Definition

Object-love, which I have set out as a less intense form of objectum sexuality (debatable, but for this project it is useful), is the central theme of this project. I did quite a bit of research on this topic, much of it from first-hand sources.

"Objectum sexuality commonly referred to as OS, is a pronounced emotional desire towards particular inanimate objects. Those individuals with this expressed preference may feel strong feelings of arousal, attraction, love, and commitment to certain items or structures of their fixation. For some, sexual or even close emotional relationships with humans are incomprehensible. The term objectum-sexuality (Ger. objektsexualität) was coined in the 1970s by Eija-Riitta Eklöf Berliner-Mauer, a woman from Liden, Sweden who was "married" to the Berlin Wall. Objectum- sexual individuals also often believe in animism, or the belief that objects have souls, intelligence, feelings, and are able to communicate."

~ Wikipedia article on Objectum Sexuality (26/10/09)

Case Studies

Documentary on Objectum Sexuality (It cuts out before the end, but not much is missed)

The first I heard about Objectum Sexuality was through an acquaintance online, pseudonymed Laviavolta. Here are a few quotations from her discussing her sexuality.

Discussion

As part of my research analysis and as part of my information for the lover-performers, I set out an overview of some concerns I felt related to Objectum Sexuality:

• Types of object
  • Amongst the OSers I've researched, there seem to be a few common objects and object characteristics.
  • Fairground rides are common, so are electricity pylons.
  • Objects of great height or length are nigh-universal.
  • They are nearly always industrial objects, formed largely from metal.
  • Consider what the object actually consists of. OSers often make models of their lovers, and seem to respond to these models as though they were the objects themselves.
  • Consider the difference between small objects and large objects. OSers nearly always fall in love with large objects (though I have come across at least two who started small). Many of us are familiar with attachments to small objects, and scaling this up could be a way of getting into this project. I believe the size of these objects is a key aspect to objectum sexuality. What is the difference between objects such as:
    • Keys, teapots, books, drinks cans.
    • Desks, laptops, stereos, cars.
    • Electricity pylons, skyscrapers, fairground rides.
  • There seems to be a definite taxonomy here. The latter two (the third more than the second, as the second group's lovers refer to themselves more as mechaphiles) seem to be the kinds of objects objectum sexuals fall for.
  • Consider what the objects might symbolise, perhaps using the tools of psychoanalysis.
• Monogamy. Being with just one object does not seem to be important to OSers, though being physically with more than one object at a time seems sometimes to pose problems.
• Ownership. These objects, with the exception of the models, are all owned by other people, with little regard for the affections of the OSers.
• Destruction and decay. Laviavolta has an odd seemingly morbid relationship with rust, in that it intrigues and yet terrifies her. The decay of objects is often more apparent than the decay of people, though their lifetimes are often similar.
• Affection and intimacy. Consider how OSers express affection for these objects, what kind of postures they assume and how this reflects on the kind of relationships they have with them. With your object, feel free to go as far or remain as distant from it/her/him as you feel appropriate.
• Gender. The objects are often given gender. Erika explains her relationship to this in the documentary, but I suspect this may not be universal in the OS community. Also, the OS community is overwhelmingly female, which seems quite important. This stands in stark contrast to the mechaphile community, which Is overwhelmingly male.
• Consider what OSers get from their relationships. Many people, OS or not, seek relationships as a way of filling a void they find within themselves. For OSers, what might this void be? What kind of sensations and comforts do their relationships provide them with? Is this in some way specific to femininity? Amy touches on this in the documentary.
• Consider how feminism might respond to OS, or this project specifically.

Stories

Half way through the project, I sent out an email asking for stories from people who've felt an attachment to objects. I got a fair few interesting responses, reproduced here.

One of the lover-performers, Bella Bunn, kept a short journal over the course of her performance, reproduced here.