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This thesis is an investigation of life, which to me is equivalent to the body. Life and body are certainly a different nature, a body can exist as a corpse without life and life entails so much more than the body itself. Biologically speaking, however, life is described as selfsustaining processes which can exist in various forms eg. fungi, bacteria, animals and plants. In the view of the fact that we experience life through the sensations and consciousness of our own bodies, the body has an apparent parallel to life. Since this thesis is its own body I will start with Act l - Birth, an exploration of the body and soul, in this chapter the materialisation of the concepts will also be discussed. Act ll - The social being, is an enquiry into the body in relation with others, not to mention the relationship between the performer and the audience. And at last, Act lll - Death and Memory. This chapter will focus on presence of absence and how the absence is stored in form of a void or an object. Post-performance: how is the memory preserved. During the research for this thesis I have come across various topics and fields of study. The text is a woven patchwork from personal experiences, biology, sociology, psychology, philosophy, art practices and art theory. In the process of writing I have been confronted with some challenging questions I would like to present as my research core: Is it possible to eliminate the gap between life and art? The art and the life of an artist are intertwined. Art has been used to depict subjects which are experienced in life or life itself, and the time in an artist life is dedicated to work: to create the art. In its parallel existence belonging to different worlds dividing art from life. Moreover, in contemporary art “found objects” are a common medium which means found material, it can be a sound, an item, or even an action. Not only does art become life, but life refuses to be itself. However the setting is different. I will give examples of artworks and artists who work in different medias, but I focus on performance art as it has a clear parallel to life in its four dimensional form. Is it possible to distinguish presentation anrd representation? I consider the main challenge with the medium of performance art to be theatricality. The theatre has a representational quality, it mirrors the reality whereas performance art aims to be something of itself. Nevertheless, I think it is important to address the spectacle that life and society carry and this makes me question: Is the theatricality legitimate beyond the stage? In life there is a certain implicit rule to what behaviour is expected and accepted in a set situation. This fact implies that a script is acted in order to support a culturally recognised social rule (from psychology referred to as social script) . Is the script a genuine expression of the individual if is determined by culture and society?
ACT - I THE BIRTH_ An exploration of the body
Throughout the history of art the human body has been of significant importance. The way it looks (apart from the distinction between the genders) is more or less the same, but the way it has been presented and interpreted has changed throughout the times. The human figure has been essential to the understanding of different facets of gender, sexuality, beauty, and ethnicity - traditionally represented either with drawing, painting or sculpture. As the choice of media became an essential component in the interpretation of an artwork in the field of conceptual art, the role of the body has expanded to new domains. To use the body itself as a medium is usually associated with performance, but the body has also been used as a tool to transfer paint to canvas e.g. Jackson Pollock, Yves Klein, and Kazuo Shiraga
Performance art was born about a hundred years ago. It is not to be confused with the performing art disciplines that have been known to exist since pre-historical times - as dance, theatre, and music. In common with performance art, the performers use their body and their mental capacity to interact with the public. Performance art is a form of expression where artists use their bodies, usually in front of a live audience, as an artistic medium explored from the angle of fine arts. The tradition of performance art can be traced back to the beginning of the 20th century with Dadaists, Futurists, and Bauhaus. Nevertheless, the art form didn’t become explicitly labeled until in the 70’s. As the body is the medium of performance art, let’s start off having a closer look at what the body is: the body is a captivity we are born in. We are not in command of our physical appearance, state, gender, size or ethnicity. Yet we are subjected to ideas which are projected upon us based on our exterior. In addition to the outside of our bodies we are born with a mind, a self, which will lead us through whatever experiences might come our way. In addition, we are also equipped with a certain voice, way of movement, mimic, sensational qualities: smell, taste, touch, etc. All these elements together constitute us. Who we are is certainly also influenced by external factors, even at the embryonic stage when we are thought to be most sheltered from any outside influence. Nature and nurture have a complementary relation to each other. Nevertheless, most theories in psychology claim personality to be relatively stable. It is not known for certain where the word “body” comes from but it is likely to have its origin from the Greek word apotheka, which means “storage”. “Apotheka” is the root to the words boutique, bodega and bodich (beer barrel). The body is a container, the skin is a layer that keeps us together and, according to a common view, defines us. Surface means the outer boundary of a physical object. Is the bodily surface necessarily our only boundary as we “contain” so much more?
