Make Things (Happen)

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Lauren F. Adams, My Commemorative Plate. Commemorative plates honor or remember a special occassion. Creat your own memorabilia by drawing on a paper plate or the plate design above. Celebrate a personal victory, record a favorite trip as a souvenir, or subvert celebration by documenting an anti-monumental or speculative event.

Trace this plate stand out on thick paper and cut the template. Fold in the middle to create a stand for your plate. Feel free to use the decorative design throught this page to ornament your plate. #mkthngs. @lauren_f_adams

Oliver Braid, The Bardic Tradition. name a novel enterprise to memorialise unreciprocated interest. produce, in this concern, enormous attainment.

Maurice Carlin, Primary Sources. Primary Sources
Maurice Carlin United Kingdom
This assignment is based on the activities of an informal collective of which I am a member, ‘Studio Group’. Our collective explores new possibilities for how, when, and where artwork is made, all inquiries motivated by our questioning the role of the artist’s studio. By situating temporary group ‘studio’ sessions in unorthodox settings, often in public spaces, we have aimed at taking ourselves and our work into new areas, to breach the boundaries of what we think we are each capable of doing and what we believe our work to be about. As a result of these ‘interventions’, we have discovered that our approach to making art can take a parallel leap into new territories.
Each 'Studio Group' session is followed by a discussion and sharing of the work that each person has made during the time.
Materials
- Yourself - A few simple tools or materials of your own choosing that you can carry easily - A camera/notebook to document the activity
Instructions
1. Organise into a group, with no fewer than two people.
2. Suggest some spaces for the group to work. After drawing up a list of potential sites, choose one as a group. This site can be anywhere that you find interesting, and that is safe and accessible to the group. Try to think of a space that is unlike your studio or the place where you work now.
3. Bring a few things with you that you might be able to use, but don’t over-prepare in advance. The point of the activity is to be intentionally unprepared and to allow this emphasis on spontaneity to inform your group’s work.
4. Think of the space as your shared studio for the time that you are there. You should respond to the space as you find it, working with whatever comes to hand and is nearby. Try to do things quickly without pausing to consider why you are doing them or even if it is worth doing. You can work by yourself or with others. Try to make or do at least one thing while you are there, no matter how straightforward or simple it might seem. If the space feels inspiring, do as many things as you can. If you can't think of anything to do, don’t worry about what the others are doing, just enjoy being in a different place for a while. Try to get a 'feel' for the place by exploring every part of it, looking at it it closely. The point of this is not to make 'finished' works but simply to generate new ideas and ways of working; these can always be developed later.
5. The working session should last for approximately two hours (depending on the
#mkthngshppn

Maurice Carlin, Primary Sources. ...space you choose).
6. Photograph or document everything you do, especially if you are leaving your work there and not taking it away with you. 7. For the discussion afterwards, find somewhere comfortable nearby where you can sit down to talk. If there are more than ten of you, split up into smaller groups. It is useful to hear how each person felt about working at and exploring the space. Discuss what each person has made during the time. Are there ideas to be developed? What could it lead to next? 8. If you've been inspired, choose a space for the next session. If you found this one more of a challenge than you would have liked, try it another time to see if you feel differently. Sessions have been held in places as varied as a 19th century municipal dumping ground, a ‘Poundland’ £1 shop and a derelict train station. It is based on an idea that there are potentially rich sources of inspiration all around us that mostly go unseen and underused. Going to a space with a different purpose and intention for being there means that you naturally look and absorb your surroundings in a way that you might not do otherwise. From a sensation of being ‘intentionally unprepared’, new ideas and approaches to making are generated. A more spontaneous approach is brought about by giving up some control of the working environment and by responding to the natural limitations and possibilities of a space.

Kevin B. Chen, Under construction. Complete the skyline with a sharp graphite pencil | Original drawing to scale | Kevin B. Chen (www.kevinbchen.com) 2014 | #mkthngs

Torreya Cummings, The Searchers. the searchers 1. take a purifying bath in salt water 2. clear your mind 3. light a candle (preferably tallow) 4. turn your attention inward 5. focus on that which you desire, conjuring it in intimate detail 6. open craigslist 7. search 8. weep uncontrollably 9. despair 10. there is nothing for you here Torreya Cummings @torreyac #mkthngshppn

Helen de Main, Something I’ve been meaning to. ask share do. something you've been meaning to for a long time

double zero, Call This Number. Call: (646) 699-3903. double zero #mkthngshppn

Galeria Rusz, This is your key to.... one's heart—use red. success—use brown. understanding—use yellow. your home—use green. your inner self—use blue.

Galeria Rusz, This is your key to.... First you can do this exercise on your own. You have the following keys to choose from: the key to one's heart, the key to success, the key to understanding, the key to your home and the key to your inner self. Select the one that is most important to you. You can choose and color only one key. If you have chosen one's heart—use red. success—use brown. understanding—use yellow. your home—use green. your inner self—use blue. You can use any tools—crayons, fel-ttip pens, etc. Then you can give this piece of paper to your family, acquaintances, friends or people you do not know to continue this experiment. The final result will be a collective, colourful picture that will show what people value most.

