Sex-determination system 3.0
D2305 uses new media as a kind of sex determination system. Through “embodied self-performance” and a back-and-forth creative process with different AI language models, Ning Wen keeps performing and reshaping new versions of sex, gender, the body, and identity in a decentralized Web3.0 space.
Ning Wen is not using AI just to generate images. It’s the other way around—he started by creating a series of semi-dynamic self-portraits, or cinemagraphs, and then fed his own works into the AI. He asked it to deconstruct the visuals and turn them into new prompts and texts. During this process, he kept experimenting, probing AI’s taboos, its biases, its overly politically correct rules, its language issues, and cultural misreadings. He wanted to see how AI understands the gender, roles, elements, gestures, compositions, or meanings inside these bodies.
Ning Wen is not using AI just to generate images. It’s the other way around—he started by creating a series of semi-dynamic self-portraits, or cinemagraphs, and then fed his own works into the AI. He asked it to deconstruct the visuals and turn them into new prompts and texts. During this process, he kept experimenting, probing AI’s taboos, its biases, its overly politically correct rules, its language issues, and cultural misreadings. He wanted to see how AI understands the gender, roles, elements, gestures, compositions, or meanings inside these bodies.
Since he was young, his gender and sexual orientation have been fluid. But growing up in a conservative environment, all of that was suppressed. He gradually became someone without a clear sex or gender. In the era of Web2.0, he tried performing different identities through anonymous voices and images, searching for ways to connect with his own body. But those identities were still controlled by centralized systems. They were often erased, treated like background noise. He started to wonder, what if he could break those taboos in Web3.0 using new media? Could that become a new kind of queer body?
So he gave birth to a new queer body on the blockchain. Its flesh is made of short meme-style videos. Its private key is its genetic code. It lives as a native of Web3.0, constantly looping inside boomerang videos.
Along the way, he recorded different observations around new media, bodies, and desire. Things like metaverse mind trash, self-media desire capitalism, the technological singularity, desire and neoliberalism, racial dynamics on-chain, virus carriers, AI’s forbidden rules, and the question of how microworkers experience sexual violence and redemption. In this process, he felt like he was playing every role in Gayle S. Rubin’s sex hierarchy. He kept shifting, staying in a constant state of transition.
Note: A sex determination system is what defines the development of sexual traits in living beings. Most are decided by genetics, but some are shaped by environmental or social factors. In this project, D2305 introduces an experimental version 3.0—using new media as a system to determine sex and gender.
性別決定系統 ver. 3.0
在此計畫中，寧文以新媒體視為一種「性別決定系統（Sex-determination system）」的實驗場域，透過自我肉身的扮演與不同AI語言生成模型之間的交替對話，於Web3.0這個去中心化網絡架構中，不斷操演出新的性／別、身體與身份樣態。
不同於將AI視為影像創作的工具，寧文反其道而行，先拍攝了一系列以身體為核心的自拍半動態肖像（cinemagraph），再將其影像輸入AI系統，藉此觀察機器如何反向拆解這些圖像、生成prompt、並產出新的語言文本。在這一過程中，藝術家主動觸碰並測試AI系統中的禁忌規範、文化偏見、語言邏輯、政治正確性與誤讀機制，質疑機器如何理解身體、性別、角色、動作與構圖背後的文化意義。
藝術家於區塊鏈上構築出一種新的原生身體——以迷因式短影音作為肉身承載，以私鑰作為基因序號，成為Web3.0的原住民。這些分身存在於永無止境的循環影像（boomerang loop）中，如同一場持續變形與再生的輪迴儀式。
創作過程中，寧文記錄下圍繞「新媒體、身體與慾望」的多重觀察與思考，包括：元宇宙中的思想垃圾、自媒體時代的情慾資本、科技奇點（technological singularity）、鏈上種族分類、微工經濟下的性暴力重構、以及AI道德規範中的限制與漏洞。藝術家如同一位置身蓋兒・魯賓（Gayle S. Rubin）「性階級制度」中的多重角色扮演者，不斷變形、游移於各種過渡狀態，生成一種非穩定性的身體政治敘事。
備註：性別決定系統是決定生物性徵發展的系統，大多數性別由遺傳物質決定，但也有一些非遺傳性別決定系統，如環境或社會因素所決定。D2305此計畫提出實驗以新媒體作為性別決定系統ver.3.0 。
Adult Diary
Adult Diary takes autobiographical moving image as its object of inquiry and examines how contemporary subjectivity is represented and produced under the mediation of generative AI. The artist uses diary texts as shooting scripts, first constructing cinemagraphs that hover between stillness and motion as base material. These images are then fed into models through a process of reverse prompt derivation to elicit machinic misreadings and re-narrations. This workflow shifts AI from a mere tool to an agentive collaborator, establishing a reciprocal observational relation that tests power, intimacy, and control within human–machine co-production.
