Surveillance Success / 成功監視

空間與空間內部之物件是為被凝視的對象。透過閉路監視系統，當監視者觀看監視系統的畫面時，監視者感到自己可以掌控空間與內部物件，這便是一個完成監視者動機的「有效監視狀態」。監視者對於閉路攝影系統的信任以及依賴，使其成為超越監視者肉體自身的外部器官，為監視者拓展、完成一整個監視系統的運作。

於此同時,空間內部其實仍然存在其他種監視狀態的可能。出於遮蔽、逃離、自我決定的動機,在未被注意、或無法被觀看的地方，空間內部以至於內部的物件，可能與閉路監視系統形成一種協作。

在為空間建制化的過程中相應產生陰影、視覺死角、觀看錯位，並在空間內成為一種之於監視者凝視的對比映射。監視者所認為的有效監視，可能只是空間與空間內部物件所提供的其中一種觀看樣態而已。

因此在「Surveillance Success」的系統規劃中，將由一套 16 頻道監視攝影系統呈現一種空間與監視者的誤讀的可能：監視攝影的分割畫面將投射於被監視空間的外側。監視者將無法在投影監視畫面中看見被視物，但卻可以透過直接進入空間，發現空間的正中間存在一盆盆栽。本次的作品計畫中將在監視器分割畫面、以及觀眾肉眼直視空間中呈現：觀看/凝視/監視的一種樣態的可能。

In this work, the space and the objects within it become the subjects of the gaze. Through a closed-circuit surveillance system, the viewer—upon observing the monitor feed—feels a sense of control over the space and its contents. This constitutes an “effective state of surveillance,” a condition in which the surveillant’s motive is fulfilled. The viewer’s trust in and dependency on the CCTV system allows it to function as an external organ—an extension of the body—expanding and completing the surveillant’s operational reach.

At the same time, other forms of surveillance may exist within the space. Motivated by concealment, escape, or self-determination, the interior space and the objects within it may collaborate with the system by exploiting areas that go unnoticed or remain unobservable.
During the institutionalization of space, shadows, blind spots, and visual misalignments naturally emerge. These become counter-reflections of the surveillant’s gaze from within the space. What the surveillant perceives as “effective surveillance” may, in fact, be only one mode of seeing—one offered by the space and its objects, rather than the totality of what exists.

Therefore, in the system design of “Surveillance Success,” a sixteen-channel camera network is used to propose a scenario of misreading between the space and the surveillant. The segmented camera feeds are projected outside the space being monitored. The surveillant cannot see the monitored objects through the projection; only by physically entering the space can one discover the potted plant placed at its center.

This project presents—through the juxtaposition of the segmented surveillance feeds and the viewer’s direct visual encounter with the space—a possible configuration of looking, gazing, and surveilling.