bin-sink-toilet seat-toilet paper-table-flush

table-chair-shelf-heater-window-board

bed-table-switch-drawer-floor-closet

drawer-oven-hob-table-wardrobe

wardrobe-tap-door-switch-table

bin-sink-toilet seat-toilet paper-table-flush







table-chair-shelf-heater-window-board





bed-table-switch-drawer-floor-closet








drawer-oven-hob-table-wardrobe

















wardrobe-tap-door-switch-table









Toilet: bin-sink-toilet seat-toilet paper-table-flush-heater















table-chair-shelf-heater-window-board

















bed-table-switch-drawer-floor-closet







drawers-oven-hob-table








wardrobe-tap-door-switch-table



















Looking at my last project, I thought of using body instead of yarn to touch as many objects as possible in some areas indoors like twister:
I’m not sure if it’s gonna work because I’m afraid the body would cover most objects.



Door
























Toilet








Door + Toilet




Hook








Table + Chair + Corridor















Decided on the following two photos that showed table & chair, and drawer & corridor as they looked better and also covered most areas.





















GROUP CRITS
SHOOTING PLAN
Still thinking about how I couldn’t accept the disconnection from other, I’ve been looking at Rebecca Horn’s body extension work especially the gloves:

It makes me think about the need of getting in touch with the space all the time. I got the idea of using yarn to connect all the area in the domestic space my body once touched through my daily movement, so that my body would not be disconnected from the space in any time/experience. Yarn is used for weaving, which relates to connecting well. The use of yarn is also influenced by my reading about Lacan’s theory that’s related to Freud’s idea:
In a case study which appears in Freud’s Beyond the Pleasure Principle, Freud talks about his nephew, aged about 18 months, who is playing a game with a spool tied with yarn. The kid throws the spool away, and says “Fort,” which is German for “gone.” He pulls the spool back in, and says “Da,” which is German for “here.” Freud says that this game was symbolic for the kid, a way of working out his anxiety about his mother’s absence.
https://www.webpages.uidaho.edu/~sflores/KlagesLacan.html
The visualisation of the trace of my movement is also influenced by The Fold:
To have or to possess is to fold, in other words, to convey what one contains ‘with a certain power.’
Deleuze
I feel the movement is similar to folding, which consists of one’s experience/existence physically. Domestic space is a container to body. I think the sense of unity/non-separation is also a sense of being contained. The attachment between the movement to the space shows the desire of being united with the container. However, the more attached one’s existence is to the container through time, the less functional the container becomes. It reminds me of Valie Export’s “We are prisoners of our own making”:

I won’t be able to go out with the yarn because it won’t survive outside the container. This attachment makes me unable to enter the society. At the end, as the yarn gets used up, the body cannot move forward without letting go of the connection, or go backward because it’s to unfold the trace, which is to erase one’s experience/existence and break past connections eventually. The body becomes functionless holding on to the unity.
‘The true opposite of the self is not the non-self, it is the mine; the true opposite of being, that is, the having, is not the non-being, but the had.’
The Fold
The inability to accept the loss makes me unable to become a being.
I bought a 150m yarn. I plan to carry it with a tape and scissors wherever I move around the flat. I can only tape it to areas or objects that don’t really move. When the yarn is used up, I’ll ask my flatmate to be at the position where the yarn is used up and hold the end of the yarn, and I’ll photograph the yarn in different space including the body of my flatmate. I’m worried how the visual effect would be because it’s both staged and natural. I’m afraid there’re too many unrelated elements in the space but it also should be the place where I live otherwise it would just be random attaching.










Still thinking about the desire of keeping the shape of the unity with the supportive objects I photographed last time, and the idea of blob, I suddenly thought of using cling film to wrap the objects and the body to form a visual unity and also achieve a better effect of blob. Cling film tells the clingy characteristic of the self in a “relationship” which eventually causes too much pressure to other and drives other away. The wrap reminded me of my previous performance project Futility and also its inspiration:

Then it reminded me of my reading about a fashion design. I remember it talks about how it sees accessories as part of body. It should be about the show Lumps and Bumps.



With the use of cling film, I decided to have the body on the objects using them normally because it’s the original unity it wanted to keep.
I thought about removing the objects in the unity shapes but I didn’t think it’s obvious enough to tell what the objects are. With objects in presence, it shows the desire of not letting go of the support, the rejection of separation, and the result of disabling the function of the body.
I thought about if I should let the body hold the cling film to show it’s the body’s intention of this wrap. But I feel it’s too aggressive and powerful. There’s a conflict between the natural desire and the knowledge of its futility. The nature wins over in this situation in some degrees. But the result still shows the state of being stuck. It also shows the body cannot become a subject/self this way.
Craig suggested I could play with frame rate of the videos to emphasis the role/eye of camera and express more emotions. I tired to slow down or fast forward a video but the fast forwarded video looked strange and I didn’t feel the effect of speed.
He also mentioned that he felt that the subject and object were equal in the videos, unlike the usual ontology where humans were primary and objects were on command. It reminds me of Lacan’s theory about the Real when the baby hasn’t mastered its own body and doesn’t have control over its own movements. It doesn’t know its body parts belong to it. Then it starts to distinguish between its body and everything else and become aware there exist things that are not part of it. The baby then demands a return to that original sense of non-separation that it had in the Real. But it is impossible, because the union must be broken up for the baby becoming a self/subject.
The inability to distinguish between my body and other and accept the loss of my dependence makes me unable to become a subject/self. I’m only a belonging. I thought of how my body couldn’t react when the support disappeared due to the lack of the sense of the separation between the body and the support and even the rejection of the idea of separation. The role of the subject/object has changed. My body is an object in this situation where it’s got no control over. And other/object manipulates the body. I thought about objects that were supposed to support the body and shape the body at the same time. When the differentiation cannot be realised, the body still keeps the manipulated shape. The role has switched because of my inability to let go of the sense of the unity.




MATTRESS


TABLE


SHOES





Tried different angles and found the last one most natural.
LADDER






Tried different angles and found the last one looked better.
CHAIR



Our desires, it seems, demand not only the reaching and the getting there, which can be achieved momentarily (I’ve got you, don’t fight) and then lost forever (JIGGER BOTH), but the holding on to their object. The repetitively performed impossibility to reach what one is aiming for, in terms of structure and content, is what renders the scene so enthralling for me and its effect on memory so profound.
EIRINI KARTSAKI
Reminds me of Hold/Held and Quit It.
Desire’s function is not to give rise to great satisfactions, but rather to reproduce itself as desire. And repetition’s function seems to enable such an objective.
EIRINI KARTSAKI
Desire builds up desire.