BEGIN:VCALENDAR
VERSION:2.0
CALSCALE:GREGORIAN
PRODID:iCalendar-Ruby
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250922
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122849901
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250923
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122867311
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250924
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122881648
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250925
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122901105
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250926
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122918514
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250927
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122935923
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250928
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122956404
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250929
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122974837
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20250930
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698122999414
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251001
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123020919
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251002
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123039352
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251003
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123056761
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251004
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123073146
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251005
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123094651
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251006
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123113084
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251007
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123140733
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251008
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123164286
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251009
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123189887
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251010
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123211392
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251011
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123227777
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251012
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123286146
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251013
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123343491
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251014
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123385476
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251015
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123403909
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
BEGIN:VEVENT
CATEGORIES:Exhibit
DESCRIPTION:Floating in the Clouds of the Cold War is an installation of ph
 otographs and video mined from Cold War-era satellite surveillance\, atomic
 -age propaganda and snapshots. Film-based satellite surveillance started wi
 th a partnership between the CIA\, Kodak and the US Air Force to produce hi
 gh-resolution images of foreign military targets. These satellites offered 
 the cutting edge of disembodied high-altitude objective vision and were the
  first step toward totalized panoptic planet-wide surveillance. However\, t
 hey also inadvertently exposed our fear of the hidden and the insights glea
 ned through an obstructed view.\n\nMission 9024A\, shot on 17 May 1962\, fi
 ve months before the Cuban Missile Crisis\, shows sublime images of swirlin
 g clouds: no Cuba\, no missiles. The coordinates were correct\, the camera 
 pointed at Cuba\; the film\, successfully jettisoned from the satellite\, w
 as caught midair by the Air Force and processed perfectly by Kodak. Yet the
  resulting images only rendered clouds. This was a common and unremarkable 
 failure. It was also an unrealized opportunity to shed the ideals of totali
 zed state surveillance and its inflexible taxonomy of enemy and ally. Inste
 ad\, enjoy an accidental view of clouds and abandon the nuclear mantra of m
 utually assured destruction.\n\nThe Cold War is a war of gesture and imagin
 ation. Stockpile statistics\, projected military capacity\, and satellite s
 urveillance of clouds are as fundamental to this style of war as bullets an
 d bodies. It's a war based on the inescapability of perpetual war and the d
 esire for unattainable totalities of vision and power. Satellites have rend
 ered the world as indexical abstraction\, a visual topography where legibil
 ity shifts from unintelligible shapes and tones to suburban homes and secre
 t military bases. Floating in the Clouds of the Cold War offers a view of s
 ecret sites and a moment in the clouds to contemplate the value and cost of
  sight.\n\nBiography\nAnson Wigner is a creative producer at Cornell AAP an
 d a visual artist who utilizes photography\, video\, mixed media\, and soun
 d to critically explore the development of modern visual ideologies. This e
 xploration is focused on the interaction between institutional looking\, th
 e technologically mediated gaze\, and our lived visual experiences. His rec
 ent work uses images from the infancy of satellite surveillance and Cold Wa
 r propaganda films to propose a link between faux visual certainty and ideo
 logical totalities like mutually assured destruction.\n\nFunding was provid
 ed by a Cornell Council for the Arts grant.
DTSTAMP:20260422T042608Z
DTSTART;VALUE=DATE:20251016
LOCATION:Bibliowicz Family Gallery\, Milstein Hall
SEQUENCE:0
SUMMARY:Anson Wigner: Floating in the Clouds of the Cold War
UID:tag:localist.com\,2008:EventInstance_50698123421318
URL:https://events.cornell.edu/event/anson-wigner-floating-in-the-clouds-of
 -the-cold-war
END:VEVENT
END:VCALENDAR