analyzing the effect of the two different experiments upon the subject (this watching back and analyzing is done with another person, in order for the conclusions to be objectified):

INTRODUCING... THE INTERNAL WATCHER

EXPERIMENT 3-4 THE EMPOWERED WATCHER 'looking at yourself looking at yourself looking at yourself looking at...' when do we stop looking and do we ever stop looking? what do we see that keeps us looking? PARTICIPANT: JAMIE 1. i place a camera in front of Jamie Catto, which is located in position to film his face. (i do not ask him to re-locate himself in order to fit into the frame of the lense, i locate the camera based on his position; i do not want to violate or influence the space of Jamie). 2. after telling Jamie to 'stay in front of the camera and place your awareness on what happens to you whilst this camera is filming you, be aware of the dynamic in your relationship to the camera.' i push the 'rec' button and leave the room. he is left alone with the camera. WATCH CLIP 3 ON DVD 3. I return into the room and stop the filming. 4. i place the previous filmed footage (the clip that you have just seen) of Jamie on a screen in front of him so that he can see himself. 5. i tell Jamie to comment on what he sees, i then push the 'rec' button and leave the room. WATCH CLIP 4 ON DVD a self-reflection or a commentary on yourself --> as a way we look at ourselves--> a way we try and formulate what we see.

i repeat steps 3, 4, 5. WATCH CLIP 5 ON DVD i repeat steps 3, 4, 5. WATCH CLIP 6 ON DVD

These steps can be repeated endlessly. Therefore the 'looking at yourself looking at yourself looking at yourself looking at...' forever.

OBSERVATIONS: 1. As Jamie watches himself he realizes/sees things he hadnt seen in himself before. He notices that his lip is moving in a way he hadnt known about, that his teeth look worse than he imagined. The watcher in this case gets forced to look at himself thoroughly, being faced with himself in the most literal sense. This puts the Watcher in a very vulnerable position, by witnessing himself he also was placed in front of his own judgements, therefore creating embarrassment and also suspicion. But overall a deep fascination with self. Examination and dissection of who you know yourself to be and who you have not seen yet becomes empowering.

2. Talking about himself and making a commentary created a relationship where both the watcher and the watched were one person, Jamie, in dialogue. They would amuse each other, surprise, judge, listen, agree and entertain each other. Becoming a spectacle to their own self.

One might wonder if it was the same person or just versions of Jamie trapped in time and in screen.
Lets open our minds to the reality that Jamie, in each slice of time, is unique and that in each moment Jamie is made out of all the previous experiences and moments that have led up to this moment, which means that the next moment and the next Jamie is different to the previous ones creating many different people. And this makes me question: which one of us is the real one? Scientist and Theoretician Robert Lanza, for me, has been a very powerful discovery in terms of these questions raised: When we speak of time, we're usually referring to change. But change isn't the same thing as time. To measure anything's position precisely is to "lock in" on one static frame of its motion, as in a film. Conversely, as soon as you observe movement, you can't isolate a frame, because motion is the summation of many frames. Sharpness in one parameter induces blurriness in the other. Consider a film of a flying arrow that stops on a single frame. The pause enables you to know the position of the arrow with great accuracy: it's 20 feet above the grandstand. But you've lost all information about its momentum. It's going nowhere; its path is uncertain. According to biocentrism, time is the inner sense that animates the still frames of the spatial world. Remember, you can't see through the bone surrounding your brain; everything you experience is woven together in your mind. So what's real? If the next image is different from the last, then it's different, period. We can award change with the word "time," but that doesn't mean that there's an invisible matrix in which changes occur.

Scientist Robert Lanza writes in his latest post.

Lanza, Robert. Is Death The End, Experiments Suggest You Create Time. www.huffingtonpost.com . 4th November 2010. 24th November 2010. <http://www.huffingtonpost.com/robert-lanza/is-death-the-end-newexpe_b_774814.html>

Like a kaleidoscope that fragments and multiplies reality We also leave pieces of ourselves, remnants through the lifetime, anecdotes about us, facebook statuses, blogs and artworks Pieces that other people pick up and pieces that other people use as a version of you. Pieces that represent a different thing to each person, because also the one identifying you is also only just a piece in time in itself. 3. This layering upon layering creates endless amount of Jamies that are discussing/running a commentary on each other, creating an illusion of multiple Jamies existing in one space. One might argue though whether its an illusion at all or just an externalized version of all the multiple selves that are within us always.