Bean Gilsdorf, How to Use It. If you see an opening, put your finger in it. There is no right answer. Collaboration is often expedient. Do not hurt others. The status quo is boring. If all else fails, return to the basics. #mkthngshppn @beangilsdorf, Bean Gilsdorf, 2014

Sarrita Hunn, How to...Make an (Alternative) Institution. HOW TO...MAKE AN (ALTERNATIVE) INSTITUTION. [a counter-power strategy] UNDERSTAND: COOPERATION: NONCOOPERATION: What is an institution? Make your own institution. Radical non-participation. (or support your local alternatives) Resist and destroy the failing system. Express your SOLIDARITY and help alternatives become the prevalent institutions by: BOYCOTT: Boycott most or all corporate products. Reduce to eliminate your consumption of gasoline. Close accounts and reinvest in local credit unions. STRIKE: Take your vacation time, sick leave. Orga- nize to strike. Spend time with friends and family! SELF-RELIANCE: Learn about wild foods. Start a garden. Increase your awareness of local market resources and strategies.4 Intitutions may be: FORMAL: U.S. Congress, Roman Catholic Church INFORMAL: marriage, family, money While institutions may seem static, they are in fact social constructs produced by collective human actions (toward a specific purpose). We understand these institutions (or organizations) through implicit images, or metaphors. “The use of metaphor implies a way of thinking or a way of seeing that prevade how we understand our world generally.”1 But METAPHORS always create distortions. 1. Morgan, Gareth. Images of Organization, Sage Publications, Inc., 1997 Organizations as... Our failing institutions are based on: market capitalist economy, authoritarian republics, patriarchy, eurocentricity Alternative institutions by necessity are based on: decentralized cooperative economics, participa- tory democracy, gender equality, ecology2 Through building alternative institutions, individuals are empowered, committed to change, and skilled in running society.3 COUNTER-POWER INSTITUTIONS: worker cooperatives, intentional communities, temporary autonomous zones 2. “An Introduction to Dual Power Strategy” by Brian A. Dominick 3. http://en.wikipedia.org/wiki/Dual_power MACHINES: factories, fast-food repetition BRAINS: bureaucracies, info systems ORGANISMS: technology, research PSYCHIC PRISONS: rules, behavior GAMES: politics, marketing outcomes ? (fill in your organizational metaphor here) INSTITUTE FOR AUTONOMOUS PRACTICES for #mkthngshppn - www.instituteforautonomouspractices.org open-ness processing decisions stability communication 4. https://www.facebook.com/pages/ Global-Strike-Real-Solidarity/ 116810318421903 REMEMBER: THEY HAVE AS MUCH POWER AS WE BELIEVE IN THEIR MONEY. -Global Strike needs compliance equilibria structures cooperation Photo: Janelle Orsi www.theselc.org conflict adapt projects learning de-humanzing power players health precision anxiety control survivial

Maria Hupfield, Nay/Yea

since culture is the way we do what we do everyday, a conversation could be an art form

SINCE CULTURE IS THE WAY WE DO WHAT WE DO EVERYDAY, A CONVERSATION COULD BE AN ART FORM. HOW TO RECOGNIZE READY-MADE CONVERSATION ART TAKING PLACE: Next time you notice yourself feeling any amount of social discomfort arising in a conversation consider it to be the indication that a conversation art work is beginning. (It is somewhat arbitrary that social discomfort be the initial indicator, but there needs to be some signal to start noticing conversations differently. Social discomfort happens often enough to be rel able as an indicator, and it is interesting in its own right.) For the 3 minutes after your initial noticing begins consider the art work to be taking place between you and the person/people you are speaking with, no matter what is said or unsaid. During these 3 minutes notice as many sensations as possible. Notice the force and direction of the words shared - are you pushing or pull ng them? Are they aimed at something particular,searching, or loose? Notice expectations, obligations, goals and status. To the best of your ability continue participating in the conversation while noticing all this. After the 3 minutes is up and before you leave the conversation give the person/people one of the cards that says: Since culture is the way we do what we do everyday, this conversation could be an art form. ARIANA JACOB. #MKTHNGSHPPN @PUBLICWONDERING

Pizza crusts are often discarded, but these everyday castaways contain vast potential for magic. Mystic Pizza invites you to bring your artistic concerns to the table – chew through your questions while eating a slab or two. Your wedge of intention adapts archetypal symbology from the Tarot’s Minor Arcana & Tasseomancy – use elements of these tried & true systems to read the crust of another. Mystic Pizza views divination as a social form, where the reader and querent work together to interpret meaning. Col- laborate to uncover the ‘mancy of your munching & the futures. clairvoyance in your crumbs. To observe a slice of the present moment, consider these crust divination prompts (& feel free to intuit your own). What forms emerge from the crust, crumbs & grease spots? Use these shapes to begin your inquiry. In which quadrant does the crust rest? In many divina- tion systems, each hemisphere suggests abstract correspondences for interpretation: North: Material things, health & home
South: Vitality, excitement, passion & creativity East: Logic, reasoning, intellect & conflict West: Intuition, inner life & matters of the heart The location of the crust, crumbs & grease on the plate can also correspond to the immediate, near, middle & distant Thanks to our collaborators & mentors, past & present: Jen Kovach, Mandy Hardwick, Jackie Davis, Aja Rose Bond, Margaret Dragu, Jess Dobkin, Stephanie Springgay, Catherine Clarke, Karen Wielonda, Maya Suess, Matias Rozenberg, Carolyn Taylor, Lisa Smolkin, Jacob Ireland & Michael Freeman. Mystic Pizza by Hannah Jickling & Helen Reed. #mkthngshppn 1st Edition for Artists Soup Kitchen, Toronto, 2012. 2nd Edition for Make Things (Happen), 2015.

