Rot is associated with loss; loss of shape and solidity; loss of time and vitality; loss of zest and purity. Rot recalls dirt and death. As a part of my PhD research, Virginity as Performance: A practice-based inquiry on (female) embodiment and memory in contemporary Turkey and beyond, I developed a subversive ritual act, both in the studio and at home: letting things rot. In one of the performance practices of the research, Dis/assembling her body: an autotopographic multimedia installation, I made my body parts into sculptures out of daily objects to explore and challenge the culturally contested perceptions and performances of purity and virginity for a female body. Sourced by the principles of my somatic and psychophysical performance training (such as cultivation of multisensory awareness), I initially worked with objects phenomenologically based on their similarities with certain parts of my body in terms of texture, shape, size, motility, consistency, depth, temperature, colour and weight. As I searched for the representations of human morphology in objects, I leant towards edible organic objects: food, such as raw fruits and vegetables. Food, in a way the most personal and culturally specific of all the objects, became the material, cultural and symbolic resources of and responses to my movement and actions. In each day of practice (over a period of months), I moved with a special focus on a certain part of my body such as head, leg, hand, foot or gut. As a critical reflection of my movement (which included daily gestures and stylized actions), I made an object-body sculpture of the chosen body part encapsulating my lived experience of it as a woman (see Figures 1, 2 and 3). Working with food in the studio took away my control as a maker because I could not sustain the appropriate conditions such as heat and humidity to keep them fresh and preserved. As I left food open, things got watery, collected dust, grew mould, mildew and rust. The change in my embodied experience of a certain body part (both over the course of this practice and over the course of my life as a growing woman) was reciprocated and/or challenged by the change of the shape and consistency of my object-body sculptures as they gradually and continuously perished, turned

中文翻译：

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让事情腐烂

腐烂与损失有关；失去形状和坚固性；失去时间和活力；失去热情和纯度。腐烂让人想起尘土和死亡。作为我博士研究的一部分，童贞作为表演：对当代土耳其及其他地区（女性）体现和记忆的基于实践的调查，我在工作室和家里开发了一种颠覆性的仪式行为：让事情腐烂。在研究的一项表演实践中，分解/组装她的身体：一个自动地形多媒体装置，我将我的身体部位用日常用品制成雕塑，以探索和挑战女性身体的纯洁和童贞的文化上有争议的观念和表演. 源自我的躯体和心理物理表现训练的原则（例如培养多感官意识），我最初根据物体在质地、形状、大小、运动性、一致性、深度、温度、颜色和重量方面与我身体某些部位的相似性，从现象学上处理物体。当我在物体中寻找人类形态的表征时，我倾向于可食用的有机物体：食物，例如生的水果和蔬菜。从某种意义上说，食物是所有物品中最具个性和文化特征的，成为我的运动和行为的物质、文化和象征资源，并对其做出反应。在每一天的练习中（在几个月的时间里），我特别关注身体的某个部位，比如头、腿、手、脚或肠道。作为对我的运动（包括日常手势和程式化动作）的批判性反映，我为选定的身体部位制作了一个物体雕塑，囊括了我作为女性的生活体验（见图 1、2 和 3）。在工作室处理食物剥夺了我作为制造商的控制权，因为我无法维持适当的条件，例如热量和湿度，以保持它们的新鲜和保存。当我打开食物时，食物变得潮湿、积满灰尘、发霉、发霉和生锈。我对某个身体部位的具体体验的变化（无论是在这个练习过程中还是在我作为一个成长中的女人的生活过程中）被我的对象身体的形状和一致性的变化所回报和/或挑战雕塑随着它们逐渐而不断地消亡，转向 在工作室处理食物剥夺了我作为制造商的控制权，因为我无法维持适当的条件，例如热量和湿度，以保持它们的新鲜和保存。当我打开食物时，食物变得潮湿、积满灰尘、发霉、发霉和生锈。我对某个身体部位的具体体验的变化（无论是在这个练习过程中还是在我作为一个成长中的女人的生活过程中）被我的对象身体的形状和一致性的变化所回报和/或挑战雕塑随着它们逐渐而不断地消亡，转向 在工作室处理食物剥夺了我作为制造商的控制权，因为我无法维持适当的条件，例如热量和湿度，以保持它们的新鲜和保存。当我打开食物时，食物变得潮湿、积满灰尘、发霉、发霉和生锈。我对某个身体部位的具体体验的变化（无论是在这个练习过程中还是在我作为一个成长中的女人的生活过程中）被我的对象身体的形状和一致性的变化所回报和/或挑战雕塑随着它们逐渐而不断地消亡，转向