《隱身指南：一個他X的教育宣導影片》是德國藝術家希朵．史戴爾於2013年的影像裝置創作，以略帶諷刺而幽默的網路教育影片呈現五則教學，提出一些看似荒誕的隱身方法，讓人得以有空間去想像我們如何轉圜於遍佈的攝影機與大眾目光下、更甚化身成為小於1像素的單位藏於圖像的裂隙之中，抑或是被藏身於強勢運作的系統規則之外。

在希朵的作品中，提出了一個在數位網絡年代簡單而值得深思的問題：在一個全然透明、被記錄並容易分享的年代，人們是否仍有權或有能力選擇隱身其中，而我們是否也還擁有自由選擇的主控權。貫穿全作一直不斷反覆出現的白色塊狀組合，是美國軍方舊時在加州沙漠所設立用於校準監視攝影機的解析度標示圖。這個過時早已被淘汰的技術廢棄於沙塵中，然而，真實世界中的監控並未停止或消失，有的只是被更新且精確的技術所取代。環繞著這舊式的解析度標示圖迴旋地以教育影片說明各種隱身方法，嘲弄似的回應了對於數位時代背景下社群媒體與監控科技的無所不在、網路世界的超真實情景及網路後台的種種力量操作。

在作品的製作過程中，希朵使用了許多方法來表達她對於今日資訊時代的影像思考。網路影像的複製、拆解、拼貼、重組、再生、循環至串流，在作品中，我們可以發現許多20世紀中期至近期來自社群媒體及監控技術的影像記錄，畫面交雜著真實拍攝與電腦製作的人物及佈景，而快速變化、粗製影像成品展現不同層次的真實及數個年代以來的科技技術演進。真實與再製真實的邊界在作品的推進中一面揭露自身的製作身世同時也在形式上再一次演說了背後所意欲傳達的意含。

How Not To Be Seen. A Fucking Didactic Educational .Mov File is a video installation work by German artist Hito Steyerl in 2013, showcasing five teachings via a sarcastic yet humorous online education video. It proposes some bizarre ways to be invisible, so that people could have space to picture how we could work around the cameras and sights of people. Further, it reduces to a unit smaller than 1 pixel hidden in the crack of images, or hidden beyond the dominating system rules.

A simple question in the age of digital network yet worthy of contemplation is proposed in Hito’s work: do people still have the power or ability to hide in a total transparent era that is recorded and easily shared, and that if we still owns the right to choose at will? A set of white squares repeatedly that appears throughout the film is a resolution target formerly employed by the US military set up in the dessert of California to calibrate the surveillance cameras. This obsolete technology has been discarded in the sands. Nevertheless, the surveillance in the real world never ceases nor disappears, while some are just replaced by a more updated and precise technology. Surrounding this old resolution target, the educational video inexplicitly explain the different ways to be invisible, taunting and responding to the omnipresence of social media and surveillance technology in the digital era, the surreal scenes of the online world, and the manipulations of powers in the background of the Internet.

In the production of the artwork, Hito employed various methods to express her thinking on the images in the age of information today. From the duplication, dismantling, collage, reassembling, regeneration, circulation, and even streaming of online images in the works, we could pick up image records from the social media and surveillance technology since the mid-20th century to date. The authentic figures and sets are mixed with the computer generated ones in the frames, whereas the rapid-changing raw image product manifests different levels of reality and the technological advancement over the decades. The border of reality and reproduced reality expose the production life experience of their own as the work progresses, while delivering the intended meaning underneath in form.