Philosophy of the Moment

A DAY AGO, I sent an email invitation to a handful of people in: Seattle, Durham NC, and the place that I affectionally call ‘The Road.’ What kind of invitation? To join me for an online salon in October called ‘Philosophy of the Moment.’ I’ll tell you about that more in a second. But the feeling is this. So many people. So much time. So many places. And so many great conversations. What if I could find a way to wrap us all into one space, to talk together about ideas and things that have popped up, from these, that we would all find curious? Or maybe handfuls of us would? And if that could happen,

ANTHOLOGY. The Mirror, 2014

what might we learn, together? What could we make, too, if things got really interesting? An anthology, perhaps? Like The Mirror, in 2014? Something in print? What about zines? What about, what about? And that’s how I got excited about it. The starting of the thing–an interactive forum-salon, in protected-page posts, that is S P A C E.

Let me elaborate.

Those places I met the people I invited? They’re from certain bases, of my past life in different parts of the world. Presently I’ve been thinking hard about such ideas as bases, because… well… it’s al long story, and one that I’m not totally sure I want to put here in the public space, but one in which a few of us explored quite nicely, in a 2016 writing salon called, ‘Home & Away.’ That was the first-ever forum-space. Some people really dug it. Some people left. But you have to take chances on things if you want to see innovations. And I like risk taking, if you know me you know that, but some of the time, I take much smaller steps than I wish I could. Writngwise and art wise, though, it’s much easier for me to take big jaunts out into the unexplored territories because, unlike most stuff, with writing and art I feel like I’ve had a lot of time and space to really practice. To get past my own qualms about, ‘Is this good enough?’ F yeah, it is. So go for it. So I do. I make S P A C E into salons, I do that because I like to correspond. I write a lot. Maybe too much. Maybe too often, certainly, too long at a time. This one, this is long. I’m writing the extra bits in, I’m seeing that pargraphslong tests can be daunting, but… that the people I connect with best read. They read, to the end. And you know what else? They check links. AM and CW were among our very first clients in Seattle. (Hi, guys!) I still remember when they came to the office, that was my first one that I had ever rented, committing cold, hard cash t a thing as nebulous as ‘rent,’ because of a promise of it leading to ‘possibilities,’ which you know of course, it did. Big ones. Manyfolded. And at our meeting, I said, you know, my blog has lots of long, long posts, that people don’t read. AM had said, ‘I read. I read everything.’ And you know what? Most of the people I really like in life, they read. They read everything. The whole checking links thing was part of a post that used to be on this blog, about the Seattle-based DIY indie fair, ‘Urban Craft Uprising.’ I went to that not knowing what the hell to expect but finding myself surrounded by a very specific type of person and writing a post called ‘Psychographics.’ In which I had quoted CJ, whom I’d met a the art gallery OKOK and run into again at UCU and he, there, upon hearing my comment, had said, ‘Yeah, yeah. These are very specific people all right. They’re the people that check links.’ Check links! Wow. Well, okay then. Let’s let that be a thing.’Kay, cool. Lessons learned: My favorite people, who are DK’s community and network and clientele and collaborators and friends, read til the end, read everything, and check links.

Noted.


***

Niels Bohr

I GOT QUOTED ONCE, on study abroad, in the back of the ‘yearbook’ for saying something that, my goodness, my hero N. Bohr might have enjoyed hearing me say. I said, ‘I don’t make statements. I just say things.’ See? Statements imply you know something. But Bohr, good man himself, said: ‘The opposite of a profound truth may be another profound truth.’ The friends that I had in those days didn’t give two shites about quantum theory, or possibilities, or new angles, or the potentiality of multiverses and suchmuch. They just wanted jobs. Jobs! My jobs almost always turned into departments of philosophy. I can tell you some stories, but I’ll spare you. Because: Ichiro.

Ichiro Suzuki

Instead of trying to ‘figure things out,’ or hit a homer for every single damn thing you try to do, the way that they tell you when you’re younger you need to, if you grow up in a country where I grew up, because success looks like a major league baseball game where all the lights are on full blast in midsummer and the crowds are loud. You go there and you watch and you see the big show. Casey at Bat notwithstanding, you go. You hit homers, if you’re good. That’s the thing. But me? I’m changing. I’m interested in other ways to do it, to show up for my own at-bat… Yeah. Show up like…

Ichiro.

Yeah. I’ll rev up like Ichiro, try to make a poetic thing happen by just stilling into the moment. Show up for the on-deck circle, then head up to the plate. Batter up. A single to right field works for me, these days: no need to get high and mighty, trying to be Cecil Fielder, or anything like that. Work is getting around the bases. Work is making your way to home plate.

 

Arriving at home

In 2014, S P A C E was a set of themed eBooks, six in all, on topics that felt like the right ones to dive into, with the circles of people we were in conversations with at those times.

Work is the work it takes to score the runs that earn the points for the team. Collaboratively. This. This is the new thing. Showing. up, but also, being aware of the strengths of the rest of the team. And our team is pretty wide-ranging, now that I look at the whole picture. Some fascinating people have come through DK’s doors.

Things moved into cojournaling spaces, and now, we have the interactive magazine, S P A C E. And print zines, too. Lots, and lots, in other words: but the philosophy thread remains consistent. It’s where we are most intrigued. Exploring together the art of the conversation that gets us all thinking more critically and with an eye towards making our own lives more pleasurable. I read somewhere once that is the definition of philosophy. Then SY told me about Epicurus… And more to say, one day, about that.

Clients, interns, part-time collaborators, commissioned artists, and more. I’m really lucky to have had that chance to make and share, and to work things out, in a way that’s evolved, these last, oh, I don’t know, what’s 2018-2005… okay… so, that’s what, 13 years. Thirteen years freelance studio-ing up at DK. I think we’ve learned where our strengths are: we have good pitchers, that’s pretty much the secret sauce around here. Pitchers who have a clear awareness of the simple but important fact that every at-bat is its own thing. That each batter up is her own ball of questions, struggles, philosophies, psychologies, temperaments, and triumphs. All of us are playing baseball, really. Just that, sometimes, it goes the way you think it would, like it’s a Cubs game from the 1990s, and you’re just watching them go through the motions. I can hear Harry Carey in my head saying it, ‘We’re just playing 1-2-3 baseball, here,’ and then, later, if things go his way, ‘Cubs win! Cubs win!’ But the game is different, here. A wider field: the one that takes up the entire surface area of the globe. We’re going to play, now. A big game of giant rounding-around-the-bases. Batter up. And here’s the pitch…

 

Introducing ‘Philosophy of the Moment’

NOW THAT DK have been based in Asia, more or less, for the past four years, we’re using this angle on the way the world seems to have shifted to gather people in online forums and talk, together, about what to do to make stuff better. I know that sounds really heady, and lofty, but the truth is, that if we can make our own lives more clear to ourselves, and understand our own contributions to ‘the world,’ and I’m not talking about in a way that’s corny, cheesy, or ‘do-gooder-y,’ like toooooo many people come to Cambodia every single season (and last, if they’re lucky, three months) to do… well, let’s see, what I’m really saying is… the stage is pretty giant, the stories myriad and numerous. Influenced by the new perspectives of having been, by sheer osmosis and inertia, in one place for so long (four years at the time of this writing, mostly based in Phnom Penh, with the occasional excursions to Northern Europe–Sweden, Denmark, and now Finland, and I’m not sure which spot is next but I’m going back, sometime, I can’t help it, the palette is what draws me, mostly, but more than that, the quiet spaces, but that’s a different story). And yeah. I’m ready. To share the conversations more widely: there are so many intriguing people whose paths have crossed with mine in these last five years, (the four here in Cambodia, and the one before that, on the road, in search of ‘uncertainty,’ or the practice thereof, long story, very esoteric, landed in no fashionable bullet-point list of outcomes, just lots and lots of e-correspondence in the time since with people all around the world whose ideas are still intriguing to me, people who have taught me very much, and people whom I’m really excited to interconnect, though S P A C E. More and more, lately. But in very small circles. Invite-only, kind of, since the end of the last registration period. That was for ‘Slow Moment.’ This time, it’s just a small circle of us. We’ll dive into philosophy. Of the moment. Ergo, ‘Phil. of the Moment.’ Like that?

Mm-hm. So okay. What is it? Philosophy of the Moment is a four-week side conversation online, nested in our ongoing interactive salons happening concurrently in our forum, S P A C E. We are going to spend some time over four weeks in

‘Book of Blue’ popup collage and live drawing at jazZ happens!, Bangkok// ‘N’ afterparty, 2015

October talking together specifically about ‘Philosophy of the Moment.’ It’s open format. Four rules of Open Space: the people who come are the right people, it starts when it starts, ends when it ends, and the things that happened ere thinly things that could hav happened. In other words, give yourself a break when hosting an Open Space because it’s about framing the thing and letting the jam just happen. As jazZ happens in Bangkok put it on email to me before we made ‘The Book of Blue’ together there, ‘Let’s let it roll.’

he people who come will be the right people We’ll explore creative writing tips from experts whose advice has gotten us places. We’re going to make things, too. A short anthology. This project is for people whose paths DK has crossed in recent months, whose writing and ideas have inspired, and intrigued us. We want to make a ‘room’ in a virtual space (that would be a protected page on this blog, with comment threads, and a password to get in), so that we can send weekly prompts to get us talking together, to get us learning together, too. From each other.

POTM will be hosted by DK’s Dipika Kohli.

 

‘The secret is to just begin’ –As told to DK by A. at AOTZ

2016: Year of the Circle. Studies in relational aesthetics.

MAKING SOMETHING through art or writing is one goal, but learning together is the main objective. Experiential publishing, this.

