Opening times: During Glasgow International: Monday- Saturday 10am till 5pm,
Thursdays late night opening until 8pm, Sundays 12noon till 5pm.
From 4th May: Tuesday- Saturday 10am till 5pm, Sundays 12noon till 5pm

‘The effect of the video wall was overwhelming, and the torrential rain of images that ensued contained a sense of oppression that carried the theme powerfully: surveillance, the collection of information about individuals and its potential use. The piece had 4 inputs into 16 monitors and developed in stages: a child learning to recognise images of who is watching us; recurring images of a police helicopter; an interrogator questioning us (the scene might be anywhere, from a DHSS office to a police station). It then went through a series of images of ears, eyes, noses…’
Performance Magazine No:41, May / June 1986.

The work is comprised of a number of themes and elements, which were key issues during the years of the Thatcher Government and which are just as salient today: use and collection of knowledge, Data Protection, and surveillance. The installation formed a backdrop on what is regarded as information and the cycle lasts approximately 40 minutes. The work engaged the viewer in the manner of communication as it was in 1986: 4 channels of television - no internet, no mobile phones, basic off-air recording. The material explored how language has become a virus, as disseminator of information, method of control, and all are considered as starting points of investigation. The original act of data protection now has a different meaning as we log on to the world with our Facebook account and then watch our YouTube videos, with a bit of file sharing of the latest music. Being connected through phones means you are placed in the world, are constantly monitored, yet these systems are essential to post modernity as the 600 channels of television and radio beam through our phones and laptops in cinematic dimensions of spectatorship.

Stephen Littman is Course Leader for Animation, Computer Games Arts, Digital Film & Screen Arts at The University for the Creative Arts at Farnham; he has been involved in the organisation of festivals such as Video Positive, National Review of Live Art (Video) and was a member of the LVA management committee from 1980 to 1987, running the screening programmes and technical workshops. His work has ranged from lyrical narrative to strict structural investigations of the language and form of video - but often introducing a redeeming touch of the absurd.