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Yoko Asakai

They are watching movie at home. A camera is watching them. They are both “seeing” and “being seen.” During the everyday act of watching a movie they become both the subject and the object of the verb “to see.” The presence of a camera prompts people to enact how they want to be perceived in subtle and varying ways—the genre of movie they select, the way they spend their time, the type of food they prepare..., and the interior of the room. These are all projections of each resident’s personality and their life. When they become immersed in the “time” that they have produced, the camera’s presence is forgotten momentarily, and each person’s least guarded, natural gaze is revealed. It is as if they are completely unaware of their surroundings, nothing can intervene between them and the object of absorption. At the same time this beautiful state is a sight that can only be witnessed by others. Leaving the observer to wonder, what is that person thinking or feeling at that time? Are they engrossed in the movie? Are they re-experiencing a past memory triggered from a particular scene? Or are they contemplating their present situation? The sight captured is a moment within a slice of time represented by the movie chosen on that day. It embodies not only the “time of the movie,” but also the “everyday time” and the countless different life stories of each individual viewer, all of which flow in parallel.