Project：
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I See You
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I SEE YOU – Surveillance In Digital Media
REFLECTION BY XINYI FU (s3960600)
In our collaborative project, we are conveying our studio’s theme ‘Wired Feeling’ through photography and post-production. In the exhibition, we showed most of the locations we photographed and put QR codes for derivative works of these locations on the side. According to Cook (2013: 381) ‘that consequently its online copy becomes a veritable replacement on account of its constant viewing and unlimited accessibility.’ We put the post-photoshopped photos online, and viewers can scan the QR code to keep viewing them, avoiding the fading of the photos over time. To give the audience a more immersive experience, we also placed photoshopped “eyes” around the photos and combined them with camera elements. This not only fits our theme ‘I See You-Surveillance in Digital Media’, but also attracts the viewer to the ‘Wired’ feeling of being watched. At the same time, because the theme of our exhibition is ‘Home Sweet Home’. Warmth, security, tranquility, and other adjectives usually come to mind. Instead, we chose to photograph the theme of ‘surveillance’ to create a strong contrast. By shooting a part of the home and combining it with electronic devices that are also found in the home. We are showing viewers that no matter where they are, they can be watched by digital media.
First, when I was the protagonist in this shoot, I fantasized in my mind, what if we were being monitored in real-time? Like being watched by computers, cell phones, and some social media platforms. It made me realize that in modern society, everyone is ‘transparent’. This uncomfortable feeling of always being under surveillance by digital media was shown through the photographs of our project. For example, in a picture of drinking milk tea, we added more milk tea in front of a computer screen through Photoshop to make this feeling more obvious. There are no more derivative photos of this photo because we believe that being surveilled by digital media is location-neutral. According to Ravetto-Biagioli (2016: 5) ‘But the interstitial space of digitally generated settings also reproduces an uncanny effect, a sense of instability, an uncertainty that makes us aware of boundaries rather than seamlessly immersing us in virtual environments.’ So that derivative image of ‘I KNOW YOU WELL’ shows how identity is slowly blurring the line between the internet and reality, because it may be possible that without you being able to find out, the people around you can find out real information about you through digital media. Nowadays everyone is very much immersed in the convenience brought by digital media, which intensifies the blurred line between the virtual and the real.
We conducted many experiments before completing this project. In the ‘Glitches’ experiment, I tried to produce audio, hoping to have the feeling of a malfunction and electricity. However, it was not considered a successful experiment in terms of the results and Professor Steph’s evaluation. The experiment ‘Take It Apart’ was more successful, in which I not only gained knowledge of the structure of the camera but also improved my hands-on skills. Combining the results of these experiments, in the final project, PS was used to make some of the photographs look more ‘Glitches’, and through meticulous Photoshop processing, they were made to fit our theme better.
As we worked together, we both offered advice and help for the parts that the other was responsible for. In the case of ‘Face Data’, we originally just used mirrors and figure codes to create the hidden camera. During my creation process, I added the red light emitted by the camera through Photoshop to help viewers better understand the image. When Jiayan made final adjustments to this picture, she kept this detail and enhanced the overall quality of the work. In the beginning, the idea of QR codes was the method of presentation in my original project, and Jiayan was happy to accept it. According to Freer (2012: 337) ‘Everything we see hides another thing. There is an interest in that which is hidden by what we see.’ It can also make the audience curious about the photos we hide and increase the interaction with the audience.
If I have the opportunity in the future, I would like to delve deeper into the events and perspectives related to ‘Surveillance in Digital Media’ and express them in a more refined way. For example, I would like to set up a surveillance camera so that people walking to a specific area can see themselves being watched on the TV screen. Or focus on a certain series, such as ‘Space Dislocation’, where we used more mature Photoshop techniques to make our ‘Wired’ and surveillance vibe even more pronounced. If technical conditions allow, we can also use video mode, by clicking on the screen to show the photos one by one.
