Abstract

This article examines the consequences for the res publica of the simultaneous increase in state surveillance and the restriction of the right to take photographs in public ushered in by the War on Terror. We draw on Ariella Azoulay's theorization of what she terms the civil contract of photography, or the possibility for non-state civic interaction allowed by the invention of the camera. While Michel Foucault's studies of the role of constant surveillance in disciplinary societies help us to understand our increasingly panoptical public spaces, Azoulay also draws on Giorgio Agamben's theorization of the state of exception, which enables us to better understand the restriction of established rights, including the right to take photographs, in the post-9/11 context. The article asks whether these developments signify an attempt to monopolize the decision as to who constitutes the citizenry of photography, and also considers artistic and political responses to surveillance and photography restrictions in Australia and the United Kingdom.