The Eye in the Sky

Eyes aren't always symbols of humanness, as a brief perusal of the British transport system shows.

"We're watching out for you", proclaims a Network Rail poster in bold letters underneath an unnecessarily large picture of a CCTV camera. I can't be the only person who, every time I see the poster, misreads it as "We're watching you".

Given the amount of money I imagine Network Rail allocates poster campaigns such as this one, I wouldn't be in the least bit surprised if this "misreading" were intended. Normally, when we're treated to a black stencilled picture of a CCTV camera, it's to remind us not to steal, or smoke in the wrong place, or vandalise, or sit in the first class carriage. So naturally, these big blue posters with pictures of looming CCTV cameras on them make the skin crawl before the text beneath has had a chance to reassure commuters of how much Network Rail cares about them.

Queensland Rail in Australia are also at it. On their website they reassure their paranoid customers with an image of a bold exclamation mark inside a big red triangle. This symbol is more commonly associated with the word "danger" than "safety". Yet without a hint of irony, they go on to assure customers that they want "to help you feel safe and secure", before announcing that "we're watching out for you with 6,800 CCTV cameras".

At least Luas tramways in Dublin avoid the doublespeak and freely admit, in what could be a paraphrase of the Big Brother mantra, "CCTV is watching you".

 

Another publicity campaign that seems to deliberately subvert the message it purports to be sending is the series of tube posters that resemble the dust jackets to a 70s reprint of Nineteen-Eighty Four. Stylised drawings of eyes, ears and lips bounce out from every wall of the underground, reminding law-abiding citizens to report "anything suspicious" to "our staff" - a nebulous and undefined body of TfL security personnel, probably by now outsourced to Serco, who presumably lurk behind those creepy, flashing, beeping mobile bin machines in flak jackets and ski masks, ready to frisk anyone who looks a bit too Muslim.

In New York, a similar "security" campaign has churned out thousands of bright yellow posters that boast "there are 16 million eyes in the city". In order to remind people what eyes are, the poster depicts 12 sets of them. One can't help but be reminded of the "Big Brother is Watching You" poster in Nineteen Eighty-Four, whose "eyes follow you about when you move".

San Francisco International Airport went for a more minimalist approach with their sign inviting travellers to report suspicious activity, but the end product was no less creepy for it:

"Secure Beneath the Watchful Eyes" - the 2002 Transport for London (TfL) posters that resemble the front cover of a Philip K Dick paperback - has a distinctly Juche ring to it, resonant of Bradley K Martin's authoritative title on North Korea: Under the Loving Care of the Fatherly Leader. Which should come as no surprise, given that Britain has more CCTV cameras per capita than North Korea does.

These posters, purportedly erected to reassure London citizens, are eerily reminiscent of over-the-top book sleeves for dystopian novels:

There is a serious point here, though. A study by Newcastle University, which found that people put more money in honesty boxes when a picture
of eyes was on the wall, inspired West Midland Police's "Operation Momentum" - a poster campaign with the tagline "We've got our eye on criminals."

The strategy is not a new one. The US Homeland Security Department used the spectre of a (not very subtly disguised) German-atron peeking over the next door fence to encourage curtain-twitchers the nation over to join in the fight against Nazism.

It seems the West Midland's strategy may well have trickled down to the Met and TfL, who have both incorporated pictures of eyes as central aspects of their poster campaigns. The image of an eye gives the impression of surveillance, even if there is no one doing the surveilling. It contributes to a psychological climate of paranoia and self-consciousness that arguably does away with the need for actual CCTV cameras. The image of a CCTV camera itself is perhaps more powerful in this respect. CCTV cameras make us think of surveillance, but with that additional degree of removal from the surveillor. Pictures of CCTV cameras, or dehumanised eyes like those the TfL assures us we are "secure beneath", create the impression of being subjects in a system - one that is not human, and that we are powerless to affect.

Something else non-human is the tannoy voice at King's Cross station. Tannoy lady has a mechanical rasp devoid of inflection or emotion. One imagines she has a very limited sense of humour. The metallic clang of her voice reverberates around the station, reminding passengers that
"security personnel patrol this station for purposes of safety and security". In the spirit of belt-tightening, they may well have cobbled together this humanoid's repertoire from the sweepings of film reel that didn't make the final cut of 2001: A Space Odyssey. I feel like I'm in Children of Men and always half expect the train to roll past a cage full of infertile refugees.

