Discovering, sourcing, planning, sharing, connecting, interconnecting and framing. That’s what it is. To start.
Getting the team together. Organizing the pages without overthinking or over designing.
Leaving room for stuff to develop, other stuff to emerge. Being okay with things taking time. Being cool with letting go of what doesn’t fit, in the collection. Bricolage and collage being my ‘thing,’ along with relational art and the aesthetics around that, which academics write about (thank y0u) but which I, personally, design moments in which me, and hopefully others who also enjoy these things, can experience the ‘magic moment.’
AHEAD. New things, ahead. Grateful for the learning, and the reconsiderations of old things. For the replies to the notes I’ve been sending here and there around the world, and calls that I’m getting to make and enjoy relaxing into, too. For the responses to the poetry, for the notes and the critiques to the Winter 2018-9 collection’s editorial calendar. For the trust. For showing up. For the new rekindlings, deepening of some of what had begun, on my last trips here, and also, for the continued happening-upon new and different others that lands me here, time and time again, in S P A C E. Today was cool. It’s not over yet, but it’s been really neat. Booked tickets. Firmed up plans for the next stops. [To the wonderful urban planner, C, whom I just met today–hey! That was one hell of a conversation and very much needed. My questions again: how do we design and architect social spaces that ‘feel great’, but also, help people discover ways to think crticically and make choices that let them live better? What does a full city contain that an underdeveloped one doesn’t? What should be doing, as people who design spaces, and whose responsible for us ‘being happy’ and ‘living such as to become our best selves?’ Used to nerd about about these topics at walkable communities conferences Stateside and the time in Seattle interviewing loads and loads of engineers, city officials, and yeah, urban planners. The podcast I mentioned, is here. So yeah. Looks like Tuesdays are turning into S P A C E-y ones. Shall I make another thing? I can. I’m thinking maybe just two or three people now. It’s tiring, sometimes, to keep at it. But yeah. Sometimes you fall into the moment and it catches you by surprise. If you wanna talk about art, design, architecture, the shape of space, poetics, cities, and what gives the fabric of meaning to them, hey. I’m all in. Just hit me up.) To A and K: safe journeys. To A and R: SYS. And yeah. For anyone wondering what’s going on behind the scenes, here is where to join the conversation.]
… And I’m excited, too, to finish the next issue already, today is the launch of S P A C E member Aske Pedersen‘s ‘Janteloven.’ Really great to work on this, I’m feeling excited to share it with our community, soon. Today we’re just gonna stare it internally, in DK’s very small, most inner circle of S P A C E: editors and friends, who’ve been talking with us, teaching us new ways of trying things, experimenting, exploring, traveling, discovering, and most importantly, writing and making, with us, these past 2+ years, around the world. But I do have a public page, too. Find it here.
Chapbooks, next. From our experiential publishing programme, S P A C E.
First one will be about the multiverse, inspired by the intriguing words and ideas about Brian Greene, whom I’m listening to an NPR interview about parallel universes with right now as I’m writing this. It’s on the multiverse. I first heard about the multiverse from a friend of mine, MVR, about ten years ago; M had been a neighbor and sometime-collaborator when DK had Kornerhaus on 19th and John in Seattle. Great things came of those meetings: math-inspired, philosophical, wide-ranging, and high-key. Enjoyed those, quite a lot, and haven’t met anyone as colorful in some years, now, when it comes to math-and-art mixtures of personalities. (M, if you see this, hi-5 from Phnom Penh. Also, do you know about this?:–)
QUICKLY, I thought it would be good to highlight some of the things I’m discovering from the lectures and interviews I’m listening to today with Greene. Not only did I really like the movie A Beautiful Mind, and also The Theory of Everything, and also, the fascinating and still-curious film, Charles and Ray Eames‘ 1977 short film ‘Powers of Ten’, not to mention the more recent viewing of something at Kuala Lumpur’s planetarium, ‘Journey to a Billion Suns‘—
–there are more things to sum and round in the conversation-spaces to come, in the hallways of our since-2014 and counting, very low-key and flat-hierarchical salons, ie S P A C E, here at DK’s innermost circles. We talk about stuff like this. Like, really talk.
Well, here’s the bit that is interesting that I found from a cursory quick search of what kinds of things might be worth zining about, when it comes to explaining (or at least, hinting at the possibility at) that which is related to the ‘multiverse’ idea.
