A Part Remains Outside: Regimes of Tactical Revelation

In the contemporary era, surveillance no longer coincides solely with the act of observing, but has become an infrastructural condition made up of a network of devices and relations that traverses territories, images, data, and technical systems, where radars, antennas, algorithms, and sensors participate in the construction of our perceptual field by establishing which signals can be intercepted, which frequencies translated into information, which events archived, and which instead remain outside the field of reception, since every technology of surveillance is also a technology of perception in which receiving is not a neutral gesture, but means selecting, filtering, translating, and delimiting a field of perceptual possibilities while simultaneously producing a zone of exclusion, thereby focusing not only on what we see, but on the conditions that make it possible to see, hear, and recognize. It is precisely in this interval, between the phenomenon and its detection, that the researches of Federico Tansella and the collective 0_field meet within an exhibition pathway that reconstructs complex events through archival images that leave the triggering element off-screen to return it through its effects on bodies and collective space, alongside the detection of electromagnetic signals emitted by military infrastructures transformed into perceptible acoustic flows to make audible what is usually foreign to everyday sensory experience. Meanwhile, the research shifts from the sky to the city—interpreted as a network of infrastructures that continually exceed their own boundaries thanks to sensory nodes distributed throughout the industrial and urban fabric to detect acoustic activity and translate its variations into numerical data transmitted to the exhibition space, where cybernetic flows modulate constantly transforming sound systems that question the limits of systems operating according to internal logics, in which what comes from the outside acts as a perturbation capable of continuously modifying their state while inevitably leaving a remainder outside. Furthermore, the theme of erasure is addressed through the juxtaposition of matter and the digital to show how removal does not coincide with disappearance, but generates a new form of material memory or ephemeral codes devoid of an archive, thereby allowing the off-screen, dispersion, erasure, and trace to become modalities through which to interrogate the limits of reception and representation devices in an exhibition that addresses surveillance not only as a practice of control, but as a condition that structures perception through the media and devices that mediate presence.