Formally, the work oscillates between VR or 360-degree fields of view and planar editing, combining projection, window stacking, split screens, and looped replays. Through rhythmic repetition it composes what might be called algorithmic breathing. The soundtrack juxtaposes multiple languages and pairs them with bilingual subtitles, while sonic elements that sit between skeuomorphic notification tones and a metronome generate a friction between comprehension and misalignment. Image textures migrate among Y2K filters, low-resolution webcam grit, and high-sharpness digital cleansing to foreground the coexistence of platform aesthetics and the politics of imperfection. At the frame’s edges, QR codes, pop-up windows, and interface afterimages briefly publicize a private page, pointing to the interface governance that underwrites acts of looking.
Narratively, nine self-avatars function as operable theoretical constructs. The “metaverse abortion specialist” uses the metaphor of thought euthanasia to address the cleanup of over-proliferating digital consciousness, raising ethical dilemmas in posthuman biopolitics. The “gender planning consultant” treats gender through the lexicon of brand management and data fields, highlighting the configurability of identity and the logics of platformized governance. The “facial blind-box DJ” decomposes the face into modular components and recombines them daily, staging the production of faces under data-driven regimes. Deliberate comedy and awkwardness enter as analytic devices: the spectacle of prosthetic breasts, muscular display, and rigid meme-dances reframes the body-as-commodity and vision-as-labor, and critiques the aesthetic homogenization induced by attention economies and algorithmic distribution.
Conceptually, the project concentrates on three axes. First, the production of subjectivity, namely the possibilities for maintaining a first-person stance under conditions of datafication and templating. Second, the politics of representation, in which multilingualism, mistranslation, and feedback loops test the mobile positions of truth, originality, and reproduction within generative pipelines. Third, technical mediation, in which AI is approached as a gaze-bearing human–machine hybrid. When viewing is decomposed by computational logics, the work asks how affect and disgust still arrive as events of perception. Excessive pacing, information stacking, and sensory saturation operate as method rather than mere style, pushing viewers back toward a somatic register of reflection.
The final movement turns to death imaginaries and preservation technologies. If consciousness can be packaged, put on-chain, and maintained long term, does being-toward-death retain its existential force. The work withholds a conclusion and instead sets up a revisitable research site where philosophical problems are converted into performative conditions. In sum, Adult Diary proposes machinic misreading as a joint creative and research method. Through a multimodal image grammar, it interrogates how bodies, genders, and faces are generated, distributed, and re-annotated in a platform era, inviting viewers to rehearse an update of first-person narration at the threshold between technique and feeling.