‘In any finite region of space, matter can only arrange itself in finitely different configurations. You and I are just a configuration of particles… everybody in this room is just a configuration of particles.’
‘A large number!’ interjects the interviewer, who isn’t very helpful, really.
‘A large number but a finite number,’ Greene continues. ‘Similarly if I take a deck of cards, if I shuffle the deck, the order of the cards differ, [but] the number of orders is finite. If I shuffle the deck enough times, the order of the cards… has to repeat. Similarly, the order of the particles would have to repeat too. [And] if the configuration of particles repeats someplace out there in the cosmos, it means all that we know is repeating. We are out there. And that’s a very straightforward mathematical conclusion from a simple starting point: space goes out infinitely far.’
Elsewhere, he expands to say that math opens the realm of possibility, and ‘the art of physics is to be able to sniff out which mathematics is relevant for reality, and which isn’t.’ In other words, the things that math can do for us are to help us get to ‘the border of understanding,’ and then push over the horizon, as he says, so that we can use the things we can calculate and guess at through our mathematical calculations in order to test stuff out, with observation and experiment, and decide if it’s worth keeping around in our chambers of things we hold to be ‘true.’ A debatable idea, ‘truth’, (read something about how goldfish see the world through curved bowls and isn’t their idea of what’s ‘real’ just as valid, even if it comes together to them through a concave plane?’) but that’s another story.
If, though, we find out that our experiment and observation give us good cause to believe that there are things that are different from what we think they are, then hey, we’re on to something. This is how people had found out that the Earth isn’t the center of the solar system, after all. And is the stuff, then, of paradigm shifts and scientific revolutions. Too often in our current mode of thinking in the Western thought that has dominated for so long the scope for thinking about ‘what could be’ and ‘what lies outside of our understanding’ is so limited that it is shoved into a weird box of something called ‘spirituality,’ blech, or metaphysics or philosophy or existentialism, transcendentalism, or something else. Labels don’t help. What we need to do is find a new philosophy, a philosophy of this moment, in which all the things that the scientists have shared and shown and pointed out to us can inform an illuminated thinking about our existence: the main questions of philosophy which still stand, which have been said to be, in a book that S. Hawking co-authored, these: 1. Why is there something rather than nothing? 2. Why do we exist? and 3. Why this particular set of laws and not some other?
YOW. PRETTY NIFTY. THESE DAYS, I’ve been reading up at the libraries and listening to anything I can find on the subject of the multiverse and string theory. Following on the anecdotal stories I had gathered in real life, popping in to scientific establishments in California in 2014 and Denmark the next year, yes, all very popping-in, over here, as we do, in our meanders through S P A C E, in order to spot the people and stories that I’d like to interview for our podcasts (coming, also), and now, the new zines, and next, the chapbooks. Small, simple steps, these: moving towards discovering our concept and now, sharing out the learnings that are the most intriguing (to us).
S P A C E. The stuff of our online magazine… it’s about vastness and possibility. Yeah. Possibility, the search for the edge, the invitation to take a leap into the unknown, chance encounters, and the discoveries along the way in the very fine, very small, intimate moments of simply being, and simply observing: all of that is folded into our interactive magazie-cum-real-life-salon-series, S P A C E. where we go in the world isn’t as important as whom we find when we get to the places where we land. Sometimes it’s by invitation, other times by sheer brute force, to go and see what we could do if we simply turned up, to try. I heard that in 30 years, philosophy will be a subject that will be in-demand for jobseekers. Cool.
An art of possibility
QUANTUM PHYSICS has always been a keen interest of study for DK, not just because some of us have been trained in engineering, but because the innovation spacemaking that is so important right now if we are to continue to develop and progress as a set of collaborators in the world instead of isolated, narcissistic pockets of people who have wealth, privilege and power, well, yeah, so yeah, if we’re going to try to make things better for more of us, we have to get out of the usual treads and jump up and out into something… not-yet-known. Why? Because that’s where interesting things can be discovered. ‘Give yourself an A,’ says Benjamin Zander, in his book, Art of Possibility. We’re gonna do that, moving forward. Just gonna brute force method turn into a miniature publishing house. Starting with zines, last year, and now, moving towards chapbooks. Seriously fun stuff.
