The connections among visual representation, the creation of knowledge, and political power are at the core of Theo Anthonys documentary All Light, Everywhere (which opens in theatres and virtual cinemas June 4). Its centered on a flash point of current policy debatethe use of body cams by police officers. Anthony visits the headquarters of Axon Enterprise, which manufactures the devices, as well as the Taser, and discovers the links between the cameras and the weapon; he also observes the training of police officers in the use of body cams and examines the methods by which officials interpret the recordings. He surprisingly situates the origins of cinema in arms and astronomyand traces the development of the mug shot to data analysis and racist eugenics theories. Anthonys work is experiential, his sense of discovery, personal; he attends public meetings in Baltimore regarding the deployment of satellite cameras for street surveillance in predominantly Black neighborhoods, and finds the technology's roots in trench warfare. For Anthony, unexamined history perpetuates its injusticesand his film dramatizes the artistic labor that fosters change.<\/p>\n
<\/p>\n
Here is the original post: <\/p>\n
All Light Everywhere - The New Yorker<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" The connections among visual representation, the creation of knowledge, and political power are at the core of Theo Anthonys documentary All Light, Everywhere (which opens in theatres and virtual cinemas June 4). Its centered on a flash point of current policy debatethe use of body cams by police officers. Anthony visits the headquarters of Axon Enterprise, which manufactures the devices, as well as the Taser, and discovers the links between the cameras and the weapon; he also observes the training of police officers in the use of body cams and examines the methods by which officials interpret the recordings. Continue reading