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羊喘兒，single-channel video, 2021
ナレーション：カフカ「巣穴」1931
This society holds many typical expectations toward women (and certainly toward men as well), and there is no better reflection of these expectations than the advertisements we see everywhere. Richard Rushton, in the essay "Deleuzian Spectatorship," refers to two modes of viewing – "absorption" and "immersion." He argues that the term "absorption" is more representative of today's visual culture than the currently popular "immersion." In the "absorption" mode, the viewer enters a film and is absorbed by it, whereas in the "immersion" mode, the film comes to the viewer and surrounds him or her. For Rushton, immersive viewing still maintains the demarcation between the viewer and the object of viewing, yet the absorbing viewing experience creates the possibility of the body entering
another world and thus becoming another body.
For my work, I browsed and investigated several large royalty-free commercial video download sites containing a large amount of video footage, which is frequently used to create commercials, promos and other images. In the footage, female models predominated. I selected three of the most popular templates from this footage: a woman smiling for the camera (a friendly woman), an independent woman with a successful career, and a good girlfriend or a good mother. These reflect some of the most prominent expectations of women in today's society and may also express the most prominent expectations women have for themselves, making it impossible to separate the cause and effect. I then used AI Deepfake (a face-swapping technology that is popular on short video platforms today) to
swap my own face with these female models and create my digital doppelgängers.
この作品で、私は AI 顔交換アプリを使って、主に商用利用されているロイヤリティフリーの 動画サイトから抜粋した女性モデルに自分の顔を移植している。それらの動画の中の存在や 振る舞いは、できるだけ多くの商品にマッチするように繰り返し複製され、高度に産業化さ れている。美しく親しみやすいイメージ、自立した人格、良き妻、良き母...。彼女らは商 品の宣伝者であると同時に、宣伝される商品でもある。
この作品の主人公は、自分の人造ドッペルゲンガーの後ろに、自分に「巣穴」を作りあげた。
―これらのドッペルゲンガーは、この社会から女性に対しての期待に完璧に応え―個人と個 人の違いが 曖昧し、意味もなさなくなり― 私は他人であり、すべての他人も私である―
これは、世界で一番の隠れ場所ではないだろうか。
TheBurrow:Doppelgängers
羊喘兒，single-channel video, 2021
TheBurrow:
ナレーション：カフカ「巣穴」1931
This society holds many typical expectations toward women (and certainly toward men as well), and there is no better reflection of these expectations than the advertisements we see everywhere. Richard Rushton, in the essay "Deleuzian Spectatorship," refers to two modes of viewing – "absorption" and "immersion." He argues that the term "absorption" is more representative of today's visual culture than the currently popular "immersion." In the "absorption" mode, the viewer enters a film and is absorbed by it, whereas in the "immersion" mode, the film comes to the viewer and surrounds him or her. For Rushton, immersive viewing still maintains the demarcation between the viewer and the object of viewing, yet the absorbing viewing experience creates the possibility of the body entering
another world and thus becoming another body.
For my work, I browsed and investigated several large royalty-free commercial video download sites containing a large amount of video footage, which is frequently used to create commercials, promos and other images. In the footage, female models predominated. I selected three of the most popular templates from this footage: a woman smiling for the camera (a friendly woman), an independent woman with a successful career, and a good girlfriend or a good mother. These reflect some of the most prominent expectations of women in today's society and may also express the most prominent expectations women have for themselves, making it impossible to separate the cause and effect. I then used AI Deepfake (a face-swapping technology that is popular on short video platforms today) to
swap my own face with these female models and create my digital doppelgängers.
この作品で、私は AI 顔交換アプリを使って、主に商用利用されているロイヤリティフリーの 動画サイトから抜粋した女性モデルに自分の顔を移植している。それらの動画の中の存在や 振る舞いは、できるだけ多くの商品にマッチするように繰り返し複製され、高度に産業化さ れている。美しく親しみやすいイメージ、自立した人格、良き妻、良き母...。彼女らは商 品の宣伝者であると同時に、宣伝される商品でもある。
この作品の主人公は、自分の人造ドッペルゲンガーの後ろに、自分に「巣穴」を作りあげた。
―これらのドッペルゲンガーは、この社会から女性に対しての期待に完璧に応え―個人と個 人の違いが 曖昧し、意味もなさなくなり― 私は他人であり、すべての他人も私である―
これは、世界で一番の隠れ場所ではないだろうか。