Nick Lally, 33434 Drawings

Nick Lally, 33434 Drawings

Justin Langlois, 5 Provocations. 5 (FIVE) PROVOCATIONS TOWARDS THE CULTIVATION OF THE WORLD WE MIGHT WANT: 1. We wander together. 2. We break windows together. 3. We make unreasonable demands together. 4. We hold our breath together. 5. We arm ourselves by being together. Justin A. Langlois / #mkthngshppn

Justin Limoges, make things misshapen. Make Things / Happen after Paul Thek’s Teaching Notes & Robert Walser’s Microscripts
Make things happen, make things misshapen, make the detectors lie, take the victor home and give her a comb, happen upon a question in the form of an answering machine, make a mechanical Turk that loves Douglas Sirk, happen upon Adam and Steve making memories in the technicolor leaves, make a mishap from scratch, take a powder, make a tachometer, make a mass damper, make a hillside cross, make a digital platoon, make a Phaeton hug the coast, make an immortal toast, grieve for the worst, make a dune appear beneath a sunburst, make a dromedary appear beneath Larry Arabia, make a Long Player, make an EP titled M.C. Hesher, make them go apeshit, shapeshift the shipwrecks, regift some paychecks, make the tension of misapprehension go away, make over my dead sodden body, make a wave behave for a phaseless moon in a waiting room, do you want a half order of side eye or a side order of eye roll, make the loud chaps tap out, make a resolution to stop stopping, dropping, and opening up a new shopping tab, clock a new aftermath class, stake your claim, deinterlace a frame, pop some corn into a makeshift life form and make the didactic die to the tune of a thousand cutty rhymes. All this duck laughter telling you to fuck faster. Dynastyflavored travesties downing sliders and talking rhinoplasty, take two and call me when you’re mourning, make it new, break a slew, fake a clue, wake in lieu of resting in peace, fret in silence, where accuracy is a currency, fluency is a jury on a flailing spree, break things until they are broken like a token geode in a geodesic dome home. William Makepeace makes Barry Lyndon happen, make a winner interested in winning, make a loser interested in loss, and happen upon a justice interested in justice, make an irreducible ratio, make a rope trick about fellatio, gnaw through a noose, paw through all that bad news, pay through the nose, abandon rope all ye who dangle here, make a way out of no way, make hay while the sun shines, make do without, make believe withal, make Lon Chaney into Ma Rainey, make like a troublemaker and say that the doggerel ate my white flag lapel pin, make leftovers out of the dead ends and retread trends, make amends with old friends, make it : take it, take a moldering sandwich and press it into the clammy palm of a newly minted nemesis, make room for all the working stiffs mingling at the mixer with all the service Mastiffs, make Eric B. the president and/or make ‘em clap to this, mistake food and shelter for feud and swelter, make some spots on the roster for Zeno’s paradoxes, take the concept of the limited slip differential and make it more comprehensible, make a fence into a neighbor, make ends meet their maker. Fake it it ‘til you make it, make all the alsorans buy runflats, make a résumé that puts you at the center of every corn maze, make a little fern motif in your cappuccino and call it a day, make the airbag go off in your friend’s offgassy Prius, make a glass eye for Peter Falk, make a love balloon, then make four score and eighteen more, make a sideeye stencil and let the I & eyes have it, make the giant sideeyed balloon panopticon rise up into the air until it throws sufficient shade on those who toil below, make your pause the one that refreshes the unbeveraged, make a drawing of a stunted Laocoön on the first balloon to fall to earth, then: Make a pass at a grappler & pass go like a roadie whose inner jailer is a Mailer junkie with a rhesus on the roof rack, looking back in anger at all the strangers, at the everwending sameness, at the dazzlers, the hagglers, the feigners, the feckless, the fadeproof, the uncouth, the obtuse, and the freshly cut loose.
justin limoges
#mkthngshppn

Jessica Longmore, Build Your Own Studio. BUILD YOUR OWN STUDIO. 1. Select location 2. Define boundary 3. Allocate time 4. Remove all obstacles 5. Restrict access 6. Dedicate the space Jessica Longmore #mkthngshppn @J_Longmore

Mail Order Brides/M.O.B., Manananggoogle Training Manual: Assuming The Right Position. Employee Training Manual // TOPS
ASSUMING THE RIGHT POSITION. Manananggoogle is a model equal opportunity workplace. Our hiring policies redress the gender imbalance rampant in corporate culture: we train women in leadership/executive positions (”Tops”) and men in administrative support roles (”Bottoms”). A successful corporation has a well-defined hierarchy. Know your place. Female/Female-Identified Trainees: Assume the positions below. Male/Male-Identified Trainees: Assume the positions on opposite page. 1. 2. 3. 4. 5. 6. 9 “The Manifest Destiny” Take any seat you want. Lean back in your chair. Raise your well-heeled feet onto the table. Clasp both hands behind your head, elbows spread wide open. Claim your territory, taking as much space as possible. Let them come to you. Mail Order Brides/M.O.B. // #mkthngshppn www.manananggoogle.com/jobs “The Iron Butterfly” 1. Stand tall with your back erect, feet spread shoulder-width apart. 2. Make fists with both hands and place them firmly on your waist. 3. Chin up, slowly survey the room as you inhale your domain. 4. Feel the power rise up from between your - shoes. 5. Let the Butterfly Effect take hold

