Abstract: In chapter 3, I revaluate the models of interpellation (Fanon, Althusser) from the point of view of Big Data ideology (Rouvroy) to consider the implementation of programmed life and “premature death” (Gilmore) in today's digital society. The chapter engages debates in surveillance studies and questions the making of racialized bodies by telling the story of Thierry Kuntzel's work of art Hiver, la mort de Robert Walser presented at the MoMA in 1991, which focuses on the themes of terror, death, eroticism, and sexuality. In this chapter, I engage the pre-emptive models of data extraction to question the racialized technology of societies of incarceration and control. Kuntzel's piece usefully addresses the subjects of history that are written upon by technology and the wider consequences of technologically driven narratives of survival and resistance. I argue that race in relation to video technology is a problem of discerning the cause from the conditions of implementation of racist politics in societies.

Keywords: racism, surveillance, technology, video, Thierry Kuntzel

Tools, in this way, capture more than just people's bodies. They also capture the imagination, offering technological fixes for a wide range of social problems.

Let us try not to miss the target here: choosing which technological evolution we wish to emerge in our life world cannot be done without first having chosen which governmental rationality one wishes to have ruling our society.