Experiment 5. Installing these multiple selves in space. WATCH CLIP 7, 8, 9 ON DVD Looking at different placement of subject/object and how the setup/spatial relationship of these TVs affects the context. Creating dialogues in space out of these multiple selves.

Experiment 6. THE DIS-EMPOWERED WATCHER If the Watcher is watching change, not time it is faced with an unpredictability. In this sense the watcher is not knowing insecure, in fear, it does not know what follows.

I got curious about these 'versions of Jamie trapped in time and in screen', and also these frames of time. The word 'trapped' implied a disempowerment that I wanted to explore. Also these multiple versions imply that we are not a constant thing but a combination of moments that keep passing and changing into the present moment. Thinking about this made me think of the frustration I sometimes have looking at myself in the mirror and trying to see behind myself fully, but not quite being able to. This felt relevant. Is there a way to see our behinds but not out faces? Faces seem so important to see. But what happens when we don't see them? I criss-crossed two projectors and two cameras.

J E

J E

J E

PE

RE

ON

J E

Therefore, creating an installation where the participant/the Watcher within this installation can only see his behind, but never fully his front. WATCH CLIP 10, 11, 12, 13, 14 ON DVD From a Skype conversation, the day of experiment: [05/11/2010 18:19:14] Raisa Breslava: i wanted to create the paradox that we can't ever fully see ourselves [05/11/2010 18:19:42] Raisa Breslava: i wanted to create it fully though, like show it in fact, material, documentation [05/11/2010 18:20:07] Raisa Breslava: it was quite fun [05/11/2010 18:20:14] Raisa Breslava: all sorts of things happened [05/11/2010 18:21:09] Raisa Breslava: ...when u put a lense opposite a lense opposite a projector which is facing another projector... [05/11/2010 18:21:42] Raisa Breslava: the image that gets projected is the effect u get with a mirror facing a mirror [05/11/2010 18:21:57] Raisa Breslava: there are lots of you's in it [05/11/2010 18:22:00] Jamie Catto: infinity [05/11/2010 18:22:08] Raisa Breslava: not just one, but suddenly there are 4 [05/11/2010 18:22:37] Raisa Breslava: it's like my kaleidoscope, what happens to reality is that it gets multiplied [05/11/2010 18:23:56] Raisa Breslava: and not only multiplied, but also,depending in what distance and angle u r to the lense, the reality start shifting [05/11/2010 18:24:03] Jamie Catto: wow [05/11/2010 18:24:52] Raisa Breslava: there's your hand that is right next to another hand further away that is next to another hand further away ...therefor creating a diagonals of multiple realities [05/11/2010 18:26:01] Raisa Breslava: there's a time delay between each of these frames [05/11/2010 18:26:11] Jamie Catto: so it waves? [05/11/2010 18:26:13] Jamie Catto: ripples? [05/11/2010 18:26:34] Raisa Breslava: i move my hand, but the one in the next moves slower [05/11/2010 18:26:45] Raisa Breslava: not slower, [05/11/2010 18:26:57] Raisa Breslava: later [05/11/2010 18:27:52] Raisa Breslava: i mean, in this experiment, it was very evident that one certain reality does not exist [05/11/2010 18:29:12] Raisa Breslava: i even did this test: where i took my bottle of water and begun spilling drops out. you could see quite clearly that 3/4 frames down the drops dripped later [05/11/2010 18:29:30] Raisa Breslava: so that's how long it took the light and electricity to travel back forth back forth [05/11/2010 18:30:33] Raisa Breslava: but the funny thing is that there i am dripping water from the bottle but in the image i see myself in, the drops are dripping later then the ones from my hand WATCH CLIP 15 ON DVD [05/11/2010 18:31:02] Jamie Catto: I totally freaked myself out with a similar time delay [05/11/2010 18:31:09] Jamie Catto: when i was in court in NYC [05/11/2010 18:31:13] Jamie Catto: broadcast from UK