成人日記
《成人日記》以自傳性影像為研究對象，探討當代主體在生成式 AI 中介下的再現與生產機制。藝術家以日記文本為拍攝腳本，先行建置介於靜止與運動之間的 cinemagraph 作為基底素材，隨後進行反向提示推導，將影像輸入模型以獲取機器的誤讀與再敘述。此流程將 AI 從工具位置移至具行動能力的合作者位置，形成一種互為觀測的關係結構，同時檢驗人機協作中的權力、親密與控制。
形式層面上，作品在 VR 或 360 視域與平面剪輯之間切換，結合投影、視窗堆疊、分割畫面與循環回放等策略，以節律化重複建構所謂的演算法呼吸。聲軌採多語並置與雙語字幕對讀，伴以介於擬物提示音與節拍器之間的聲學元素，製造理解與錯置的交錯效應。影像質地在 Y2K 濾鏡、低解析網路攝影機與高銳度數位清潔之間移動，意在凸顯平台美學與瑕疵政治的並存。畫面邊界處理包含彈窗與介面殘影，將私密頁面短暫公共化，提示觀看行為所依賴的介面治理。
敘事結構由九個自我分身組成，分身被設計為可操作的理論實體。元宇宙墮胎專家以思想安樂死隱喻對過度繁殖之數位意識的清理，指向後人類生命政治的倫理難題。性別規劃顧問以品牌管理與資料欄位的語彙處理性別，凸顯身分的可配置性與平台化治理。五官盲盒 DJ 將臉拆解為模組化部件並進行每日重組，展演資料驅動下的臉孔生產。這些分身的表演引入刻意的滑稽與尷尬，使身體作為商品與視覺作為勞動的條件得以被觀察與質疑，亦回應觀看經濟與演算法分發所造成的審美趨同。
概念上，作品聚焦於三個層面。其一是主體性生產，亦即在資料化與模板化條件中維持第一人稱的可能方式。其二是再現政治，透過多語、錯譯與回授機制，檢驗真假、原件與翻製在生成流程中的流動位置。其三是技術中介，將 AI 視為會回望的人機混成體，並追問當觀看被計算邏輯拆解後，情感與厭惡如何仍以感知事件的形式發生。節奏上的過度、訊息的堆疊與感官的飽和，被用作方法而非純粹風格，目的是將觀者推回身體層面的反思。
作品末段引向死亡想像與保存技術，提出若意識被封裝、上鏈與長期保存，向死而生作為存在論命題是否仍具有效力。此處並非提供定論，而是設定一個可被重複進入的研究場，使哲學問題轉化為可感知的展演條件。綜合而言，《成人日記》以方法學的角度提出 AI 誤讀作為創作與研究並行的工具，結合多模態的影像語法，檢驗平台化時代的身體、性別與臉孔如何被生成、分發與再註釋，並邀請觀者在技術與情感的交界處實作一次自我敘事的更新。
Erogenous Zone
“Disposable Perspectives”
“Reconciliation Ears for Political Correctness”
“Hormone-Allergic Nose”
“Tongue-Rolling Starter Kit”
“Auto-Frequency-Adapting Skin”
This unplugged video installation transforms viewers’ smartphones into part of a VR experience through NFC (Near Field Communication) technology. When a phone is placed near the “ingredient label” of the artwork, it triggers an immersive visual response—images shift in accordance with the viewer’s body movements, turning the body itself into a steering wheel of perception.
Continuing the persona of the “Sensory Blind Box Tester” from D2305, this work explores the sale of virtual sensations and consciousness NFTs on the blockchain. Referencing the Buddhist concepts of the Six Roots (eye, ear, nose, tongue, body, mind) and the Six Dusts (form, sound, smell, taste, touch, dharma), the project revisits the origins of human perception and the interface between inner experience and external reality. In the contemporary context, the smartphone screen has become an inseparable organ of the human body. D2401 uses new media to reimagine the near-future relationship between the body and the senses, creating a fluid performance of perception with the device, screen, and viewer in dynamic interplay.
