Three things Anne

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 The text is on matter (how matter comes into matter). It's from "Meeting the universe halfway" written by Karen Barrad. It touches areas of string theory and philosophy - time and being an perception - that i am interested in. A question that currently has a hold of me is: how one can relate to matter / objects (objects as different entities as being amongst one another)? What happens at the site where the two meet? I imagine this encounter to be a crossing point of exchange between both. I am interested in what these relationships evoke. Being with objects, the experience they offer and the way of existing with each other. Karen Barad talks about exchanges as relationships that materialise. Barad introduces the term Intra-actions (interview wuht karen barad by adam Kleinmann) - relationships that materialise themselves.

ARTWORK The video i am showing is a registration of a work of Yvonne Droge Wendel called "A Lunch with Objects". The camera observes interactions of different objects in a field of play. Some of them are actually moving around, snoring and drawing patterns with pencils they carry. It seems like some of the objects have magnets inside them that makes them drawn to one another or pushed of. on some objects you can sit. There is an ambient sound of a lunch room mixed with the sound of these little machines. there is a sense of choreography to it all, that seems to be driven by randomness or chaos.

I talked for a moment about a previous work of Yvonne Droge Wendel. She made a huge black ball - a big black nothingness - and let people interact with that. She let people roll it around on the street for example. An interesting thing occurred when she let businessmen play with it. It turned out the businessman liked to lie down and be over rolled by the ball. There seemed to be a specific longing for that amongst businessmen. (how interaction relates to professions). How would different demographics might interact with the same objects? - interactive stuff in the space, objects performing, drawing/marking of the the objects themselves through motorization/seemingly self-directed force

In relation to being amongst objects I decided to show a picture circulating on the internet of Harry Mulisch : a post world war II writer with a Godlike attitude and a narcissist. He has a habbit of mythificating himself as a person in interviews. He talks about himself as being an entity that is more than a man. This image shows him on vacation, posing on a wall with on the background the Vesuvius. By naming the picture: Left: Harry Mulish, right: Vesuvius, he kind of puts himself on the same levels as this great mythic volcano, making himself more of a phenomenon then a man as well. This picture questions the distance between him and the volcano. I think he appropriates it, it seems like he wants to become it. This wanting to become the other is also something present in my way of thinking. i am sometimes really driven by the longing to be the other thing that is there; the other thing that is not me. Talk about things as being subject or object and the relation between them, how to slide into the other thing, what separates us? photograph = visualising a connection / relation with the volcano

I talked briefly about people (in Asian culture?) making a pedestal for a stone, treating it as a totem. I think there is something really beautiful about us meeting our limits, and the longing, and being aware of teh fact that something will never be achieved. projecting life into the object (projecting lifeless properties onto me). By transforming myself or putting characteristics of the objects onto myself, is how I try to relate to materially.

Some notes to do something with still: 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.

I also talked briefly about the idea that thing can not exist as things without the space in between them (to separate them from one another).

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. 
you have gone through the journey with the marble which is a foreign structure that cannot give anymore.
Charging artwork. By touching something you could charge it - employing more blief in the self. Let the object act.
Manipulation in which the word hand is already implied

a wish for transformation 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

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

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 and https://www.academia.edu/1857617/_Intra-actions_Interview_of_Karen_Barad_by_Adam_Kleinmann_ also: picture of Harry Mulish next to Vesuvius Work of art which delights or infuriates you: Yvonne Droge Wendels A Lunch with Objects: https://www.youtube.com/watch?v=ZE3umX6wx_U