www.margarethe-mast.com <\/a><\/p>\nDie interaktive Installation ‚IST DA WER‘ von Margarethe Mast thematisiert den transparenten Mensch. Modernste \u00dcberwachungsmethoden erm\u00f6glichen das Sammeln von immer mehr Informationen jedes Einzelnen. Macht der dadurch entstehende Verlust von Anonymit\u00e4t den Menschen schon zu einem gl\u00e4sernen Objekt?
\nNeben der staatlichen \u00dcberwachung der B\u00fcrger, die durch Themen wie \u201eTerrorismus\u201c gerechtigt wird, sorgen Social Media wie Facebook f\u00fcr immer mehr Transparenz. Dort entscheidet man sich selbst f\u00fcr eine Offenlegung seiner Privatsph\u00e4re. Es entsteht der Eindruck, als w\u00e4re das Bed\u00fcrfnis des Teilens und Kommunzierens st\u00e4rker als der Schutz der eigenen Privatsph\u00e4re. Der User wird zum Selbstdarsteller und gleichzeitig zum Voyeur und \u00dcberwacher.<\/p>\n
The interactive installation ‚WHO’S THERE‘ by Margaret Mast addresses the issue of a transparent society. State of the art monitoring methods enable the collection of more and more information of each individual. In addition to the surveillance of citizens, which the government justifies by the risks of „terrorism,“ Social Media such as Facebook are boosting the degree of transparency. Here you can decide yourself for a disclosure of your privacy. One gets the impression that the need of sharing and communicating is stronger than the protection of the own privacy. The user becomes a self-promoter and at the same time a voyeur and controller<\/p>\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"
‚IST DA WER‘ von Margarethe Mast www.margarethe-mast.com Die interaktive Installation ‚IST DA WER‘ von Margarethe Mast thematisiert den transparenten Mensch. Modernste \u00dcberwachungsmethoden erm\u00f6glichen das Sammeln von immer mehr Informationen jedes Einzelnen. Macht der dadurch entstehende Verlust von Anonymit\u00e4t den Menschen schon zu einem gl\u00e4sernen Objekt? Neben der staatlichen \u00dcberwachung der B\u00fcrger, die durch Themen … <\/p>\n
\u201eWindow 80\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1874","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1874","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1874"}],"version-history":[{"count":4,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1874\/revisions"}],"predecessor-version":[{"id":2853,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1874\/revisions\/2853"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1874"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1874"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1874"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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