OB-scene is a performance centred on a live sonification of biological data gathered in real-time with a medical vaginal probe (photoplethysmograph), made by the author. The use of the photoplethysmograph, which takes inspiration from the first medical vaginal probes used for diagnostic purposes by Masters and Johnson (1966) introduces a media-archaeological aspect to this work. Data gathered through the probe is processed and transformed into sound and visuals projected in the exhibition space. OB-scene takes inspiration from Jane Bennett’s Vibrant Matter (2010) in which she argues that human agency has echoes in non-human nature and vice versa, shifting away from anthropocentrism towards the concept of ‘vital materiality’ that runs across bodies, both humans and unhuman. Furthermore, OB-scene is affiliated with an emerging movement of women and technology called ‘XenoFeminism’ (XF). It introduces the idea of techno-alienation and focuses on the concept of other/diverse desires, new forms of desiring, experiencing something other (Laboria Cuboniks 2015). In this specific work, this takes the form of a technofeminism incorporating the fluid, the non-human and the diverse. In this performance, the body is fused with the technology, rather than empowered or enhanced by technology itself, body and technology become a unique actant (Latour 2009) enabling the audience to experience the sensorial assemblage as a space for communal experience with political implications. OB-scene is as an immersive environmental work where the senses, affect and memory were key features of ‘assemblage thinking’ (Hamilakis 2017).

中文翻译：

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OB-scene，光电体积描记器和女性身体的现场视听表演

猥亵是以作者制作的医疗阴道探头（光电体积描记器）实时收集的生物数据为中心的表演。光电容积描记器的使用灵感来自 Masters 和 Johnson（1966 年）用于诊断目的的第一个医用阴道探头，为这项工作引入了媒体考古学方面。通过探头收集的数据被处理并转换为投影在展览空间中的声音和视觉效果。猥亵从 Jane Bennett 的作品中汲取灵感充满活力的物质（2010 年），其中她认为人类能动性在非人类本性中有回响，反之亦然，从人类中心主义转向跨越人类和人类身体的“生命物质性”概念。非人的. 此外，猥亵隶属于新兴的女性和技术运动，称为“XenoFeminism”（XF）。它引入了技术异化的概念，并专注于其他/多样化欲望的概念、新的欲望形式、体验其他事物（Laboria Cuboniks 2015）。在这项具体的工作中，这采取了一种技术女性主义的形式，融合了流动的、非人类的和多样化的。在这场表演中，身体与科技融为一体，而不是被科技本身赋能或增强，身体和科技成为独一无二的行动者（Latour 2009）使观众能够体验感官组合，作为具有政治意义的公共体验空间。猥亵作为一项沉浸式环境作品，感官、情感和记忆是“组合思维'（哈米拉基斯 2017 年）。