So far, it’s been about trying things with our senses and taking the time to get some feedback on the things that work well, and don’t. Showing up for real life in the salons and ateliers since 1994 (!) has been a work in the practice of how to get up and get going and see where things can lead, but that’s just our practice, here, behind the website, and we are now starting to share the learnings, the methods, and the outcomes, through the community that we are building, one small conversation at a time. Sometimes there are curious intermingling, in the protected pages of our online forums, which open the insights and give the shape to the things being co-produced, co-written, and co-
created. Why make this happen is a giant question for so many people—whatever is the point, DK, of going around the world on your own dime getting people together in unusual, hard-to-explain ‘ateliers,’ in order to do, what exactly? Oh, philosophize? Reflect? So that they can do what, you’re saying? Um…. remarkably interconnect and connect to discover new ways of thinking, meet new people, and meet themselves anew? But. Um. Why?’ Um. I guess I could say, watch my talk, ‘Fuzzy Quantum Pop.’
Brian Greene tells us that, according to mathematics, there are copies of ourselves, ‘out there,’ if we can accept the assumption that space goes on forever. In many of the interviews we are listening to in order to understand his idea, we’re seeing that he has to get past all these weird obstacles like how the interviewers are doubting the whole potentiality of math showing us that the way we normally think about things could be completely limited. (For ex, ‘That sounds like religion.’ Or, ‘I don’t believe space goes on forever.’) I’d like to find an interview where he’s able to just talk without those piddly questions. What is possible is what intrigues… the more we can talk together about that, the more interesting things can get, discussion wise. At least, that’s our take.
And I’ll leave you with this…
Let’s learn about the Maxwell Boltzmann distribution
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.
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.
PIENOISLEHTIEN TEKEMINEN on Suomessa vielä harvinainen harrastus. Työpajajassa tutustut lehtien tekemisen mahdollisuuksiin ja opit taittelemanan ja tekemään uniikkeja tai monistettavia vihkosia. Sisältö voi olla kuvia, tekstiä tai ehkäpä pieni tarina.
PIENOISLEHTIEN TEKEMINEN on Suomessa vielä harvinainen harrastus. Työpajajassa tutustut lehtien tekemisen mahdollisuuksiin ja opit taittelemanan ja tekemään uniikkeja tai monistettavia vihkosia. Sisältö voi olla kuvia, tekstiä tai ehkäpä pieni tarina. Millaisen lehden sinä voisit tehdä? Pajaan osallistuminen ei vaadi aiempaa kokemusta tai valmista ideaa. Ohjaajina taiteilijat Dipika Kohli, Design Kompany (US). Ohjaus suomesksi ja englanniksi. €10
MAKING ZINES. At this hands-on workshop, you can explore the possibilities of making a ‘zine,’ short for ‘magazine’. Learn how to craft unique, or limited-edition booklets. Content may be images, text or perhaps a small story. What kind of magazine could you do? Participation does not require any previous experience or a complete idea. This workshop will be hosted by artist Dipika Kohli of Design Kompany (US). It will be in Finnish and English. €10
‘Today I Love You’ art installation reception & zine reading | Durham NC, DK 2012
Breakfast in Cambodia (Kismuth Books // 2016) is the story of finding orderliness and a firm sense of self in the midst of a whirl of mixed identities.
Author Dipika Kohli (NPR, TEDx) explores, with a meander and a style that doesn’t fit into a specific traditional genre, what it’s like to get lost… like, really lost, and discover through the journey a sense of who you really are.
‘Finding ritual, daily, in a routine to take myself out for breakfast every Saturday morning for 10 years, that was how I found my way to calmness, clarity, and a stronger sense of self,’ says Dipika. ‘Being in Phnom Penh or wherever the year on the road would take us, prior to settling in here, meant finding a ritual and a sense of calmness in the day to day disruption of uprooting, wherever it was, whenever it was, was always temporary. Even in Phnom Penh, so much changes, so fast, that it’s hard to get a root and feel at ease. But this helped, and I wrote it down, and talked about how I had to go sit far from everyone, on a boat in Sweden, for six weeks in Scandinavia to figure out what I already knew, deep down. The truth of how to slow and calm oneself in a sea of chaos, that’s the secret that we each have to arrive at individually, but in Breakfast, I have put it down, the things I felt, saw, and heard, and how I got to know that it’s this ritual that makes it work.’