Mail Order Brides/M.O.B. Manananggoogle Training Manual: Assuming The Right Position. Employee Training Manual // BOTTOMS ASSUMING THE RIGHT POSITION Manananggoogle is a model equal opportunity workplace. Our hiring policies redress the gender imbalance rampant in corporate culture: we train women in leadership/executive positions (”Tops”) and men in administrative support roles (”Bottoms”). A successful corporation has a well-defined hierarchy. Know your place. Female/Female-Identified Trainees: Assume the positions on opposite page. Male/Male-Identified Trainees: Assume the positions below. 1. 2. 3. 4. 5. 6. 7. “The Paper Tiger” Stand with a crumpled posture, contracting your body to minimize the space you occupy. Direct your gaze downward, point your toes inward and cross your arms. Breathe softly. Tread lightly. Claim no credit. Seek no recognition. Prepare to fetch coffee for your superior. “The Glass Basement” 1. Retreat inconspicuously to a vacant seat within earshot of your superiors. 2. Sit with quiet modesty, your back hunched, legs crossed, hands resting on lap, ready to serve. 3. Keep your chin down, eyes to the floor and avoid eye contact with superiors. 4. Take up as little space as possible. 5. If a superior desires your seat, surrender it. Mail Order Brides/M.O.B. // #mkthngshppn 10 www.manananggoogle.com/jobs

a b c d e f g h i j k l m n o p q r s t u v w x y z, kari marboe and erik scollon

make words. 1. Choose a three letter word from the list below. age, aim, aid, air, art, ass, ask, awe, bad, beg, bra, bro, bye, con, coy, cue, cum, cup, dad, did, die, dig, dim, dug, eat, ego, end, era, fax, fix, fly, for, gap, gay, get, got duy, gal, had, hah, has, her, him, hey, hug, irk, its ire, meh, job, joy, key, kin, lap, leg, let, lie, lot, mad, man, map, max, men, mix, mom, nag, nah, nap, new, now, nil, nob, nip, nor, nub, odd, ode, old, one, out, owe, our, pat, pee, pay, poo, pop, pow, pry, pun, run, raw, red, rim, rip, sag, saw, say, see, set, sex, shy, shh, sir, six, sob, sky, sop, son, sow, sub, sum, the tie, tip, too, tit, ton, top, tow, try, two, ugh, use, vex, via, vie, fow, wad, war, way, wed, wee, wet, why, who in, whoe, wow, wry, yay, yes, yum, zap, zed, zip, zit, soo, zzz. 2. Choose a material you want to work with- felt, yarn, clay, pipe cleaners, cardboard, string, paper mache, soap, wax, tin foil, etc..... 3. Make your three letter word out of the materials you chose.
4. Place your word someplace interesting. #mkthngshppn

BE MORE SOLIDARY
As people who find ourselves a part of one oppressed group or another, we may sometimes forget to practice solidarity with those outside of our own experience. Being more solidary means embodying compassion, which means understanding the struggles of another group, where we fit within them, and acting based on that knowledge. While being solidary connotes identifying common interests, it also signifies difference. Systems of oppression feed off of and use difference amongst oppressed groups to
encourage hatred, fighting, and divisions between us. This may cause fear, hurt, and a belief that the “other” does not understand us. This is one way systems of oppression are maintained. Practicing solidarity can help us dismantle these systems more effectively. How can we acknowledge difference and be more solidary? In the interest of being more solidary…
In the place where you live, identify a community outside of your own experience.(I am a hetero Xicana living in Los Angeles. Some examples of communities I work with, live near, or encounter often, who I don’t belong to, are Korean, Black, and queer folks, to name a few.) Take time to learn and be able to recognize the struggles of that community. Talk to
people, read books, newspapers, blogs, listen to radio programs, take a class. Ideally, find material spoken and written by this group and about their own struggles. Identify your role or connection to those struggles. What are the ways you actively disengage from or reproduce the structures that facilitate this oppression? (Example: How do I actively disengage from or reproduce conversations that promote the denigration or criminality of Black people?) Take the next opportunity to interrupt these situations by gently or assertively sharing the knowledge you have been accumulating. When you are ready, participate in an organized group or activity fighting against these struggles. Continue your research and learning. Always. If you are already active in your own community’s struggles, find commonalities. Where do your struggles intersect? How are they different? It is through this balance between acknowledging the unique nature of our respective struggles, our difference, and seeing where we overlap, that we can find opportunities to fight together.
betty marín #mkthngshppn

Thought Experiment. What if…
I gave Black people the benefit of the doubt...
I realize I don’t have all the answers...
I relinquish my need to partake in oneupping other

Meta Local Collaborative, (how to) make friends, make a scene, make things happen, and fall in love with your neighborhood Boogie Down Rides.
#mkthngshppn!
@boogiedownrides is a bicycling and art project organized by meta local collaborative.
Learn to ride!
@bikenewyork offers free classes for new cyclists of all ages.
See things differently!
@IntandemBike holds rides pairing sighted and visually impaired cyclists on tandem bikes.
Break some barriers!
@WEBikeNYC empowers women and non-gender conforming people- through bicycling.
Bicycling is a form of performance art and social sculpture that transforms riders into performers, and the city into a stage. Cyclists are both participants in the intricate dance of the street and audience to the dynamics of urban life. When we ride together, we create new sites for transportation, transformation, and transgression.
Stand up for your rights!
@transalt has activist committees in all five boroughs, supporting local leaders making safer streets in their own neighborhoods.
Bicycling is art.

SÖL LEWITT Floor Structure Black, 1965 (Legs Only), pictorial diagram of minimalist sculpture made from ikea parts (Continued on Reverse.)

steps 3-6 pictorial diagram. step 7: Repeat Steps 3-6 with
7 Remaining Legs 4x. Melissa Miller #MKTHNGSHPPN

Roy Meuwissen, Sufficient Warning. Sufficient Warning Roy Meuwissen. Materials needed: Instructions: 1 sheet of US letter-size (8.5 x11 in) white paper Computer word processor and printer (or typewriter) 1 No.9 Business-size envelope (optional) OR, web-enabled browser, a PDF Reader and printer 1. Download the PDF here: http://goo.gl/bFxDxL and print it out, then skip to Step 5. If you cannot access the PDF, continue to Step 2, following precisely the instructions specified. 2. Using a word processor or typewriter, set up a new document with the following specifications: #mkthngshppn Margins: Top: Bottom: Left: Right: Font: Size: Line space: Alignment: 4.5 1 2.5 2.5 inches Times New Roman (or Times) 14 point single (default) justified 3. Type only the following text, in 14-point Times, paying careful attention to make a line break (return) after the word ‘warning’: Give up your inquiries which are completely useless, and consider these words a final warning. We hope, for your own good, that this will be sufficient. 4. Print out your results. 5. Fold the paper in thirds, and, if you choose, insert the letter in the No. 9 Business envelope. 6. Mail or hand-deliver this message to a party of your choosing, preferably a person with whom you have no prior relation (i.e. a stranger).

