Winter 2018-19: ‘The Work of Art’

In search of meaning E X P L O R I N G _ T H E _ A R T of Human Relationship   Times, shifts, curiosity about new people and new ways of thinking, and the general crisscross of emails and vague fragments of thoughts are what we write and share about in […]

The things to come

First editorial meeting today, for S P A C E | Phnom Penh, ‘Angle of Incidence.’ Discovering, sourcing, planning, sharing, connecting, interconnecting and framing. That’s what it is. To start. Getting the team together. Organizing the pages without overthinking or over designing. Leaving room for stuff to develop, other stuff to emerge. Being okay with […]

The Mirror Section Z

DK ARE INVITING a handful of new guests to participate in our online forum-workshop, The Mirror. Just six spots, details are here. (Note: a new eligibility requirement applies, please apply only if you’re new to DK in 2018.) New. That’s what we like, around here. Keeps it interesting. Airy. Fresh.   .

New tracks for April & May online workshops

HERE IS A QUICK outline of what’s happening in April and May, in case you feel like applying to join DK in one of our new writing streams. Things have evolved since the 2014 cojournal, with the new suite of stories unfolding at Design Kompany’s active spaces just for conversations in forums to evolve, progress, […]

Welcome Mirror Section Z. This is Chuck Close on practice, doing

ADVICE to young artists, this time from photographer Chuck Close. (A detail of one of his giant, floor-to-ceiling self-portraits is clipped above.) Very cool technically, if you have a chance to see these sometime, I recommend it. Also, Close is all about process, One particular quote about getting down to work popped to mind after […]

Notes on Synthesis and Form

This originally appeared on our blog in 2016, and more recently, in S P A C E as a conversation-starting prompt. Amazing things came from that thread, so I wanted to share it here. Mostly for EC. AUSTRIAN-BORN architect Christopher Alexander says in Notes on Synthesis and Form, that achieving a “frictionless coexistence” between a […]

A song for Jean Rhys, a letter from Rilke

FIVE OF US. Wrote a poem together. And I’m going to send it to just the five of us, and that’s it. It’s called A Song for Jean Rhys. Jean Rhys inspired the work, in a big way, of hosting The Mirror. Writing needn’t be about mass producing, or selling, or convincing, or debunking. Sometimes, […]

Interstitial space

ONCE UPON A TIME, a very smart person wrote a thing about my art. I guess that was the thing that threw me off. ‘Art.’ It was weird, because I thought I was an engineer-architect-journalist-designer. But I was making things that someone with a real eye, experience, and like I said, brains, didn’t say wasn’t […]

‘Et eksempel er frygten for at udleve mine passioner’

Frygt og Lykke. A short essay by Aske Pedersen

I VIRKELIGHEDEN HANDLER det ikke om at skrive, men om at åbne mig op for andre mennesker. Og for mig selv. For at gøre dette, er jeg nødt til at smide min facade, mit uigennemtrængelige skjold af forsvarsmekanismer, og hvad sker der, hvis modparten ikke kan lide det den ser? Noget af det mest uhyggelige er at gøre sig sårbar, blot for at blive såret.

On quality and intrigue, a conversation with line and music

A Q&A WITH ERLING SKORPEN, a jazz artist, on what makes something intriguing. ‘When you listen to a concert, and you notice that the musicians are really into what they’re doing. When you can feel the energy in the room, and there exists a special atmosphere there. That’s the feeling that best describes intrigue for us.’

Guest Post: ‘Sharing Stories’

GUEST POST FROM SANDRO GISLER. ‘I TREASURE the shouts, blurbs, dinner table fragments just as much. And likewise, the glimpses into the souls and lives of those I’m connected with through social media. Whom I would not see at a campfire or a dinner table any time soon.’

‘Light sticks:’ implements for generating sparks or flame

Guest post today: ‘OF COURSE THERE IS SUBJECTIVITY in all writing, even so-called factual writing, because writers choose which facts to include and thereby bend them to their purpose. So this implies that given a representative, well-sourced collection of facts and subjective observations, the reader is supplied with enough fuel to be intrigued, to read and form an opinion about the issue or the writing itself.’—Eric Chuk