Source: Evans, J and Hall, S (ed) (1999) Panopticism:
Michael Foucault. Visual Culture: The reader. Sage Publications Ltd. OCA Course
material.
Bentham’s panopticon was an unbuilt circular building in
which cells were places looking inwards to a central tower in which a
supervisor observed the occupants. Bentham ensured that the occupants were not aware
they were being watched by carefully designing the surveillance building so
that shadows of the observers would not be seen. The cells could be used to witness
people’s behaviour, separate them so they did not plot together or copy, and
conduct human experiments. In the 19th century, this type of
institution was used as a model for asylums, prisons, young offenders’
institutions and hospitals.
Foucault argues that two ways of exercising power over men
are through separation or discipline (Evans and Hall, 1999:62) Often
individuals were branded and put under surveillance which Foucault notes is
still relevant in today's society. In a prison set-up, fewer security guards are
needed which increases the power of their role on a large number of people. (Evans
and Hall, 1999: 68) Because the panopticon is quiet and subtle the subject (an
object of information rather than a subject in communication) become self-policing.
Prior to the 18th century, public floggings and
executions involved punishing the body and created spectacle whereas panopticism
was concerned with the soul and created surveillance. However, Foucault was
concerned with calculated power and discipline (Green) The panopticism was a
technology which diffused throughout society and initially used for discipline
but actually increased productivity. (Green)
Foucault described “the carceral network in its compact or disseminated
forms with its systems of insertion, distribution, surveillance; observation
has been the greatest support in modern society of the normalising of power.” (Green)
Green argues that Foucault thought “multiple forms of
domination permeate the social fabric. Power is not so much possessed as
exercised through the myriad of institutions and discursive practices that
exist at all levels of social life.” (Green)
Wells, (2011:176) documents Tagg’s study of criminals through
archives from 1850-1970 using Foucault’s work to recognize how photography such
as the process of surveillance is used to discipline people. This involved identification,
classification, labelling and analysis. These techniques were used to develop bio-metric data systems in digital photographs for iris scans and fingerprints.
Composite images are made up by the police to show the public what they think a
criminal may look like. Contemporary photographers using this technique are Nancy
Burson (1970’s), Thomas Ruff (1994) and Gerhard Lang (1992)
Surveillance through CCTV cameras as central inspection
follows the idea of panopticism. However, CCTV does not offer supervision to help
conduct activities better which was part of panopticism. Questions are also
raised when browsing the internet such as whether we are still objects of
information or whether our behaviour is being normalised through CCTV? McMullin
(2015) argues that CCTV is to protect us from terrorist threats rather than
providing security. Google / smart glass could be seen as surveillance, but who
is doing the watching and what is their purpose? Snapchat and other social media sites – ephemeral images
sent between users lasting for a short period of time can be captured and sent
to data banks. Again, who is looking at these images. What power do they have? Is
our behaviour being normalised by choosing what images we send?
References
Evans, J and Hall, S (ed) (1999) Panopticism: Michael
Foucault. Visual Culture: The reader. Sage Publications Ltd. OCA Course
material. 23/1/18
Green, D. (n.d.) On Foucault: Disciplinary Power and
Photography [online] OCA course material 23/1/18
McMullan, T (2015) What does the panopticon mean in the age
of digital surveillance? The Guardian [online] Available at: https://www.theguardian.com/technology/2015/jul/23/panopticon-digital-surveillance-jeremy-bentham
last accessed 23/1/18
Wells, L (2011) Photography: A critical introduction. 4th
edition. Routledge. London. (P176)