How To Make Things Happen. Meet. If unable to meet in person, call. If unable to call, email. In order to call, email. In order to meet, call. Listen. Laura Napier #mkthngshppn

a new beginning starts right here right now. if you want it. susan omalley #mkthngshppn

Dionis Ortiz, The Blue Collar Series, color me

Kristina Paabus, How to Make a Village Swing; detailed schematic instructions on woodwork and installation of a four-person village swing

Piero Passacantando, Breathe. Make Things Happen
Turn off your phone, turn off your computer, turn off the music and the tv... whatever is on... and find a place that’s quiet. Go there, sit down and breathe.
Look within and ask yourself what you need to make happen. Breathe. Tune out what you think you should be doing and what you already had planned to do. Sometimes we think we should do what others told us we should do. The line is thin. Look within, through the layers.
Breathe. Align your heart and your mind.
Align your mind and your heart. Breathe.
It is not easy. I am going through this process myself and it is hard to hear it through the outside noise, difficult to tune to that voice that it’s often told to keep quiet. Breathe. Look within, through the layers.
This process should not be a substitute to make things happen. It is not a goal, but a part of a process. It is just step #1. Breathe. It may take time. And always remember we are doing this together. Maybe not exactly at the same time, but together.
Make Things Happen
#mkthngshppn Piero Passacantando

Instructions for White People Fighting White Supremacy in the United States #1 White people fighting white supremacy need to become conscious of themselves as white people. If you are white, you may have some consciousness of your racial identity already, but you can always develop it further. To do this, you can try the following: 1. First do some work by yourself: read and pay close attention to what writers of color have said about the subject of white people. Do the same for artists, musicians, philosophers, and others. If you need assistance finding resources, you can ask librarians for help, surf the Internet or ask the author of this set of Instructions. 2. Do not expect everything you learn to sink in immediately. You have a lot to learn as someone socialized as white in the United States. You’ll be engaged with this process for the rest of your life. 3. Next you need to engage with other people. You can do this with a group or with one other person. To engage a group, identify a public event in your community where issues around race or racism will be the focus, and where there will be an opportunity for discussion. Remember that you are not there to view people as special other people from you; you are there to learn and think. 4. Attend the event. 5. Listen to the discussion. 6. Pay attention to every word said, even if you do not speak the language. Pay attention to how people deliver their words. Listen for emotion in their voices. Notice body language. 7. If you would like to participate, formulate questions instead of making points or relating stories. What would you like to know more about or understand more deeply? Good questions will come from those places. 8. Focus on listening during every moment of the discussion. Think about what people are expressing. Think about what they are not saying out loud, and consider why that might be. 9. Some of what you learn through these reading and engaging processes may make you feel guilty and bad, or joyful and enlightened and likely a complicated combination of all of these and other emotions. Pay attention to these feelings; get to know them, they will return as you continue to change your consciousness of yourself as a white person. 10. Develop relationships with other white people and people of color who want to talk about race and white supremacy with you. Nurturing those relationships, and discussing race and racism one-on-one is the subject of Instructions for White People Fighting White Supremacy in the United States #2. By Julie Perini February 2014 #mkthngshppn

make an entrance, a suggestion by ryan pierce

for this project you'll need: bolt cutters or tin snips, not puny wire cutters, plus flashlight and heavy leather gloves. optional: bling: plastic flowers, welcome signs, confetti. or better yet a headlamp, or moonlight. 1. pick a place you wish you could go. maybe: a parcel of land surrounded by barbed wire and overrun with cattle or mining. if it's in the city, maybe some high-rise condos or tech campus blighting your neighborhood... be extra careful with military land—they'll shoot yoU! 2. carefully cut the fence. make sure no one sees you! FYI, don't tweet about it! 3. cautiously bend the broken fence into a more welcoming shape. 4. joyously decorate this new point of access withs ome bangles and beacons and a bit fuck you to the private property. 5. sneak away. next time: remodel a window using only a brick. #mkthngshppn

Do-it yourself Joseph Kosuth “One and Three Chairs” installation. 1 Print out this diagram preferably on heavy paper or card stock. 2 Cut along the solid lines, and score and fold along the perforated lines. 3 Use glue to assemble your chair. 4 Draw a picture of your chair within this frame and then cut it out along the solid lines. 5 Cut out this frame and write a definition of the word ‘chair’ within it. 5 Assemble your personal Joseph Kosuth installation of “One and Three Chairs” ca. 1965 Pavel Romaniko 2014 #mkthngshppn

