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			<b>Long Lines</b></br>
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			This exercise was based on a practice called "Conditional Design," developed by a team of artists and designers headquartered in Amsterdam (Luna Maurers et al., Conditional Design Workbook. Amsterdam: Valiz, 2013).  One of the group's exercises, called FOUR LONG LINES, challenges a group of four to each begin drawing a single long line on a sheet of paper—and to continue, without stopping or lifting the point of the marker, for an hour and a half (the group was inspired by the work of the performance artist Marina Abramović, which often features long-durational projects). In our case the sheet of paper was larger, the number of participants greater, and the length of time far shorter—about twenty minutes. Otherwise, the challenge was the same.
			</p>
			The group worked on the front porch, in the slatted, angled sun of late afternoon, their conversation lifting and floating on the breeze. Flowers, tendrils, and other figures appear in their work; mostly, however, the lines are "about" the encounter with space in convivial dialogue, the delineation of a common space and a common enterprise with a lighthearted constitution. 
			The results are striking: approaching the paper as a commons, each member of the group staked out a territory of her own on the page and strove to fill it with a measure of idiosyncrasy, discovery, and fun. Although each drawer's territory is well delineated, there are many points of contact and congress, sometimes teasing, sometimes assertive. 
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		<div class="floater" id="01">
		<b>Vertical Lines, not Straight</b></br>
		<p/>
		This second exercise invokes the legacy of Conceptual Art—specifically, the work of Sol Lewitt, whose iterative, intense practice encompassed drawing, painting, and sculpture. Lewitt is arguably most famous for his wall drawings: works that consist not in specific objects displayed in galleries, but in sets of instructions for producing drawings on large walls. Lewitt's instruction sets could be quite elaborate, with many layers ringing of geometry, color, and measurement; our exercise is based on the relatively simple, single instruction for "Wall Drawing 46": 
		</p>
		Vertical lines, not straight, not touching, covering the wall evenly. 
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		One of the canonical instantiations of "Wall Drawing 46" is on display at the Massachusetts Museum of Contemporary Art (MassMoCA), where it is part of an immense retrospective of the artist's work. Lewitt dedicated the piece (a single line of instruction, let's remember) to his close friend Eva Hesse, an incandescently-talented sculptor, who died of a brain tumor in 1970 at the age of 34. 
		</p>
		Our group of nine escaped to the lawn across the street, where they wrestled their sheet of breeze-blown paper smooth on the cool grass. Although we discussed Lewitt's work before beginning, the group wasn't challenged to make a Lewitt drawing per se. They weren't informed of the artist's dedication to Hesse, nor were they instructed to make a piece of "art," but only to fill the page with non-straight vertical lines as they saw fit. The MassMoCA version is executed severely, even reverentially, with austerity and tender grace. Our group's piece—executed in multiple colors of permanent marker on a sheet of paper lying unevenly in long grass and clattering sharply in the wind—is playful and figurative, even cartoonish in places. Beyond Lewitt's explicit rules, unspoken norms and rules—about the nature and glamor of art, the meaning of play and competition—seem to govern different circumstances of making. 
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			<b>Fill it with words</b></br>
			<p/>
			Our third exercise took the form of a provocation: Fill it with words. 
			</p>
			Our directive in this case issued from no specific precedent; its most evident inspiration, perhaps, is the terse, gnomic lines of advice Brian Eno offers to creatives in his "Oblique Strategies" card deck. More immediately, we wanted to offer a provocation that required deliberation, a rule that demanded rulemaking. And our group of nine did not disappoint, spending more than fifteen of their allotted twenty minutes disputing the meaning of "fill" and "word." The exercise grew vehement, and members of the team made frequent appeals to their facilitators, who discreetly abjured. [more here from Cris and others who witnessed/facilitated] 
			</p>
			Eventually, the group decided to stop arguing and start making, discovering on their own one of the deep virtues of modern design practice. Improvisationally "fill[ing] it with words," they developed rules of thumb with swift flexibility, revising and modifying as they struggled towards a shared understanding. We formulated the rule with words in place of abstract mark-making to relieve the participants from the burden of being visually inventive while also striving to make rules for themselves—but the results, we think, express a graphic intensity as keen as the more avowedly drawing-intensive exercises. Most strikingly, perhaps, the real and productive deliberation began once the participants had agreed to disagree.

