For 24-hours a day, for 28-days, artist Mark Farid will wear a virtual reality headset, experiencing life through the eyes and ears of one person: the Other.
Inspired by the ‘Stanford Prison Experiment’ (1971), Jean Baudrillard’s ‘Simulacra and Simulation’ (1981), and Josh Harris’ ‘Quiet: We Live in Public’ (1999), Seeing I will confine Farid to a gallery space in London, subjected to the simulated life of the project’s Other. With no pre-knowledge of, or existing relationship to the Other, the only details confirmed to Farid will be that the Other is in a relationship and at least eighteen years of age.
For the duration of the project’s 28-days, Farid will experience no human interaction relative to his own life, allowing his indirect relationship with the Other to become Farid's leading narrative. Will the constant stream of artificial sights and sounds start to displace his own internal monologue?
Adapting the question of nature vs. nurture to the digital age, Seeing I will consider how large a portion of the individual is an inherent self, and how large a portion is a consequence of environmental culture. Will the 28-days alter Farid’s movement, mannerisms, personality, memory or rationale? Without freewill to determine who he is, will Farid’s consciousness be enough to deter significant changes?
Exhibition
The gallery, curated by Nimrod Vardi, will contain all necessary facilities for the course of the 28-days: a double bed, bathroom, exercise bike, and a table and chair. This space will be open for audiences to visit onsite and online.
Farid will live inside this space, subjected to the sights and sounds coming from the headset; he will eat, drink and bath in sync with the Other, isolating him from any human interaction. Provided the headset remains on, Farid is free to do as he otherwise pleases.
With the aid of augmented reality, Farid will receive visual indications of the gallery’s physical space. This will enable Farid to independently navigate his way around the room to the bed, bathroom and exercise bike.
For audience onsite, virtual reality headsets will be available to use with their smartphones. By using the device, audience members are invited to share Farid’s virtual life (the recorded life of the Other) in real time, whilst also witnessing Farid’s independent reactions first-hand. Those without smartphones will be unable to partake in this activity.
Exhibition
The gallery, curated by Nimrod Vardi, will contain all necessary facilities for the course of the 28-days: a double bed, bathroom, exercise bike, and a table and chair. This space will be open for audiences to visit onsite and online.
Farid will live inside this space, subjected to the sights and sounds coming from the headset; he will eat, drink and bath in sync with the Other, isolating him from any human interaction. Provided the headset remains on, Farid is free to do as he otherwise pleases.
With the aid of augmented reality, Farid will receive visual indications of the gallery’s physical space. This will enable Farid to independently navigate his way around the room to the bed, bathroom and exercise bike.
For audience onsite, virtual reality headsets will be available to use with their smartphones. By using the device, audience members are invited to share Farid’s virtual life (the recorded life of the Other) in real time, whilst also witnessing Farid’s independent reactions first-hand. Those without smartphones will be unable to partake in this activity.
Exhibition Concept
We take for granted that the 21st Century is domesticated. Mechanically and physically, our audio-sensory experiences have been engineered – from the creak of a floorboard, to church-bells ringing, or an engine revving. Just as the weather adjusts to the environmental impact of humanity, humans have grown accustomed to an artificial reality, curated to the needs of man. Looking out of our windows we see square gardens; beyond our hedges, man has built every building, road, park and field.
We comprehend and shape this world in our own, distinct image - an image constituted by environmental, cultural and genetic factors. To alter these variables subsequently reforms the individual and how they comprehend the world.
In this world, our sensations and our awareness of our surroundings are substituted by a fictional simulation. Having known nothing else, we believe this fiction is truth as it is the only knowledge we have encountered. We assume that the physical world is the 'real' world, and, at this point, simulation becomes life. We submerse and surrender ourselves to manufactured sensory input, standing in Plato’s cave, facing the walls and naming shadows, oblivious to the fire outside.
Exhibition Concept
We take for granted that the 21st Century is domesticated. Mechanically and physically, our audio-sensory experiences have been engineered – from the creak of a floorboard, to church-bells ringing, or an engine revving. Just as the weather adjusts to the environmental impact of humanity, humans have grown accustomed to an artificial reality, curated to the needs of man. Looking out of our windows we see square gardens; beyond our hedges, man has built every building, road, park and field.
We comprehend and shape this world in our own, distinct image - an image constituted by environmental, cultural and genetic factors. To alter these variables subsequently reforms the individual and how they comprehend the world.
In this world, our sensations and our awareness of our surroundings are substituted by a fictional simulation. Having known nothing else, we believe this fiction is truth as it is the only knowledge we have encountered. We assume that the physical world is the 'real' world, and, at this point, simulation becomes life. We submerse and surrender ourselves to manufactured sensory input, standing in Plato’s cave, facing the walls and naming shadows, oblivious to the fire outside.
The Other
The Other is the source of Farid’s virtual life. From the mundane activities of brushing their teeth and commuting, to going out and enjoying themselves, Farid will witness all: from sitting on the toilet, to their more intimate moments with family, friends and their partner.
The Other will capture a continuous 180x160° HD panorama of all their immediate sights and sounds, facilitated by an ordinary pair of glasses fitted with covert, miniature camera lenses and microphones. The glasses enable eye-contact (or as close to as possible), so that Farid experiences the intimacy of an eye-to-eye gaze, commonly associated with compassion and increased empathy. As an everyday object, the glasses will encourage people to interact with the Other naturally, normalising the situation.
We are currently experimenting with different ages, genders and sexual preferences. An open-call submission is below.
