TI Community's list of Instructions for my next Social Sculpture piece. Thank you all.

TI Community.

List of Instructions.

1- Take a book at random from your own bookshelf; open it at random and then read two successive sentences and enact - in public or private (up to you) them as you can. Dr Andrew

2- Please act creatively on what you consider to be the most pressing issue of our time. Dr David Haley

3- COOK ONE MEAL TO BE SERVED ON ONE PLATE TO BE SHARED BY ALL FROM THE SINGLE PLATE. Konjit Seyoum

4- Add a chalk board and chalk into the sculpture so  the audience is invited to participate. Susan Strauss

5- Take a bath. Linda Montano

6- Reach up to the skies with both arms as if seeking the reasons for cruelty in the world. Dana Zurzolo

7- Rotate the axis of the main component just enough to support the weight of the piece over it. Arnaldo Roman

8- Touch your index finger on your right hand to your tongue, then your middle finger, your ring finger, then your pinky. One by one. Twice. Then grin.

Teddy bear teddy bear turn around.

Teddy bear teddy bear touch the ground.

Teddy bear teddy bear go upstairs.

Teddy bear teddy bear say your prayers.

9- Please explain to me a little bit more about what you're looking for, are you looking to make something physical, or do something? Anne Labovitz

10- Sit and meditate for two minutes. Christopher Danowski

11- Boop the void. Mary Morgan

12- I would request that you make a batch of cookies( your choice) and take them to share with a friend, enemy or a neighbor. Gwen Charles

13- Choose two books, open them on a page, place them side by side. Ruth Novaczek

14- Make a comment about everyone's smell--- I'm sure that would say some interesting things about social interaction based on physical proximity and how we perceive one another non physically. Allison Geremia

15- Spend one year building trust with a community you are a stranger to. Dorit Cypis

16- "Be still and know that I am God.” (from psalm 46:10). Curt Cloninger

17- Take fifteen steps forward in the middle of a busy park and turn around and ask the first person you see to tell you what you are all about.

Jaye. Alison Moscariello

18- Is it performance with just your body - or are you using materials? Claire Elizabeth Barrat

19- Asking for 1 sentence from everyone on that list is, obviously, a logical approach to this idea: hope you can go with the flow of what develops, in whatever direction it goes.

all the best from berlin, where the weather is changing every few minutes, as is so often the case.  Deborah S. Phillips

20- Make sure it catches and reflects the light in places. Paula Billups

21- Stand still, look around, choose a "watcher" 's eye, walk in an even pass with no facial expression towards them so close it could feel like you touch each others nose and then walk backwards to the place where you came from.

Andrea Haenggi.

22- Do an elvis impersonation. Andrea Spaziani

Plastic Waves

https://vimeo.com/166809251

Two women of different generations--the older woman is the artist (myself), and the younger woman is a high school student- are acting and reacting to one another and also to an object. They are uncertain about what movement they will make next. Their performance in this social sculpture piece is focused on their interactions with any item of their choosing from my studio. In this case, the student chose a plastic sheet. They are acting spontaneously, but they trust one another’s actions and in their own decisions. The piece develops based on this relationship. During this process nothing is pre established except the choice of the material, the space and the camera’s point of view. These two women establish a dialogue that has no beginning or end. The points of departure for the dialogue are the ideas that the participants simply need to make it through to the end of the performance and that they need to do so while being aware that they are being filmed. It is a dialogue full of uncertainties, and one that is perhaps guided by the participants’ gender and the generation gap between them.

This piece writes itself during those minutes and in that particular space through the manipulation of the simple material and our own bodies in a spontaneous process in which the bodies move as a reaction of themselves and the material and vice versa.

On the video the sound creates another space, an autonomous space that situates the spectator inside the piece. The space created between the images and the sound is now where the spectator is located, centralizing him/her making her/him part of it.

Dos mujeres de diferentes generaciones actuando y reaccionando una de la otra y las dos con respecto al material con la incertidumbre del próximo movimiento, dejándose llevar de manera espontanea, creyendo en el acto de la otra y en el de una misma. En esta relación se escribe la obra contemporáneamente con su desarrollo. Durante el proceso en el que nada se ha pre establecido solo la elección del material, el espacio y la posición de la cámara, estas dos mujeres establecen un dialogo sin principio ni fin un dialogo que parte de la supervivencia de pasar ese momento y dejarlo registrado en una cámara, un dialogo lleno de incertidumbres guiadas por nuestro genero y condicionadas por nuestras generaciones.

El desarrollo de esta serie de esculturas sociales se enfoca en el proceso de descubrimiento de un material simple, como es en este caso el plástico y en lo que  este nos pide hacer.

Esta obra se auto escribe a través de esos minutos y ese espacio en particular durante la manipulación del material y nuestros propios cuerpos en un proceso espontaneo en el que el cuerpo se mueve como una reacción al material y viceversa.

El sonido crea en el producto (el video), otro espacio, un espacio autónomo que sitúa al espectador dentro de la obra. Es decir: el espacio creado entre lo que se ve y se oye interpone al espectador, centrándolo, haciéndolo parte de.

Consent Form

Veronica Marina Fazzio Welf

Social sculpture participants’consent form:

By signing this consent form, I_________________________ am giving Veronica Marina Fazzio Welf (VMFW) permission to record, video and photograph the performance I’m participating in. I authorize VMFW to potentially quote me for her PhD research and use the video and photographs where my image and/or voice appears.

By checking the 1^st and 2^nd box below, I choose to authorize VMFW whether or not to write my name on the material if needed.

At the date of this form, I am receiving information on how to access to the material after editing, which can take from 7 to 30 days from the date of the session.

In the case I decide to withdraw from the writings and/or video and/or photographs and/or recordings I must give VMFW 30 days notice and must be within 90 days from the session date, at that point any and all parts where I appear on image or voice will be destroyed.

At the moment of this signature VMFW provided me with her blog information (where all her research material is collected), her phone number, email and her studio address.

1-___I’m willing to participate in the social sculpture but I don’t want to be identified by name in VMFW’s research.

2-___I’m willing to be identified by first and/or last names (delete as applicable) in VMFW’s research.

Name:

Signing for:

________________________

Date & Signature