AMATEUR AV INTERVIEW
AMATEUR AV INTERVIEW-D1989
Inside this tent, you can become anyone, even yourself.
At the end of 2019, I started the project on “Amateur AV Interview-D1989,” interviewing people, regardless of sex, gender, race, appearance, etc. I attempted to liberate the beauty of bodies from the traditional AV industry. In addition, I created a private space, in which one could maintain their body's autonomy and sex.
The whole process of the interview was not entirely public. Rather, some private spaces were created in and isolated from various public spaces. The installation marked the boundary between the private space and public space. It worked as materialized and 3-D pixelation. The desires for peeping and eavesdropping of the audience outside were teased by the mosaic. The interviewee inside could confess honestly and experience the feelings of violating taboos.
The entire process of the interview was recorded via panoramic mosaic, 360 spatial audio, and VR 360. It was classified by signing a contract so that one’s privacy could be protected. Being interviewed in this space, the interviewee could freely choose the extent of pixelation and the unpixelated parts (panoramic mosaic by default). Only the parts chosen by the interviewee were left unpixelated (in contrast to the conventional practice in porn). The interview was not the fake interview that appeared in popular porn films. Rather, it was more about in-depth interviewing and experimental sexual practices. In the end, the relationship between sex, body, and power in different times and places were recorded using 360 cameras.
The aim of this project was not to entice the audience to demonstrate their sexual desires or to lead to an definite interview result. Rather, it was an opportunity to honestly self-reflect, violate sex taboos, and construct imaginations during the process of implementing the secret interview. It would thus bridge the past and the future. This process visualized the collective subconsciousness of the past, on the one hand. It could construct imaginations about the future transgression of taboos, on the other hand. At the intersection between visual art and the porn industry, “fictions” were created to break the confines of reality.
整個面試過程會以全景馬賽克、360 spatial audio、VR360影像方式紀錄，並簽約保障個人隱私。在這空間中面試，受試者可以自由選擇尺度及無馬賽克的部位（預設VR360為全景馬賽克），只留下受試者選擇的重要部位清晰（與傳統色情片相反）。面試內容並非典型Fake Interview的色情片問題，而是著重在深度訪談與最後實驗性的性實踐。最後，運用360攝影機的影像，紀錄不同地區、各個年代下，性、身體、權力之間的關係。
AMATEUR AV INTERVIEW-D1990-VR
The audience re-visited different scenes for interviewing at different times and places via VR and 360 spatial audio. In VR, the body of the audience was located between the director and the interviewee. The audience could choose perspectives at will by turning around her own body in order to make a new VR porn film. Thus, the body of every audience became an AV editor. Moreover, every audience would watch her own porn film from her unique perspective mediated by her body.
Using the features of 360 imaging techniques, I changed the conventional power relationship of film production, starting from recording via editing down to watching. Going beyond male and female gazes, this quasi-queer perspective created the panoramic “pansexual” perspective enabled by 360 cameras. It was also an answer to my own protean sexual orientation. As the unidirectional, absolute power of the traditional camera was removed, the camera itself would not define its front and rear, so it would not exhibit a power hierarchy. Thus, the relationship between the director, the interviewee, and the audience as well as the relationship between watching and being watched, and the relationship of bodies was reinterpreted.
Moreover, pixelation was both visual and narrative. In Amateur AV Interview-D1990-VR, each story was shredded and collaged. They became threads with different textures being interwoven into a new web. The audience could get a gist of the story of a generation but could not get access to the privacy of individuals. Verfremdungseffekt was used as a narrative technique. it prevented the audience from indulging in the illusion of the drama. They could only occasionally throw themselves into the plot but also had to occasionally keep themselves apart from it. In the end, the audience here became the arbiter of aesthetic experience, who could reevaluate the direct and violent experience of erotic peeping of the past.
Sexuality is often seen as the most intimate part of the individual, but it also communicates the most pervasive problems in society. For example, during the more than two years of my Amateur AV Interview project, issues ranged from the individual body to the social body, including childhood sexual abuse and misogyny, the confessions of sex workers and consumers, depression, BDSM, and the role of the virtual. They reveal, say, the world’s two-dimensional eroticism, or the erotic undercurrents of the Hong Kong demonstrations… It turned out that what I was exploring was not about porn or erotica itself, but looking back at life experiences through these.
觀者透過虛擬實境（VR）裝置與3D空間聲音（360 Spatial audio）回到不同時空下的面試現場。在虛擬實境中，觀者的身體處於導演與受試者之間，並經由轉動身體選擇觀看視角，重新剪輯成一部新的VR成人片。於此，觀者的身體成了AV剪輯師，每位觀者將透過各自的身體去觀看專屬於自己視角的A片。
透過360影像新媒體的特性，改變傳統影像生產從「錄製」到「剪輯」再到「觀看」的權力關係。跳脫「男性凝視」（male gaze）或「女性凝視」（female gaze）的二元框架，以更趨近於酷兒理論的角度，創造專屬360攝影機的全景「泛性」視角，也回應著我自身不斷流動的性傾向。消除過去單向鏡頭的絕對權力，不再具有鏡頭「前/後」及權力「上/下」之分。重新詮釋「導演」、「受試者」、「觀者」三者間，看與被看的關係及彼此身體的關聯性。