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		In the first workshop, the common task was to draw together on large sheets of paper, about fifteen feet long and three feet wide. We divided the group into three sections of 9 people. Each section took a sheet of paper, and settled into a quiet spot large enough to lay the paper down: one group repaired to the front porch; the second group laid their sheet of paper out on a grassy lawn; and the last group stayed in the conference room, where the table was large enough for the paper.
		<p/>
		For groups to gather in the making of marks on large surfaces is nothing new, of course. In fact, our three groups conducted exercises drawn from art history and design practice. We were interested in learning about the rules by which people might draw together: both the rules we laid down in advance, and the norms and assumptions we all brought to the experience of drawing together. Each group were given a different set of rules, with one challenge in common: to strive to "fill" their sheet of paper with marks, as they understood the term.
		<p/>
		<i>Click on the images to learn about the exercises that produced them.</i>
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			<img class="IMG_RUN" id="00" src="posters/01f.jpg"/>
			<img class="IMG_RUN" id="01" src="posters/02f.jpg"/>
			<img class="IMG_RUN" id="02" src="posters/03f.jpg"/>
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			The three exercises that produced the drawings above each flowed from a simple rule: the first was a command, the second a formula, and the third, a provocation. In fact, it's fair to wonder whether these exercises are really about drawing, or about rules—how we make them and make work with them, how we address them as communities with shared understanding, and the social spaces—for deliberation, collaboration, and common striving—they make. 
			<p/>
			Different kinds of rules put different pressure on us as we act together in their embrace. Some rules can be tools for shaping a common space together; other rules take decision power away altogether, or challenge us to work together, competitively, contentiously, or collaboratively, to interpret or overthrow them. 
			<p/>
			Of course, whether they come in the form of drawing exercises, card games, or constitutional amendments, rules arrive across shifting landscapes of other rules—some clearly posted, others tacit or subconscious—which we're always already struggling to observe. The drawings above trace the impact of all these rules on groups of individual human beings striving with the rules of the exercise and their own long legislative records of such rules.
			
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			 <div class="floater" id="00" style="z-index:3">
				<ul class="listtitle">	
					<li><b>Long Lines</b></li>
				</ul>
				<ul>
					<li>Play with 2 or more players</li>
					<li>Each player has a different colored pen</li>
					<li>The players draw simultaneously</li>
				</ul>
				<ol>	
					<li>Draw one long line during 10 minutes.</li>
					<li>Pen may not be lifted.</li> 
					<li>Do not cross any other lines.</li> 
				</ol>
			 </div>

			 <div class="floater" id="01" style="z-index:2">
				<ul class="listtitle">	
					<li><b>Vertical Lines, not Straight</b></li>
				</ul>
				<ul>
					<li>Play with 2 or more players</li>
					<li>Each player has a different colored pen</li>
					<li>The players draw simultaneously</li>
				</ul>
				<ol>	
					<li>Draw vertical lines</li>
					<li>Lines must not be straight</li> 
					<li>Lines must not touch</li> 
					<li>Lines must cover entire paper</li> 
				</ol>
			 </div>

			 <div class="floater" id="02" style="z-index:1">
				<ul class="listtitle">	
					<li><b>Fill it with words</b></li>
				</ul>
				<ul>
					<li>Play with 2 or more players</li>
					<li>Each player has a different colored pen</li>
					<li>The players draw simultaneously</li>
				</ul>
				<ol>	
					<li>Make up three rules as a team</li> 
					<li>Each player rights a random word on paper accordingly</li>
					<li>...</li> 
				</ol>	 
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