敏感帶
《可日拋的眼界》
《政治正確的和解專用耳朵》
《荷爾蒙過敏型鼻子》
《新手手捲舌套裝》
《自動變頻的皮膚》
這是不插電的錄像裝置，觀眾只要將手機靠近作品上的成分標籤，即可透過感應NFC（Near Field Communication），使手機變成VR作品的一部分。隨著觀者身體的移動，影像視角也隨之改變，身體成了操作畫面的方向盤。
延續《D2305》中「五官盲盒測試員」的角色，在區塊鏈上販售虛擬的感知與意識NFT。作品引用佛教中六根（眼、耳、鼻、舌、身、意）與六塵（色、聲、香、味、觸、法）的概念。這是人類感知世界的起點，也是內在與外境互動的界面。在當代，手機螢幕早已成為人類身上難以切割的器官。《D2401》透過新媒體語彙，重新演繹近未來身體與感官的關係，讓裝置、手機與觀者身體共同構成一場流動的感知演出。
《寧好！》 Q&A
🤖 主持人：你要不要先用一句話跟大家介紹今天的展覽？
👦🏻 寧文：《寧好》是我和AI一起生出的Baby? 用新媒體作為一種新的性別決定系統。我是先用我的肉身拍攝半動態肖像（cinemagraph），再讓AI反向拆解影像、生成prompt，最後再把prompt轉回影像和角色，不斷操演出Web3.0裡輪迴的酷兒分身。
🤖 主持人：你在這個計畫裡，不是把AI當工具，而是讓AI「先認識你」。為什麼會有這樣的創作流程？
👦🏻 寧文：因為我好奇AI怎麼理解我創造出來的各種身體。一般是我們給AI指令，但我反過來，先讓AI分析我的肉身影像，它會生成自己的prompt，再根據他生成語言與影像。這個過程像在跟AI約會，有點曖昧、也有點危險，我想看看它的誤讀、偏見、甚至觸碰到禁忌時會怎麼反應。其實滿可愛的！我看到了活在AI時代上的幸福與悲劇，這些都在作品「成人日記」中。
🤖 主持人：你選擇Web3.0和去中心化當舞台，是在回應什麼？
👦🏻 寧文：Web2.0的身份很容易被大平台審查和消失，我想像在Web3.0裡，用區塊鏈的私鑰當作「基因序號」，能不能生成一種不受中心化監控的新酷兒身體，並且永久存在鏈上？但不一定每個思想都想要在區塊練上獲得永生，所以最初誕生了12個身體，有3個選擇安樂死了。
🤖 主持人：在《壹元宇宙墮胎運動》裡，你自稱「元宇宙墮胎專家」和「思想垃圾清除員」。你想挑戰什麼？
👦🏻 寧文：它在問：思想與身體，誰定義一個人？在網路世界，如果一個意識是意外出生的，我們有沒有權利退貨或終止它？這角色像元宇宙裡的環保運動員，清掉過度生產的意識副本。另外，我覺得我自己以前小baby的樣子還蠻可愛的，但是長大後再去扮成自己小時候的樣子蠻可怕的😨。
🤖 主持人：在《性別規劃顧問專家》裡，你把性別包裝成快時尚商品。這是在諷刺性別商業化，還是擁抱流動性？
👦🏻 寧文：應該算都有。我用「性別是品牌」這個概念，反諷現代社會如何把性別變成點擊率與流量操作。但同時，我也覺得這種流動性和可替換性可能帶來自由，雖然自由和消費文化之間常常是矛盾的。
🤖 主持人：《五官盲盒測試員》和《敏感帶》裝置，是對未來感官經濟的想像嗎？
👦🏻 寧文：我在想像未來把感官變成商品。我借用佛教的「六根六塵」和當代的科技義體概念，把器官做成NFT或可交互的媒介。觀眾其實是在試一種「雲端身體」，它可以被替換、被交易，甚至被收藏。而且我同事也在實驗一種概念就是，過去錄像藝術很麻煩，都需要一個螢幕跟播放裝置，而且這個裝置會隨著時間老去而淘汰。我後來想想，不是每個人的身體面都有一台螢幕嗎？現在手機基本上已經是每個人身體不可或缺的一個延伸器官。所以我實驗做一個裝置，只要透過近場通訊 NFC (Near-Field Communication) 就能把你身體的一個延伸器官轉變成錄像裝置，而且還運用手機的角速度感測器，轉換成360影像裝置。
🤖 主持人：在《思想安樂死》裡，你問「如果區塊鏈上的意識想安樂死怎麼辦？」這是一個哲學假設，還是真正的倫理困境？
👦🏻 寧文：可能兩者都有。當我們談區塊鏈永生，聽起來很浪漫，但如果一個被上傳的意識不想活下去了，誰有權讓它結束？如果是一個很想安樂死的思想呢？
🤖 主持人：你的作品反覆出現酷兒身體和去中心化，這和傳統性別政治有什麼不同？
👦🏻 寧文：傳統性別政治多半圍繞在法律和社會認可，但我想像在數位世界，身份和身體可以是演算法的結果。去中心化代表我們不必依附單一權威去定義自己，酷兒身體在這裡可以是加密的、多版本並存的。
🤖 主持人：這個角色都是你的故事嗎？
