The superwoman Lorelei sits knitting in her rocking high seat. The figure, the situation, the setting and the objects used are bathed in pink. The setting consists of a rocking high seat (floating freely above the floor), scissors and knitting needles (connected to contact microphones and loudspeakers), an oversized bobbin (for the constant supply of pink wool) for spinning, a tea set and the pink Lorelei herself. The performance extends over a longer period of time. In this meditative period, time is entangled in a self-selected rhythm. The passive and active states and resistances of the Lorelei constantly merge and submerge into each other, oscillating between active idleness and overdriven manic and highly stylised compulsive activity. The seemingly lost or regained time materialises in the knitted masses (object). Work in progress – tireless, non-stop. The total production of the Lorelei as machine masturbation. The knitted “clitoral and is like a phallus” sculpture grows out of the womb or clothing of the Lorelei herself. The basic knitted structure “forms smoothly-inverted” and is restructured and expanded with various decorative row count bands and knitting patterns.