Short videos; close up visuals and amplified sound: stone marbles in mouth and the grinding sound as they move against each other; can't easily correlate the sound to the movement because it is so strange; so much louder than you know it should be: it becomes the sound of tectonic plates shifting. Bigger and deeper than a mouthful of marbles. The audio adds such depth; engages other senses than visual.
Needle pulling thread through fabric; amazing swishing almost harsh noise of the thread against the fabric; the sound of a pencil drawing on paper; swishing, scraping, overwhelmingly loud; not what I expected. I'm being instantaneously shrunk down to minute size in comparison to these objects; they take on a different aspect while still being immediately identifiable. The familiar becomes warped; how to attain this oddness with my own practice.
"In a time when successive generations of technology amplify human presence at distances for greater than the reach of the hand, what becomes the place and form of making at the scale and pace of the individual body? How does making participate in the recuperation and recognition of embodied knowledge? What are the places and forms for live, tactile, visceral, face-to-face experiences in a media saturated world?" Ann Hamilton's website.
Embodiment:The distinction between the objective and phenomenal body is central to understanding the phenomenological treatment of embodiment. Embodiment is not a concept that pertains to the body grasped as a physiological entity. Rather it pertains to the phenomenal body and to the role it plays in our object-directed experiences. (Cambridge Dictionary of Philosophy)
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