“180 Degrees Noise Ⅱ” is presented with two large interlacing translucent screens hanging for projection. By means of the two images, which are an open eye and a closed eye, the artist tries to find her inner voice and also her feelings toward the outer environment. Thus, the “water” of lake and the floating “images” outside the train carriage are echoes with each other and symbolize a dialog via the two interlacing screens. It also implies the urge for searching the artist's unconscious self.

This work is a form of Video Installation Art. Therefore, this thesis, in the beginning, reviews the literature on Video Art to understand its development and historical meaning, and to analyze the domestic and international video art works. From the literature review, it is apparent that Video Art can be divided into several types as follows: Pro-Visual Video Art, Social Video Art, Behavioral and Conceptual Video Art and Environmental Installation Video Art. This study further finds that the development of Video Art is more abundant and diversified because of the assistance of digital technology in recent years. Thus, it is also an attempt of this paper to probe into some modern characteristics of Video Art based on the theme, “Exploration to Unconsciousness”, of this installation, this thesis investigates the issue about self-consciousness of Video Art from the perspective of psychology, and explains the idea and the method to create this installation, “180 Degrees Noise Ⅱ”. The meaning of the visual images is well illustrated and presented comprehensively to show the artist’s unconsciousness and self-reflection.