slip cast,

in refer-
ence to the
molding of
persons and
behaviors,
both con-
scious and
unconscious
slip/

we are in the space. now that we are

here we try to figure out what we are
composed of and how we compose the room.
an incomplete catalog of the things we
are made of, including our hereditary
biology, interpersonal relationships,
media consumption, and our immediate
environment.

/cast
A liquid clay body slip is poured into
a plaster mold and allowed to form a
layer, the cast.

The longer the slip sits in the mold,

the more water is drawn from it by
the plaster, the thicker the cast
becomes.

With the construction process

thus simplified, the individual
forms lose their preciousness.
EXERCISE
(BREATHING)

sigh like your mom

your dad
the president
your least favorite teacher
a dog
a ghost
EXERCISE
(EMAIL)

All I want you to do is think of a story

about your family. It could be one that you
remember, or a story you were told, or
really anything that involves family in any
way. Try telling it to yourself a few times,
and then film yourself telling the story.
Doing it on your phone is fine, but it would
be ideal if your hands were free so that
your gesticulations are visible.
LEAN BACK SWIRL HAND 2X MAKE A GUN
SHAPE
LEAN FORWARD WAVE HAND LEFT,
RIGHT, LEFT MAKE A ROLL
NOD HEAD ONCE HANDS
OR TWICE GLANCE LEFT
SCRATCH R SIGHT
REMOVE GLASSES. NOD HEAD ONCE HEAD
GLANCE LEFT SHRUG SHOULDERS SWING/NOD HAND
ONCE IN AND OUT
TUCK HAIR
BEHIND BOTH SWIRL LEFT HAND SWIRL HANDS
EARS OUTWARD
LOOK DOWN
POINT INDEX GLANCE RIGHT
FINGER AND SCOWL
THUMB (GUN) SWIRL BOTH
HANDS OUTWARD SPREAD L HAND
TWIST WRIST 2X
(SCREWING IN A LOOK R
LIGHTBULB) RUB LEFT UNDER
EYE TAP HANDS
GESTURE TOGETHER
SLIGHTLY TO GLANCE UP
LOOK L
SELF
SWIRL RIGHT
HAND OUTWARD 2X SWIRL L HAND
SWIRL RIGHT
HAND OUTWARD SWIRL HANDS
HOLD HANDS IN
GESTURE OUT FRONT, PALMS
GLOBE HANDS
OUT, FINGERS
TOUCH INDEX SPREAD PULL R HAND
FINGER AND FROM L, PUSH 4X
THUMB, EXTEND- DROP HANDS TO
ING OTHER FING- SIDES TUCK HAIR
ERS (PERFECT) BEHIND L EAR R
LOOK DOWN
HAND
SWIRL HAND
SHAKE HEAD NO
OUTWARD 3X PLACE R HAND ON
GLANCE LEFT CHEST, LOOK L,
SHIFT WEIGHT SLICE L HAND
BACKWARDS
SWIRL L HAND 2X CROSS FINGERS, TRACE BIG
PUSH OUT FROM CIRCLES
FLICK BOTH CHEST
HANDS L SWING HANDS OUT
TAP HANDS (GRAB)
LOOK AT R TOGETHER
THUMBNAIL CHIN TO R HAND,
HOLD TWO RUN KNUCKLES
NOD SMALL BUNCHES BACK AND FORTH
SLICE R HAND SWIRL R HAND RUB CHIN
LEFT TO RIGHT OUT
X WITH HANDS
TUCK R HAIR LOOK L
SCRATCH L NECK
DRAW BACK SHAKE SHAKE HEAD
HEAD PLAY WITH LEFT
FLICK R HAND EARLOBE
KNEAD HANDS OUT
OUTWARD LOOK L
HANDS UP, SHAKE
SPREAD HANDS DOWN SWIRL HANDS,
POINTER FINGER
LOOK UP R X WITH HANDS, OUT
TOWARD CHEST
SCOWL HANDS SPREAD
SPREAD HANDS OUT, FINGERS
LOOK DOWN
SPREAD
SWIRL HANDS
SCARE QUOTE
TAP R
FINGERS SWING L HAND FINGERTIPS TO L
OUT PALM
SWIRL HANDS OUT
FROM CHEST SHAKE HEAD
ANALOGIES

father as spectre
lover as stranger

relationship as experiment
experiment as failure
failure as nourishment

nourishment as secretion
secretion as data
data as secret
secret as idea

idea as weather

weather as mood

mood as generalization
generalization as horizon

butterfly as pop song

pop song as bubble

vessel as metaphor

metaphor as vessel
EXERCISE
(MAD LI[M]BS)

Match the pairs. Memorize or

have someone read them.
Move accordingly.

outward toe tips

curl collarbone
sidle solar plexus
forward left leg
stack left elbow
behind right ankle
top right elbow
browse under chin
click nape
spiral left hip
lattice wrists
time-lapse sternum
slither pelvic bone
scroll right arm
level left inner elbow
push right knee
away finger tips
point hips
raise backs of knees
wiggle right shoulderblade
wink toenails
layer head
lateral left shoulderblade
jiggle neck
drag left ankle
roundabout left middle knuckle
lower fourth rib from bottom
EXERCISE
(DIRT)

lie down where you are

consider the earth

directly beneath your body
EXERCISE
(MINIMUMS)

hear only one sound

run as slowly as you can

open your eyes as small as you can

hum the softest

longest
lowest that you can
EXERCISE
(SPACE)

Measure the circumference of the room with one hand

while you measure the surface area of your body
with the other. Meet in the middle.
Any particular metaphorical expression which
functions as a sign only when uttered in a specific
context. The sound of the doorbell, taken by the
inhabitants of the house as a sign. The utterance
of I on a specific occasion of its use by a
particular speaker. The particular speaker in that
particular given occasion. The presence of a person
at the door. The inhabitants apprehend the
doorbell; their attention is directed to the
existence of the Object in that moment. The
specific person denoted by Steve. The class of
entities referred to as cat.
NOTE FROM CAMP

The further
I get away
From my name
The less

I look back
The longer
I go without
A reminder
The faster

I get it
I get it
I do not

Let it lie
EXERCISE
(RETORT)

Dear parent,
I am your unforgiveness
Expressed in the flesh
Abstracted of you per se
I used to care about beauty
Now I just let it lie

There has to be a surface for a depth

There has to be an ugliness

There has to be a body

There has to be a space
There has to be something to touch