As we are all born different, our bodies are stamped with their idiomatic limitations of flexibility, stability, strength and mental barriers. Although the boundaries build an arrangement that composes us in a way that lasts throughout our different stages, all of the cells in our body renew themselves except for the ones in the central nervous system - those stay with us throughout our life. There are unexpected changes that may occur which change our body, for instance accidents and illnesses that can create permanent injuries and traumas. Choices we make as well can sculpt your body and mind, either constructively or destructively. Habits over time transform our physical and mental states by for example the choice of diet, intake of substances, physical and mental training. The decisions we make may shape the body if we bring them into action. And the influence is mutual: bodily activity influences the mind, for instance by releasing hormones. There is a clear relationship between the mind and the body beyond the fact they share space. The mind-body problem is an old concept described by the philosopher René Descartes (1596-1650) who attempted to explain the relationship between the physical body and the mind. One of the main concerns is how consciousness is connected to the physical brain. There have been many attempts at solving this problem, and the main proposals are variations of dualism and monism. Dualism separates the two entities whereas monism is the position that denies their distinctness and separability. The mind-body issue has a clear connection to the relationship between concept and material as these are often considered together as single unified entity, a body of work. Most artworks share the quality of being a be a physical object. They are material with a surface that can be understood from formal properties, but they also have a context, a story, an intention. The content and the aesthetical is evenly associated with the artwork, like one’s identety is both related to the appearance and the personality. Consequently an understanding of the significance of these objects would depend not only on the visual appearance of the physical objects, but also on the subjective interpretation of both the creator and the observer of these objects. A human body has an ephemeral and interactive quality unlike the traditional art media which are lasting and still. A sculpture made of marble will certainly grind and break down, the oil paint will vanish - but this takes time. When it comes to performance art, the sense of time is analogous to the speed in life. The sustained stillness of the older media is as if time has stopped and preserved the beauty of a moment. The silence provides room for attention, it is uninterrupted and motionlessness. This makes painting so concentrated. Whereas we now surround ourselves with speed and action, different art media have advanced and become less still and more volatile, both with respect to being in motion and often also interactiveness- as for instance with in performance art.
Sometimes the body is referred to as a temple. In common with an architectonic space the body is a host. In evolutionary biology, parasitism is the relationship where one organism lives on or in the other as a host. This will often cause some harm to the way of life for the host. The life of the parasite depends on the host and this is the foundation of how the parasite is physically built as for examples mosquitoes, the transmitters of malaria, some fungi and countless types of bacteria. Also, there is something that can be labelled social parasite, the term origins from ancient Greek parásitos, the one who lives at another’s expense. The Russian poet and intellectual Joseph Brodsky was arrested in Leningrad in 1964 for parasitism as his anti-soviet poetry was considered a burden to society. It often depends on perspective who is the social parasite: for a socialist the upper-class is a parasite stealing from the poor, whilst for landlords house occupiers are a pest. In fact, it’s easy to be a host from one point of view and a parasite from another.