This is our method pre-start, this month:

  • Invite guests to take part. Make sure they are from a wide range of backgrounds, geogrphic locations, past experiences, and philosophies on life.
  • Ask people if they want to commit time to this project. Make sure they do have the bandwidth to do so.
  • Be interested in other people, and check through the application process if the guestlist also is so inclined.
  • Know that we are all going through this as if on a journey, together. That the outcome will be less important than the process of learning as we go. Being open to the veering and changing is hugely important, and we must communicate that up front: this is a journey we’re going to largely improvise, as we go. Are you cool with that? Then let’s begin.
  • Begin. Gather people to register before 8 October. Start on that date. Continue through the end of October. See what material has come together and. where we could push the envelope and see what kind of meaningful story or narrative or poetry or art we could fold into a short book. The anthology could be a collected work that becomes a digital book (if material is sparse) or a printed one. We’re in conversations with a book designer in Singapore about this, and we are quite serious.
  • Sample questions to get started: Travelers and artists, romantics and poets all know about the difference between time that is spent and time that is well spent. Kairos and chronos time, the shifting edge from one to another. Can we focus and look at these questions: when is it good, what makes it great? How do you know when to change things up?

A zine. Made in Phnom Penh, in 2014. This kind of thing set the stage for what became in 2017 the roving international popup, Atelier S P A C E.
Adrienne Moore and Barry Wilson, close friends of mine, at the opening reception for my show ‘Today I Love You’ in Durham NC 2012 //  Photo by the lovely and highly recommended Durham-based OMNI Studiophotos

With everything I make, I want people to relax. To feel air, space and comfort. Philosophy: the pursuit of making life more pleasurable through considering it from various angles. Let’s try this. (More about POTM is at this page.)

Let’s converse? Let’s play. Curious? Ask me anything. Leave a review. Comments are open. Say hi?

I’m here, and I’m listening.

Eavesdropping in Kuala Lumpur

‘Not a suit. But suitlike.’

I’VE JUST ARRIVED. It’s twenty to one. A man in a nice cotton blue suit-jacket, not quite a suit, mind, but a suit-like thing, was hanging around momentarily. Ostensibly waiting for his coffee to be made, fresh for a take-away (a pet peeve of mine, personally, the take-away cup). But there comes a woman. Equally well put-together. Both wear light cotton pants, hers are white, his are a little less white, but still, nicely offset by the blue. I think I mentioned the blue already. Yes, yes I did. I think I was thinking about the color emerald green… yesterday… I was thinking about a certain otherworldly Northern Europe color palette, a tendency towards the muted colors. Yes, I like those, too. Had gone through a phase of that. Bluegreys. Seattle. One of my homes. Another one is turning out to be Kuala Lumpur. Keep coming back here to host things, it feels like. And I love the atmosphere, the color, the texture, the city vibe. And all this great teh halia, too. See stuff DK and friends have hosted here, at this page, DesignKompany.com/Malaysia. (HT TS: ‘Don’t ask me where I’m from, ask me where I’m local.’)

 

Beyond the edge of the world

Seattle

SEATTLE. I remember. A lot of rain fell, and then, the cloudburst came, in the form of ‘The Dive,’ (Kismuth Books // 2012), which I realize I must have talked about a lot, in many places, but in short fragments, a lot of things come in short fragments, don’t they? And then you go into the quiet zones, and stay there. Perhaps too long. Because when you forget how to speak up, speak forward, speak without muting your voice too terribly much for fear you’ll be chastised, chided, critiqued, questioned, challenged, humiliated, or otherwise made to feel bad about the fact that you are you, and you alone, unique as DNA, then being purposeful and insistent in holding out and sharing with others the very you that is you becomes, well… hard. Because you’re worried. Anxious. Uncomfortable. It’s uncomfortable to be the very you that is you. Of course it is. But that doesn’t mean you shouldn’t—it’s okay and it’s easy to say and words are cheap; sometimes they are, of course at other times they are very exquisite, not cheap at all, not cheap… but then there comes his coffee.

One now. Almost the time for the office workers to come in. I’m taking up two tables. I better collate this stuff. Maybe get going. Too many people; it’s uncomfortable. I might say I’ve become more Finnish, in this regard, but I think it was always there, and underscored when I had lived in Seattle. A tendency towards being more alone, than with others. Wanting a lot of room around me. Not liking the oppressiveness of being in the airspace of too many people in too small a room. It’s happening. I’m starting to feel it. Suffocation. But, wait. It’s not that bad. It’s still Malaysia. It’s still developed. There isn’t going to be a lot of noise and there won’t be dust or dirt. The people will shuffle in, and as quickly, shuffle out. They will. They are in motion. They are on the clock. Time. Time is a thing, for some people. I get it. They have to go punch in, punch out. Me? What am I? Slowing down. Slowing in the moment. But maybe this is the wrong environment for that. I’m wishing I could be in Melakka, too. I was there. I liked it there. The weekdays are a better time to be there. But I’m here, preparing for Phnom Penh. Sounds odd, writing that. Haven’t I tried, many times, to ‘move on’ from there? But… the question is a real one, and smacks and smarts: to where? Where is the next home? It’s a big, open field, and you can go in any direction. Instead of getting lost in the amorphous not-knowing, though, I’m learning to embrace it. The field is one of my homes, too. Like the road. And North Carolina. And Seattle. And, and…. Phnom Penh. Four years is a long time to be parked there. Four years, writing nothing much, really, except for, oh yeah, Breakfast in Cambodia. A two-year anniversary of that little book just passed. I’m happy about this. I can try again, for something different. Maybe finally finish ‘Socheata’s Comb.’

Back to KL. Back to right now.

 

Kuala Lumpur // DK 2018

Real life is the stage

I AM READYING to make a move. Or maybe not. If they leave, I’ll stay. If they stay, I’ll leave. She is asking him something. He is saying something else. They are acquainted. They talk about weathers. Not the hurricanes, like I am doing in emails with people in North Carolina, because of the flooding in the east of that state, but about… well, the sun and Melbourne and smalltalk. Smalltalk is nice, has its place, at times. No? Of course it does. Work colleagues, maybe. I try to assess. They are cordial. Do they work in some kind of fashion retail outlet? Perhaps they are middle managers. Perhaps, perhaps.

My mind makes up stories. Connects dots that aren’t quite there, but might appear to be in places if, after some amount of time observing the stage of real life, always the most exciting, could become rather realistic. Reality. The strangest sort of fiction. Or is fiction real? I don’t know. What am I talking about? These are the kinds of things that gather momentum here, when it is not yet lunch rush and the caffeine is starting to find its jolt. The jolt that makes the story. The sentences place themselves, one in front of the other. I go back to writing, perhaps. The man leaves, in a hurry; it is abrupt. She is not worried. She is not even moved. She barely acknowledged him, anyway, I noticed, at the start. No one was trying too hard to start talking. That’s okay. That’s fine. You don’t have to talk all the time. Gosh, if I didn’t learn that in Finland.  She was on her phone. So was he. Both of them distracting themselves or pretending to. Looking at things. Texts and so on. He had tried to make eye contact. That is a thing unknown to some of the younger ones. They may dress impeccably, but they don’t notice the noticing. And that’s where the breakdown begins, isn’t it? Of communicating from ap lace that’s honest, real, raw, and unfiltered. Facades get in the way of relating. And I guess that’s why, for the first time in a long time, I’m okay writing again, in first person. More on the way. More to share. More, in the form of short books, long books, poems, novellas, plays. And, best of all, co-creations.

Listening in to other people’s conversations… stories of: moneymaking plans, insurance, school and work, weather banter, international transit, general exchanges on the exchange of services and goods, rubber, fear of other, mistrust, putting up with things, and, of course, celebrating a new government, with an optimism. The kind that says, ‘Some glimmer of things to come shan’t be smothered, now.’ That’s the feeling, this go around, here in Kuala Lumpur.

Back in November, for this.

Join S P A C E and be part of the international, asynchronous forums and online salons from October. (Which is when we begin again with a select set of candidates from around the world newly discovered, for the salon, ‘Philosophy of the Moment.’) Scholarships available. Application required. Learn more here

Direction of motion, friction and planes

THUNDERSTORM. But not as bad as it might become, and quickly. so I’ll stay where I am yet a bit.

Am thinking about the conversation just now.

 

Motion and formula

The one about going with the flow. About going out of where you’re used to, in order to see what else is there. Taking risks. Stepping out. Going. Going, is the point. I remember talking about the coefficient of static friction being greater than the coefficient of kinetic friction, once, on a very different journey, to try to put it into some kind of easy-to-understand visual. But of course that is eleventh (or twelfth, depending on where you grew up) grade physics. 

(The inclined plane, anyone? The mass and the force of gravity and the normal force, equal and opposite reactions, Newtonian physics, etc, and so on?) Those things change when we get quantum, but hey, most of the people in charge of things are still, let’s face it, in some kind of denial that there re still Things Not Yet Explainable by these Modern Methods of Science. We have no idea. In other words. We have no idea. Still, Bohr told them then to ‘Believe in the Existence of Atoms.’ I guess there is always going to be someone out there doubting something, smearing the thing that is emerging as a kind of paradigm shift, because it’s uncomfortable. And here we go, back to friction.) I want to talk about ‘frictionless coexistence,’ like we did in The Mirror. I want to talk about inclined planes. I want to continue my conversation with PC iabout d-v-a-t formulas and then start a new one with KE and MV about imaginary numbers and string theory.

Found on a diagnostic exam for third grade math skills: ‘No calculators! This is a third grade math test’

The journeys are alighting.

The rain is starting. Stopping. And starting up again.

Let me change tables. Sit outside a bit. Where there is more airflow; where there might be a new nugget of a kernel of an idea that inspires the ripple of a tug of a stone on the surface of the new lake. A lake, say, in the middle of northern Finland, where the sun sets as the moon rises, simultaneously, in the month of June.

Koivu, DK’s new book about the summer of ‘white nights’ in Finland, is set to release autumn 2018. Learn more.