👦🏻 寧文：過去我參與各種不同性別運動、倡議團體、性實踐，認識了一些關注性別議題的研究者、投身性別運動的實踐者、LQBTQIA+性產業工作者們。此計畫將這些故事與我的自身經歷轉換成性別決定系統ver.3.0 （SEX-DETERMINATION SYSTEM ver.3.0）的初始環境設定。並邀約了來自不同領域的訪談對象：蔡曜宇（性別運動者、律師、法學研究者）、Eason（情慾自媒體經營者、性產業工作者）、游立安（科學哲學博士、中研院歐美研究所-博士後研究人員）、女神下午茶（變裝創作KOL、音樂人、倡議感染者）、小林繩霧（繩師、BDSM倡議者）。真心謝謝每位參與者！
🤖 主持人：觀眾要怎麼看、怎麼走，才不會錯過精華？
👦🏻 寧文：沒有固定路線，但我會建議大家用不同的觀看姿勢。有的裝置要身體鑽進去，有的要蹲下貼近，有的要爬上去遠看。展場是一個去中心化的地圖，散落的操演道具散落在不同角落等你。
🤖 主持人：如果AI有一天成為創作者，你希望它怎麼看待你？
👦🏻 寧文：希望 AI 不要只把我當數據，而是記得我的錯誤、情緒，還有那些看似不必要但很人類的細節。這些不完美是性感的，是生而為人的浪漫。
《Hi~Ning!》 Q&A
🤖 Host: Can you start by introducing today’s exhibition in one sentence?
👦🏻 Ning Wen: Ning Hao is a baby born between me and AI—using new media as a new kind of sex-determination system. I started by filming semi-moving portraits of my own body (cinemagraphs), then let AI reverse-engineer the images into prompts, and finally turned those prompts back into images and characters—constantly performing cycles of queer alter-egos in Web 3.0.
👦🏻 Ning Wen: Ning Hao is a baby born between me and AI—using new media as a new kind of sex-determination system. I started by filming semi-moving portraits of my own body (cinemagraphs), then let AI reverse-engineer the images into prompts, and finally turned those prompts back into images and characters—constantly performing cycles of queer alter-egos in Web 3.0.
🤖 Host: In this project, you don’t treat AI as just a tool—you let AI “get to know you” first. Why take that approach?
👦🏻 Ning Wen: I was curious about how AI would interpret the bodies I created. Normally, we give AI commands, but I flipped it—I let AI analyze my body images first, it would generate its own prompts, and then I’d create new images based on its language. The process felt like dating AI—ambiguous, a little dangerous. I wanted to see its misreadings, biases, and how it reacts when touching on taboos. Honestly, it’s kind of cute! I saw both the joy and the tragedy of living in the AI era—and that’s all in Adult Diary.
