00:00 Present

I was made aware of the existence of constant surveillance through a schoolmate in my studio who, by chance, lost his mobile phone. His loss was recorded by security cameras and he was able to retrieve the lost phone from the Security Department. Curious, I went to the Monitoring Centre of the Central Art Academy, and was astonished that there were so many large monitors, and that through them I could see the daily spaces of student life. It angered me to realize that my daily living environment was under such scrutiny, that my behavior in my studio was recorded and all my unconscious actions filed and available for recall at any time. After I realized that I was under constant surveillance, I felt my actions in my school were invisibly restrained and unconsciously restricted by myself; even when I chat with my schoolmates or drink coffee I feel that I am being watched. This feeling was the impetus for me to do this installation.

Traditionally, people’s lives have been divided between public and individual spaces, but the existence of widespread surveillance makes me think that we are confronted with the danger of the elimination of individual privacy. Even if we are by ourselves, we cannot ensure that we are not under surveillance and prevent infringement of our private secrets. While to an extent this monitoring protects the safety of our property and persons, the thought of eyes on us at all times makes us wonder who it is who is entitled to watch our behavior all the time, who stares at us through mechanical eyes. When we can watch others through monitors, we are faced with the danger of the elimination of private space. This conflict between individual and public space, privacy and monitoring, and individual rights versus the public good, pushed me to explore the function of monitors in people’s lives, people’s reactions to being watched, and the meaning of public life in modern society.

I plan to present this installation in two parts: the first is comprised of photos taken by the cameras at the college’s monitoring centre, modified by Photoshop; the second is the placement of these pictures near the cameras in the design building, along with a note of the time the picture was taken by the security department.
The first part of the installation shows a panorama view of the pictures captured by 50 monitors inside the design building. My image must be included in every picture, so through designing an accurate route and position, I will walk in every space monitored by a camera, and have my picture taken, and then they will be selected and modified with Photoshop and integrated into a single picture of 5.63 x 1.41 m. For the purposes of creating this, I obtained information about the placement of the monitors in order to coordinate my route, as well as having the approval of the department and the signatures of Ma Gang, deputy president of the Design College and teacher-in-charge of the Multi-Media Specialty, and permission from the head of security. Since there are only 50-odd monitors in the building of the Design College, the original pictures do not create the visual effect I desire. Consequently, I have altered them and the final work consists of 261 screenshots, along with 74 hand-crafted red screens. This forms a 00:00 pattern, inviting the audience to contemplate the experience of time and process, and to re-examine and unscramble the concepts of off-and-on site work.
The 2nd section of the production is as follows: to make visitors aware of the existence of cameras and monitors, and rouse in them a feeling of being watched, I will stick a V-shaped adhesive paper (1.2. x 0.6 m) on the floor beneath all cameras inside the design building. These are prepared as follows; first, I stick the mesh onto a piece of white paper, let the visitors who saw the production as well as the people who entering into the design building are all realized the existence of monitor and arose the visitors’ feeling in mind who are under monitoring, and I stick a V-shaped adhesive paper (1.2 x 0.6 m) on the floor beneath all monitors inside the design building; the procedure to prepare the v-shaped adhesive paper is: stick the mesh onto a piece of white paper, and draw a figurine contour, and then fill in the blank on the mesh with a mark pen step by step, and make it into picture by scanner, and then make it into picture in size of 1.2 x 0.6 m via Photoshop, and add on the monitoring time and print out finally and put them onto the corresponding spots.

This project does not mark the end of my interest in surveillance. I have realized that cameras run constantly in public and private areas, and this topic is rich for sociological and psychological exploration. In future study and invention, I will continue to explore and express this subject, and even attempt to complete a series of works on the phenomenon of “Surveillance and being under surveillance” and its effects on the social mind.