Writing ‘Koivu’

TODAY I WILL OUTLINE, in a short but detailed note, the creative process that happens when one is writing a book. A book, not a blog. A book, not some clickbait links that someone is going to pay you a lot of money for because you work as a copywriter at a fancy ad agency. A book, because books are where we have a moment to really get deep and moody, and write, not because the writing is for a purpose (to sell something, for ex, which is most often the goal it seems with a capitalistic system ruling everything nowadays), but because the writing conveys something stronger: emotion. I could talk a little here about the mourning that happens when one realizes how cheap things have become, and how transactional (as F. has just pointed out in a recent comment on this post, ‘Trust the Process.’)

But I will refrain from editorializing.

I know that writing in first-person is mostly just editorial, okay, fine. Admitted. But still.

Suomela // DK 2018

There are times when certain pitfalls are there, and I have this weakness for falling into them. Pitfalls that, for example, are really just one’s own projections on things that one feels importantly committed to. Things like how X or Y is just so unfair, and how Z and T ought to be installed, instead. But you know what? That’s just more dogma. And dogma is getting us in trouble, in this world. Righteousness and an insistence on sticking to a thing and not budging, not a bit, no matter how educated you are or what you have built—staying unwilling to open to new ways of thinking and new points of view is going to be the thing that, in the end, makes it hard for you. (Yeah, editorializing and saying it ‘like it is.’ Must find a way to suggest my thought in a less black-and-white insistent way, but that is what we are trained to do, isn’t it, those of us who grow up on Western eduaction systems that love to be abolute and ‘right’ about what they think? Mmm-hmmm. Oi.)

FLASHBACK. Thinking specifically about a conversation in Durham, NC, with an old friend of mine; a conversation that became a sort of philosophical sparring. I put the best chunks of it, from memory, into Breakfast in Cambodia (Kismuth Books // 2016). Because that insisting that I recall, an insisting that insisted that her way was better than my way, for whatever reasons, reasons undisclosed, but there it sat, the whole thing: the righteousness and dogma, that one way supersedes by default another, that did it. That sent me packing. I was on the road not many months after that, uprooting the American Dream or whatever and setting foot out into the unknown. Well, Hanoi. The traffic, my gosh. That was then. That was 2013. Now, I’m used to Asia and its ways of moving around vehicularly. I just got to the place I’m typing you from by crossing illegally maybe four crosswalks, including one that was rather huge—a four-lane freeway cut in the middle by the thing that ran above it, the monorail. I’m in Kuala Lumpur. The city is saying ‘hello’ after a long summer away, writing and photographing for the book. Oh, right. I was going to talk about that, wasn’t I? The way it starts. The way you get started on a thing. Or at least, how I have managed to get started and in so doing, completed a series of books, so far. None of them are ever as good as the one that’s current, though, when you’re writing a lot. And so I’m going to put all my chips in on Koivu, probably my best one, of them all. Of course I would say that. I’m still writing it, so you know. I get to say that.

 

The creative process of writing a book

Koivu, forthcoming from DK 2018

THREE FOUR STEPS, for me.

Part 1. Material.

Part 2. The thread. The thread is important. Because it’s the thread that makes the necklace. Finding it can take a lot of looking through things, but also, letting things go. Pieces of paper, unwritten bits, written things that don’t fit the story. Not talking about the arc or the narrative. I know some people have more of a system that is linear, like that. Go with the outline, build each piece. Sequentially, maybe even. Not me. I’m a bricolage artist. So I go with what’s in front of me. What falls to hand. If someone right next to me starts to talk to me about a thing, guess what? That thing almost always informs where I go creatively that day. Today, I’m thinking about righteousness. (Can you tell, based on the above?) This morning someone told me that X was X, and not otherwise, and not listening, not a bit, to any falsifying evidence to the contrary. He was stubborn, and wouldn’t budge. Insisting. That’s why I brought up the story about my old friend and I arguing in the tea shop. She was really mad about things. I was less mad than stunned. I still remember the feeling, dry-mouthed and almost gaping. I had had, until then, quite a lot f respect for her. After all, she is well-schooled (more degrees than me, or most people I know), but… there was no scope for play. For improvising. For making it up as you go. For listening out for a new kind of angle. That, to me, was deafening. How could I stay put in a country where what’s valued is the insistence on being right, instead of the openness to dreaming outwardly and openly towards whatever might make itself apparent, and emerge? No wonder I loved the N. Bohr Institute, in Copenhagen. Guess what? I just walked in, the front door, just followed a PhD student inside, followed her to Auditorium A, I think it was, the famous one, listened to WS and GJB and others talk about dark matter and gluons. And then, to write about those things, of course, in that story that I was compiling in those days, at that time. Of course. Because part 2 of the process of writing a book is to find, and follow, the thread. Don’t second-guess yourself, when you seem to sense that you’ve got it. When you’ve got the thread, you’re mostly done.

Part 3. Framing and sequence. Now is when you add things to the thread. The details, the scenes, the story makes itself to you. It’s easy to start with a bunch of notes and feel like you’ve done your work already, and that’s where I am today. But you know what? I left all of them at home. I’m out into the space where I can start to remember things, instead of report them. I want to remember things as they come to mind so I can thread the necklace. Because this cookie is going to be good, I can tell, and I want to let it come forward naturally and organically, not in a too-formal way. If I was too insistent on making it into ‘a piece,’ with too much of too much, I think it would punch through the soft underbelly of this thing. It is delicate and unformed, as yet. I’m happy to be in this spot, writing and thinking and going through the photo archives from June, July, and August, as I work out the stuff of Koivu. Which means, ‘Birch,’ in Finnish. Did I tell you? I’m learning Finnish? Yeah, well. Kind of.

Details // DK 2018

Part 4. Sharing. This part is where I think most people see what I’m up to. I’m all about ‘Hey! Lookit!’ but I forget to share the process, as in, steps 1-3 above. The process is where, though, the working-it-out happens. Sure, it’s really personal stuff, too. Writing about it even in this third-party style is a little strange, to me, in some way. But I’m changing these days. I’m going to share more about where things go, how they get to those places. Travel is like the creative process. You go out into the world looking for whatever might emerge, and that’s one way to travel. And that’s my way. And not most people’s, sure, but so? There are still a handful of us who are curious and seeking and going to the edges, like I talk about a lot here on this blog, and in real life, a lot. I mean, a lot. But I’m not interested in knowing all of what’s to come ahead of time—I remember this couple in Seattle who had downloaded the menus of the restaurants they were going to go to in Paris before they took their trip there. And they did this months ahead of time. They also had been to those restaurants before. They had these things in a clear sleeve folder. I think that was my first inkling that, well, DK and our style of making and doing and traveling and going around discovering was very much against the grain from what mainstream America thinks is kosher. Having a plan. Knowing what you’re doing. Knowing where you’re going. Knowing, instead of feeling.

And here we are, back to the start.

Emotion.

Writing with feeling.

Writing with heart.

Not for everyone, of course. But for the people who are seeking and curious, like some of us here in these online circles behind-the-scenes, well. For us, it’s all that matters. For us, this being open and curious and wandering around and seeing what might happen is, honestly, the whole thing. Is all there really is.

S P A C E || Rovaniemi, ‘Blank Sky’. Discover more about S P A C E the zine.

Ira Glass and Neil Gaiman on the creative process

TODAY I AM CONTINUING to think about the creative process. It’s a follow-up from two things:

Science podcaster JR talks with DK on the work it takes to get good.

Exploring without knowing

MAKE 2, a conversation salon hosted by Dipika Kohli // Durham NC 2011

THE CREATIVE PROCESS itself was the subject of two conversation salons in Durham, NC: MAKE and MAKE II. ‘What is the creative process? Who uses it? What changes as a result?’ We had a dozen guest speakers at those two events; and a crowd. I can’t believe it, still, thinking back, that when I first returned to the Raleigh-Durham region after a decade away to throw the ‘do that we called MAKE how almost 100 people drove in from far and near vertices of the Triangle to connect, converse, listen, and learn.

Was just marvelous, that time, so we hosted the same event a year on.

MAKE and MAKE II were occasions, to me, the kind that I wouldn’t forget. I had no idea at the time that relational art would become my kind of party, that the being-together was the whole show. That awareness came way later, probably the night I read from the chapter ‘Blankslate’ at a cafe in Phnom Penh–the first chapter of Breakfast in Cambodia, to the group who had gathered that night–‘I know this street, I know that feeling, I know, because I”m here!’–that was the feedback.

And we were. Together, there.

In the moment, in the place that was written in the pages.

Diving in and out of S P A C E.

Yes. There’s a lot of philosophizing I could do here, but I’ll get back to the story of MAKE.

BEING THERE. I still remember JW, a sculptor and guest panelist at the first MAKE, talking about birds and the beautiful metaphor he gave us that day about how the creative process is like a flight. I can’t properly fit the whole feeling here… I couldn’t eloquently state it here; you simply had to be there, that’s what these salons are for, after all—the real life, real time experience. A co-created improvised play, which happens on the spot, and which ends in rather no time at all. Ephemera and the heightened moment of the urgent, sequestered ‘now.’ Oh, no. I’m getting philosophical. Well, let me save that sort of talk for another day. Perhaps this one, in Phnom Penh.

 

Two videos

EVERY SO OFTEN, and this happened just last night, someone says something that reminds me of the existence this video that someone made, animating radio host Ira Glass‘ thoughts on the creative process. Of course any mention of IG makes me remember JK‘s story about picking the man up from the airport and getting starstruck–too funny. JK, what are you up to where you are? What are you making lately? Questions I would foist your way, if we were in good e-communciation. I’m still around to talk about these kinds of things, you know. Hopefully in a comment thread to come, over here. But yeah. The video.