‘My files, huh. All of my files. Oh, man. The templates. For the zines. And the posters. For the zines… Oooh.’
‘Did you make a backup?’
*sheepishly* ‘Of my profile. Yeah.’
‘I know I should have made some backups. But wow. All of that stuff? Gone?’
‘I guess I’ll have to use my cracked iPad and keyboard without the little bit in it to keep the batteries in because I lost it on T’s boat, he was there, it was funny, I had to suddenly go to the airport and stuff because I got the day wrong, one day earlier, was the real day, and you told me that, and we were talking remember and there was a lot of food I forgot to clean up really and then time was short and you know how hard it is trying to find a little round metal thingy on a boat? It’s hard.’
‘You can get a new keyboard.’
‘No, I kind of like this. Foil works. And K. cleaned it off rather nicely, with that damp cloth that you got annoyed about.’
‘Do you want to buy some more stuff? Like a computer or laptop or something?’
‘No, no. Too expensive and heavy. Maybe I’ll just get a job at some design studio. And use their InDesign to lay out my zines, when I’m not working or something. Or maybe there’s an Internet cafe with the software, fast wifi, fast processor, air conditioning. Then again, those Internet cafes in Malaysia were kind of hit and miss. I didn’t enjoy the gambling and porn. And kids. So many kids.’
‘So you can buy a computer?’
‘You can raise funds. You know that.’
‘How? Ask people to pay for my computer so I can lay out zines that are made with other people I don’t know in small circles, at cities I haven’t been to before, or yet, and discovered stories on the ground, about, and co-created mini-zines in 8-page folded A4?’
‘That sounds pretty good, actually.’
‘Yeah! Do it.’
‘Guess I could try. It’s a lot further along than when we left the United States, isn’t it? When it was like, We wanna go around the world making dialogue round tables!’
‘Even though that’s exactly what we did.’
6/100. Join us in S P A C E. So we can send you a weekly zine about who we’ve met and what we’ve learned, together. And in 500 weeks or something we can buy some serious equipment to replace the stuff that will, no doubt, also somehow ‘go missing.’ To the journeys, and sunk costs. ✨
11AM-2PM National Library The Morning Announcements + The Workbook
Here we go. Take the time together in small groups, to explore ideas. Come up with something that you want to focus on for the 8-page zine. Writing, illustration, photography, collage, and other media are some of the areas you can choose from to focus on, to create your contribution to the mix. You’ll have the afternoon to work with your team to create a *draft.*
JUST FOUND this intriguing article that gives you the zine publisher’s perspective on zinemaking. Why would you do it? Why would you try? There are a lot of people who want to express themselves, sure, but this is a way for those who are interested in moving a step towards real publishing (with an audience, a goal, and a theme in mind before hitting ‘copy’ on the photocopier) from simply making something for your own consumption. I liked this quote:
If no one knows what you’re up to, zine-making is just some creepy hobby, but if it actually gets read, it’s the most satisfying thing ever. —Tsari Paxton, Ten tips for publishing zines
We make zines in print every so often, like the one pictured here. S P A C E || Phnom Penh’s theme is ‘play.’ Discover more about our online zine, S P A C E, which posts every wee, at the bottom of this page.
People who want to go against the grain. Not just because it’s ‘cool.’ But because if you want real integrity, that isn’t pushed by some media source of that doesn’t have an alt agenda, then zines are a way.
Kirsty Leishman, a tutor in media studies at an Australian university, writes ‘an explainer’ piece in The Conversation about zines. An explainer, yes. This is what I have been looking for! ‘Why are you doing this, DK?’ THIS IS WHY!
For those who want one, an explanation that is, about why people zine, this is a good source. I especially love the quote in the title of this post about the culture of ‘just go do it, do it now, and don’t overthink it! that is embodied in the ziner-lover-and-zine-maker’s ethos. This part is cool, too:
Pictured: Part of one of the art books I made. It’s called ‘The Book of Blue,’ and I’ve shown it at clubs in Bangkok and Phnom Penh, inviting people to add to it, read from it, take a page or add a page. Interactive. But, it’s not for everyone. So I share it, only once in a while, in very small circles.
NEXT MONTH IN SINGAPORE, DK are going to be hosting a popup, weekend zinemaking salon, Atelier S P A C E || Singapore. It’s not quite what, I think, fits into the usual programme of ‘writer event, go to the library,’ and ‘design event, go to a conference,’ and ‘open space, that’s some kind of tech thing, isn’t it?’ But rather, a combination.
