Vigilância com, Para Além e Contra o Corpo Biométrico
DOI:
https://doi.org/10.21814/rlec.6654Downloads
Referências
Abraham, Y. (2023, November 30). ‘A mass assassination factory’: Inside Israel’s calculated bombing of Gaza. +972 Magazine Online. https://www.972mag.com/mass-assassination-factory-israel-calculated-bombing-gaza/
Amaro, R. (2022). The black technical object: On machine learning and the aspiration of black being. Sternberg Press.
Amoore, L. (2006). Biometric borders: Governing mobilities in the war on terror. Political Geography, 25(3), 336–351. http://dx.doi.org/10.1016/j.polgeo.2006.02.001
Ball, K., Haggerty, K., & Lyon, D. (Eds.). (2012). Routledge handbook of surveillance studies. Routledge.
Benjamin, R. (2019). Race after technology: Abolitionist tools for the new Jim code. Polity.
Brighenti, A. M. (2010). Artveillance: At the crossroad of art and surveillance. Surveillance & Society, 7(2), 137–148. https://doi.org/10.24908/ss.v7i2.4142
Browne, S. (2015). Dark matters: On the surveillance of blackness. Duke University Press.
Butler, J. (2016). Precarious life: The powers of mourning and violence. Verso. (Original work published in 2004)
Canlı, E. (2023). Rethinking carceral domesticity: Electronic monitoring, punishment and home as prison. PAD: Pages on Arts and Design Journal, 16, 121–147.
Cole, S. A. (2002). Suspect identities: A history of fingerprinting and criminal identification. Harvard University Press. https://doi.org/10.4159/9780674029682
Haggerty, K. D., & Ericson, R. V. (2003). The surveillant assemblage. British Journal of Sociology, 51(4), 605–622. https://doi.org/10.1080/00071310020015280
Kafer, G., & Grinberg, D. (2019). Editorial: Queer surveillance. Surveillance & Society, 17(5), 592–601. https://doi.org/10.24908/ss.v17i5.13541
Keshavarz, M. (2019). The design politics of the passport: Materiality, immobility, and dissent. Bloomsbury.
Keshavarz, M. (2024). Smuggling as a material critique of borders. Geopolitics, 29(4), 1143–1165. https://doi.org/10.1080/14650045.2023.2268528
Monahan, T. (2017). Ways of being seen: Surveillance art and the interpellation of viewing subjects. Cultural Studies, 32(4), 560–581. https://doi.org/10.1080/09502386.2017.1374424
Monahan, T., & Murakami Wood, D. (Eds.). (2018). Surveillance studies: A reader. Oxford University Press.
Murray, H. (2007). Monstrous play in negative spaces: Illegible bodies and the cultural construction of biometric technology. The Communication Review, 10(4), 347–365. https://doi.org/10.1080/10714420701715415
Nemitz, N. (2024, April 9). „Es braucht dringend klare verbote und vorschriften“. Netzpolitik.org Online. https://netzpolitik.org/2024/autonome-waffensysteme-es-braucht-dringend-klare-verbote-und-vorschriften/
Ochoa Gautier, A. M. (2014). Aurality: Listening and knowledge in nineteenth-century Colombia. Duke University Press. https://doi.org/10.2307/j.ctv11smfj3
Saltes, N. (2013). ‘Abnormal’ bodies on the borders of inclusion: Biopolitics and the paradox of disability surveillance. Surveillance & Society, 11(1/2), 55–73. https://doi.org/10.24908/ss.v11i1/2.4460
Steyerl, H. (2011). In free fall: A thought experiment on vertical perspective. e-flux Journal, 24(4), 42–52.
Vieira de Oliveira, P. J. S., & Miyazaki, S. (2022). Maschinelle intelligenz?! Stimmbiometrie als hörend-bestimmende medien-techno-logie. In A. Schürmer, M. Haberer, & T. Brautschek (Eds.), Acoustic intelligence. (pp. 99–124). Düsseldorf University Press. https://doi.org/10.1515/9783110730791-007
Weizman, E. (2002, April 23). Introduction to the politics of verticality. Open Democracy. https://www.opendemocracy.net/en/article_801jsp/
Zuboff, S. (2019). The age of surveillance capitalism: The fight for a human future at the new frontier of power. PublicAffairs.
Downloads
Publicado
Edição
Secção
Licença
Direitos de Autor (c) 2025 Ece Canlı, Pedro J. S. Vieira de Oliveira

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
Os autores são titulares dos direitos de autor, concedendo à revista o direito de primeira publicação. O trabalho é licenciado com uma Licença Creative Commons - Atribuição 4.0 Internacional.