Here it is:

 

FILE UNDER ‘RESOURCES.’ Personally, I just like to ‘do’ the creative process. Instead of just diving in and making something, which is my usual habit when I have this kind of focus time, today, I’m writing to people around the world whose work I think is curious, and whose perspective I’d love to hear when it comes to questions about the creative process, why we make anything, and what we’re doing this for. It’s a big question, of course. The point is not to get ‘popular,’ for me, anyway, or ‘rich.’ I just want to make good art. Did you see that video, ‘Make Good Art?’? SK had sent it to me, right before I left the States. I must say it was a contributing factor to the decision to get going on the road, indefinitely, without a fixed income, savings, or a plan. But yeah. I found a link. Here’s the YouTube video:

 

For further reading?

SUGGESTIONS?

Anyone have further resources to add?

Please leave a comment with your link. Really would be great if you could point me to some people who aren’t white men, hey. I’ve been looking but it’s tough–women and people who aren’t white tend to just simply not get the spotlight as often. Imagine! But it’s true. That doesn’t mean that they aren’t there, with things to say. Help us find the important stories? Connect with me or just leave a comment below. I love the interactive part of writing this whole blog thing, because it’s not a flat space, we’re evolving it as we add to it. The geometry of a space is the set of all points within that space. And: S P A C E changes because you’re there. It’s kind of fun to think about physics and space, spacemaking and the fourth dimension. I can talk more about that, sometime. Let’s get to know each other, though, a bit first.

Thanks! Comments are open for a bit.

This post and other stories are made possible by support of members of S P A C E. Discover more here.

 

 

Trust the process

IN THIS POST, I will share with you some of the current thinking behind ‘At rest while in motion,’ but also, walk you through the actual in-the-moment journey of how one goes about trying to figure out the vague answer to the superlative question, ‘What am I doing?’

This last because it is a question that pops up a lot in the conversations I have with people in a very short space of time: ‘DK, tell me what to do now. You seem to have things figured out.’ Er. Hardly.

Those who know me personally know that I’m hardly well put-together; behind-the-scenes, I am a bundle of bits of paper, slips of notebooks that go in boxes, some of which I’ve lost track of, and all of which are existing in perhaps dusty, surely disquiet collections in patches, tucked away in the nooks and apartment closets, houses and spare rooms of very nice people (and sometimes relatives, wow), who take them in and hold them for me, indefinitely, until it is time to revisit with the old material and see how it fits with the new.

I guess I have something figured out, though, if I’m honest about it. Since 2013 I’ve been ‘on the road, indefinitely, with no fixed income, plans, or savings.’ And DK started in 1994, and then became an LLC in 2005, which was the last time I had a 9-6 day job. So, what does that mean? Well, when it comes to answering one question I think I have a thing or two to say. The question being, ‘How to take a step out, when you’ve no idea where you are going…’ Mmm-hmm. Story. Of my life.

But wait. I’m getting off on some random tangent. Let me talk about the creative process. Let me start with material.

 

Material

‘Internet I Hate You’ popup art installation by DK, Malmoe 2015

MATERIAL IS THE FIRST thing that I am looking at, right now, when I am considering the first thing to do now that I am in one spot, for a time, with the bookings made through at least the end of the weekend, which, in our new state of ‘nomadic drift’, which isn’t new at all, really, but this time, there really are no flats or monthly rentals to contend with nor people who are there to say hello to every day, but rather, the flux. The flow. The movement. I like this, but I also have a lot of stuff with me. Stuff that moves in packs with me; the suitcases are not as heavy as they were in 2013 (left one in Delhi, left one in Bangkok), but they still are there. Taking up room. What to do with all this material? What to keep, what to let go? There are snippets from the deep past, somewhere in a box in Cambodia, there are things from even further back, well before that, art show leftovers in rolls in Raleigh-Durham. I always wondered what I would do with all that stuff. Stuff. So much of it. Might explain why somewhere along the way, I switched from doing print work to going digital only. This is coming around again to the world of somewhat limited edition and very custom, very one-of-a-kind printed stuff, but again, it’s stuff, and that means, ‘What do I do with this?’ It’s been neat sending some things off in the postal service, through the S P A C E || Finland page in our online store. It’s been nice to share things with people in real life, people I’ve just met, people who say, ‘Those are nice. Wait, are you selling them? Great. How much? Okay, that’s fair. I’ll take one of those.’ It’s like giving away kittens, I think. You have a lot of offspring and you don’t know where they’ll go; but you don’t want to just leave them around. You want to find them good homes. And that’s what’s happening. The rest?… the rest is with me. I’ve got an extra bag now. It’s got Moomintroll on it. After all, this was the summer of stuff I made in Finland. But it’s also… good material. For zining. On into the next. I like it when bits and pieces from the last place make their way into the current works. And so, now, I should talk a bit about the creative process.

‘Saved by Wifi’ // Illustration by DK 2014

‘Trust the process’

FOR THE FIRST TEN years of DK, I would always start with a few things with every new client. First, I’d ask for a book recommendation: ‘What book sums the story of you? I’ll go and read it.’ Then, I’d ask for them to have a look at this slideshare, because it’s really quite simple to read through and puts a lot of stuff in perspective. Lastly, I’d ask them to ‘trust the process.’ To trust me, really, to guide the way towards some kind of breakthrough.

That’s not an easy thing to sign up for, but sign up a handful of people did, each year from 2004 until now, which means that’s why DK is still here, existing, making space and now S P A C E (online magazine) and Atelier S P A C E to gather us for short-run weeklong or four-week-long stints of time so as to delve into the exact style of the foray into the creative process that DK had delivered to clients in Seattle, Raleigh-Durham NC, and more recently, in Phnom Penh.

Because I myself am in the midst of a design overhaul here at DK, not unusual because we like to reinvent quite a lot around here, well, I’m taking stock of the materials gathered and looking ahead to 2019. Where shall we take things with DK? Who wants to collaborate with us, who wants to connect in S P A C E? Does S P A C E want to become something different from what it is, right now? Or is it working, as it is? Even in very small circles (which is my personal preference), there are moments of real and true connexion, you can feel it, it’s not just me saying that, and then we get philosophical and talk life and meaning and sometimes about life plans but not in the usual terms, more in… the kinds of words that one allows oneself ot speak when she or he feels at ease. I remember this from a past life, a longago summer, this wild and crazy time of just being, just hanging out, with friends. Before the era of justifying your existence through the use of social media channels, there was just us being around each other talking late into the night maybe with some music going in the background or someone with a guitar, but always, always, always, there was that ease and comfort when you felt like you could just hang out, just chill, just be around people, just be. A long time ago, yes, that I felt that was the norm. Now, what happened? We are distracted and I forget to get back to the work of making S P A C E. At the Form/Space Atelier show I was invited to put together in Seattle (thanks again PP), I remember writing the artist statement and saying something about BTFL SIMPL. Which was: ‘I want people to relax. To feel air, space and comfort.’ That has not changed.

S P A C E for play. S P A C E for conversation. S P A C E for slowing down. S P A C E for the easygoing ‘third place.’ There is so much to talk about. That’s because… there’s so much material. The work now is to sift through all of this and see what makes sense to keep, what to let go. Editing is this. Editing is being aware of the thread that makes the necklace, and letting the string sing while the gems and pearls add to the vocals, rather than distract and detract. The vocals matter. The vocals. Erm. Ah. I sound like DK is some kind of a band. I talk a lot about jam sessions. I talk about jazz. Chords. I guess, in a way, I’m kind of the vocals around here. I’m looking for the baseline, the guitar, the horns, someone bring a triangle, and whatever else you’ve got. Come out and play with us, with the people who are here and ready. Jazzy, light. It’s okay. I don’t have to overthink this. I don’ have to intellectualize. Either you get it, and you want to try it, or you don’t.

And that’s fine. Because, like ES had put it once, it’s not for everyone.

And like RKP had said, ‘Find the art and magic.’

Where’s next?

Exactly.

 

Art of not knowing

Phnom Penh // DK 2014

WHERE IS NEXT? I HAVE NO IDEA.

And that’s okay.

It’s okay to say, ‘I don’t know.’ Just ask N. Bohr (you’ll have to go to Copenhagen and find his grave at Assistens). But for the moment, at the top of the journey of a parabola upon which a ball is tossed upward, there is a spot where the velocity is zero. That means, we’re at rest. That we’ve stopped moving. For that moment, you have the view. The vista, the zenith. Take it all in; look around. See what’s what. But don’t try to put meanings to things that you’re looking back on, and don’t investigate too deeply into what’s next. Because the moment is here, is now. And we are at zero velocity.

Well, from the near-distance view, I see on the horizon: Phnom Penh. For Atelier S P A C E || Phnom Penh.

But… the zenith. The quiet in the height. That’s… to me… that’s beautiful.

That’s where the art begins. Noticing.

Can you dig it?

Comments open, for a bit.

 

 

 

 

 

 

 

 

At rest while in motion

CHECKING IN. Catching up. Conversing. In real life, on voice, through the space that is the forum ‘Slow Moment,’ and, in this odd but one:many way, through the blog. It was 2006 when the blog began; I remember. I had been to Gnomedex, a bloggers’ conference (HT CP), and while everyone else was on laptops typing and talking on twitter, I think, (‘this is the backchannel conversation,’ someone informed me, educating me on this digital stuff like no one had at my newsroom), I was there with an old-fashioned reporter’s notebook and a pencil. The notebooks had been in the closet in the storeroom at work. Work was a newspaper. A daily. I went daily, to write things. But the things that we were writing had, I saw fully and clearly, no relevance or bearing on this other group of people. The people who were writing what was going on now. In new ways. Ways that I hadn’t been even remotely aware of. Those of you reading who are digital natives, be forgiving. I am ill-adapted to the modern modes of communication, sorry.

 

 

This used to be ‘high tech’.

 

 

 

Point and Line to Plane

FOR THE FIRST TIME, probably in a long time, instead of a long ramble, I’m going to tell you a story. About the time I met L.

The reason I want to bring this up is manyfold, but begins and ends, I think, in Kuala Lumpur. Which is where I have just returned to, and where I keep popping in, it seems, for two- or three-month blocks. Looking for the story, is what I had said, before. But it’s more than that. It’s looking for the life.

