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The Book of Time || Registration

16 October @ 8:00 am - 20 October @ 5:00 pm ICT

USD $120

CONSIDER TIME.

The way we spend our days is, of course, how we spend our lives.
Shouldn’t we be intentional about the things we choose to focus on?
And how we spend our time? Let’s explore.

For the ‘Book of Time,’ we are inviting a handful of guests from our past programmes to consider these kinds of questions: ‘What do you do with your time? What is time? Can time expand? What is the slow moment? What about infinite time? Can we tap that, can we connect with it?’ Hosted by Design Kompany’s Dipika Kohli, whose TEDx is called ‘There’s Not That Much Time Left.’ (Just google it. If the story resonates, consider applying for this programme.)

Open to new applicants only, or those invited personally by a member of S P A C E. Apply through the form below. Note: Don’t ask us what you will get from this, because what we will get will be what each of us put in. The conversations emerge week to week. If you need more description about the value of emergence, check out some sites related to ‘innovation,’ serendipity, and chance encounters. Discover what it is that making space can do for the quality of the ideas you put into practice during your work.

Let’s explore. Let’s make 20 minutes of time available each week for 12 weeks, to discover these things, together. No previous experience necessary.

Max 8. USD $10/week x 12 weeks. Merit-based scholarships available to those who qualify. Ask us in the application if that’s something of interest to you.

Details

Start:
16 October @ 8:00 am
End:
20 October @ 5:00 pm
Cost:
USD $120
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Venue

Online

What’s an ‘atelier?’

Design Kompany is hosting popup zinemaking ateliers. Before fancy academic schools for art and design came along, there were ateliers. An atelier is ‘a workshop or studio used by an artist or designer.’ These are places where you can meet new and different *others* to connection remarkable ways.

ATELIERS, APPRENTICESHIPS & ARTMAKING. Encouraging hands-on learning by doing, the hosts attended to the inner strengths of each participant. Apprentices came. Artworks were made and sold. We imagine artmaking was less commodity-focused (watch the film Posthumous, for a great comment on this) and more about the experience. And for those seeking training, it wasn’t about, one might guess, the expensive tuition fees that come with ho-hum professors (jaded people who’ve forgotten the meaning of their occupation—here I recommend Art School Confidential). Perhaps it was about the magic, if I let myself be uncool and optimistic, of Art. What it can do. How it connects us, across time, and distance. Let’s *make* something. Let’s play?

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