Cámaras de reconocimiento facial en el arte contemporáneoLa obra del colectivo SVEN

Abstract

According to media reports, US police have been using video surveillance in public places since 1965, and little by little police agencies have been putting video surveillance systems in strategic locations in New York City. This new practice of police surveillance through video surveillance has been gradually extending the use of these surveillance systems since 1969 as a reference model in New York City. Video surveillance technology continued to advance and digitized recording systems were developed that allowed large amounts of video and long duration to be stored through hard disk storage. This system allowed for clearer and cleaner images without Cuts and being digitized could be manipulated easily with computer programs if it was necessary to clarify the image for a better visualization of the same. Video surveillance and facial recognition systems are based on a system of video surveillance cameras and special software that allow to identify all the people who walk in front of the system, all through a system of biometrics, that is, recognition of people Through their physical characteristics as well as their behavior at the time of recognition, these facial recognition systems establish three-dimensional maps that collect the facial data of the people who register, from this register, establish a series of parameters that Determine which are the most inherent data to the registered face, and all these registers as data, go to the database where they store multitude of data of each person at the moment of appearing in the facial registry system. Regarding the use of these surveillance systems through facial recognition as a tool for artistic practice and as a means to criticize these identification systems around the development of artificial intelligence of certain video surveillance systems, it is necessary to emphasize the North American Collective of Artists SVEN (Surveillance Video Entertainment Network). Their work can be observed in the best way through its web http://deprogramming.us/sven/. The collective SVEN criticizes this situation of control and surveillance to which the English society is being subjected, using the same surveillance tools used by the police to make their artistic proposals and unfairly attack the individual's right to privacy, since The legislation in force in that country does not protect the privacy of citizens. In short, the work of SVEN, Surveillance Video Entertainment Network, tries to mock the positioning of any individual perceived in front of a screen of security systems, using the same systems of facial recognition that the police of London used in identification Of criminals or terrorists, to convert them into a parody system in which they make a cold and suspicious image of the result of a recording of a video surveillance camera in a parody, pop and ironic image. They criticize the situation, making us see that we are all suspicious before the eyes of video surveillance cameras, and turn this look into a humorous and funny situation.