ACT II THE SOCIAL BEING The body in relation to other bodies
In Act I we discussed the human body in relation to itself. Yet, it usually always exists in a situation, in a context. The human being must position itself in relation to others. Act II will deal with this social aspect of the physical body and the self, as well as the interconnection between performer and audience. This subtile performativity that transpires in life is something I would like to address in this chapter - Art in the context of a gallery setting is curated and staged, whilst our lives are thought of as true and real. Yet, planning, arranging, framing or even performing are elements which delude reality in our everyday lives. This is especially obvious in politics as well as in social media. In quantum mechanics the problem of measurement is often demonstrated through the paradox of Schrödinger’s cat. Schrödinger’s cat is a thought experiment: a cat is placed in a box and there is a 50% chance that poison will be released and kill the cat, depending on the behaviour if a subatomic particle. Until we observe, we are dealing with a both a potentially alive or dead cat at the same time. According to the theory a particle in the so called superposition has different positions at the same time. At the moment of being seen it behaves differently. When we look away, we have in fact no idea of what is going on, the superposition state means there are endless of possibilities. Quantum mechanics equations are aimed at particles, atoms and maybe molecules, the cat is only an allegory. Sometimes I like to think about people the same way: one thing is when you sing in the shower in the safety of solitude, another to when you are performing in front of people. Your self-consciousness will make the performance different, in some cases the presentation improves because you are focused while in others it might not go as well as planned, this also has to do with the hormones adrenaline, cortisol and norepinephrine which are the major stress hormones, they are the reason your heart rate increases and your muscles are tense, but they also make you more alert and sharp. Also the relationship between the performer and the audience is of major importance to the result of the performance. Empathy is crucial to how we immerse ourselves in art and how we relate to it. In performance, the performer mirrors the viewer and by that connect, for instance by showing familiar situations or emotions. In traditional theatre the actor plays a role and with the character’s personality and story the performer evokes a feeling or compassion from the spectator. This is rooted in empathy. Empathy is an instinct, the more collectively we work the better becomes the physical and mental profit. When the actor is going inside the skin of a character, it is important that they empathise and understand the person they are going to represent. On the stage the actor manipulates us to share the feelings, comparable to how politicians use rhetorical methods to reach the emotion of the audience. This is essential to society, moral and ethical rules and norms depend on it. It is believed that there are two reasons why our ancestors developed empathy: Firstly, the survival of the offspring depend on the care of the parents. Secondly, cooperation is essential to civilisation. We originate from group animals- collective bodies, collaboration is physically and emotionally rewarding and a necessity to be part of the community is a necessity. That is maybe why lack of empathy is viewed as dangerous and a sign of bad mental health. From a more cynical view, the Italian philosopher and politician Niccolò Machiavelli (1439- 1527) argued that all actions are done from a selfish intention and not from a wish for the common good. Machiavelli was interested in the mechanics of power, and not so much in ethical questions. That was probably connected to his cruel vision of humans which he thought to be both egocentric and calculated.
In my own work I contemplate on questions regarding performance as medium. In my pieces I aim to create living sculptures as my background is sculpting. For me the key to accomplishing a rich performance is mental preparation and a form of planning in order to create a certain set of direction, yet still leave space for improvisation and playfulness. My performances are non-verbal because I think the body and action speak more strongly in this loud world we live in. The act of comprehending is something which requires time, no rush, that is why concentration and duration are keystones to get meaning across. I avoid to mask myself with a role or a “costume”, unless the costume itself has a point.
For example Three phases of water is a performance piece I made in 2019 that consists of a body and a watersuit. I wanted to turn the body inside out. The performance is based on a costume made of transparent plastic latex filled with water. The fundament and the protagonist of that piece is the water inside the costume. The body consists of app. 70% of water analogously to the surface of earth which is 70% covered by water. Water is one of the few substances on earth that takes shape in all the three phases: solid (ice), liquid (water) and gas (steam). This incredible property lays the foundations for water to recycle itself. The basis for the choreography is the force of gravity which transports the water on the outside of the body in an enclosed circulation. As the water flows from one body part to another the sound of a river’s stream emerges.
It is important to distinguish the theatre from the performance art. The boundary can be unclear since performance tends to have theatricality, but it is real. The performer is present as him/herself, it is not acted. Traditionally in the theatre the actor is protected, layered by a role, props and scenography - the actor represents and impersonates. When he or she has a knife on the stage, there it is a fake knife and when the knife cuts the body a bag of false blood will pour out. It is based on an illusion made where the audience has a passive role and there is an invisible wall between the performers and the audience called the fourth wall. That is the basic condition in the tradition of theatre. That being said, the experimental theatre has for decades challenged these conventions breaking the fourth wall. In the avantgarde course of performative disciplines the boundaries are blurred - a place between dance, theatre and art.
There are a certain implicit rules to about what behaviour is expected and accepted in a set situation. In the language of psychology this is called social script theory. The libretto is already written and we learn to play different roles within the theatre of life. Those who know their roles and how to perform in the theatre of life will succeed following the script they have been handed. The ones who do not know how to follow the script will be performing the wrong character, they will not know their lines nor the timing. In our everyday life we follow a subconscious script of our automised responses to situations which are a part of our routine. In order to save our efforts in reappearing circumstances there is a certain expected script we follow in accordance with the situation or encounter. This might influence us as we are on auto-pilot, and cognition and perception become vague. The social script theory articulates those roles as social functions, it’s a part of our social education to learn how to handle reoccurring situations. For instance when we go to a restaurant the sequence has a specific order, when to order the food, eat, pay, leave etc. this is what is called a script. The scene has already been socially constructed and individuals learn to play different roles within the theatre of life witnessed by each other, a form of an interactive reality audience. In addition to the different situations, scenes, there is another known theory within sociology and social psychology called the role theory which explains the multiplicity of roles we play out as we have different functions e.g. as a family member, a friend, a costumer, a lover, a professional etc.
