本研究以互動裝置《被注視的空間》為創作主題，探討當代社會中由人際目光、公共空間中的監視機制，以及數位平台與演算法所共同構成的「被注視」經驗。隨著監視由可見的觀看逐漸延伸為隱蔽、持續且背景化的日常機制，個體所面對的觀看關係，也從人的目光到平台、裝置、資料系統與技術結構。換言之，當代監視不一定以明顯的控制形式出現，而可能是在個體尚未察覺時，被持續記錄、判讀並回應其身體位置與行為資訊。
Brighenti 提出「artveillance」概念，指出藝術與監視之間存在密切互動，監視是一種作用於感知與社會經驗的結構。Zuboff 指出，當代數位平台透過資料擷取、分析與預測，逐步將人類經驗納入監視資本主義的運作邏輯之中。然而，本研究不僅將監視理解為外在設備或技術控制，而是主張監視是一種作用於身體感知、心理狀態與日常行為的社會結構。因此，試圖透過藝術創作，將原本日常化的監視狀態，轉化為觀者可透過身體與空間直接感受到的互動經驗。
研究方法包括文獻探討、作品案例分析與創作實踐。首先，透過觀看、監視、權力關係、數位追蹤、演算法與隱私等理論，建立本研究對當代監視的理解。其次，分析當代藝術家如何將監視、資料追蹤與數位注視轉化為可感知的藝術形式。由此，本研究進一步發展自身的創作策略，相較於直接再現監視器或監控影像，作品更著重於呈現觀者「被觀看」的感知狀態。
在創作實踐上，作品結合動力裝置、紅色光線、影像偵測、控制程式與空間配置，建構一個使觀者感受「被觀看」、「被追蹤」與「被辨識」狀態的互動場域，當觀者進入作品空間後，系統會偵測其身體位置，並驅動裝置的轉向與追蹤反應，使觀者從觀看作品的主體，轉變為被作品觀看與回應的對象。因此，作品中的光線與裝置並非僅用於營造視覺效果，而是作為「視線」的象徵，使無形的注視關係轉化為具體的空間經驗。
展出結果顯示，作品已能在技術上完成觀者偵測、位置追蹤與裝置回應，部分觀者感受到不安、詭異與被觀看的氛圍。然而，互動效果並非總能被立即察覺，部分觀者需經過說明後，才意識到裝置早已依據自身位置產生反應。此現象一方面反映出作品在互動提示與感知強度上仍有不足，另一方面，觀者的「後知後覺」也呼應當代監視背景化的特性，即被注視的狀態可能早已發生，只是個體尚未清楚意識到。此外，雷射光點的差異顯示，媒材的方向性與可見程度會直接影響觀者對被指向、被追蹤與被鎖定的感受。
綜合而言，本研究認為互動裝置藝術不僅能再現監視現象，也能將其轉化為觀者可親身體驗的感知狀態，透過偵測、追蹤與裝置回應，使觀者重新意識到自身如何成為被技術系統讀取與觀看的對象，並進一步反思當代生活中監視、資料追蹤、隱私讓渡與自由處境之間的關係。

This practice-based study centers on the interactive installation The Watched Space and investigates the experience of being watched in contemporary society. It examines how interpersonal gaze, surveillance in public spaces, digital platforms, and algorithmic systems collectively shape contemporary forms of observation. As surveillance has shifted from visible acts of watching toward hidden, continuous, and backgrounded mechanisms, individuals may be recorded, interpreted, and responded to before they clearly recognize that observation is taking place.
The study understands surveillance not only as an external technological mechanism, but also as a social and perceptual structure that influences bodily awareness, psychological states, and everyday behavior. It therefore explores how interactive installation art can transform normalized and often invisible surveillance into an embodied and spatial experience. The research methods include literature review, artwork case analysis, creative practice, and exhibition observation.
The installation combines image-based detection, motorized devices, red light, control programs, and spatial arrangement. When viewers enter the installation space, the system detects their positions and generates corresponding turning and tracking responses. Viewers are thus repositioned from observers of the artwork to bodies detected and responded to by a technological system. Light and mechanical movement function not merely as visual effects, but as spatial expressions of technological attention.
Exhibition observations showed that the system was able to detect viewers, track their positions, and produce corresponding mechanical responses. Some viewers experienced unease, strangeness, vigilance, and a sense of being watched. However, the relationship between viewers’ movements and the installation’s responses was not always immediately recognizable. Some viewers only realized after extended observation or explanation that the devices had already been responding to them. This delayed awareness revealed limitations in perceptual clarity, while also reflecting the backgrounded nature of contemporary surveillance. Additional testing further suggested that the visibility and directionality of light influenced viewers’ perceptions of being targeted, tracked, and locked onto.
Overall, the creative objective of The Watched Space was partially achieved. The study demonstrates that interactive installation art can transform technological observation into an embodied and spatial condition, although the effectiveness of this transformation depends on whether viewers can perceive the relationship between their actions and the system’s responses. Its primary contribution lies not in developing a new surveillance technology, but in proposing an artistic method for encouraging reflection on surveillance, data tracking, privacy, and individual agency in contemporary life.

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