ABSTRACT
We have seen that the experience of surveillance is as dependent upon an image’s representational limits as it is upon any equivalence with the recorded event. An understanding of surveillance as space, by subject or viewer of the footage, leads to an engagement in the edges, the concealments, the silent sounds, the absent personnel, the deferred participants, which structure and inhabit this space. I have also suggested that this space is ‘performative’ in nature, i.e. that it does not pre-exist but comes about in the moment when we experience it.