Representation is essential to how we create meaning through language, signs, and images. The cultural theorist Stuart Hall draws a distinction between three theories of representation: reflective, intentional and constructive. In Hall’s analysis he refers firstly to language, but it can translate to art as well. In the reflective approach, the meaning exists in the world and language functions like a mirror reflecting this meaning. According to this view the meaning lies in the object, person, idea or event, comparable to Plato’s world of Ideas. The ancient Greeks used the term mimesis to describe this reflection when language and even painting and drawing mimick the world. The sign or the representation is thought of as a reflection of reality: ‘language functions like a mirror, to reflect the true meaning as it already exists in the world’ In the intentional representation, Hall refers to the intention of the one who says, writes or creates is where the meaning lies. We all have our unique ways of expressing ourselves and ways of seeing the world. However, since we share a language and the language has an accepted set of linguistic rules it cannot be fully private and individual. At last, it is the constructed representation which proposes that the meaning can be constructed through the language. This suggests that there is no such thing as meaning existing somewhere in a Plationic space independently of our languages and conventions. Meaning is something we create in and through language. Guy Debord writes The Society of the Spectacle and describes the phenomenon of spectacle in 221 short paragraphs. Debord writes about a presentation which is somehow ineffable. He believed appearance had taken over existence and destroys the experience of existence. Living in a society of reproduction, everything that has once lived becomes spectacle. Although the book is written as early as 1967 it is more relevant than ever with the new culture of internet and social media. Debord’s ideas can be applied on so many aspects of society, but in my opinion they are most interesting when seen from an artistic point of view: the chase after depiction. Is the artwork able to communicate autonomusly or is it a distortet imitation of reality? Very often the meaning of the artwork is bound together with a verbal description, and together they complete eachother. If existence is a continuous stream, does it just become a representation when it is manifested in some material or does it have a independent presence? The Society of Spectacle argues that we, in the age of mass consumption, are living in a false or in-genuine state. This falsehood is sold and promoted through mass media, commercials, society’s values, but also through art and in our culture as a whole. Because this thesis is first and foremost about performance art, the same problem emerges. How will the piece be remembered? How do we diffentiate presentation and representation?
ACT III THE DEATH AND THE MEMORY Presence of Absence
(...)that love is of the immortal, as we have several times acknowledged, then do not be amazed; for here again, in the case of animals, and on the same principle, too, the mortal nature is seeking as far as is possible to be everlasting and immortal: and this is only to be attained by generation, because generation always leaves behind a new existence in the place of the old. For over the period in which each living thing is pronounced ”alive,” it is also said to be the same - for example, a man is called the same man from youth to old age, but in fact he is undergoing a perpetual process of loss and renewal - hair, flesh, bones, blood, and the whole body are always changing.’ Plato, Symposium, 207C
The perishability of performance art makes the art form analogous to life, in the fact of being set in a four dimensional continuum of space and time. The ephemeral nature of the piece conveys a thought of mortality. The significance of ephemerality is not exclusive to temporary pieces as performance art, but relevant in all creation of art regardless of the media. By creation, you leave something behind - something which defines you. That force to make art is rooted in a desire to make a continuation of the artist. The transition from an immaterial thought to material action is not given, art is born from emptiness - it is between thought and action. For most people the reproductive instinct is enough to fulfill this need to immortalise oneself by passing on the genes and values to the next generation. For the artist the libido is not only restricted to a sexual drive, but as in Diotima’s speech in Plato’s Symposium. Freud too echoing Plato, describes creative desire as a variant of sexual drive. He categorised three dispositions: perverse sexual behaviour, repression and sublimation. According to him sublimation could be applied to creative processes: “Powerful excitations from individual sources of sexuality are discharged and utilised in other spheres” this is followed by ”This forms one of the sources of artistic activity, and, according as such sublimation is complete or incomplete, the analysis of the character of highly gifted, especially of artistically disposed people, will show any proportionate blending between productive ability, perversion and neurosis.” Eros is the essence of all creation, from artistic expression to the generation of life. One of its purposes is to preserve something. Socrates speaks about the body, which despite its instable nature on a biological level as well as a mental, is recognised as the same from an early age to an old. “Which is true not only of the body, but also of the soul, whose habits, tempers, opinions, desires, pleasures, pains, fears, never remain the same in any one of us, but are always coming and going.” Paradoxically, we gain and loose knowledge and skills - a maintenance is required to uphold the learnings. This is also a fundamental starting point for art, a way to process memory and deliberately depict an impression or remembrance. “Art helps us accomplish a task that is of central importance in our lives: to hold on to things we love when they are gone.” In the fear of forgetting. Jung was interested in the subconscious memory. “Cryptomnesia” means to store a hidden message and forget the source of information. According to Jung ideas are stored in the unconscious and that is the drive to where originality is found. This subconscious place is not only a personal one, but can be collective, not so different from Plato’s ideas of a metaphysical place. “So do not then be amazed at the love that all men have of their offspring; for that universal love and interest is for the sake of immortality.”