The process of preparing for this studio exhibition was fresh to me. Being my first exhibition, it had a surreal feeling when it was completed, and it was also great to see so many people viewing our work. As one of the members responsible for sourcing the food, we selected snacks and drinks that were affordable and popular. The studio brought me many new experiences, such as learning about different ways of displaying artwork, especially online artwork. It also brought to my attention the ‘surveillance’ of digital media on our reality, which also contributes to the theme and presentation of our project.
Overall, at the end of this one project, I feel that I have a deeper impression of ‘Surveillance under Digital Media’ because nowadays, the rapid rise of digital media and electronic products is blurring the boundaries between the virtual and real. But after the production of this project, it makes me think more about this. It’s no longer just a technological development, but it’s becoming a social phenomenon. Almost everyone’s personal information is public on the internet, is it still safe? As well as the fact that we are also becoming more and more dependent on electronic devices, which makes ‘surveillance’ everywhere.
REFERENCE LIST:
Cook, S 2013, ‘CHAPTER 10. On Curating New Media Art’, Amsterdam University Press eBooks, Amsterdam University Press, pp. 379–406.
Freer, S 2012, ‘Magritte: The Uncanny Sublime’, Literature and Theology, vol. 27, no. 3, pp. 330–344.
Ravetto-Biagioli, K 2016, ‘The digital uncanny and ghost effects’, Screen, vol. 57, no. 1, pp. 1–20.
REFLECTION BY JIAYAN YUAN (s4012398)
The final project in the studio was a photographic series I did in collaboration with Xin Yi. We worked around the theme ‘Surveillance in Digital Media’. We created and shot 14 different series of photographs to show the different purposes and perspectives of surveillance in digital media in everyday life. The title of our project is ‘I See You – Surveillance in Digital Media’. Linked to the four eye photographs in our project, it gives the viewer a sense of being gazed at. The name is more likely to create a sense of weirdness and attract them to explore how ‘you’ are seeing me. In the final project we took some empty landscapes of the same locations to show them. A QR code accompanies these empty landscapes’ images. ‘QR codes can facilitate and enrich communication between the visitors and exhibit objects by offering additional data such as graphics, audio, and, video, etc.’ (Bengisu 2019) Adding some interactive effects during the exhibition of the project can increase the engagement of the visitors. In fact, such an approach worked. During the exhibition I observed that everyone who stopped to watch in front of the project took out their mobile phones and scanned them. Throughout the project, there are also some photographs that visually express the theme of the project. Considering that the main thing that the project needs to do is to resonate with the audience. If all the photos are empty scenes accompanied by QR codes, the audience will not be able to understand our project at the first time and may not be able to stop and look at the project more carefully. Therefore, providing clearer and more intuitive photos is more appealing to the audience.
In this project I was responsible for taking the photos. Before the shoot I went searching for different perspectives of digital media surveillance. There is a hidden voyeurism in digital media surveillance, and this voyeurism is all over the place nowadays. It’s unsettling and fearful when your information is being monitored by big data. Even more so, there is something about illegal surveillance against one’s will that is fear and confusing. During the shooting process, I found some cramped corners to experiment with. I photographed the movements of people in the same place to simulate the feeling of having no place to hide under surveillance. At the same time, I chose some dark places to show some illegal surveillance in the dark. I instructed the model to make as many natural and unconscious movements as possible to show that people are being surveillance without realizing it. Of course, the most important thing is the post-production adjustments. Most of the photos are in grey tones with a strong sense of grain to show the blurriness and uncertainty. In one of the shots, the person is covered with a lot of data, which shows that the identity of the person becomes unclear under the surveillance of digital media and is covered with a lot of labels at the same time. Through the production, I believe that the sense of unsetting, fear and confusion brought by digital media is ever present and threatening to us.
