Consider the video shooting perfor- mances that take place around the hotspots of the crime prediction system.

In New York, where many creators such as art proper, artists and photographers work in a variety of journalisms, the relationship between artist creativity and journalist traits: interventionism, power distance, objectivism and empiricism, seems to have an interesting effect on the social practices by artists and activists.

The failure of many criminal reporting social networks, including the Citizen App, proves that "objecti- fication of facts" and "its creative editing or post-production" are not always used to express facts.

Matthew Guariglia, a policy analyst at the Electronic Frontier Founda- tion, points out the idea of Synopti- con, the word symbolizes the modern mutual surveillance society,

promotes many types of discrimina- tion rather than working to strengthen the control of the illegality of conduct by citizens.

In 2020, there are more than 200 hate crime incidents reported to NYPD in New York City. However, less than one-sixth of the cases are recognized by the Hate Climb Task Force.

Even though hints on how we operate openly about individual differences in an autonomous way were included in the various activi- ties of New Genre Public Art that began in the early 1990s, it's not seems we follow and permeate that effective idea into our society.

Comprehensive surveillance systems, such as the NYPD's crime prediction system that analyze the several big data of citizens, increase tensions in our lives and drive us into dead ends derived from a series of repeated actions.

Our society monitored by such organizations NSA and CIA, exists in cyberspace like some kind of theater, and we are still too ignorant of how to deal with the so-called audience of observers.

This shooting performance attempt explores what creative autonomy we can do in a predicted crime hotspot predicted as a possible conflict between server space and reality.

We aim to provide some cases to the question that we may not yet have a more flexible and effective means of communication with government agencies.

And we practice how the contradic- tion contained in the artificial perception of precognition can be transformed by the function and existence of the artist-journalist between power and human rights, real world and cyberspace.