WritingMachinesGroup1

Writing the oposit; Clara

"Cat"

A long, slow panorama shot shows a colorful, uneaven landscape, a female voice over call out ”Cat, Cat, Cat, Cat”, words, that seams to disappear in to the scenery.

A pair of female feet flashes by quickly, but you still are able to catch the her jumping movements.

Another slow, long shot of that colorful landscapes accrue on the screen. The richness of its colors, the structures of the uneven grounds and the details in the ever switching shadows struck your sight.

Again flash of footage. This time it shows the whole legs of the woman, still jumping, shot from a right side angel.

The colorful landscape accuer. The camera rests here now and it is slowly examination the scene.

The footage then cuts in to a straight on profile shot of the woman’s legs and makes her left leg almost disappear.

A pitch black images from a cat’s inside flashes by and over to the backside of the woman’s bare ankels. She has tide sliver silk ribbons tightly around both her ankels, it makes it harder for her, to perform the jumping.

Back to dark inside of that cat, after a while the animal slowly opens its mouth, letting light in and you can see that on the bottom of its stomach lies a golden ribbon.

The woman’s legs accrue again, she is still performing the jumping movements and her feet lift themselves high up over the ground.

A second woman makes an entrance, she and the cat are both lying on their stomaches, facing each other and with a rapped pace they start to are crawling backwards, making the space between them bigger.

A close up, fronting shot of the woman’s legs again. She has stopped jumping and is now still, like she is waiting.

The distance is getting bigger and bigger between the secound woman and the cat and after a while the woman disappears out from the picture and the cat is left by itself.

A new behind shot from the first woman’s legs, she has resumed the jumping movements, bending the hollow of her knees in a structured and comfident way.

The camera catches up with the crawling woman, pans over her body and ends up with framing her head.

You can see the light from the cats moth, the ribbon is curling itself up in its stomach.

A bird shot of the woman’s legs comes in to picture, still jumping, still fast, still you can see the ribbons tight to her ankles.

The legs from the second woman are shot from behind, she is also jumping but she keeps the hollow of her knees bent.

Next birdshot frames the faces of the two woman. Their cheaks are pressed to each other, almost lite they want to melt together. The camera zooms out and you can again see more of the colorful landscape that they are in.

The camera angel changes. A behind shot shoes their heads close together, still pressing their cheeks together, it looks like almoast try to kiss.

A last shot of the second woman’s legs from a bird perspective come up. She as stretched her legs a bit more and a ribbon blows by, then she bends her knees again, down, down, down, so that you can see her whole over back and over body.

/////////////////The rewinding machine, Niels.

There is a colourshifting sphere.

A man is walking backwards, it looks natural when he does this. Does he always walk backwards?

Without looking, he jumps on top of the sphere. Reversed he crawls to the edge, and jumps down.

Would it hurt if his chin hits the outline of the sphere? It looks firm but maybe it softens as its hue shifts.

There is a sphere which lets its colour change.

The man lands on the floor backwards, and walks out the frame.

///

It took some time for the soil to become liquid again. After a day I scraped everything up, and put it in a container.

Next I removed the foam which held the core of the island together.

When the core came loose, I put it with the rest of the building materials.

The island dissapeared after I put its vessel next to the bin.

// Mixed questions with mixed answers // Nika.

Geographical studies of the sentiment

These are questions I ask my self.

1. How can an audience feel like they are somewhere they have never been?

2. If one alters the space, does it alter the audience?

3. Do you need to interact with the objects or can they be left alone?

4. If I feel something, will others feel the same?

5. Is this Project relevant today?

6. Do you want people to be alone or do you want them to be together?

7. Does the order of the work change its message?

These are answers I though somebody else could answer

1. They can´t, they will probably feel something different, but they will never know unless they go there.

2. I think perceptions and emotions are related to space, so yes, it could alter what people feel. If this means, altering one audience by changing it to another, then yes as well. People tend to go where they might find interests or people alike or things that they like.

3. Do you want them to be left alone or will you be making interactive objects?

4. No, everybody feels feelings differently, or at least I like to think they are.

5. It is relevant if you find it relevant to you. I think that anything that comes into ones mind at some point is completely intersected and reflective of what one is living and surrounded by.

6. I want people to be together. Feel the warmth. Even though, when people are alone they tend to me more focused and observational. People react differently when they´re alone to when they are with people around.

7. It does. But, that is not a problem.

Exercise of interconnection:

1. How can an audience feel like they are somewhere they have never been? I think perceptions and emotions are related to space, so yes, it could alter what people feel. If this means, altering one audience by changing it to another, then yes as well. People tend to go where they might find interests or people alike or things that they like.

2. Is this Project relevant today? It does. But, that is not a problem.

3. It is relevant if you find it relevant to you. I think that anything that comes into ones mind at some point is completely intersected and reflective of what one is living and surrounded by. If I feel something, will others feel the same?

4. Do you need to interact with the objects or can they be left alone? They can´t, they will probably feel something different, but they will never know unless they go there.

5. Do you want them to be left alone or will you be making interactive objects? Does the order of the work change its message?

6. Does the order of the work change its message? I want people to be together. Feel the warmth. Even though, when people are alone they tend to me more focused and observational. People react differently when they´re alone to when they are with people around.

7. If one alters the space, does it alter the audience? No, everybody feels feelings differently, or at least I like to think they do. 8. Do you want people to be alone or do you want them to be together? Does the order of the work change its message?

9. If one alters the space, does it alter the audience? I want people to be together. Feel the warmth. Even though, when people are alone they tend to me more focused and observational. People react differently when they´re alone to when they are with people around.