Anyone worried that the state is becoming too voyeuristic can find solace in the fact that surveillance is, in a salutary example of the Big Society in action, being outsourced to ordinary people. The website Internet Eyes offers lonely people who are bored of masturbating the opportunity to monitor live CCTV feeds and report suspecting wrongdoing or "suspicious activity" to business owners. In a plug on the website, founder and CEO Tom Morgan explains that citizens can "assist our already overworked police and security staff by becoming that extra pair of eyes."

There is clearly great power in the image of human eyes. And often, far from being comforting or human, they are intimidating and soulless, feeding a paranoia that can be harnessed for political ends. From the Sun God Ra, to the Illuminati triangle found on the US dollar, to WWII and current anti-terrorism propaganda, eyes have been used as symbols of power, to impress, discipline and threaten. We would do well to remember the power of such symbolism the next time we pass a poster purporting to make us feel safe.

Photo: Getty
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The rise of the green mayor – Sadiq Khan and the politics of clean energy

At an event at Tate Modern, Sadiq Khan pledged to clean up London's act.

On Thursday night, deep in the bowls of Tate Modern’s turbine hall, London Mayor Sadiq Khan renewed his promise to make the capital a world leader in clean energy and air. Yet his focus was as much on people as power plants – in particular, the need for local authorities to lead where central governments will not.

Khan was there to introduce the screening of a new documentary, From the Ashes, about the demise of the American coal industry. As he noted, Britain continues to battle against the legacy of fossil fuels: “In London today we burn very little coal but we are facing new air pollution challenges brought about for different reasons." 

At a time when the world's leaders are struggling to keep international agreements on climate change afloat, what can mayors do? Khan has pledged to buy only hybrid and zero-emissions buses from next year, and is working towards London becoming a zero carbon city.

Khan has, of course, also gained heroic status for being a bête noire of climate-change-denier-in-chief Donald Trump. On the US president's withdrawal from the Paris Agreement, Khan quipped: “If only he had withdrawn from Twitter.” He had more favourable things to say about the former mayor of New York and climate change activist Michael Bloomberg, who Khan said hailed from “the second greatest city in the world.”

Yet behind his humour was a serious point. Local authorities are having to pick up where both countries' central governments are leaving a void – in improving our air and supporting renewable technology and jobs. Most concerning of all, perhaps, is the way that interest groups representing business are slashing away at the regulations which protect public health, and claiming it as a virtue.

In the UK, documents leaked to Greenpeace’s energy desk show that a government-backed initiative considered proposals for reducing EU rules on fire-safety on the very day of the Grenfell Tower fire. The director of this Red Tape Initiative, Nick Tyrone, told the Guardian that these proposals were rejected. Yet government attempts to water down other EU regulations, such as the energy efficiency directive, still stand.

In America, this blame-game is even more highly charged. Republicans have sworn to replace what they describe as Obama’s “war on coal” with a war on regulation. “I am taking historic steps to lift the restrictions on American energy, to reverse government intrusion, and to cancel job-killing regulations,” Trump announced in March. While he has vowed “to promote clean air and clear water,” he has almost simultaneously signed an order to unravel the Clean Water Rule.

This rhetoric is hurting the very people it claims to protect: miners. From the Ashes shows the many ways that the industry harms wider public health, from water contamination, to air pollution. It also makes a strong case that the American coal industry is in terminal decline, regardless of possibile interventions from government or carbon capture.

Charities like Bloomberg can only do so much to pick up the pieces. The foundation, which helped fund the film, now not only helps support job training programs in coal communities after the Trump administration pulled their funding, but in recent weeks it also promised $15m to UN efforts to tackle climate change – again to help cover Trump's withdrawal from Paris Agreement. “I'm a bit worried about how many cards we're going to have to keep adding to the end of the film”, joked Antha Williams, a Bloomberg representative at the screening, with gallows humour.

Hope also lies with local governments and mayors. The publication of the mayor’s own environment strategy is coming “soon”. Speaking in panel discussion after the film, his deputy mayor for environment and energy, Shirley Rodrigues, described the move to a cleaner future as "an inevitable transition".

Confronting the troubled legacies of our fossil fuel past will not be easy. "We have our own experiences here of our coal mining communities being devastated by the closure of their mines," said Khan. But clean air begins with clean politics; maintaining old ways at the price of health is not one any government must pay. 

'From The Ashes' will premiere on National Geograhpic in the United Kingdom at 9pm on Tuesday, June 27th.

India Bourke is an environment writer and editorial assistant at the New Statesman.

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