An agonistic relationship to image and technology marks the works of the artist Samuel Bianchini. The singularity of his approach lies in the repeated and ritualistic staging of a confrontation with seeing. This text analyzes the experience of Discontrol Party (2009-2018), an interactive and festive counter-device developed in the framework of a research on collective interaction (Large Group Interaction) at EnsadLab/DRii, a laboratory of the École nationale supérieure des Arts Décoratifs (Paris). The artwork stages "vision machines", an empire of surveillance that is also a "theater of operations" for the public, confronted with the proliferation of composite images: diagrams, graphs, units of measurement, clouds of points, tables of data. What is the meaning of these images, which are also data? Can we see in them the will of a totalitarian representation and the promise of a total transparency of the human experience? Should we be happy about it? Should we be alarmed? Is it possible to bug these digital detection systems? There is no doubt that this is a question of power relations, and we have the right to ask ourselves which of the human or the machine is the master or the slave.