Object: For picking up. (whisk, helmet, string)

Enactment, noun:The acting out of a present event.

– Knitting, a house, a bee, a head! A bike helmet... –

– That’s a teabag. For the tea. You see? –

– You should make a string for it, a little

string. Make a little hole and just... –

– I’ve got to go really thin with it haven’t I? –

– Or you could just make a really big hole. –

– I’m trying to do shoelaces and it’s really hard! –

–Thats why I stopped the shredded wheat. –

Conversation overheard at the

Penryn Arts Festival

Skills Share Fair.

*words as spoken with hands full

of clay*

– I s

houl

d m

ake s

ome m

ore w

orm

s –

– Th

at’s

wha

t the

y say

, ‘on

e wor

m d

on’t

mak

e a co

mpo

st’ –

Object: A performance, dressed up in armour.

Re-enactment, noun: The acting out of a past event. A kind of looping.e.g. I’m living in a re-enactment.

Object: One entirely particular sound.

(A single human breath, looped and patterned into repetition.)

Object: This.

(see hands)

– Your face has become the centrepiece of the monument. –

– Oh OK, cool. Fantastic. –

– Are you making...Porridge? –

– Porridge –

– That’s going to take a while –

– It’s going to be great when it’s full –

– The head is conversation –

– We just need another head –

Object: ‘M

orechandise’ branded sweater.

Hand-sew

n and labelled, ‘Morechandise’ is a

range of mass-produced particulars.

Object: Replica Pernod bottles, slip cast in

Porcelain.

Each bottle feigns irregularity in exactly the

same

way,

with

identically ragged

seams. Accidental form

s repeated over and over. Particulars, m

ass-produced.

What does a festival of m

aking look like in a small tow

n?

Cross-hatched layers of habits and objects m

eet in the sharing of skills and ideas. W

e cannot, it turns out, always explain w

hy we do w

hat we do. But w

e m

ight look down and find our hands shaping clay.

Kim

chi, marbling, slip-casting and perform

ing writing. W

oodblock printing, ceram

ics, cyanotype, cooking and virtual reality. Gardening, conversation,

and little clay bees. ‘To make’ is the broadest of term

s. It has ill-defined boundaries and a w

andering gramm

ar. In any comm

unity, in any hot-spot of bodies, are overlapping threads and fibres of m

aking behaviours, little bridges, concerns w

oven in patterns of family resem

blance.

Or you m

ight say (as someone did) that “one w

orm don’t m

ake a compost.”

A festival of making can look, and taste, like this:

Scene: Amongst cut paper and a clay-dusted floor, a table laid.

“Try this take on the Pakora, feel free to try whatever vegetables you

have kicking around. I use sweet potato and kale for an earthy balance,

not to mention that w

hen fried, kale becomes super crisp and nutty.

Serve with cardam

on coffee, sweet m

ilky tea or an ice cold Kingfisher

beer.

Sweet potato, 500g, peeled and grated

Red onion, 200g, peeled and finely slicedKale, 100g, finely slicedBesan flour, 200g, sievedKalonji seeds, 1/2 tspSalt, 1/2 tspG

round cumin, 1/2 tsp

Oil, for deep frying

1. Begin by mixing the besan flour, kalonji seeds, salt and the ground

cumin in a large bow

l. Add enough water until the consistency of

double cream is acquired.

2. Mix in the prepared vegetables and stir until com

bined.3. H

eat your deep fry oil in a suitable pan (or deep fryer set to 180°C)

on a medium

high heat until a cube of bread browns in 30 seconds.

Carefully low

er a tablespoon’s worth of the m

ixture into the oil, do not overcrow

d the pan whilst doing this. C

ook until the pakoras are a rich golden colour, turning several tim

es. This should take about 4-5

minutes.

4. Drain on kitchen tow

els and serve with coconut chutney.”

Terry McC

lintock

Swap the kale for inks, an electric circuit. Try this take. Feel free to try

whatever you have kicking around. Listen, serve, share, place alongside,

consume, experience, take notes, pass it on. Patterned w

ith the spirals of your fingerprints, you’ll find our notes on a festival, here, am

ongst the pile that constitutes our “M

onument to the Last Th

ing you Made”.

– If

I hav

e exh

auste

d th

e ju

stific

atio

ns I

have

reac

hed

bedr

ock

and

my s

pade

is tu

rned

. Th

en I

am in

cline

d to

say :

“Th

is is

simpl

y wha

t I d

o” –

An in

com

plet

e re

cord

and

brie

f an

alys

is of

the

pra

ctic

es, r

itual

s an

d m

akin

gs

of

Penr

yn

as

exem

plifi

ed b

y th

e Pe

nryn

Art

s Fe

stiva

l (20

17).

Incl

udin

g re

cord

ed

fragm

ents

of

conv

ersa

tion

and

obje

cts

gath

ered

fro

m t

he r

emai

ns o

f Pe

nryn

’s “M

onum

ent

to

the

Last

Thin

g Yo

u M

ade”

.

Ludw

ig W

ittge

nste

in.

with

than

ks to