[05/11/2010 18:31:18] Jamie Catto: there was a time delay [05/11/2010 18:31:20] Jamie Catto: between me [05/11/2010 18:31:25] Jamie Catto: and the image on their screen in USA [05/11/2010 18:31:33] Jamie Catto: I saw myself a second or 2 [05/11/2010 18:31:37] Jamie Catto: after each gesture [05/11/2010 18:32:37] Raisa Breslava: so what my brain started thinking was... [05/11/2010 18:33:09] Raisa Breslava: this thing about time and illusion [05/11/2010 18:33:27] Raisa Breslava: and having the moment just as a moment. and then the next moment is different [05/11/2010 18:33:55] Jamie Catto: whenever we see each other [05/11/2010 18:34:00] Jamie Catto: we are looking at the past [05/11/2010 18:34:02] Jamie Catto: when i see you [05/11/2010 18:34:20] Jamie Catto: the time it takes light to bounce off you and into my eye, is when i get the image [05/11/2010 18:34:27] Jamie Catto: so I'm never seeing you NOW [05/11/2010 18:34:31] Jamie Catto: always your past [05/11/2010 18:42:07] Raisa Breslava: it was fascinating though to see that those multiple realities can be filmed [05/11/2010 18:42:20] Jamie Catto: yes [05/11/2010 18:42:27] Jamie Catto: Lanza talks about the arrow [05/11/2010 18:42:35] Jamie Catto: stopping it at any slice of time/moment [05/11/2010 18:42:38] Jamie Catto: it passes through [05/11/2010 18:42:43] Jamie Catto: you're doing it more interestingly [05/11/2010 18:42:51] Raisa Breslava: it's like they were documenting a distance within which realities got fragmented and delayed, and who knows which one is more real?! [05/11/2010 18:45:53] Raisa Breslava: so i really got today that we are nothing more then matter and light [05/11/2010 18:46:21] Raisa Breslava: and we move and are still at the same time [05/11/2010 18:46:34] Jamie Catto: depending on how you look [05/11/2010 19:00:22] Raisa Breslava: the other... [05/11/2010 19:01:08] Raisa Breslava: was that i placed the cameras so that in the image (on opposite sides) u could only ever fully see your back [05/11/2010 19:02:47] Jamie Catto: so you looked at the back of your own head? [05/11/2010 19:02:52] Raisa Breslava: something happens there [05/11/2010 19:03:02] Raisa Breslava: a gap happens. even though your brain knows what is going on [05/11/2010 19:03:38] Raisa Breslava: yes, u look at your own back [05/11/2010 19:03:59] Raisa Breslava: you still try and see yourself [05/11/2010 19:04:15] Raisa Breslava: the body tries to see itself [05/11/2010 19:05:01] Raisa Breslava: almost as if it it has already forgotten it's face and now needs to catch it [05/11/2010 19:05:12] Raisa Breslava: the mind starts running after itself [05/11/2010 19:05:58] Raisa Breslava: as if to prove to itself that it exists [05/11/2010 19:10:31] Raisa Breslava: it gets excited when it sees a part of itself, because then it is acknowledged and can rest. This exploration of the Watcher through the digital media of cameras, screens and projectors provokes and awakens the deeper human issues of self- awareness and human freedom. The questions raised by control and domination we have explored through first: i) society's use of a 'Watcher' such as God or a CCTV camera in order to dominate people, and then: ii) by our own responses to the camera when we become acutely aware, ashamed, and fascinated by ourselves in new ways by seeing ourselves on a screen, lead me to the non-digital possibilities of the Watcher, especially by internalizing the awareness of simple non-

judgmental self-observation to transcend unconscious and limiting patterns and approach freedom by bringing awareness to previously unseen and unnoticed behavior.

CONCLUSION:
THE WATCHER AS A DEVIANT. I have created a set of experiments that force us to look at ourselves, whether it be by seeing ourselves or not seeing ourselves. I have explored why we fear being watched and what we gain by looking at ourselves. I have looked at sources of empowerment and sources of dis-empowerment, therefore the Watcher can know itself and the surrounding world better and re-claim it's power, but one thing feels unresolved... there still is separation between the External and Internal Watcher, between the government and it's citizens between Big Brother and it's viewers at home between parents and their children between the establishment and it's users between students and their tutors, a separation consisting of authoritarian hierarchy. We do not know much about our tutors, right? There is little exposure therefore creating an atmosphere and environment where students trying to fill the necessary requirements and regulations of 'learning outcomes' please the tutors and are under the expectation and control of 'following the rules.' You see, We have found out that Watching is a form of power we can control where we look and we learn by looking. In the process of re-claiming this power we become more intelligent as human beingswe know more of who we are by watching ourselves carefully, and thanks to this knowledge we are affected less and less by external sources telling us who we are, who we should be and what we're doing wrong or not well enough. This means that we also become a threat to the establishment because we're harder to control. The government does not want it's citizens to be intelligent enough to have this knowledge because it is harder to manipulate intelligent people. 'When deviance is opposed by individuals in power, it is because deviance threatens the dominant organization of sexual, spiritual, racially marked, or culturally specific resources. At all times it is political. By this I mean that deviance affects the ways that power is socially organized and used'.
Pfohl, Stephen. 1994, Images of Deviance and Social Control. United States: McGraw-Hill