10. Is this Project relevant today? No, everybody feels feelings differently, or at least I like to think they do.

---

Second part:

So im kind of interessted in power structures; and how a power structure can excist between two people. And ho wit can express itself through body language. Im interessted to play with Faucault has a tekst in which he writes there will always be someone who has more power in a relationship. But you cant take that away, but it is possible to swap power. You can deside who has power. Im interessted in this concept. I try to minimize this, so i can see it becomes who has power. On vicitm and wrong doer: Can agree with the concept that these two are the same. I would not use the word victim. Im more inte3ressted in Pulling it back to yourself. There is no victim. There are two people executing power. More interessted in when someone likes to be conquered and this dynamic swaps. It is a game; one becomes conquered by obsorbing power hereby he or she becomes the other person. Game: we know that I have to kill you. We both know that this is how it ends, these are the rules. I will kill you to get the prestige from other people. When you are dead we got to swap. The game starts from the beginning, where I kill you on the same premise as before. When im dead, the game begins over again. There are set rules, there is a unity, both persons have the same capacity. You have to wait for someone to go down on a slide before you can have the fun. What can I do with this swap of powers, how can I make this Sadomasochistic point of view because persons know what will happen, but the power swaps.

I am dead because you killed me. Now you are dead, because I killed you. Now I am dead, because you killed me. Now you are dead, because I killed you. Now I am dead, because you killed me. Now you are dead, because I killed you. Are you alive? I am alive, you are about to kill me. Am I alive? Yeah, you are. I havent killed you yet. What about you, are you alive? Yeah, I think I am. I am definitly alive. Am I dead? No. Are you sad? Yeah. And I still need to kill you. Are you sad? Yeah, because I need to kill you. Does that make you sad? Yeah because I need to kill you. What do you need to do? I still need to kill you. Do you need to kill me? Yes. What do you want? I want to kill you. What do you want? Do you want to kill me? I want to kill you right back. I want to kill you too. I want kill. I want that too. what are you thinking off? Im thinking about killing. And Im thinking about you. What are you thinking off? I am thinking about you, and killing. Me too, I think I want to kill you, do you want to kill me? Yes, I do want to kill you. How do you feel? I am feeling kill. How does your killing feel? It feels like killing. Do you feel you could kill? The feeling of killing is strong. It is strong in me too. Who are you? I am frustration. Havent we met before? I know you. I know you too, did you feel the frustration? I am frustration. I am not sure if I am frustration, are you sure? No. What are you doing tonight?

I am because you me. Now you, because I you. Now I am, because you me. Now you are, I you. Now I am, because you me. Now you are, because I you. Are you? I am, you are about to me. Am I? Yeah, you are. I havent you yet. What about you, are you? Yeah, I think I am. I am definitly. Am I? No. Are you? Yeah. And I still to you. Are you? Yeah, because I to you. Does that you? Yeah because I to you. What you to do? I still to you. Do you to me? Yes. What do you? I to you. What do you? Do you to me? I to you right back. I to you too. I. I that too. What you off? I about. And I about you. What you off? I about you, and. Me too, I I to you, do you me? Yes, I to you. How you ? I am. How does your? It like. Do you you could? The of is. It in me. Who you? I frustration. Havent we before? I know you. I you too, did you the frustration? I frustration. I am not if I frustration, are you? No. What you tonight?

So I bought flashlights. Antique flashlight. And those flashlights I hope that I will get 8 or something like 8. Close tot hat. I want them to shine a light. And I like them to be in a cabinet on the wall. In the cabinet there will shine light and the light will go on and off. So i twill look like they are speaking to each other with light. I really like the flashlight because the are made to fit in your hand. They are made to fit in your hand. In the cabinet you can also recognize made for no sorry. So I have not made the sculpture yet, I am still waiting for more flashlights and a good cabinet.

When you look like it you can see that the flashlights can communicate even if they are dead. Live less. What I want them to feel is how something can be, how there is a hole life behind lifeless objects. I don’t want it to be romantic. Em, I guess that I want them to feel is alienated, astringed, curiosity, confusion.

I don’t want them to touch it. Just to see. The short story is in a book, so you can hold that. You can go as close as you like, It should look like it can be in you house as well. It shall be domestic. Something in you house that is really strange. Strange, it means you can recognize something, but you can not relate to it. So like the flash light that are communication, you recognize the flashlight and the communication. But you can’t relate to it anymore, or maybe you can. Maybe I should say it differently. You can recognize it and you can relate to it. But you don’t understand it any more.

I guess that the thing that I call peace full confusion. It confuses you, but not in an aggressive way. Friendly, kind confusion.

So I bought lighthouse. A brand new light house. And those flashlights I hope that I will get 16, nothing else then 16. Exactly that. I want them to be brighter then the sun. And I like them to be in a tower on a mountain. In the tower there will struck you and the light will stay on the whole time. So I twill look like they are screaming to each other with light. I really like the light houses because the are made to fit in your ship. They are made to fit in your ship. In the tower you can also recognize yourself. So I defiantly not going to make this sculpture, I am still desperate for more light houses and a the perfect tower.

When you look at it you can see that the light houses can communicate even if they don’t exist. Live less. What I want them to feel is how something can expand, how there is a whole existence behind existenceness objects. I puke on romance. Em, I guess that I want them to feel is dead, weird, euphoric, dileries.

I don’t want them to caress it. Just to absorb it. The mini story is in a book, so you can caress that. You can go as close as you possible, it will look like it can exist in you house as well. It shall exist domestic. Something in you house that is extremely strange. Strange, it means you exactly know something, but you can never relate to it. So like the light houses that are screaming, you know the light houses and the screaming. But you never relate to it forever, or maybe you already are. Maybe I should say it totally differently. You have recognize it and you are relating to it. But you never understand it any more.

I guess that the thing that I call silent full confusion. It deleires you, but not in an hate full way. Loveing, sweet delirium..