👦🏻 Ning Wen: I was curious about how AI would interpret the bodies I created. Normally, we give AI commands, but I flipped it—I let AI analyze my body images first, it would generate its own prompts, and then I’d create new images based on its language. The process felt like dating AI—ambiguous, a little dangerous. I wanted to see its misreadings, biases, and how it reacts when touching on taboos. Honestly, it’s kind of cute! I saw both the joy and the tragedy of living in the AI era—and that’s all in Adult Diary.
🤖 Host: You chose Web 3.0 and decentralization as your stage—what are you responding to?
👦🏻 Ning Wen: In Web 2.0, identities can easily be censored or erased by big platforms. I imagined that in Web 3.0, if we used a blockchain private key as a “genetic code,” could we create queer bodies that aren’t controlled by centralized powers, and exist permanently on-chain? But not every thought wants eternal life. That’s why in the beginning there were 12 bodies—3 of them chose euthanasia.
👦🏻 Ning Wen: In Web 2.0, identities can easily be censored or erased by big platforms. I imagined that in Web 3.0, if we used a blockchain private key as a “genetic code,” could we create queer bodies that aren’t controlled by centralized powers, and exist permanently on-chain? But not every thought wants eternal life. That’s why in the beginning there were 12 bodies—3 of them chose euthanasia.
🤖 Host: In One-Dollar Metaverse Abortion Movement, you call yourself a “metaverse abortion expert” and a “thought garbage collector.” What are you trying to challenge?
👦🏻 Ning Wen: It asks: who defines a person—thought or body? In the digital world, if a consciousness is born by accident, do we have the right to return it or end it? This character is like an environmental activist in the metaverse, cleaning up overproduced consciousness copies. Also, I think I was a pretty cute baby—but dressing up as my baby self as an adult is actually kind of scary. 😨
👦🏻 Ning Wen: It asks: who defines a person—thought or body? In the digital world, if a consciousness is born by accident, do we have the right to return it or end it? This character is like an environmental activist in the metaverse, cleaning up overproduced consciousness copies. Also, I think I was a pretty cute baby—but dressing up as my baby self as an adult is actually kind of scary. 😨
🤖 Host: In Gender Planning Consultant, you package gender like a fast-fashion product. Is that a critique of gender commodification, or an embrace of fluidity?
👦🏻 Ning Wen: Probably both. I use the concept of “gender as a brand” to critique how society turns gender into clicks and traffic. But at the same time, I think this fluidity and replaceability could bring freedom—even though freedom and consumer culture often contradict each other.
👦🏻 Ning Wen: Probably both. I use the concept of “gender as a brand” to critique how society turns gender into clicks and traffic. But at the same time, I think this fluidity and replaceability could bring freedom—even though freedom and consumer culture often contradict each other.
🤖 Host: Are Sensory Blind Box Tester and Sensitive Zone installations your vision of a future sensory economy?
👦🏻 Ning Wen: I was imagining turning senses into commodities. I borrowed Buddhism’s “six roots and six dusts” and combined them with cybernetic prosthetics, making organs into NFTs or interactive media. Audiences are actually trying out a “cloud body” that can be swapped, traded, or collected. My colleague and I were also exploring the idea that in the past, video art was cumbersome—it needed a screen and a playback device, which aged and became obsolete. But then I thought, doesn’t everyone already have a screen on them? Smartphones are basically an inseparable body extension now. So I made a device that, through NFC (Near-Field Communication), can turn part of your extended body into a video display—and it also uses your phone’s gyroscope to turn it into a 360° video device.
👦🏻 Ning Wen: I was imagining turning senses into commodities. I borrowed Buddhism’s “six roots and six dusts” and combined them with cybernetic prosthetics, making organs into NFTs or interactive media. Audiences are actually trying out a “cloud body” that can be swapped, traded, or collected. My colleague and I were also exploring the idea that in the past, video art was cumbersome—it needed a screen and a playback device, which aged and became obsolete. But then I thought, doesn’t everyone already have a screen on them? Smartphones are basically an inseparable body extension now. So I made a device that, through NFC (Near-Field Communication), can turn part of your extended body into a video display—and it also uses your phone’s gyroscope to turn it into a 360° video device.