Risa Puno, Connect the Dots—Personality Quiz

Genevieve Quick, How to See into the Past, How to See into the Past
Look up at the night sky The light you see emerged many years, even millennia, ago and has just traveled close enough to Earth to be visible with the naked eye or a telescope. The nearest optical supernova in two decades, SN 2014J was discovered on January 21, 2014. SN 2014J occurred in the Cigar Galaxy and lies about 12 million light-years away. When this blast oc- curred, geologically speaking Earth was in the Miocene Epoch.
Count the rings on a tree
Dendrochronology is the study of growth rings, which scientists can use to date temperate zone trees. In contrast, tropical trees lack the dramat- ic seasonal changes that produces periods of rapid growth and dor- mancy that result in growth rings. In 1964 Donald Currey, a graduate student in the geography department at the University of North Caro- lina, unintentionally cut down the oldest living organism on the planet. In what became known as the “Prometheus Story,” Currey’s core sample tool became lodged in bristlecone pine and the park officials advised him to simply cut down the tree, rather than lose the tool and waste this research opportunity. The tree Currey cut down became known as Prometheus, which was estimated to be 4,900 years old. Currently the old- est known living tree, about 4,600 years old, is in the White Mountains of California; there are likely even older bristlecones that have not been dated.
Look at the desert landscape
Movement and changes in the earth’s geology are apparent in the striated layers of rock and dirt, especially visible in the desert’s barren landscape. Stratigraphy is the study of the stratified layers of sedimen- tary and volcanic rock. Biostratigraphy, chronostatigraphy, magneto- stratigraphy, and archeological stratigraphy are all specializations that look at fossils, magnetism, and artifacts to help contextualize and date the Earth and its changes. The most recent geological period, the Holocene era covers the last 11,700 years and also corresponds with the early Mesolithic period when human began grow- ing their own food. The Prometheus bristlecone pine dates from the Holocene era, while the supernova 2014J occurred during the Miocene Epoch, 23.03 to 5.3 million years ago. During the Miocene Epoch, Earth had a warmer climate than those in the proceeding Oligocene or the following Pliocene. In addition to kelp forests, grassland ecosystems made their first appear- ance, which complimented Paleolithic man’s hunter gatherer lifestyle.
Genevieve Quick #mkthngshppn

How to Have a Moment, or How to Make a Memory. decision tree including the following texts: Look around! Are you alone? Nope: Find Somebody around you and say Hey, wanna make a moment with me? Talk about things you like, little things like counting cars or collecting rocks or noticing the moon; go ahead and do some things together: day dream, jump rope, listen to records, pick flowers, play catch, hop scotch, take a long walk, go driving, climb a tree, read aloud, learn stars, sunset club, nap, look for birds, swimming, eat snacks; find a breeze and stand in it. feel all the feels. write it all down. say it out loud. send it to someone special. Find somebody around you and say, hey, wanna make a moment with me? Did they say no way? it's OK. It's OK. Find a soft place and lay down: lets time travel. backwards, to a very best day. can you still feel it? forward. imagine yourself at your best and brightest. open your eyes again. the future is now! we area ll here together! do you still miss someone? It's OK. Find a breeze.... Look around! Are you alone? Yeah: Go outside and listen for something you've never heard before. Put it away in the please-place behind your dream time mind. Take the very best essence of it. Make it like a potion. Add a picnic. Find a breeze... All decisions lead to send it to someone special. Mary Rothlisberger. @wrenfriender #mkthingshppn. save the economy, send more letters

Pallavi Sen, Please Mr. Postman. A LOVE LETTER FOR YOU, FOR YOU, FOR YOU! A MESSAGE FOR YOU, LOVELY POSTMAN/MA’AM: ... SEND A LETTER TOO! FIND ONE AT MAKETHINGS-HAPPEN.CHRISTINEWONGYAP.COM MADE BY PALLAVI SEN FOR ‘MAKE THINGS (HAPPEN)’

Pallavi Sen, Please Mr. Postman. A LOVE LETTER FOR YOU, FOR YOU, FOR YOU! A MESSAGE FOR YOU, LOVELY POSTMAN/MA’AM: ... SEND A LETTER TOO! FIND ONE AT MAKETHINGS-HAPPEN.CHRISTINEWONGYAP.COM MADE BY PALLAVI SEN FOR ‘MAKE THINGS (HAPPEN)’

Elisabeth Smolarz, Five instructions for everyday performances for a shitty day. MAKE THINGS (HAPPEN) SOCIAL IN PRACTICE: THE ART OF COLLABORATION Elisabeth Smolarz +++Five instructions for everyday performances for a shitty day+++ laugh out lound (3-5 times) variation: ask the person right next to you to laugh with you. whistle your favorite song (10-15 times)
tell a joke
watch a cat video on youtube
take a selfie send to a person you know will cheer you up
#mkthngshppn

fax paper ink painting. Materials needed
· Heat-sensitive fax paper · Mailing tube
· Glue gun
· Soldering iron · Hair dryer
· Electricity
· Glue · Blade · Ruler
page one
1. These are the materials you will need.
3. Use glue to combine a few sheets of fax paper into one large one.
5. Use the heated nozzle of a glue gun for medium lines.
2. Measure and cut fax paper to size. For the height, roughly measure with the mailing tube that will be at each end of the painting.
4. Turn on hair dryer and aim at fax paper. Watch bold and fuzzy marks appear.
6. Use the heated nozzle of a soldering iron for fine lines. Be careful. Unplug cord if iron get too hot.
tattfoo:DIY:EvERYonE IS an aRTIST
#mkthngshppn

fax paper ink painting
Difficulty moDerate time fast
BuDget moDerate
7. Glue fax paper onto mailing tube.
8. Repeat action on both ends.
page two
9. Enjoy the wonderful wall hanging.

