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千眼之城

Omni Channels

創作年份 2018年

作品媒材 Video Installation

《千眼之城》的創作想法始於2012年黃心健與舞蹈家朋友的一場合作,在測試如何將無線攝影器材運用於舞蹈的過程中,黃心健意外接收到同棟大樓的無線監視器畫面。他忽然意識到,原來身邊的空間裡充滿著「無處不在」的監視器,於是他開始嘗試捕捉這些散逸在城市中以無線電傳遞的影像。黃心健運用了全頻掃描器以及筆記型電腦,在城市中收集這些影像,只要偵測到無線監視器的訊號,程式便會開始自動記錄下三至五秒的監視器畫面,最終收集了約五百個影像檔案。

監視器影像不同於創造之初即為了提供人們「觀看」的電影或電視影像。監視器影像是「無處不在的窺視」,影像的存在僅僅是作為城市某時某地的人事物紀錄,不論這些影像是否有人「觀看」,它們仍會不斷地記錄、刪除,同時化為無線訊號向四周傳播。

黃心健將這些影像加密,透過電腦程式隨機挑選與疊加,這些影像在沒有「人」的觀看之下,產生出如統計平均值一般的畫面。這些模稜兩可的動態形體,依稀可以分辨出人、車與街景,卻又朦朧不清,逃避著對於特定事物的辨識,只能成為泛指與統稱,融合成我們這時代城市的均質影像。

The idea for Omni Channels originated during a collaboration between Huang Hsin-Chien and a dancer friend in 2012. While testing ways to incorporate wireless CCTV equipment into the dance, Huang accidentally received the CCTV footage of the building, which led to the realization that we are surrounded by “omnipresent” CCTVs. Huang started capturing images that were transmitted wirelessly and scattered around the city. Using full-frequency scanners and laptops, Huang gathered the images throughout the city, and once signals of wireless CCTVs are detected, the computer program automatically starts recording 3-5 second footage. In the end, approximately 500 segments of footage were collected.

CCTV footage is different from film or television in that they are not made with the intention of being “viewed.” CCTVs are like “omnipresent peeking,” and the footage exists solely for the purpose of documenting incidents that occurred in the city at certain times and locations. Regardless of whether someone has “viewed” the footage, they repeat the actions of documenting and deleting while being transformed into wireless signals that are then transmitted.

Huang encrypted the footage and used the computer program to select and layer the footage randomly. Without being viewed by “humans,” the computer program produces images that are like the statistical mean. These ambiguous movements and forms vaguely represent scenes of human beings, cars, and streets, but their blurriness exempts them from being identified as specific objects and can only become obscure identifications and generalities, resulting in homogenized imageries of our contemporary city.

創作年份 2021年
作品媒材 Video Installation