Ma is a concept about negative space from Japanese aestethics. The word means pause, gap, interval. It is the space between the structures regardless of whether the dimension belongs to time or space. The interval itself is emphasised and becomes a place for contemplation. Ólafur Eliasson has a work called presence of absence. In this work Eliasson casted a block of ice from the glacier from Greenland into concrete cubes. As the ice would melt in the cast it created a void which left the trace of ice, now only present in the absence. He leaves a the trace of millions of years by layer upon layer of highly compressed snow, and gives a memory of the ice a embodiment in form of absence. Although the properties are created in the material, a structure of matter, negative space has often a crucial role to an item’s properties or character. In a bowl , for instance, the function is to be a container, holder of liquid. Nevertheless, the function doesn’t lie in the walls of the object, but in the empty space created to carry something. Attention to material in relation to negative space is essential for architectural and sculptural thinking, as well as on a two dimensional surface in the form of light versus dark (photography, drawing, painting, graphics etc.). The nothingness is of equal relevance as the mass itself. In the traditional sculpture techniques the negatives have a prominent role as the method of casting used to reproduce, or to make a sculpture from one material to another. As time stopped and caught the shape of the substance. In the tragic volcanic eruption in Pompeii 79AD the lava covered a whole city and casted the time. In the excavations of Pompeii the void of victims became the remnants, molds to cast the bodies.
It varies what kind of trace the artist leaves behind after a performance. The most common way to physically manifest a performance piece, is through photography or video. The documentation of the performance becomes evidence or a physical manifestation. For many performance artists it has also been a crucial solution to find a way to commercialise the art form. A challenge with documentation is its auxiliary nature and the possibilities of different framings. This leads to a subjective representation which is an not accurate documentation of the wholistic experience of the performance. As mentioned in act I, some artists used the body as a tool to create pieces. In that case, it is natural that the outcome is the remains of the performances. For example Francis Alÿs, he is an artist with background in architecture, Alÿs makes performances that explore spatial-justice and urbanity, the works are useally reliant on an action, and leave behind a trace. For instance he made a work where he moved a mountain with the help from 500 participants showel by showel, in this case for instance the repositioned mountain becomes a symbol of the act. However, the process is prior to the result. Because the works takes place temporarily, the byproduct becomes of a secondary nature. Nevertheless, many performances do not have objects involved, nor the action of modification of some material. An example of an artist who takes total distance himself entirely from materialisation is Tino Sehgal. He is a performance artist, with a background in economics and dance. He creates what he calls ”constructed situations”, and emphasises the experience which is only created by the human performing with no objects involved. He has even found a way to sell his performances without even a piece of paper required, but with oral contracts. He is taking a stand as regards the state of material overproduction. Sehgal does not make document ation of his work, and it is neither allowed for the viewer to do so. This is because Seghal wishes the viewer to pay attention during the performance. Seghal himself performed in prestigious productions of contemporary dance pieces and started to question the passive role of the audience. The work becomes an encounter between people who leaves no trace and cannot be archived, but just disappears and is manifested in the memory of the viewer. The piece on the photograph is Kiss 2003, I must add that this is an illegal image. As I already noted, there is no documentation of Seghal allowed. Two dancers in amorous slow motion embraces and kisses, a situation that normally takes place in privacy. The performance, or “constructed situation” as Seghal calls it, is a piece which presents the synergy between two people moving from one position to another. The choreography of this piece is inspired by kisses and embraces depicted in well-known paintings and sculptures such as Courbet, Rodin, Brancusi and Jeff Koons.Through his ephemeral, intangible art, he aims to model a different value set, one based on human energy, action, and social encounters, and the memories of those engaging in these experiences.
