Despite the fact that surveillance has been necessitated by serious underpinnings such as security, law enforcement and technological advancement, there is still a considerable ambivalence towards the same, with a larger fraction being indifferent about the same, with others resisting. This paper explores the concept of surveillance as it applies to art within an ethical or a necessary tool in combating social ills.
Recent developments in the world have continually advanced the idea of huge benefits that is apparent with a network of technology, and the impetus to this implies that people should appreciate and participate rather than protest. Each and every person is wired differently and the mysterious artist Bansky represents a form of post modern reflexive, this means that they have a self awareness and soberly part of a process of individual perception and that of the society in a deconstructive manner1. That is they will never accept the state of affairs as provided, but will have a reason to go against the establishment. However, surveillance given its benefits remains controversial, as privacy rights fall deeply in the interest and considerations of many a people. In Britain, for instance, the use of surveillance and surveillance cameras, especially the Automatic Number Plate Recognition (ANPR) cameras immediately appear to be helpful in abating, arresting and thwarting crime. Nonetheless ethical considerations for the use of surveillance cameras have been a thorn in the flesh of the establishment, particularly profiling of certain people who share similar features.
The case for more protection and security in the midst of increased terror activities directed towards western countries, and the need to put behind bars those deemed by the society as being harmful towards mutual coexistence is equally strong. Though surveillance of persons in Britain is