The film installation questions whether the body enters a state of perpetual labour through its mere digital representation. Drawing from research on voluntary digital surveillance, lifecasting and online sex work practices in the early days of the internet, the project tests the relationship between watcher and the performing subject by placing the watcher in a position of the voyeur. The main medium of engagement is the body as a performing subject in its most comfortable physical condition, in this case one’s room. In terms of phenomena, the project analyses whether a pre-conceived description of the work as an uncensored, realistic and continuous depiction of someone being in their private domestic space, the viewer’s understanding and potential anticipation of sexual representation appearing on screen assigns a state of continuous labour to the performing subject. Drawing from Nadim Samman’s writings on the poetics of encryption and his analysis of the being locked out looking in/being locked in looking out binary as a physical condition, the project examines the act of virtual intrusion of domestic spaces as they gain the quality of encrypted environments, relating to the MS3 theme of ‘Encrypted Visions’. A particularly relevant case study has been the work of Jennifer Ringley, conceptual artist and online famous camgirl of the late 1990s and early 2000s. Jennifer Ringley’s work surpasses the duality – she is neither locked in nor out, and she doesn’t engage with it in these terms yet she is at the core of it by making herself the subject matter of others’ intrusive engagement and act of looking in while being locked out. ‘To think of Jennifer Ringley as an exhibitionist is to think of her camera as if it were a window.’ ¹ The project addresses the Media Studies theme of Multiples, repetition and seriality through consistent unfiltered documentation of one’s physical manifestation in the privacy of their home from a fixed point in space. Using footage filmed between October and December 2023 from two fixed points in my room on a digital camera to generate original material, I am producing a film that loops moving images of myself as a performing subject on a series of five screens. To address the second part of the research question, related to the relationship between the media consumer and the performing subject, the films are meant to be viewed extensively in order to create an anticipatory reaction similar to that of watching someone through an online cam.