00:00 现场

意识到监视器的存在是源于我工作室的同学在工作室意外丢失手机 ，但由于被监视器全程记录下来，到保卫科找到。我好奇的跑到中央美 术学院监控中心，令我吃惊的是学校竟然有这么大这么多的监控屏幕，屏幕上正在被纪录的画面正是我平日里每天穿梭的空间 ，才焕然发现原来我所生活的环境里原来无处不存在监控的眼睛 ，我在工作室在学校的每一言一行都被记录在机器里，我的无意识的所有的行为都纪录在案，随时都可以根据需要依据时间 随时调出。当意识到自己被监视之后，我再行走在学校中 ，我的行为无疑地拘谨，甚至被自己无意识的束缚，在和同学聊天、喝咖啡、讨论问题的时候心里总有一种被人无形中监视的感觉 ，这就是我想用监视器来制作完成一个作品的最初动因。

传统意义上，人们的存在空间可以区分出公共空间和个人空间两个体系 ，可是生活里监视器的存在却让我意识到当下的我们被迫面临取消私秘性的危险，也就是说，即使我们处在只有一个人存在的空间也无法保证 不被监视和隐私的不被侵犯，而这种被监视带来的益处却是人身与财产 某种程度上的安全以及事后补救。而监视器作为我们生活背后时刻运转 着的机器的眼睛，带给我的猜测却是谁在监视器的屏幕前关注人的一举一动，谁有权利通过机器的眼来关注他人，当存在一个人可能通过监视 器看到他人的举动时，我们所面临的就是个人空间有可能公开化的危险 。这种 " 个人空间和公共空间的冲突 " 、 " 私密性与被监视的冲突 " 、 " 破坏个人隐私与公共保护的冲突 " ，促使我想要深入的挖掘监视器在人类生活中的作用 ，唤起当观众得知自己被监视时的心里感受，进而探索现代社会公共空 间的公共性涵义，并且赋予作品充分的开放性和互动性。

我计划用两个部分来呈现这一作品：一个是从学校监控中心拍摄下来的 所有显示器的监控全景照片，经过 Photoshop 处理后呈现出我想要的视觉效果；另外一个，我想在设计大楼 ，每一个有监视器的地面贴上我的影子，上面记录我当时被保卫处纪录 的时间。

监控器的全景照片显示出设计系大楼内 50 多个监视器捕捉到的画面，按照预先设计每一张画面都必须有我的存在 ，也就是我通过精确的路线和位置设计，行走在设计系大楼内每一个有 监视器存在的空间，这样监视器将拍摄下来的每一个监控到我的图片，最后我将挑选截取下来的图片通过 Photoshop [1] 修饰、合成，最终成为一张 5.63 × 1.41 米 的摄影作品。为完成制作，我先到学校保卫处问清楚设计大楼内监视器 分布的情况，精确的绘制出我所站位置的坐标以及行走路线 ，然后去设计系开取证明并由设计学院副院长马刚和数码媒体专业毕业 班负责 老师签字，经保卫处处长同意后，从保卫处截取和挑选监控器单一屏幕 以及全景图片。由于设计学院大楼内运转的监视器只有 50 多个，从监视器大屏幕上拍下来的图片不能达到我想要的视觉效果 ，所以我对其进行了加工，使最终的摄影作品由 261 个屏幕组成， 74 个小屏幕人为的调成红色，组成 "00:00 " 的图案。我希望通过这个既象征时间和过程开始的符号 ，也象征着时间和过程结束的符号唤醒观众对于时间的体验 ，对于过程的体验，以及现场、在场这一概念的重新审视与解读。

作品的第二部分：为了让参观到摄影作品的观众乃至每个走进设计大楼 的人都能意识到监视器的存在，进而唤醒观众对被监视产生的心理感觉 ，我在设计系大楼内每一个监视器的下方地面上都贴了 1.2 × 0.6 米 的人形胶纸。制作人形胶纸的过程是：用丝网粘贴在一张白纸上 ，勾出人形轮廓，再用红色马克笔按照丝网的网格依次填充 ，之后用扫描仪扫描成图，再用 Photoshop 修改成 1.2 米 *0.6 米 的图片并加上监视器时间，最后打印出来，贴到相应地点。

作品完成以后，我对于监视器这一现象的思考并没有停止 ，我意识到在公共空间或私密空间里运转的监视器，其背后隐藏了丰富 的社会学意义和心理学内涵。在未来的学习和创作中，我也会继续关注这一主题的探索和表达，甚至尝试完成关于 " 监视与被监视 " 现象及社会心理探究的一系列作品。