We have concluded that by allowing external bodies to Watch and judge us we are disempowered. We are subject to society's versions of approval and guilt and thereby controlled, influenced to fit in with someone else's version of right and wrong. BUT When we take the power back and rely only on our own version of ourselves, our own

observations of who we are, and our own opinions of what aspects of ourselves we want to change or keep, then we are fascinated and empowered. We need to Watch ourselves to see who we are, be more accepting of ourselves and not be governed by external bodies using guilt and shame to control us.

London Evening Standard. George Orwell, Big Brother Is Watching Your House. http://www.thisislondon.co.uk . 31st March 2007. 29th November 2010. <http://www.thisislondon.co.uk/news/article-23391081-george-orwell-big-brother-is-watching-your-house.do>

"On the wall outside his former residence - flat number 27B where Orwell lived until his death in 1950, an historical plaque commemorates the anti-authoritarian author. And within 200 yards of the flat, there are 32 CCTV cameras, scanning every move. Orwell's view of the tree-filled gardens outside the flat is under 24-hour surveillance from two cameras perched on traffic lights. The flat's rear windows are constantly viewed from two more security cameras outside a conference centre in Canonbury Place. In a lane, just off the square, close to Orwell's favourite pub, the Compton Arms, a camera at the rear of a car dealership records every person entering or leaving the pub."
London Evening Standard. George Orwell, Big Brother Is Watching Your House. http://www.thisislondon.co.uk . 31st March 2007. 29th November 2010. <http://www.thisislondon.co.uk/news/article-23391081-george-orwell-big-brother-is-watching-your-house.do>

In this country where there are 4.2 million CCTV cameras 20 per cent of cameras globally. where it has been calculated that each person is caught on camera an average of 300 times daily,

i choose to be my own watcher.

BIBLIOGRAPHY Auslander, 1999, Liveness: Performance in a mediatised culture, Routledge, London and New York. Goulish, 2000, 39 Microlectures: in proximity of performance, Routledge, London and New York. Auslander, 1992, Presence and Resistance: Postmodernism and cultural politics in contemporary American Performance, Ann Arbor, University of Michigan Press. Barthes, Roland, 1977, Image Mussic- Text, Stephen Heath, New York: Hill and Wang. Berardi, Franco Bifo, 2009, The Soul at work: from alienation to autonomy, Semiotext. Bogart, Anne, 2001, A Director Prepares: Seven Essays On Art and Theatre, Routledge, London and New York. Butt, Gavin, 2005, Between you and me, Duke University Press, Durham and London. Copeland, Roger, 1990, The Presence of mediation, TDR: The journal of performance studies, 34, 4: 28-44. Gere, Charlie, 2006, Art, Time and Technology, Berg, New York. Goldberg, Roselee, 1979, Performance Art: from Futurism to the Present, Thames & Hudson, London. Hoffmann, Jens; Jonas, Joan, Perform: Artworks, Thames & Hudson, London. Kristeva, Julia, 1991, Strangers to Ourselves, Columbia University Press, New York. McGrath, John E., 2004, Loving Big Brother: Performance, Privacy and Surveillance Space, Routledge, London. Pfohl, Stephen, 1994, Images of Deviance and Social Control, McGraw-Hill, USA.

Tufnell, Miranda, Crickmay, Chris, 1990, Body Space Image: Notes Towards Improvisation and Performance, Dance Books, Great Britain. Watzlawick, Paul, 1993, The Language of Change: Elements of Therapeutic Communication, W.W. Norton & Company, New York & London.