Abstract

Object-Oriented Ontology presents stark implications for the process of the artist. If all matter is alive, then all things are co-performers, and all art becomes performance. How does one work with the presence of the non-human, and what are the ethical implications of attempting to attune to its needs? Beginning with the object of a table, and considering it within both Graham Harman's discussion of "The Third Table" and the thing as a performing object, Meghan Moe Beitiks analyzes the presence of the non-human in performance and asserts a need for awareness, consideration and love in the creative process.