TECHNOLOGY IS NEVER AS NEW AS IT LOOKS.

Computer Picnic is an editorial project by Niki Selken connecting today’s technology stories to overlooked histories in art, media, books, and internet culture.

The Camera at the End of the Block: What a 2002 Book Tells Us About Flock Cameras

August 23, 2026

A roadside Flock camera looks like a distinctly current controversy. But CTRL [SPACE], a 2002 book about surveillance art, shows that the systems behind it have a much longer history, from the Panopticon and JenniCam to intelligent cameras and searchable streets.

A visitor standing inside a glowing circular field in a responsive DATALAND environment

The Road to DATALAND: How the Museum Became a Living System

August 17, 2026

DATALAND marks more than AI art entering a museum. From DeepDream and Meow Wolf to Gray Area’s ESRL, here is the history behind the living, responsive museum.

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People are literally blocking Flock cameras. What does a book published in 2002 have to do with it? CTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother traces a history from Bentham’s Panopticon to the 2,397 surveillance cameras documented in Manhattan in 1998, JenniCam, and machines that don’t merely record us, they interpret what they see. The book didn’t predict Flock cameras. It gives us the history and vocabulary to understand why the camera at the end of the block is more than a camera. Today, the important question isn’t only how many cameras surround us. It’s what happens after an image is captured: how it is analyzed, connected to other records, stored, and made searchable. The book calls the ability to understand these systems “surveillant literacy.” Twenty-four years later, that literacy feels essential. I wrote more about the book and the history connecting it to the surveillance systems appearing on our streets today. Read “The Camera at the End of the Block” and find links to borrow or buy CTRL [SPACE] at the link in my bio. Flock protest photograph: Meg Anderson/NPR. #ComputerPicnic #FlockCameras #Surveillance #DigitalCulture TechnologyHistory

DATALAND did not appear from nowhere. In 2016, Gray Area and Google presented what has been described as the first exhibition of generative AI art. That same year, Meow Wolf opened a world audiences could physically enter. Later, through Gray Area’s Experiential Space Research Lab, I explored how immersive environments could do more than entertain. They could encourage agency, critical thinking, and new relationships between people, technology, and living systems. Now Refik Anadol’s DATALAND brings those histories together through AI, environmental data, biosensing, and responsive space. The biggest shift is not simply that AI has entered the museum. The museum itself is becoming a living system. I wrote about the longer history behind this Reel, what excites me about DATALAND, and the ethical questions a responsive museum must confront. Read the full story through the link in my bio. #DATALAND #RefikAnadol #AIArt #ImmersiveArt #DigitalArt #MuseumFuture