Three things Anne

Media: https://www.youtube.com/watch?v=oCPoG3EGwVw Text which has a useful relation to your work: - http://humweb.ucsc.edu/feministstudies/faculty/barad/barad-posthumanist.pdf - https://www.academia.edu/1857617/_Intra-actions_Interview_of_Karen_Barad_by_Adam_Kleinmann_

VIDEO: a person sits cross legged performing a crystal bowl chakra meditation. There are bowls sitting around him. He is using an instrument. He is letting it slide over the bowls and it creates a sound, growing higher in tone. I have been watching these kind of meditation videos recently, the ones where objects are uses to acces other states of mind, or other realms you might say. I think this act of performing meditation with objects can function as a way of accessing other ways of being in an almost magical kind of way. It offers another relationship to the things around you. The things being used become like instruments for sensitivity to transcend. In this sense, I also look at shamanic rituals and the objects that are being used and activated.

TEXT Philosophy, time and being an perception and how matter comes into matter. String theory. Meeting the universe halfway. The title says a lot. how one can relate to matter or objects. how objects can be read together and the viewer can become part of the object of matter. The crossing point and exchange between both. exchanges as realtionships that materialise. What realtionships evoke. How to be with objects, how to translate that experience and exsist in unison. Intra-actions (interview wuht karen barad by adam Kleinmann)- relationships that can materialise themselves.

text Karen Barad Posthumanist Performativity objects as different entities as being amongst one another crossing point of two lines connects to the way a perceives the world around her/ connection forming/ relationships etc. Intra-actions

ARTWORK Lunch with objects. Observes interactions with objects they have created. Buisnessmen like to lie down on the floor and be rolled over by a big black ball. The ball as a hole, a black nothingness. It becomes much more than the banality of a big ball- interesting how interaction relates to professions. Things that you can move, sit on and things that move themselves letting objects perfom as they are manipulated Letting objects perfom for you. objects with magnets. Engaging with magnetic forces, one another and the audience. Mark-making robots withing a floor confine. ambient sound of a lunch room + sound of the machines.

Harry Mulisch : writer from depression period Godlike attitude and narcissit. Talking about himslef as an entity that is more than man in interviews. This image of him with vesuvius (SP??), does a similar self to the pervious. Mythic volcano and putting himself on the same level as athe mountain, making himself more of an object.

QUESTIONS the distance between man and mountain. He appropriates it, he tires to become it. Something from literature and wanting to become the other, something present in my way of thinking. i really want to be the other thing that is there. Talk about things as subject object, how to slide into the other thing, what separates us? thinking , we can overcome this but how do we do that physically?

A pedastol for stone, separarting it out from the pack as a totem. Meet out limitations, the longing, that will never be achieved. To put life into the object and death into me. By transforming myself or putting characteristics of the objects onto myself, is how I try to deal with this materially.

Intersubjectivity. An old way Ontlolgies were talked about. Talk more about moving image but more in a way to surface. Physical engagement witht the surface of the ball. the volcano as the surface which reminds us of the molten core. When you think of what the volcano is the writer becomes even more.

Haptic, to grasp, to gain access through touch, The space is as important as the object.
laura mulvey writes about it in terms of film.

One thing cannot exist without space between. A break is important.
Being literal gives a lot of resolution. Marbel balls charging an object, we can never become the crystal but I can vibrate on the same level. The connection is haptic rather than optic, it is within the senses that we can connect with the object. feeling a disconnect because have experienced it only in the optic sense?
you have gone through the journey with the marble which is a foreign structure that cannot give anymore.
Charging artwork. The artist hands have a divinity. You touch an object and you chage it- employing more blief in the self. Let the object do it's thing.
Manipulation in which the word hand is already implyed

art Yvonne Dröge Wendel - let people take a walk with enormous black ball business man love to be rolled over by the huge black ball hole of black nothingness interest in how different demographics might interact differently with the same objects - interactive stuff in the space, objects performing, drawing/marking of the the objects themselves through motorization/seemingly self-directed force dancing, wiggling, the objects are attached to other tools (what is the object then, what is the tool maybe?) like pens choreography - randomness?

harry

mulisch with volcano in the background on holiday in Italy 

trying to figure out the relationship between person and the character the person performs narcissism but also a wanting to become the other (volcano) subject - object how can you slide into this other thing how can you overcome that how can relating to each other be physically possible?

questions/comments a marble book being wrapped as a way to seeking a better connection? - more of a state of awareness, a wish for transformation putting life into another, ingesting death from an object transmission of characteristics

intersubjectivity moving image rather than sculpture but still in relation to surface (laura mulvey) volcano as the surface of the earth that reminds you of the molten core haptics the blank

the intangible material that is always in movement, circling each other time delay in the way that the volcano functions in the productions of different geological materials marble bowls charging this inert objects, vibration at the same frequency as the material though as way to connect (haptic rather than visual) exploration of crystal structures, molecules, etc. marble as a definite foreign structure that can not be incorporated into your body can the artwork be charged through performance or other rituals ? manipulation as way to do things 1) presenter: describe, in your own words, what the text (s) you are reading are about.

2)note taker: make notes on the pad of what your peer is saying.

ask:

3) Why this text is of interest to you? 4) What is its relation to your self directed research?

a work of art (by another) which delights or infuriates you
 https://www.youtube.com/watch?v=ZE3umX6wx_U