I started working writing a short narrative on surveillance and control technologies, especially in countries like China, where privacy is practically a forgotten good. To talk about it, I use the simile of board games, such as Monopoly, which establish rules that all players must follow without exception. These rules are not subject to the players, but the other way round. They are used to direct the game to an end, in which someone wins, but everyone else loses. Is it justifiable to eliminate the right to privacy? We do not know what our information is used for, we do not know who owns it, we do not know what to fight or how, we are adrift data. In recent months, and due to COVID-19, surveillance measures have been increased. Each body must be traceable within the mass, each body must be an element under control, otherwise how will we know that you have not been exposed to the virus? Contact is prohibited. Stay home, otherwise hundreds of eyes watch you and repeat the rules screaming from your balcony. Cameras no longer matter, we are all cameras in the same game, a game in which we do not make the decisions, we only hope that they are the best, we do not know the reality, only the news that reaches us at home and even so we know that later after the game things will not be the same as before.
After writing the narration that has been used as a voiceover, I converted it to sound using a voice generator. I have used generated voice to nullify the individuality of the speech. When talking about game and control technologies, using a robotic pitch anonymous voice was the closest thing to how we can imagine a typically robotic and somewhat evil fictional character. As a language I have used English, as it is practically the “own” language of the internet and technology. After the voice conversion, I worked the sound of the rehearsal using various audio tracks and sound effects with the Logic Pro.
From the beginning I have focused the montage of the video from experimentation, testing with the superposition, collage (both visual and auditory), image size, rhythm and aesthetics. It was a “slow” montage, trying to create relationships between each of the images and make them dialogue with each other and with the audio. I have used images from social networks, the internet, live camera recordings, video works by leading artists, such as Jon Rafman or Dømochevsky.