The first organized system of astrology was that of the Babylonians, date between 3-2,000 BCE. It was primarily used as a tool of prognostication, through which the gods presented themselves as celestial symbols. Astronomy was very rudimentary at the time, but as it developed, so too did astrology, which was considered a science, along with medicine, mathematics, and alchemy. In the occidental world, Aristotle's model was accepted as the one true explanation of the structure of the universe. This persisted from the 3rd century BCE until the Copernican, heliocentric system, was endorsed by Thyco Brahe, Johannes Kepler, Galileo Galilei, and finally Isaas Newton. According to Aristotle, the Earth was the center of the world, with each of the planets rotating around carried on concentric spheres, moved by angels, with the outermost sphere containing all the stars of the universe. To make zodiac chart on the back, begin by cutting the circle and the tub, and separating them as see at right. You can label the months and constellations using the chart below. Or make you your own measurements of time and space. When you are finished, pleace the tub on the circle and rotate to learn which stars can be seen in the sky during the time abot which you seek to KNOW. Lauren Marie Taylor 2015 www.utopianrealism.org #mkthngshppn. Despite their belief that the Earth was not the only body around which others orbit, the astronomers were still baffled by the workings of the stars and were dedicated to understanding their influence in our leves. Brahe, Kepler, and Galilei all practice astrology and the casting of horoscopes, before it finally fell out of favor in Newton's age. In their lifetimes, each made imprtant contributions to the field of astronmy. Brahe proved that comets were not atmospheric phenomenon, but bodies whose paths would have broken through the 'spheres' in the sky. Galilei proved that the moon was an imperfect 'world,' that Jupiter had moons, and that the sun had spots. Kepler's 'laws of planetary motion' proved the elliptical orbits of the planets and the mantehmatical relationships of their paths. It is challenging today to imagine that such important work was being conducted alongside the predicting of auspicious days for weedings and wars. If we held the work of astronomers to today's standards, would we dismiss their findings, considering the lack of scientific evidence backing their other views? How do we continue to justify the practice of astrology? BELIEVE.

10 Conceptual Film Prompts. TO REFLECT ON CULTURE. 1. Choose a character from 80s pop culture that wore shoulder pads. For the purpose of these instructions, let's use Aunty Entity. fade into Aunty Entity, or rather, you dressed like the character Tina Turner plays in Mad Max Beyond Thunderdone, walking down the street. The camera walks in front of her, in an almost full body shot. The camera cuts to the reaction of passersbys. Aunty Entity begins asking people... Aunty Entity: How much shoulder pad is too much shoulder pad? Engage in conversation with the public about the 80s, shoulder pads, etc. 2. Get a stranger to sing a song you both remember on the street with you. Film it. Repeat. repeat. repeat, with new strangers. 3. As google questions about the path of your life. Slowly. Screenrecord the whole process. See artist examples here: vimeo.com/93782013. TO REFLECT ON RACE. 4. Join okcupid. Read, respond to, or write people semi racist messages. Read and reply. live chat if possible. Screen record the whole process. See artist example here: vimeo.com/88009029 *pw:okslave. 5. Turn on a camera. Film yourself jerry-rigging a goldteeth in your mouth. Write* a rap about your neighborhood, your favorite cereal, the prison industrial complex, Claire Bishop, or some other theme of your choosing. Perform said rap. *alternative (replace gold tooth and rap with a cowboy hat a country song. 6. Ask passersby of your race 1 question about spoken/unspoken communication shared on the street. Have a friend record the interactions. See artist example here. youtube.com/watch?v=lGVbuRHa9OU. TO REFLECT ON FAMILY. 7. Invite all the members in your family on the Birthday of your Grandmother, living or dead. Cook together, share stories, recipies, and memories about your Grandmother. Hand out cameras and recorders. Take pictures. Record audio. Take video. Keep all footage as family record. Make and distribute copies to all attendees. See artist example here: vimeo.com/94092023. 8. Turn a camera on. Film your father. Ask him if he ever hit your Mom. Ask him why. Ask your Mom if she ever hit your father. Ask her why. If either of them were hit, ask them why they were hit. 9. Find some kids (yours or others'). Film them here and now, and never show them the footage. Show them the footage when they are finally the age you were when you filmed it. 10. Call your Mom (or motherlike or mentor figure in your life) for no reason in particular. Just to tell her you love her. Film the entire conversation. Choose prompts, tweak as you see fit. Email results. Sharita Towne. satowne@gmail.com @trapodelsh3biye #mkthngshppn

Emilio Vavarella.THE FAMILY RE-CODED.
A collaborative photographic glitch series based on Emilio Vavarella’s: The Sicilian Family (2013)
Choose a family photo that holds sentimental value for you.
If necessary, use a scanner or camera to create a digital version of the image. Save it as a JPG on your computer.
Open the JPG file using Notepad, TextEdit.app or any other basic text editor to visualize the photo as text. The pixels of the image will be translated into alphanumeric ASCII code. This code is a non-intelligible sequence of characters that contains all the information required to recreate the image through an image viewer.
Now write your memory about the photo into the middle of the ASCII code. The text should be based on your own memories or on memories that were passed down to you.
Save the text as a JPG, transforming it into an image once again and forcing your memories to coexist with the image in an unforeseeable and new way.
Use your new image as you prefer. Please send it to emilio.vavarella@gmail.com and/or tweet it at #mkthngs

