URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 -URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站 - URBAN CURATING 城市策展 - FACE TRACKING 人脸追踪 - VIRTUAL REALITY 虚拟现实 - RELAX AREA 休闲区 - AUGMENTED REALITY 增强现实 - RAILWAY STATION 火车站

Yawning Shame

专心看展Yawning Shame

孙一桐,张子琪 SUN Yitong, ZHANG Ziqi

 

该作品由两部分构成。第一部分设置于从深双展场中挑选的部分作品旁边,用于监测和捕捉做出“规则”所规定的“不积极”行为(对展品表现出不感兴趣的动作)的“违规者”。第二部分是设置于展览场所某处的一间暗室,用于展示被拍下的“违规者”的图像。只有当参观者发现了这一暗室,他们才能感知展览过程这一监视系统的存在。

 

被视为“不积极”的行为是每日随机的,可能是在艺术品前打哈欠、分神(未注视艺术作品)或是快速从艺术作品前通过(尚待与第三方程序供应商确定)。即便有再次进场的观展者,他们也不会知道当天的“罪行”具体落于何种动作。作品集现了在技术加速的网络化监视与规训过程中,匿名主体对个人身处的每一寸空间与时间的监督权力。如福柯所言,权力符号被技术所分割和隐匿,成为一种难以攻破的知识体系与技术产物,肉体本身也成为微观权力网路的组成部分,并源源不断地进行着时间的累积与生产。

 

然而,用于监视的工具很可能变为自我表达的工具。随着展览时间的延长,“被监视”的情况可能会逐渐转变为“积极”展示。我们更期待看到观众在镜头下故意扮演“罪犯”,以使自己成为展览的一部分。人类对于新技术对他们的监视,从最初的未察觉到震惊,最后是否会导致一种反叛式的戏谑和狂欢,从而使威胁性的技术变为一个展现自我的手段。作品希望以此探索规训之下与展览本身的“被动化”“积极互动”,以及与“规则本身”的“主动化”“积极互动”的两个过程。

 

The project consists of two parts. The first part, monitors with facial/motion recognition program set beside the selected artworks exhibited in the Biennale, is for detecting and catching the exact “offender” who did the “inactive” actions according to the ”regulation” (actions indicating an uninterested attitude towards the artwork). The second part, a darkroom located somewhere in the venue, is for displaying the images of the “offenders” of that day. Only when the audiences find the darkroom, can they realize the existence of the surveillance system.

 

The “inactive” action that will be caught switches randomly every day. It could be yawning, distracting from the artwork (by looking away), or just quickly passing by the artwork (to be determined with third party supplier for Detection software). Even though the audience will get to know that there is a “surveillance” system if they re-enter the exhibition, they will never know the specific action that is recognized as a “crime” on that day. The audiences may be panicked by the surveillance at the beginning, then be “conquered under the fictional relationship”, and begin to “self-surveillant”. So far, the project wants to represent the power of anonymous subject to supervise every inch of space and time in the network monitoring and discipline by technology acceleration. As Foucault said, power symbols are divided and concealed by technology, becoming a hard-to-break knowledge system and technological product; the body itself has also become an integral part of the micro-power network, accumulating and producing continuously over time.

 

However, with the prolongation of exhibition, the “under surveillance” situation may gradually change to an “active” reaction towards the regulation. The tool for surveillance may be the tool for self-expression. What we interested more is to see the audiences intentionally act as “offenders” to become part of the exhibition. The surveillance by new technologies may lead to a rebellious banter and carnival after unconsciousness and shock. The life you peep at is the life I want to show you, and the technology that is considered to be a threat to individuality may turn into the means for self-expression.

 

The “passively” “active interaction” with the exhibition under the regulation and surveillance, and the “positively” “active interaction” with the regulation itself, together reveal how technology has changed the nature and type of people’s behavior.