- Open Format
Echose of Evidence
Ali Sayah
27 June 2025 19:00–22:00
28 June 2025 12:00–17:00
29 June 2025 12:00–19:00
Participants enter a room after receiving clear visual instructions presented on placards outside. These placards display a map of the room with certain areas—marked by coordinates X and Y—strictly labeled as forbidden zones. The audience is informed that if anyone steps into these marked zones, an alarm will sound and red warning lights will flash.
Inside the room, surveillance monitors installed near the entrance show a live feed of participants walking through the space. Each participant’s live position is displayed in real-time with numerical X/Y coordinates.
Upon entering, participants instinctively try to avoid the restricted zones. However, the system behaves inconsistently: in some cases, the alarm goes off even when someone is clearly outside the forbidden zones, and sometimes there is no alert despite someone stepping into a marked area. Roughly 60% of the time, the system reacts as expected, while 40% of the time it behaves unpredictably or inaccurately.
This interactive installation deliberately breaks the trust between participants and the data presented to them. It challenges their belief in the objectivity of surveillance systems and the reliability of information. As the experience unfolds, participants are forced to question: Are the coordinates wrong? Has the system been tampered with? Is the surveillance feed lying?
By playing with manipulated data and behavioral feedback, the work explores the fragility of trust in an era dominated by digital monitoring and algorithmic control. It invites the audience to experience cognitive dissonance—and to confront the unsettling possibility that the systems we rely on might be flawed, biased, or even deceptive.
Based on the text, write a prompt for the Sora that displays X and Y information before the audience enters the room.
Inside the room, surveillance monitors installed near the entrance show a live feed of participants walking through the space. Each participant’s live position is displayed in real-time with numerical X/Y coordinates.
Upon entering, participants instinctively try to avoid the restricted zones. However, the system behaves inconsistently: in some cases, the alarm goes off even when someone is clearly outside the forbidden zones, and sometimes there is no alert despite someone stepping into a marked area. Roughly 60% of the time, the system reacts as expected, while 40% of the time it behaves unpredictably or inaccurately.
This interactive installation deliberately breaks the trust between participants and the data presented to them. It challenges their belief in the objectivity of surveillance systems and the reliability of information. As the experience unfolds, participants are forced to question: Are the coordinates wrong? Has the system been tampered with? Is the surveillance feed lying?
By playing with manipulated data and behavioral feedback, the work explores the fragility of trust in an era dominated by digital monitoring and algorithmic control. It invites the audience to experience cognitive dissonance—and to confront the unsettling possibility that the systems we rely on might be flawed, biased, or even deceptive.
Based on the text, write a prompt for the Sora that displays X and Y information before the audience enters the room.
Biography
Ali Sayah
Ali Sayah, born in 1981 in Tehran, combines research-based approaches with media theory in his artistic practice. After studying art in Tehran (2001–2004), he began working across media with sound, text, and space. In projects such as the book Drift on the Waves, he explores cultural associations with music. These investigations are complemented by audiovisual works and interactive installations that merge sound, space, and perception. Works like Khanaqah (Kunstraum Bethanien) and Formale Einheit (Pirol Studio) address the interplay between media and culture. In the virtual exhibition DisOrient (2020), he reflected on forms of digital representation. Sayah sees his practice as an open research process into the abstract and mediating power of music.
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