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Handspring Puppet Company: the genius puppetry behind the making of Warhorse

Deborah Butterfield

What’s in the Gap?(first bomb and land mine detection plant)

Tara Donavan- Colony

Maya Lin- Systematic Landscapes

Gillian Wearing Signs that say what you want them to say

Stephen TalasknikRibbon Candy (basswood)

“carne vale” meaning “meat, farewell,” as the celebration is a final fling of fun before the 40 days of fasting for Lent. Giving credence to this theory is a German name for carnival, Fastnacht, which means “fast night,” referring to the night before fasting begins on Ash Wednesday.

Kristen Morgen

Martin Puryear CFAO (painted and unpainted pine, wheelbarrow)

Martin Puryear Plenty’s Boast (red and cedar pine)

Diana Al- Hadid The Tower of Infinite Problems

What’s in the Gap?

Miranda July

Stephan Balkenol

Olaf Breuning Smoke Bomb

What’s in the Gap?Dan Graham

Los Carpinteros Sala de lectura Ovalada

Willy Verginer

Janine AntoniSaddle

Stephan TalasnikNimbus (basswood and paint)

Martin Kersels Willow Buoy

Daphne Fitzpatrick

Daphne Fitzpatrick

Allison Elizabeth Taylor

Nimbus Mask

Ming Wei LeeFabric of Memory

http://www.leemingwei.com/projects.php#

A childhood photograph of my mother holding my hand, me dressed entirely in clothing she had made for me, was the point of inspiration for "Fabric of Memory." The photo was taken on my very first day of kindergarten, and the idea of being away from my parents made me very unhappy. I finally agreed to go to school after mom told me to think of the jacket I was wearing as her embracing me throughout the day.For "Fabric of Memory", I focused on personal clothing and other fabric items in the possession of Liverpool residents; items made for them in childhood by parents, grandparents, other relatives or persons close to them. I asked them to search their homes for such items, ones they had treasured and kept, then write down all they could remember about these—who made them, when, how they were used, and whatever other memories and associations they evoked. Thus, when a museum visitor opens one of the wooden boxes, they find not only the object, but a very personal story about, a story which reveals the intimate relationship between the object's receiver and its maker.

What is your pieces “emotional engineering?” (think of the verbs you want people to feel)

How do you think that emotional engineering may affect the viewer when they experience the formal or conceptual “gap” you design in your piece as a whole ?

How do the verbs in practical building help connote the verbs you want people to feel?