David Gregory Wallace, Shadow Puppet Machine

David Gregory Wallace, Shadow Puppet Machine

Lexa Walsh, Facilitate a Meal and a Community Cookbook.
MEAL TICKET Silver Social Club _________________________yep, that’s me ___________________told me this recipe Making Things Happen: Facilitate A Meal & a Community Cookbook
Find a space & time. Reserve it. Think about how you can make it feel welcoming.
Invite your guests for a free meal. Don’t tell them they are making a cookbook. People who are not cooks may feel like they don’t belong. Invite people from a variety of backgrounds that may not know each other. Ask if anyone has food allergies or restrictions. Get their contact info.
Set a beautiful table, being sure that guests can talk to each other with no unintended obstacles. At each place setting there should be a blank card and a pencil. Each place should be set with a name. Seat guests next to and across from people they may not know. Try not to sit two shy people across from each other. Cook a nice meal. It can be simple and humble, or terribly decadent. Be sure to provide choices to accommodate your guests allergies/restrictions. If you are not a good cook, find one, or bring in something pre-made. They may never be allowed to know you did this.
Think about plating. Wow your guests with presentation. Use clay, metal, wood and glass.
After giving them something to eat, but before serving hot food that could go cold, have your guests introduce themselves to the entire table, offering a few sentences about whatever moves them. If you have many large tables, each group of ten or twelve can do it.
Now ask them to each tell a recipe to the person across from them (or beside them, if at a round table). The person listening should write the recipe down. Explain this requires good communication and good listening. The recipe, it is important to say, can be for food or for life. It is simply a set of instructions. Ask them to then reverse roles. In the end you should have as many recipes as you have guests. Have them sign the cards: “…….’s recipe, transcribed by ……. ”.
Notice how they start discussing family, culture, values, and history, among other things. Listen to the din at the table and smile.
Take the cards, scan them, and design/compile them into a PDF. Print and distribute, or send it off to your participants as an e-book. You did get the contact info for all your guests, right?
#mkthngshppn Lexa Walsh

RECIPE FOR A STONE SOUP EVENT
Stone Soup is a folk tale told all over the world and is a parable about the sharing of resources, particularly in times of scarcity. In the tale, a community who think they have no food to spare when strangers enter the village asking for a meal, create a nourishing soup by unwittingly working together. They each contribute an invaluable ingredient after being asked to help add a little something to improve the flavour of a soup that the strangers are preparing, using only boiling water and a simple stone. Before long, a delicious pot of soup has been made, to feed villagers and strangers alike. In the story, the stone serves as a tool to bring people together but it could also be an axe, button, nail, shoe or other inedible material that you might carry about with you.
Why not make a stone soup in your community? This is a recipe which describes how, as artists, we have gone about it. It is a guide - a starting point - but each event will be completely different from the last.
INGREDIENTS
• An interest in gathering people together, connecting those with have a common cause, finding common ground in communities divided, acting in solidarity with people in times of struggle.
• A desire to source what is local, make use of leftovers, be inventive, learn about different cultural ingredients.
• Equal participation. This is not just about giving, it is a conversation. A bowl of soup as a universal dish connecting people together.
• A space that will inspire and intrigue people. Neutral ground if needs be. It could be someone’s kitchen, a garden, the main street, a gallery, an orchard, in a van etc.
• On a practical level you need: clean water source for hand washing, vegetable preparation and washing up, basic equipment of a chopping board, knife, tin opener, big pot and spoon and few staple ingredients donated in advance - oil, stock, seasoning – and a source of heat – fire, camping stove.

METHODS
• Find a time that enables people to fit it into their routine, which might be just after the school drop off, during lunch hour, during a festival or special feast day.
• It might be possible to use social media or put up posters but it might also need one-to-one conversations, personal invites for people to feel welcome.
• Ask people to bring a story with their ingredient to share with everyone. The ingredient could be a spark for a tale about family, culture, community, land etc.
• The setting is important, make it cosy and welcoming but think about what atmosphere
you want to create - lively, calm etc. Dress up the space so people think about it differently, bunting and tablecloths are effective.
• Think about how best to facilitate conversation with the set up. Are people sitting around tables or on picnic rugs? You could cover the table with paper and ask people to write on it as everyone eats and talks so everyone can contribute to the conversation.
• It helps to have some bread to go with the soup. You could ask people to bring their dough and bake it together, or everyone brings the dry ends of their bread and makes croutons.
You are invited to join us for Stone Soup
When. Where... The soup may need a little extra added to it so please bring an ingredient with you. Perhaps the tin of kidney beans long forgotten at the back of the cupboard, or the glut of apples from your tree, or the bag of potatoes that are about to start sprouting if you don’t use them soon. Perhaps you have a herb or spice that you use in all your cooking...
Created by Emily Chappell and Alex Wilde (Glasgow, UK) #mkthngshppn

Dissonance Therapy. 1. cut and fold. 2. place on head. 3 have two friends whisper text into both ears simultaneously. Start: On the borderline of the Oriend and Occident it is built, on the mountain-heights overlooking both. No flase gods are worshipped in it—no philosophic, theologic, or anthropomorphic gods. Yea, and the god of the priests and prophets is buried beneath the Fountain, which is the altar of the Temple, and from which flows the eternatl spirit of our Maker, our Maker who blinketh when the Claws are depp in our flesh, and smilth when the Wings spring from our Wounds. Brian Zegeer 2015 #mkthngshppn

how to make a line
find a large room you have ambiguous feelings towards if the room is empty:
measure the diagonal length of the room from corner to corner
divide this length by your height to determine the number of lines to draw
make each line as long as you are tall
make each line as wide as you want
join all the lines together to make one line that connects the room from corner to corner if made correctly the length of your line is a multiple of your height
your line can be slightly too long but should not be slightly too short
if the room is full:
find moments you want to connect draw them together
how to use a line
attach each end to synchronized rotating motors and use it as a jump rope use it as a tightrope
tie knots on it to record time
hang it on the wall like a painting
use it as a lasso
use it as a noose
use it to trace all the things you want but can’t afford
leave it on the ground to mark where you’ve been
tie it to your house so you can find your way home
if your house is light you may use your line to drag it with you tie it to the past
glue it on top of a Sol LeWitt wall drawing
gather it loosely and use it as a pillow
how to fix a line
if this text is printed:
on the other side of this sheet of paper is a line as long as I am tall printing broke the line
mend it by drawing the fragments together
or:
make something
break it
make something else
Lu Zhang #mkthngshppn

a line drawing