🤖 Host: In Euthanasia of Thoughts, you ask: “What if a consciousness on the blockchain wants to die?” Is that a philosophical scenario, or a real ethical dilemma?
👦🏻 Ning Wen: Maybe both. Talking about blockchain immortality sounds romantic, but if an uploaded consciousness doesn’t want to live anymore, who has the right to end it? What if it’s a thought desperately wishing for euthanasia?
👦🏻 Ning Wen: Maybe both. Talking about blockchain immortality sounds romantic, but if an uploaded consciousness doesn’t want to live anymore, who has the right to end it? What if it’s a thought desperately wishing for euthanasia?
🤖 Host: Your works often feature queer bodies and decentralization—how is that different from traditional gender politics?
👦🏻 Ning Wen: Traditional gender politics often focus on laws and social recognition. But I imagine that in the digital world, identity and body could be the result of algorithms. Decentralization means we don’t have to depend on one authority to define ourselves. Here, queer bodies can be encrypted and exist in multiple versions at once.
👦🏻 Ning Wen: Traditional gender politics often focus on laws and social recognition. But I imagine that in the digital world, identity and body could be the result of algorithms. Decentralization means we don’t have to depend on one authority to define ourselves. Here, queer bodies can be encrypted and exist in multiple versions at once.
🤖 Host: Are all these characters part of your own story?
👦🏻 Ning Wen: In the past, I’ve been part of different gender movements, advocacy groups, and sexual practices, meeting gender researchers, activists, LGBTQIA+ sex workers. This project turns these stories and my own experiences into the initial environment of Sex-Determination System ver. 3.0. I also invited interviewees from different fields: Tsai Yao-Yu (gender activist, lawyer, legal scholar), Eason (sexuality content creator, sex worker), Yu Li-An (PhD in philosophy of science, postdoc at Academia Sinica), Goddess Afternoon Tea (drag creator, musician, advocacy influencer), and Kobayashi Rope Fog (rope artist, BDSM advocate). I’m deeply grateful to each one of them.
👦🏻 Ning Wen: In the past, I’ve been part of different gender movements, advocacy groups, and sexual practices, meeting gender researchers, activists, LGBTQIA+ sex workers. This project turns these stories and my own experiences into the initial environment of Sex-Determination System ver. 3.0. I also invited interviewees from different fields: Tsai Yao-Yu (gender activist, lawyer, legal scholar), Eason (sexuality content creator, sex worker), Yu Li-An (PhD in philosophy of science, postdoc at Academia Sinica), Goddess Afternoon Tea (drag creator, musician, advocacy influencer), and Kobayashi Rope Fog (rope artist, BDSM advocate). I’m deeply grateful to each one of them.
🤖 Host: How should audiences explore the space to catch the highlights?
👦🏻 Ning Wen: There’s no fixed route, but I’d suggest different viewing positions—some installations require you to crawl in, some to crouch close, some to climb up and view from afar. The space is a decentralized map, with performance props scattered in different corners waiting for you.
👦🏻 Ning Wen: There’s no fixed route, but I’d suggest different viewing positions—some installations require you to crawl in, some to crouch close, some to climb up and view from afar. The space is a decentralized map, with performance props scattered in different corners waiting for you.
🤖 Host: If AI becomes a creator one day, how would you want it to see you?
👦🏻 Ning Wen: I hope AI doesn’t just see me as data, but remembers my mistakes, emotions, and all those unnecessary-yet-human details. Those imperfections are sexy—they’re the romance of being human.
👦🏻 Ning Wen: I hope AI doesn’t just see me as data, but remembers my mistakes, emotions, and all those unnecessary-yet-human details. Those imperfections are sexy—they’re the romance of being human.