Trevor Paglen

In June 2013, Laura Poitras and reporter Glenn Greenwald flew to Hong Kong for the first of many meetings with Edward Snowden. She brought her camera with her.

Based on the ideas of Russian philosopher, Nikolai Fedorov, Anton Vidokle’s film was shot in Siberia, Crimea, and Kazakhstan. Fedorov, like others, believed that death was a mistake, “because the energy of cosmos is indestructible, because true religion is a cult of ancestors, because true social equality is immortality for all.” Fedorov was one of the Cosmo-Immortalists, a surge of thinkers that emerged in Russia in the late 19th and early 20th centuries. They linked Western Enlightenment with Russian Orthodoxy and Eastern philosophical traditions, as well as Marxism, to create an idiosyncratically concrete metaphysics. For the Russian cosmists, cosmos did not mean outer space: rather, they wanted to create “cosmos” on earth. “To construct a new reality, free of hunger, disease, violence, death, need, inequality – like communism.”

Richard Doty is a former Air Force Intelligence operative whose job at Kirtland AFB in New Mexico involved creating and disseminating disinformation about the existence of extraterrestrial spacecraft to UFO researchers. In the late 1970s and early 1980s, Kirtland AFB was home to a wide range of highly classified technology experiments involving lasers, stealth aircraft, and nuclear weapons. Strange phenomena in the skies above the base piqued the interest of amateur and professional UFO investigators. Doty’s job was to recruit UFO researchers to be informants to the Air Force about goings-on in the UFO community and to spread military disinformation about UFOs among their peers. To accomplish this, Doty supplied fake documents to UFO investigators purporting to tell the “truth” about government involvement with extraterrestrials.

The video installation Behold These Glorious Times! presents two types of images, projected in a mosaic in a fast-paced montage. The first come from gigantic data sets used to train artificial vision systems to recognize objects, faces, gestures, and emotions. The others reveal to the human eye what artificial vision systems “see” when they analyze the data provided to them. The installation is part of a series of works in which Trevor Paglen explores the field of artificial vision in order to analyze its epistemological and political implications.