‘It’s not that I want to make a living from these zines,’ I had said, at that tea place with many shelves of carefully arranged books on feminism, cooking, and LGBTQ features. ‘I want to make these zines live. And you need to have great stories for that to work. To really work, I mean.’ What was I talking about? The dream quality was there, that day. You know that one, right? When time slows, almost stops. You notice this kind of thing, especially when you are alone, on the road, waiting for tea, waiting for the rain. Looking at the bookshelves, but only kind of. Most jacket spines were writ in Chinese.

The Book of Ennui // DK and friends, Phnom Penh, 2016

So in the end, I was reading nothing at all, for once, instead writing in my head, writing blank columns into the aetherspace of just-zoning-out. Same like the moment I chose to amble up those stairs (unmarked, curious, vaguely intriguing), and into the cafe-cum-bookshop’s front atelier. But I peeked over the edges of uncomfortable-looking but perfectly-colored red sofas. Of course I did. Was there a backroom?

There was.

It had a large window that looked out onto a balcony. Floor to ceiling windows. I love those. I followed the sightline.

That’s when I saw her. L.

Her things arranged meticulously around her, but I could tell, for a long time, she wasn’t paying attention to those bits. Paper, a laptop, some cords, some phone stuff, maybe a few more electronic things that I couldn’t identify, really, because I’m out of touch with that kind of thing. I stick to paper, still, believe it or not. Pencil, paper, scissors, glue.

But.

L.

She was elsewhere. In the just-beyond, in a way, at least, that’s how it seemed, to me, on that afternoon with a soft rain, not the monsoon, but the lighter kind, about to fall.

‘Ever since I met you,’ she would say in not that much time, ‘which was ten minutes ago, I feel like I could really… connect.’

Et voilà.

Enter the heart of S P A C E.

 

Kandinsky’s window

AS IT IS WITH BEGINNINGS, it is, too, with the middles, I think, of the space that is shaped when we go around the bend, see what might be there, and begin to go quiet into the space of just-being. Maybe a couple of minutes passed, maybe a few hours. I can’t be sure. I’ll never be sure. She was there, and I was there, and we talked at length about many, many things related to, hey, feminism, and showing up, and real life, and circumstances, and how things change, and where we are, and, of course, uncertainty. My beat. I write about this, I talk about this, I calculate nothing really, anymore. The second law of thermodynamics was how it all began, in a summer classroom half a world away, sitting there, Mann Hall, N. C. State. Was that where? It was. A summer of learning how things flow, where turbulence arises, how entropy works (or how we think it does), what professors can do with a constricted schedule that blocks classes into longer hour-periods, instead of longer weekly semesters. Summer and then. But… I’m getting nostalgic for another time; that won’t do. That is a distraction. That takes away from here, hijacking the moment. This moment. Now. (Not to get distracted further, but um. The future. Ask me sometime about an upcoming salon, ‘Kandinsky’s Window,’ which is about the viewfinder of the street window, and the life that’s just beyond… ask me sometime about the book Point and Line to Plane, too. I’m always more than happy to talk non-Euclidean or multidimensional bric-a-brac in the forum-space, ‘Strange Geometries.’) But first, let me quickly recount the short, real conversation that happened when I met someone who reminded me in every way of the people I love discovering, on the road, in the moment, away from everything, because they have that expressiveness in the eye that says, ‘Well, hello, who are you?’ But she said—

‘Hi.’

And I said–

‘Hi.’

(Things start so simply, don’t they?)

Geometries and strangenesses, the ever-changing shape of space. Is L. in Kuala Lumpur? Will we meet again? I don’t know. I can’t know. Nothing is for sure. (Remember, uncertainty is my beat.)

‘There is so much bad art in the world.’

‘Yes. Yes there is.’

Conic sections

What’s good? What’s quality? Where can we go to find it? We can seek theories in books, or write essays that philosophize about these big questions. But we can also go into the quiet space. The in-betweens—where, I’m finding, at least for me, things like ‘good’ and ‘quality’ and ‘beauty’ and, yes, I’ll say it, ‘magic,’ exist and co-exist. Here in the edge-finding rooms where we go, now, me and the people I write and talk deeply with, at length, in conversation salons or put-together-in-this-now gatherings that may be impromptu, spontaneous, planned or unplanned, well, here is where we are headed. The magic moment. I know, I know. You want me to spell things out. ‘Make it clear, DK, what this is and why it will make my life better.’ Well, truth is, I can’t do that. I can only show you what I feel when I feel the magic moment happening to begin. It’s really… um. It’s… well. It’s personal. I can’t share that kind of thing in the public blog space, which is why I resort to protected-page forums.

In which there is… well. Sharing. Conversation. Connection and interconnection. One designful moment at a time. I can’t really begin to describe all the magical things that happened when people connected across S P A C E here and there, like in The Mirror in the early part of the year, and currently, we’re going to be finishing something soon called Slow Moment. I’m humbled and grateful for the chance connections that have led to new thinking, new input, new… feelings. It’s where the world of imagination and heart can take us: it’s where we can begin to slow down, let go of our inhibitions, disclose things that might feel very hard to open up about, and, in this way, build new shoots and germinate anew.

On the bus on the way from Helsinki city center to Vantaa for the airport, I met someone from my part of the world. With my very accent. My style of speech. My idioms, my cultural references, my diction, my slang. But: we did not relate. I couldn’t. There wasn’t the same quality of space there that there had been elsewhere. Just because we share the same passport doesn’t make us familiar. What makes us familiar is the intricate and curious longing to go somewhere else, to seek, to quest, to discover. And not make it into a big deal: to just go.

 

The magic of now

‘The Book of Time’ // DK and friends, Phnom Penh, 2016

LATELY, I’ve revised my thoughts about what ‘art’ is. Dislcaimer: I spent like ten minutes in art school, this was in Brooklyn, this was a zillion years ago, and I’ve been pushing around in the world, ever since, I think, trying to feel it instead of think about it. In moments, it arrives: that feeling. The one that says, ‘This. This is art.’ I’ll tell you more about that in a second. But first, what is not. (To me. Everything is relative, after all.)

It’s not a book or a novel or a painting or a YouTube video. It’s not a song or a worked-over collage that no one will ever see. It’s not the words in the diaries that someone who wrote them wonders if their great-grandchildren will read and somehow recall them, or at least, know a hint of a whisper of their having-been. No. Art is closer to us than any of those things. Art happens, to me, in the quiet stillness, in the noticing of: being here now.

Which happens at a specific kind of moment.

The moment of something that has turned, somehow, into a kind of novelty. A real life meeting, eye to eye.

These days, to me, the making of art isn’t the accruing of ‘stuff.’

These days, to me, art is simpler.

Art is showing up.

The good stuff follows, thence.

 

This is a part of the series, ‘100 conversations,’ inspired by real encounters with real people, and is supported by members of S P A C E.

This post is for L.

7 Sept | Popup zinemaking atelier in KL

ZINES. Conversation. Real life. In an age where the internet can confuse and lie to us, ‘zines’ (xeroxed short publications we make ourselves and give our friends) give us a tangible grip on the *here and now*, and remind us that at the end of the day, *we* get to create and write our own stories: the stories of our lives, the stories that remind us who we are. Make. Eat. Drink, and relax with us to put together your own 8-page zine. We’ll show you how.

*** UPDATE: Be sure to grab a special discount when you apply the code ‘DKlovesyou’ at the event page (where it says ‘Enter promotional code.’) ***

 

Zines at Oulu Arts Night in Finland, 2018 // Photo by DK

Continue reading “7 Sept | Popup zinemaking atelier in KL”

Mariska’s Itserakkausjuttu

JUST FOUND this by happening to be in the right bus, at the right hour, in the right place, to happen to hear it. This is the very stuff of S P A C E. Chance encounters, serendipity: veer. You go where you don’t know what might happen, and you happen to run into something magical. I call this the ‘magic moment,’ when it happens. I was on the bus. There was a young woman in the row in front of me. The bus was pulling in, but this song. This song! What was it? It was in Finnish, but having been here for three months now, I could pick out the words that stunned me. The refrain (catchy, poppy) sounded exactly like the title of our new zine. How does that happen? It just… does. You go to a place and you look for the art, the things that people are trying to express, or that you feel they are sharing with you, and you make a piece. In the case of DK, a zine. That spells out our explorations into what people shared with us about ‘summer,’ and ‘love,’ and the ‘love story.’ In the case of Mariska, it was a song. ‘It’s like a love story.’

‘Exit Vantaa’ mix >

Love connections

Pre-order >

Ours is called Kesärakkausjuttu—A Summer Love Story.

Hers is Itserakkausjuttu—[Update: A Self-Love Story] It’s like a Love Story. (Listen to it on our ‘Exit Vantaa’ playlist at Spotify, here.)

Mmm-hmm.

There it is.

The chance encounter with… someone else feeling and expressing similar things to us. So even though it was a song over the radio, that didn’t mean it wasn’t important or connecting. It mattered. Mattering. There’s more to say about that, but not here, not yet. Saving it for the book, Kesärakkausjuttu. Editing this week. Almost done. Friday is my deadline. Whew. Almost there. But meantime, pausing to appreciate that another artist in the same country, in the same summer, also hit on this exact idea—our media of expression are different, but conceptually and aesthetically, our pieces are exactly aligned. Isn’t that what we call ‘good chemistry?’ It’s amazing when it happens—rare, beautiful, impossible to believe, at times, and almost always, the kind of sharp and pungent hit of dopamine that might be exactly what you need, in a particular place, time, and space. When you get the sharp high, everything moves from ‘this,’ to ‘adventure.’ And it’s adventure where DK loves to explore at the edge; that’s the ever-emerging shape of S P A C E.