Throughout my experiments throughout the semester, I have learnt a lot about the weird feeling that digital media can bring to us in different forms. Some of the most influential points were Uncanny, Glitch, and Identity. My inspiration for the experiment at the very beginning of the semester Experimental 2- I Feel. Three photographs were taken from the new aesthetics and the connection between the physical and the digital. It made me think about how to use photographs to show the boundaries between digital media and real people.’ Digital technologies have provoked a litany of uncertainties about the status of the human.’ (Ravetto-Biagioli 2016) When the image of the human being is presented through digital media. These digital technologies tend to blur the borderline between reality and virtual. So, there may be a moment when we feel doubtful about the status of human beings in digital media. ‘Surveillance brings about subjectivity building. With the awareness of its activity users have also been forced to build a false identity on this platform or at least think about it. on this platform or at least think about it.’ (Ifeanyichukwu Valerie & Raziye 2023) Because we know we are being watched so people often communicate online by putting on a false mask. This can be even more challenging with the perception of identity. To better show the identity of the person who is the subject of the photo, we focus on deepening the red ribbon on the person’s hand in all our photos. In the post-production process, we found that It’s hard to achieve harmony between characters and digital media. We wanted to make an AI techy feel. In the end, the solution for all our photos was to take them by ourselves first. In the end, we choose the most suitable work. In some photo modifications, we will also combine our ideas.
The whole process of creating the media work is the result of Xin Yi and me continuous discussion and experimentation. There were times when we were very adamant, but in the end, we took a step back and took the best of each and blended them together. It was a successful collaboration, and we didn’t miss any part of each other. The whole team at the studio also worked very well together. We divided up the work to make the whole exhibition happen. Whether it was the creation of the website, the set-up, the promotional materials, or the purchase of snacks, each part was integral. The key takeaway I got from the whole project work is to learn to be tolerant and understanding. I need to put myself in the other person’s shoes when working together and not always be a maverick or stick to my own opinion all the time.
After creating this media work, I realized that I should start with photography itself. The media work used a lot of post-production work. After reviewing all the work, I felt that the post-production work was too heavy. It was more like relying on the post-production work to get closer to the theme of our project. I think it’s more important to use images to express ideas. Meanwhile, I will continue to explore light painting photography. I think the trajectory of light in light painting photography can express a lot of things. It is worthwhile for me to continue to explore. As I enhance my media work, I want to continue to explore the different feelings that the surveillance perspective of digital media can bring. ‘Technology is creating new ways of seeing that are slowly creeping into the look and feel of everyday life.’ (Bridle 2012) With the advancement of technology, there is more to digital media than what I have captured. There are more ways of monitoring than just the ones I have captured. Different ways give different sensations. These perspectives and feelings have penetrated every aspect of our lives.
Through this semester, I have become acutely aware of the pros and cons that digital media considers. For example, Xin Yi and mine final project, digital media surveillance can expose personal privacy, but some of those with the power to monitor us can provide us with satisfaction in digital media. Ultimately it comes down to how we choose. If we want to participate in digital media, we need to be prepared to be monitored. The most important thing we can try to do is not let this surveillance do things that are dangerous to us.
REFERENCE LIST:
Bengisu G. (2019) ‘The Influence of Using Qr Codes as an Information Delivery Method to Increase User Engagement in Exhibition Spaces’ ProQuest, accessed 26 October 2024, https://rmit.primo.exlibrisgroup.com/permalink/61RMIT_INST/4t5l5f/cdi_proquest_journals_2652591251
Bridle J. (2012) ‘The new aesthetic’ British journal of photography, accessed 26 October 2024, https://www.proquest.com/scholarly-journals/new-aesthetic/docview/1320451051/se-2?accountid=13552
Ravetto-Biagioli, K. (2016) ‘The digital uncanny and ghost effects’ Screen (London), accessed 26 October 2024, https://www.proquest.com/scholarly-journals/digital-uncanny-ghost-effects/docview/1791552165/se-2?accountid=13552
Ifeanyichukwu Valerie O.; Raziye N. (2023) ‘We are captives to digital media surveillance” Netizens awareness and perception of social media surveillance’ London, England: SAGE Publications, accessed 26 October 2024, https://rmit.primo.exlibrisgroup.com/permalink/61RMIT_INST/4t5l5f/cdi_scopus_primary_2_s2_0_85153752061