The Other
The Other is the source of Farid’s virtual life. From the mundane activities of brushing their teeth and commuting, to going out and enjoying themselves, Farid will witness all: from sitting on the toilet, to their more intimate moments with family, friends and their partner.
The Other will capture a continuous 180x160° HD panorama of all their immediate sights and sounds, facilitated by an ordinary pair of glasses fitted with covert, miniature camera lenses and microphones. The glasses enable eye-contact (or as close to as possible), so that Farid experiences the intimacy of an eye-to-eye gaze, commonly associated with compassion and increased empathy. As an everyday object, the glasses will encourage people to interact with the Other naturally, normalising the situation.
We are currently experimenting with different ages, genders and sexual preferences. An open-call submission is below.
The Other Concept
When every moment of an individual’s life is auto-publicised, with no thought given to the concept of privacy, it necessarily follows that there must be an indelible effect on the human psyche, subconsciously adapting to being watched.
Privacy allows one to live without the fear of social reprisal, living instinctively and protecting the self-validation innate to individuality. But with the Other’s identity, behaviours and actions streamed publicly, lived by an absent but all-seeing and hearing stranger, Seeing I will tackle the dichotomy of our contemporary lives, in which we are willing spectator and spectacle, monitoring the subsequent effects on the Other.
Just as a film invites us to passively share in its protagonist’s life, Farid will peer into the life of the Other; but, unlike a filmmaker, the Other will lack the authority to edit, cut or re-film their recording. In spite of the clear instruction to live their life as usual, will the Other start to perform or self-censor their actions? Will the 24-hour a day surveillance affect their relationship with others?
Ultimately, will the Other and their partner be happier broadcasting their life, validating their every decision through the knowledge that everything is being acknowledged, or, will the lack of privacy become too much?
The Other Concept
When every moment of an individual’s life is auto-publicised, with no thought given to the concept of privacy, it necessarily follows that there must be an indelible effect on the human psyche, subconsciously adapting to being watched.
Privacy allows one to live without the fear of social reprisal, living instinctively and protecting the self-validation innate to individuality. But with the Other’s identity, behaviours and actions streamed publicly, lived by an absent but all-seeing and hearing stranger, Seeing I will tackle the dichotomy of our contemporary lives, in which we are willing spectator and spectacle, monitoring the subsequent effects on the Other.
Just as a film invites us to passively share in its protagonist’s life, Farid will peer into the life of the Other; but, unlike a filmmaker, the Other will lack the authority to edit, cut or re-film their recording. In spite of the clear instruction to live their life as usual, will the Other start to perform or self-censor their actions? Will the 24-hour a day surveillance affect their relationship with others?
Ultimately, will the Other and their partner be happier broadcasting their life, validating their every decision through the knowledge that everything is being acknowledged, or, will the lack of privacy become too much?
Documentary
Seeing I will culminate in a feature-length documentary, capturing the entire project from initial tests and preparations to its live performance and the post-project period, including Farid meeting the Other for the first time.
Both subjects’ long-term mental and physical health are imperative. We will seek physical, neurological and ophthalmological examinations and advice throughout the project, as well as regular consultations with the project’s Psychologist in advance to the 28-days.
Seeing I is not an endurance test, and if any one of the experts decide Farid should take the headset off, a discussion with Farid - through the headset - will take place, and we will act accordingly. Farid will not have the ability to make this decision himself.
We do not intend for the documentary to follow an artist doing a project, but rather focus on the project’s implications: the effect of new technologies and surveillance – both social and political – on ideas of the self, and the influence of society on the individual.
Documentary
Seeing I will culminate in a feature-length documentary, capturing the entire project from initial tests and preparations to its live performance and the post-project period, including Farid meeting the Other for the first time.
Both subjects’ long-term mental and physical health are imperative. We will seek physical, neurological and ophthalmological examinations and advice throughout the project, as well as regular consultations with the project’s Psychologist in advance to the 28-days.
Seeing I is not an endurance test, and if any one of the experts decide Farid should take the headset off, a discussion with Farid - through the headset - will take place, and we will act accordingly. Farid will not have the ability to make this decision himself.
We do not intend for the documentary to follow an artist doing a project, but rather focus on the project’s implications: the effect of new technologies and surveillance – both social and political – on ideas of the self, and the influence of society on the individual.


















Seeing I welcomes all applicants from all backgrounds. However, owing to the nature of the project and our conceptual goals, we favour applicants living a life aligned with the ordinary rather than the extraordinary.
The ‘Other’ refers to the person whose life Farid will experience for the 28-day period. As the Other, you will be required to wear a pair of glasses installed with covert cameras capturing a continuous 180° field of all immediate sights and sounds. From the minute you wake up, to the second you fall asleep, your every move will be recorded (and streamed to Farid).
Criteria
- We are open to ALL ages, genders and sexual preferences.
We are currently experimenting and trialing different Other's. A test run is set to take place this summer (2017), in which we are looking for 28 individuals to record their individual lives for 24 hours each. If you are interested in taking part, please apply below.
For further queries, please email tom@seeing-i.co.uk
Selection Process
- Stage one: answering the questions below, AND the submission of (up to) a 3 minute video telling us about yourself. (Your information and video recording will only be shared with those directly involved in the production of Seeing I.)
- Stage two: successful candidates will participate in an interview via Skype.
- Stage three: you will be told via email whether you have made it through. Relevant paperwork will be sent out and a call arranged to explain next steps.
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