ROAD TO ROVANIEMI. I heard it on the bus, yeah. I was in Rovaniemi, or just-about-to-be. It was kinda cold out, me and ‘d gotten rained on, and I was like, ‘Let’s just get back and get warm and eat something.’ But then, um. The song. It struck a chord with me in a way that hasn’t in a very long time. Um. This! Wow. This? This. Yes. It was going to mean staying on the bus a bit longer. All the way to the train station. But I had to. To find out. Who was it by? How was I going to find out? Well. There is a young woman in the row in front. Let me just… ask her. Then there were phones, typing, googling, youtube, and the name of the artist… Mariska. ‘The title is Itserakkausjuttu,’ she said, almost as delighted as me for having helped me find out something that seemed important to me. I showed her this page of our website, and we were talking. Talking, talking, talking… all the way to the train station. Lengthenting the trip for J, but um. The song. I now had it. Which was exactly the nut I needed, in order to secure an important kind of bolt. Let me elaborate, to try to clarify what I mean. Hm, how shall I put it. Okay, here it goes…

All summer I’d been wondering what to write to take away from Finland, what to post, what to blog, what to publish, what to eZine, what to put into the whole set of printed pieces that will be sent by post this weekend. And then, with the song, something important happened. The pieces were there, the collection was ready, the channel of the bolt was carved, the bolt had been placed. Everything was loosely there, but the last bit was missing. The nut. The nut that tightened it all; the song was that nut. The aesthetics of this book and this song were importantly aligned. (That was my gut feeling; and as you know, if you read this blog, you know it’s from the gut that I move.)

But yeah.

A collection begins

THE BOOK, the summer, the story, the collection S P A C E || Finland. With this new little piece of a happened-upon sound clip, the aesthetics of Kesärakkausjuttu and accompanying pieces were now set.

A Summer Love Story is the name of our piece.

Hers is called Itserakkausjuttu, which translates by my bus companion in front who helped me find it as ‘A kind of love story.’

Summer.

Love.

Flowers.

Midsummer.

The nature. The calming.

These things: all of these things were swimming about in the brain, and then we wrote some stories with Alexis Jokela, and then we printed a few of those and shared them in Oulu and here in Kärsämäki at a short series of conversation parties called Hei Kesä. Testing things. Why not talk about summer and happy things, we were challenged, instead of melancholic depressing ones?

 

Emergence

TALKING TOGETHER, working out the story, sharing in small snippets, testing, translating some of these, sharing those, limited editions, hidden chapters, Rated R things, stuff like that. All of it is part of the summer of Atelier S P A C E, writing, deigning, exploring, conversing, connecting, and discovery. It’s always that, but this was the first time we had expanded it to three full months, and not interwoven Atelier S P A C E with any other DK project. So that meant, focus. And concentration. And hopefully, a work of…. Art.

CUTUP. Those who know DK know that a big part of the zines made here are from the cutting-up of magazines, especially womens’ magazines. Why? I hate that these magazines try to tell us a story about what women ought to be into or how we ought to look. So when I google translated the song that I’m talking about and found a few lines about exactly that, I knew for sure I had hit on the right piece to listen to while editing the whole collection these next few days before leaving Finland. These are the lines, and the full Finnish lyrics are below. Thanks, Mariska!

 

Let’s see the women’s magazines again
How bad and bad I am
Although not true at all
I wondered, “what’s wrong …”

I like my life
I enjoy my skin…

***

Update: Listen to it on our ‘Exit Vantaa’ playlist at Spotify, here.

Mariska’s Itserakkausjuttu

Olen vihdoinkin käsittänyt sen
Mä oon fiksu ja kivannäköinen
Kaiken hyvän todellakin ansaitsen
Mitä tielleni sattuu
Helppo muista on kyllä välittää
Mut itteänikin mun täytyy silittää
Lupaan täst edes aina yrittää
Itserakkausjuttuu
Itserakkausjuttuu
Itserakkausjuttuu

Voi heittaajat sanoo mitä tahansa
Ei se mua liikuta, pitäkööt vihansa
Mut se mist aiheutuu vahinkoo on
Jos mä en itelleni frendi oo
Jo kiistatta oon paras minä
Ja muihin mä en vertaa mua enää ikinä, hä!
Tää on luultavasti sullekin tuttuu
Sitä itserakkausjuttuu
Itserakkausjuttuu
Itserakkausjuttuu

Naistenlehdistä lukea taas saan
Miten väärin ja huono olenkaan
Vaikkei totta se ole ollenkaan
Mietin vaan “mitä vittuu…”
Mikä mussa on muka nurinpäin
Vaikka pärjäilen hyvin juuri näin?
Suosittelen sinullekin ystäväin
Itserakkausjuttuu
Itserakkausjuttuu
Itserakkausjuttuu

Tykkään itestäni
Viihdyn mun nahois
Mä väsyn jumittamaan
Fiiliksis pahois
En dissaa vaan kehun ja kiitän
Kyl kelpaan jos tälleen mä riitän
Oon kritisoinut mua jo aivan tarpeeks
Teen sovinnon ja annan itelleni anteeks
Onni alkaa siit mihin ankaruus loppuu
Kaikki tarvii itserakkausjuttuu
Itserakkausjuttuu
Itserakkausjuttuu…

 

‘Exit Vantaa’ mix >
More songs I like >

Making the book ‘A Summer Love Story’

IN NOT TOO MANY DAYS, this thing will be finished.

This thing that is the summer residency in Finland.

This thing that is the A4 zine, ‘Slow Moment,’ whose lead story is going to be ‘A Summer Love Story’ by Alexis Jokela.

This thing that is the smaller zine series, the set of stories created and co-created in the time since DK got here, early June… so many things have happened. Hard to think it all out. But I wanted to show the process a little, today. The conversations lead to things, they don’t just stay there, they lead to the making of things that are, in fact, solid and concrete. And if I’m lucky, have a particular unity to them. They have a meaning that will resonate, I hope, with people who read or view them.

 

Making a story, discovering the meaning

THE ART things are this way, are they not? If they’re good, they land somewhere–someone’s heart. I’ve seen people reading the short stories of Alexis’s now, and there are tears. Honest. There are. Talking with lots of people around us to gather the mood and feeling of one story to share in an 8-page A4 zine has taken all these weeks, so far 10?, and there are two to go. Wrapping up time. There are translations into Finnish, you see, so that means it’s easier to get into them. And so many people have told DK and our team at Atelier S P A C E here what they are feeling about summer.

The whole idea of making the show ‘Hei Kesä’ in Oulu next week, in collaboration with the team at Ouluntaiteidenyö, was born, in fact, of real life and contemporary, in the moment and right here and now conversations. How could it be otherwise? To learn about a place you have to go and see it, in real life, with your person. In Denmark I learned an expression, about how if you want to know a place you have to ‘go there and then put your finger in the ground.’ So that means you sit with it, you don’t just document things for five minutes and fly away to the next town. When people travel around and do that and say they ‘did Cambodia because I went to Angkor Wat,’ for ex., I have to stop myself from getting into it. But you can’t ‘do’ a place by ‘hitting’ a couple of things. In Ireland people would ‘hit’ the Blarney Stone and so on, and say they ‘did Ireland.’ I still remember that. Three and a half years in Ireland. Here, three months. Sure, I don’t know that much, but that’s where interviewing comes in. Learning to make the stories and the pieces that tell the stories that people are telling me. That’s why it was so amazing to run into Alexis. And learn. And share. I did a lot of photos for the new A4 zine, ‘Slow Moment.’ I’m going through them now:

Drafting the zine, ‘Slow Moment’

ALEXIS JOKELA wrote the story, ‘A Summer Love Story.’ We’re trying to decide today if it will be in Finnish in the final print, or in English. Maybe both? I can’t decide. I’ll ask him, later, when he gets here. We’re going to go through this thing with a fine-toothed comb and make some important decisions. That’s the part of the creative process we are in, now. The concept is there. The story is mostly written. A lot of photos are already done, but maybe new ones will need to be taken, to tell the story better. To make the art unified, like I said, and with a particular cohesiveness. You have to know how to do that and it makes the whole thing ‘sing’. So we’re going to sit with this thing and tell it.

Look for it to launch on 1 Sept., in S P A C E. But also, in real life, at Hei Kesä in Oulu on 16 Aug.

To the journeys!

Atelier S P A C E || Finland gathers new people for new conversations to co-create an 8-page zine. This project made possible by supporters in S P A C E. DK wish to thank those of you who pre-ordered, and made this production possible. Thanks for supporting this style and approach to making art–art that doesn’t live in the walls of galleries, art that doesn’t get ‘picked up and promoted,’ art that just is what it is. Frank, honest, and contemporary nonfiction pieces made together, on the spot, in real life.

 

 

What I learned from Ireland about how to make space

I REMEMBER going to the Cork Jazz Festival in the 2000s and being irritated that it was sponsored by a beer company. That wasn’t the worst part, though. It was the way people acted. Maybe they just didn’t like jazz. Okay, okay. I know it’s a niche thing, sort of. Fine. But… what was it with the whole ‘being seen’ thing? I still remember. A weekend up in the city, away from the quieter days in West Cork. A city break, yeah. That was it. And a festival of jazz. Amazing, right? In theory, yes. In practice, it was a zoo.

The overwhelming loudness of the people drowning out the music with boozy jokemaking was the start of a series of disappointments: more and more large-scale events in the years I would attend them since would seem to be less about the art, and more about ‘going there with my friends,’ ie, people ‘looking cool’ together instead of actually listening to the music, or having a good conversation. What about the craic, like? 

Ireland, though, for what its worth, was where exactly I learned how to begin to design S P A C E. Space for remarkable connection. Space for really sharing, deeply. For poetry and art and music happen in that country, or used to, I don’t know what’s going on now. I went to my first writing circle there, at the West Cork Arts Centre. I went to the West Cork Literary Arts Festival, and met the people at Fish Publishing who helped me understand that writing isn’t about trying to sound like a writer, it’s about telling a damn good story. Or improvising one. I still remember that week of opening up, trying things, sharing, and lots of pints. Rounds, as they say. It was what you call ‘a formative experience.’ What some people who are interested in vocabulary words would maybe see as a chapter in: bildungsroman.

