The work consists of an interactive double-projection installation where Bogotá's video surveillance system has been hacked and repurposed as a web interface displaying a city map with geolocated security cameras distributed throughout the urban territory. The viewer, transformed into a watchful eye, selects cameras through gestures captured by a Kinect sensor, manipulating the cursor in space with their hand as if summoning panoptic power. Upon pointing at a camera, the live stream unfolds before their eyes: streets, passersby, other people's lives turned into spectacle, where video analytics extract categorical information from what's being shown.

On the second wall, six simultaneous screens transmit feeds from different cameras. Every sixty seconds, the system randomly updates, displaying six new electronic eyes watching different corners of Bogotá. A kaleidoscope of surveillance that never rests, a visual symphony of control flowing without interruption, reminding us that while you observe one corner, a hundred more remain under the digital gaze.

Big Brother watched from the telescreens, weaving an invisible web of surveillance that turned freedom into a mirage. Today, that dystopia materializes in real time on the walls of this installation. There's no need for Room 101 anymore, since with predictive algorithms, machine learning, and neural networks, we're just one click away from identifying, connecting, and finding patterns on anyone.

This work turns the viewer into an active accomplice of the surveillance apparatus: with a simple hand gesture, you choose who to watch, wielding the very power you're questioning. The Kinect interaction removes the physical barrier of mouse or keyboard, making surveillance more intuitive, almost natural.

The installation exposes the Doublethink of the technological society we live in, where "War is peace. Freedom is slavery" and now "Surveillance is security. The absence of privacy is protection." The same tools that promise to save us, are now used to create invisible cages of data, where the bars are server infrastructures scattered in the cloud. Who needs interrogation when statistics can point you out and identify you? The random change every minute in the second projection simulates the ceaseless blinking of the digital eye that never sleeps, reminding us that surveillance isn't selective but omnipresent. Bogotá, like any contemporary city, has become an observed, mapped, archived organism.

The future Orwell feared didn't arrive with military boots, but with interfaces and dashboards, which makes us ask: Are the machines watching us, or have we voluntarily handed over the keys to our privacy? When interacting with this work, each viewer must confront their own answer.

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