In the time we live in striking gestures by nature are confronting us. The environmental challenges colour the political climate. Because this thesis has been dedicated to the ephemerality of life, I want to end it with a devotion to the collective body of earth which correspondingly has a physical and temporal limit. Gaia is the Greek personification of Earth. According to Greek mythology, Gaia is the primordial mother of all life. She gave birth to everything, the world, the universe. The Titans and giants she conceived in sexual union with her son Uranus, the sky. And together with Pontus, the ocean, she gave birth to the Gods of the sea. Gaia’s body is as well as ours impermanent, she is in an endless transformation. Earth is estimated to be approximately 4,54 billion years. Evidently, the earth has had extreme conditions regardless of human. Nevertheless, scientists declare that human CO2 emissions upset the natural balance of the carbon cycle. In my latest performance pieces, I have not only focused on the body in relation to itself, but as something in an equilibrium with nature. In my last a block of ice serves as a counterweight, balancing against a human body of approximately the same weight. The equilibrium can be viewed as the relationship between man and nature. Étude Nº2 is a continuation of my earlier works on water. As the ice is sensitive to the room temperature, the ice melts into water and a different recognition of time is implemented through the gradual change within the ice. I have been interested in nature’s grand gestures, the ice’s quick reaction underlines the urgency. As the ice diminishes, the body emerges as heavier. The water is beautiful, yet a dangerous force of nature. You can collaborate with the unpredictable and the ruthless, but you have to respect its strength. In one sense it is the ultimate contrast to society, whereas society is constantly trying to conquer new domains, we are still subjected to the water, not vice versa. Perhaps that is why man has always felt not only terrified at sea, but also free. There is an urgency in everything. Changes happen fast, this is something which confronts us to pay closely attention and that makes everything valuable in it's own unique nature. The world we live in at this moment can fall down before you know it. Your surrounding, circumstances or the script is not something you are in command of. There is nothing you can try to grab, because the time runs forward.
’All the world’s a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms; And then the whining school-boy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then the justice, In fair round belly with good capon lin’d, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slipper’d pantaloon, With spectacles on nose and pouch on side; His youthful hose, well sav’d, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion; Sans teeth, sans eyes, sans taste, sans everything.’ William Shakespeare, Act 2, scene 7, “As You Like It”
AN AUDITATIVE SCULPTURE, SHALL BE PRESENTED IN AN EMPTY ROOM The performer's physical presence is not important to the work.
I am this space.
I am a site specific work.
I am cursed to always stay.
I don’t decide what happens to me.
I don’t decide who comes and visits.
I will always hold the fort.
I am the boundless three-dimensional extent in which objects and events have relative position and direction. Physical space is often conceived in three linear dimensions, although modern physicists usually consider it, with time, to be a part of a boundless four-dimensional continuum known as spacetime.
I am a geometrical conception of place.
I am called this space and considered to be within these four concrete walls.
Some days I am alone, I just am, without being of any use, without being of any function. Other days I have visitors, breathing changing the level of oxygen in the room, changing the sounds, changing the atmosphere, the light.
They place objects within me. They measure me, analyze me.
I can’t change within myself.
I am not sure what defines me. I am constantly moving, the earth and the universe are always moving. Does my name define me, my content?
I am not a bathroom, I don’t have the content of a bathroom. Would I become a bathroom if there would be placed a toilette inside me?
Would I be me if they would put the function and my name in another room? Would I not exist anymore or would I simply change?
I am the boundary of body. I am not just this air, the air could be somewhere else. The walls make me the place I am. They are not though a part of me. Like your body is defined by the skin. A layer that keeps you together. The space within you is defined by place determinations answering the question where?
Over, under, beside, next to and so on. You are now within me. I am this space. You are in.”