Writing to learn, learning to write

The Elopement (Kismuth Books 2012)

Later, I wrote The Elopement (listen to the interview on NPR), but I forgot to put in all the things about Ireland that helped me become the designer of S P A C E that I am, today. I make space the way Irish people taught me: hosting, welcoming, inviting, sharing. I make space the way, too, I learned how from the philosophy circles at my high school summer in Laurinburg, NC, at a place called Governor’s School East. Where I met four people I am still to this day in touch with and whose stories I have followed closely, so much so, in fact, that I still feel like if it weren’t for that summer, and it was only six weeks, I wouldn’t have been tuned in to the kinds of things that say, ‘You know what? Grades don’t matter. Heck, we’re not even going to have them, this summer. And you know what I want to do? Let you lead this conversation. Let’s sit in a circle. Let’s have a dialogue. The kind with a center and not sides.’ GSE, as we called it, was an even earlier formative step. In this narrative of S P A C E.

TODAY I AM GOING THROUGH lists and memories and archives. I am searching out the people who most inspired me, all these years. I don’t mean that they became financial success; that would be dull. Anyone who has the right connections, privilege, and gets to go to the right places at the right times because of those things, can make it with their wallets. But art. Art is different. Art requires tenacity and grit and sticking with it and saying ‘fuck you’ when you have to because someone tries to discourage you from going where you are going. It takes being okay with publishing drivel and knowing that it’ll be time, and only time, and practice, and only practice, that will make you get better. And you will be your only audience. At the end of the day, you have to make stuff that you like. This is the overwhelming refrain when I ask highly creative people near and far (or ask them to be a guest editor) what they are doing and how they are doing it and more than all of that, why. They want do stuff they want to do. Period.

DO WHAT YOU LIKE.That’s what I’ve learned, too, from conversations in S P A C E with some very talented and far people. We are inspiring each other and co-creating a tapestry together, int eh comment threads of protected pages. It’s not just ‘cool’ or ‘nice’ or ‘something to do to be seen at’. It’s because we care about our practice. Of showing up, making something, and doing the work. To. Get. Better.

Self-improvement is something I learned not from Ireland, though. I learned that drive for constantly challenging myself and seeking new opportunities from someone specific. I just talked to him, the other day. It had been about six months. It was nice to tell him, ‘The most creative person I’ve known now, all my life, is you. And I’ve traveled around quite a bit you know, well, that was inspired by you, too.’ The person was delighted, I think. His wife said, ‘He’s getting emotional.’ That woman was my mother. Because the coolest and most creative person I know in this whole wide world and all its seas and continents, is RK.

RK.

Is.

My dad.

 

‘Art is in the moment’

SOMETIMES YOU FIND the red ribbon that threads the narrative of your life story. I think that for me, it’ about these ‘magic moments.’ Not just of self-awareness, but of simply being together. Noticing that. Sharing that time, and being truly present. Not in a ‘cool’ or ‘trendy’ or ‘yoga retreat’ way, but, like, for real. That’s what I experienced with S P A C E events and also ‘N’ ones, like in Hanoi. Wow. We did that. But it’s not just… me. It’s… us. All of us who are attendant. Who are making S P A C E. Quality, not quantity. Making it. Together.

Were this Ireland, someone would now say, ‘Ah, g’wan. Give us a song, like.’

And I would. (Since I’m not a singer, I’ll share something I had taped when I was working for the Skibbereen Day Care Centre kind of on a part-time basis as a help for teaching ‘internet,’ would you believe. But yeah. One day there were this kids with their musical instruments. Now, the contrast between that Cork Jazz Festival and its buzzy thing and the shared moment of intimacy and quiet and connection that I got to experience with this moment, well, wow. You can see for yourself, what it was like. I found the old video. Here it is…)

HT to all the members of ‘Slow Moment’ and S P A C E. And RK. Here it is.

 

Teddy O’Neill from Design Kompany

***

ATELIERS ARE A WAY to bring some of this to the contemporary space of real life and now, wherever I go in the world. Hosting events is a way for me to bring to other parts of the world the good days of Irish pub life, when it’s early evening and you’re with your mates and things are cozy, and fine. It’s not hard to have a good time when you’re with people who are so clearly skilled at bringing conversation to the fore. Now I’m starting to get misty-eyed.

Alright. Where’s my Christy Moore CD?

S P A C E || Slow moment

IN A FEW DAYS, I will be starting the salon in our protected-page space, ‘Slow Moment.’ It’s about slowing down. Recharging. Discovering yourself when you make time to show up… for you. No obligations, no ‘to-do’s, and scrapping the idea of ‘getting something accomplished,’ the idea of this particular programme is to let it flow. Flow. So important. I have been talking with people in online conversations for about four months now, setting things up for this special 12-week session. It’s our last online workshop, for the general public, as it just became obvious that for DK, making people be creative isn’t important. What’s important for DK is helping those who have already taken a step, of their own accord, towards some kind of transformative breakthrough. Of course you can’t have a linear path to breakthrough. Or transformative stuff of any kind. Of course it takes work, struggle, sloshing about, tackling vague ideas, throwing most of them away, and starting over, when you recognize that all the work so far has been ‘sketching.’ We call it P L A Y. Playing our way towards the new and the next is what we do around here.

 

Zining in Finland, Cambodia, et al.

ZINING HAS BEEN, for me personally, a way of slowing down. Zining in Finland, in particular. ‘This is Finland,’ said J., whom I met last night at the pub. ‘We just… be.’ Not bad. I really enjoyed our brief chat outside of the place; karaoke was on inside and it was a thin crowd. I cycled over there with my midnight ride in the pretty-bright-still-but-not-like-before light. Mist was out. Mist. This was what we talked about. Small town life. Passerby. Chance encounters. That’s the stuff of gathering the narratives that make S P A C E the zine; showing up to ask the questions and be prepared for anything is the jazzy jam that is Atelier S P A C E. (If I don’t show up for me, how can I ask others to show up for themselves? So I am living the practice. Go where you don’t know anyone. Find out stuff. Ask them things. Talk to people. Learn. Discover. Find a theme. Then, either with guests who are interested in joining in with you or without them, write a short 8-page zine that pulls together the best of that which you pick up, makes it contemporary, gives it a shape, and then, print some of them, and share them.)

Drawing saxophone at Cabaret, a now-closed restobar in Phnom Penh


Pubs are third places. They are where we convene. I know, I know. There is an objective, most of the time. Not me. I’m there for the conversations.

Here where I am about six hours north of Helsinki, things are quiet. Conversations are slow and easy. All around is nature—and it’s handy that you can cycle around to get the things you need. Foodstuffs. Provisions. Euros. It’s convenient, small, and just fine. I am not a stranger to small town life; and this stay has got me remembering all the things about Skibbereen and rural North Carolina that I used to really enjoy. End-to-end rainbows, for example. Which I talked about in the past, here on this blog, when ‘A Slow Moment begins’ got writ.

 

Poetry slams in S P A C E

Click to order the PDF, S P A C E || KL ‘Kaunter Tiket’

WRITING MORE. Zining. Making poems with people around the world. ‘Whatever of philosophy is made into poetry is alone timeless.’ These words—I had quoted them in my TEDx talk, ‘There’s Not That Much Time Left.’ Something I haven’t admitted out loud anywhere on the public spaces of the blog is this: I was kind of winging that talk, there, at the end. You have to read your audience, right, and see where the feeling is going. You have to see what fits, what’s working, what’s not. It takes time to build up to that. It’s a long, simple crescendo. You get going and you start and you begin to get the feeling. Here is what’s the story. This is where we’re synching. It’s a jam session, to me—even me on the stage felt like that. I was laughing and enjoying myself with the people in the front rows who were laughing and enjoying themselves with me. (Afterwards, a ‘speechmaker’s consultant’ tried to pitch me, and said, ‘You really don’t want to laugh at your own jokes.’ But for me, for DK, for all he things that have become, since, S P A C E, if I don’t laugh, I’m not having fun, and if I’m not having fun, whatever the hell is the point?’ Of course I didn’t ask him to help me. In fact, that was the last time I got on stage, aside from one other time, in the same city on the same stage, in fact, for ‘Fuzzy Quantum Pop.’ Too fun.)

Drawing for the ‘Book of Songs’ to live jazz, Siem Reap

DG said it: ‘Throw away most of the stuff you write, because you know what? It’s bad. I did that. Do you do that? Throw away most of it?’ I nodded. He said, ‘Good.’ DG is a pianist. I get along with piano people, drummers. Maybe because they like to accompany… words. I am the vocals. I realize this now. Words are my thing. Pen is my medium. Whether lines in marker, or cut lines, or lines worked out somehow (it takes a long time sometimes, but other times comes in bursts, like now, unedited and uninterrupted—a story flows)  into poems, or occasional ebooks, I make lines.

Slow moment? For me, bringing the lines into shape. Giving the scaffold in architecture blueprint to the ever-emerging shape of S P A C E. Something to say? Leave a comment, below. Comments are open, until the bots catch on.

DK is making S P A C E, a weekly interactive magazine and an online community for people who are highly engaged with the creative process.

Email me, maybe

‘TELL THEM in a relatable way, DK, why this is interesting, and how it will make their life better.’

‘No.’

‘You have to. If you want people to connect.’

‘I don’t know if… spelling it out… is really my thing.’

‘Well, if you want people to understand, then you have to. You’ve heard this before. It’s so esoteric. It’s inaccessible. You are like.. on cloud nine all the time. Far, far away. It’s like… you could be anywhere. Your imagination is… running around in a tornado. And we’re all like, ‘Where… where is DK?’

‘I’m right here. I’ve always been right here.’

‘But, I mean. Email? Who does email?’

‘I do!’

‘Email is for work.’

‘Email is for me.’

‘Do you know how hard it is to compose an email? It’s like… it’s like… a task. A to-do.’

‘I remember meeting someone who talked to me about this before, telling me I need to have some social media thing or something. That I should have that, that he uses it, that he loves being able to message friends anywhere, anytime, and just go, “What’s up?” And I’m like… I don’t want people to message me anytime anywhere to just go, “What’s up?” And so I was like, but is that a conversation that actually goes somewhere? He said, if it’s getting to be like, a paragraph, or really serious or something… and I nearly jumped out of my chair! A paragraph is serious? OMG. I bet people all around the world are thinking I’m trying to get really serious with them. But I’m not. I’m just sending a feckin’ email.”

‘…’

‘This was at a restaurant. In Malaysia. Their pick. We were eating dosas and they were terrible. I should have taken him and his friend to this other place I knew, that was way, way better, family run and some of the best roti I’ve ever eaten, serious, except for maybe Chandigarh and those alupanrantha nashta’s, wow, and out of the way from the tourist square. This was in Tanah Rata. This was in Cameron Highlands. This was one of my favorite little spots in the whole of Asia, but yeah, I loved meeting people every day and talking to them about Philosophy and Life and so on. Kooky stuff, at times, like the fourth dimension, but mostly, just a lot of talk about freelance life which people are fascinated by—my last day job was 2005—and I like to talk about the way I feel people should just do what they want and creatively could explore past the usual boxes if they were really interested in doing so—here is where their are hands raised and objections given like how do you do that when you need to be responsible and what society wants and your parents tell you and expectations and and oh but I have a family and la la la and I begin to grow exceedingly bored and so on, but occasionally they stay with me and keep asking, especially if they are in the age range of, say 22-27, because past that they are all about their option-hunting and don’t even care about actually producing something of value I feel but rather showing that they are attempting to make something of impact, whatever that means and it’s such hot air and leads to nothing concrete or useful, again my opinion, but yeah, the younger ones, they stay with you, they listen, I am thinking about that time I went to Kampot on my own and discovered this (lookin’ at you, AP), but yeah, that was the first time there was an inkling of a glimmer of a hope that we, We as in Society, are not all done for yet because the younger ones are there and inquisitive and alert and smart and curious and yeah, the best part, they care about quality, or at least, they know what it looks like when it falls into their laps—and they ask it questions, like, ‘What does this mean? And they don’t get distracted by bleeping things on the table, because their *!*& phones, wherever they are keeping them, are not on their minds or on the table thank goodness when they’re conversing with me. They listen. They really, do. They can hold eye contact. And yeah, when this happens and the stage is set for what I like to call S P A C E, then yeah, things are about to get really fun. Because then it gets weird and big and expansive and heady and that’s the stuff of the real heart of DK, what gave us our ‘this is who we are’ stuff when we were freelancing in Seattle, and what landed us in the new contracts and gigs and stuff on the road, even, for these five years. Weird, right? The road and freelancing, and better yet, consulting. I mean, this is really… fun. But yeah. This lifestyle choice and living it interests people; the ‘how’ of it, for some, which is really boring for me to relate, but the ‘why’ of it for others which is far, far more extraordinary. Of course, most people aren’t ready for that conversation—I fought with WH about it, once, weirdly–so we just dip in to basics: the writing process, the characters, the narratives, the interweaving, and so on. It’s all right. Fine. This is what it means to share yourself with others, isn’t it? You go into the smalltalk and you answer their questions. Et cetera. I’m not really a hermit, you know. That time I was telling you about. That was good, too. I think we talked for like 8 hours. I’m pretty sure I’ll never hear from either of them. Because this is why. At like 3AM or something, I said that if they want to reach me, there’s an ‘about’ page and a contact form on my website, which hey, let me just say it now and you can see if you can remember it, and that form, if you find it, and use it, that should do quite nicely. For continuing. If continuing is of interest. Which for me, well, it’s up to you. I’m cool with whatever–I meet people every single day, all the time, all over the place. Mostly in public spaces. Third places, just google it, or here is ‘third place’ on wikipedia, when I’m in the mood for them. Cafes. Libraries. Airplanes. But yeah. They were like, “A form? Email?” And then it was all this resistance about email! And I was like, ‘But if you actually do it, then I know you’re interested in conversing. And I’m only interested in conversations that go places, that take a little effort, you know? They have to mean something. I’m not interested in collecting you, or your friend here, or anyone. I don’t want a collection of people I never talk to for real about anything real. Know what I mean? So email me. Or don’t. I can see that you won’t. In which case, this is enough, right? This right here, right now, shared moment. Is. Enough. Good luck.’

‘But… it’s hard to use email now.’

‘I know!’

‘It’s easier to use social media.’

‘I don’t care.’

‘You’re not easy to get to know.’

‘Of course I’m not.’

‘Why?’

‘I like my friends that I already have. I like the people who I’m meeting and connecting with in S P A C E. I like the new friends I am making in the places where I go, in real life, on the ground. For example, here in Finland. So unlikely that I would make actual friends here, but wow, it happens. I mean, black humor, for example, meshes really well with my comics. I put the new ones, ‘Midsummer Magic,’ and ‘I’m So Lonely,’ into the new zine installation that’s on display right now and will be up through the weekend because Saturday is International Zine Day and everything, and yeah, it’s a lot of fun because they get it, the way I write it. People here, I mean. Have the same wry humor. And appreciate my comics. So I’m making more of them in August.’

‘About what, may I ask?’

‘Certainly. About mental disorders.’

‘Mmm.’

‘You can ask me about it. Email me, maybe? Here’s a form.’

This is part of the series ‘100 Conversations’, sponsored by members of S P A C E.

Why marketers are liars

A LONG TIME AGO, I used to blog here every single day. This was at a time when WordPress was just coming out, facebook wasn’t a thing yet, and no one had an inkling of what instagram would do to us. Twitter was there, but it was still just for the geeks, and when you wrote the blog, people actually went to it, and left comments. Those were fun times. In fact, the blog was where we found most of our new clients: people somehow, I think, felt that they could trust our open style, and what someone called ‘your transparency.’ Is that what it is, when you write what you mean, and say what you feel, directly? I think it must be. So many facades out there. So many ways of tricking people into clicking something or buying something that doesn’t really fit with their needs, or even add up to what they imagined it would be. We have so many—too many, I feel—ways to be influenced by something we think is one way and want desperately to believe in, but in fact, turns out to be a dud. Why does this happen?

I think I’m learning a little bit this summer about why it happens. I think, for one, we fall in love with a projection of something we feel a lack of, in ourselves. So the marketers are so clever they make it like what they are selling is what you need, exactly. Much like horoscope writing, what they say lacks specificity and the terms are so big and vague and one-size-fits-all-ish that anyone might believe in what they are being told. You try to and come up with something that has real quality to it, and you try to tell people that, and my goodness, you are looked at like you are some kind of Martian. Why? Because people are so used to being sold to that they want, well, they want you to sell it to them. Whatever ‘it’ might be. Every so often, someone says it to me: ‘You need to sell this better, DK,’ for example. I find myself feeling like I did when I wore black jeans, black shoes’ and black t-shirts and zipped around New York City’s Manhattan up and down the roads at my fastest on my very dark green, almost-black bicycle. What the hell do I need to sell it to you for? Look at the damn thing. But no. Not these days. These days it’s, ‘You need a speech.’

Do I need a speech?

No.

 

‘No, I don’t need a marketing spiel.’

NO. Not for the people I want to connect with. Not for my audience. My audience is people who read long blog posts, like, even this far. They aren’t going to complain to me about how it was ‘TLDR.’ They like quality, they like good thoughtful considered points of view that come out when one is also interested in good, thoughtful, considered points of view and has listened to many others words and wisdoms. I mean, wow. The world. Order. Is so weird now. I feel. I am writing a narrative in my head, though, aren’t I? I’m connecting dots based on a projection of what I feel. That is just as bad as the whole being duped by marketers. Feckin’ hell, really. I mean, we cannot let ourselves get caught in the trap of letting our minds race around in a whirlpool, so fast, so quick, so off the mark from reality, that they consume us and keep us from seeing what’s, in fact, right in front of us.

‘The Prospect of Beauty’ // Singapore // Photo by DK 2017

The pursuit of beauty has, for many, many years been one of the recurring things in this blog that I loved to write about. Back in those days of daily posts, for example, I would write a whole series on this. Or, ‘In Search of Meaning.’ So yeah. ‘In Pursuit of Beauty’ and ISOM became my favorite categories. (Oh. If you’re wondering what happened to the old blog–so am I, kind of. It was downloaded to a laptop so we could refigure what we were gonna do in Asia with DK, and then, wham, that laptop got stolen. And no, the backup… isn’t with us or in the cloud, but some old bits and pieces are probably on some CD somewhere at a friend’s house somewhere, at least, I hope so.)

Our IT lads say the CD is not going to last forever, that the archives that we left will also fade away. Here I could write some kind of poetic soliloquy on ephemera, but I’ll save it for S P A C E guests of ‘Slow Moment‘. (I am blogging publicly, here, but saving my best stuff for S P A C E. Better. We talk in the comments. It’s way more relational that way. A real conversation. Instead of… I don’t know. What is this? Blogging. Erm. One to many.)

I don’t like that. I don’t like… the whole… lurker thing. I mean, if you’re reading and you like this stuff, and you want to say, just say hi!

Here is a form. I will continue this another day. I’m feeling a little corny right now, listening to Finnish pops on the radio and kind of starting to recognize some of the repeating artists. What I always get a kick out of is when the songs come on from the 80s and 90s. Roxette, for example. Look Sharp! I remember! And so much Phil Collins. And Michael Jackson. And Tina Turner. Then there’s A-Ha, which is lovely, and more stuff. The Finnish rap is fun, too. I am enjoying all of this bundling of various; it’s refreshing, and a change from where I usually live. Which is, uh. Currently: Destination Unknown.

Mm. After Finland, it’s ‘To the Unknown!’ again.

Oh wait. I promised the form.

Say hi?