Only eight seats for this, and it’s open-invitation, this time, but the idea is to gather quite a variety of perspectives so that the thing we make when we meet to do a zine together (S P A C E Singapore), will necessarily be inclusive and curiously unusual.
It’s going to be 10-12 November. Starts on the Friday night at 7PM at the National Gallery. (That’s the meet point on the first day, when we’ll kick things off in a light, fun, easygoing conversation salon. I’m looking forward to this so very much.)
Based on the notes coming back from the internet, so far, I’m seeing at least a few Singaporeans are ready for this kind of thing. [Update Very nice to read ‘curious and intrigued,’ when I opened one of the responses. But truly, I hope so. The real creative process which I think is missing quite a lot, not just in Asia but the world in general, is one that involves tons of room to invite lots of new and different perspectives (for input, for exploration, for hitting on something novel). How can you ever hit on something different if you always approach the same people, discuss the same things, never leave the boxes? That’s the thing. The silos are where the dullness, mediocrity and complacency set in, we feel. And innovation suffers, and we’re all left with just boring stuff, all around us. Boring because it was a sole person’s ‘idea!’, good for them, but what about the whole, the collaboration, the gestures that can be made when we go where we’ve never been? Outside the comfort zone. Mmm-hm.]
At DK, we’re a little zany, sure, but we are totally serious about our work. Quality matters. It’s important to me. There will be some interesting conversations ahead, for sure, as there always are in our programmes. Conversations! Zines! How fun the two of these things together can be.
GET INVOLVED. I’m excited, ready, and… busy. Skype calls all next week with potential partners. Curious how to get involved? Check out our new page to find out what we’re looking for. Reach out through the form there for the fastest response.
WAS IT YESTERDAY? Yes. I said I was going to redesign the entire zine. It’s done. The 8-pager is going to be printed later tonight, or tomorrow. This is a sneak peek of the cover drawing, by Dipika Kohli. This will be folded into the 8-page zine format you may have seen if you were at ‘Remarks on Noteworthiness,’ or ‘Excerpts of Note’ in London, or if you were at ‘Origin’ in Phnom Penh or Hanoi. The idea of a simple folded thing that you can just put in your pocket works well, for this particular one, which is S P A C E || Battambang. Going to print just 8 copies, to distribute to the 8 guests who will take part in Atelier S P A C E || Singapore from 10-12 November.
Simple collection, limited edition. Distributed P2P, with kindness and love, personally shared by hand. Isn’t that where the magic is? Person to person, eye to eye? Let’s *make* something. Let’s play. To the journeys! —AS (PS Digital copies of S P A C E || Battambang are going out this coming Tuesday, in S P A C E.)
WHEN DESIGN KOMPANY landed in Phnom Penh in March 2014, something incredibly magical took hold of me. I still remember the photo: I’m on a tuk-tuk, looking out at what was the Independence Monument, though I didn’t know it at the time. We’re rounding the circle, I’m staring. I’ve got one hand clutching the open-air tuk-tuk’s column, it’s like a movie, or a dream. After trying to put the experience of being here into words (my best shot, in Breakfast in Cambodia), I want to share with you the pictures and drawings of the aesthetic that moved me so much, in that first week, that I pressed for our team to stay here for a while. A flat to let. That turned into one year, then two, then three. It’s now almost been four years, and it’s time for me to look for the next place.
But before I go, this is the last dance. ‘Phnom Penh || S P A C E’ is the chapbook, a visual summary of some my finds when exploring the aesthetic of Cambodia. I didn’t train fully in art and design, I was an engineering major, and I spent my time abroad in Kyoto. But coming to Cambodia made me question this. Why wasn’t Phnom Penh an option when it came to where to study art, design, the ornament, ritual, symmetry, these kinds of things? When we were students, it was all about Florence. New York. London, Tokyo. But now, you can go anywhere. You can study anything. This was my self-designed independent study. I had no idea it would last more than three years.
What is Beauty? Who gets to decide? Here, in this place, it’s quite miraculous; never taught to us in art schools, but of a quality and temperament that only by being here, in situ, for a time, and absorbing, can you really feel. It’s not easy to articulate, but the pictures, I hope, and the drawings, will tell this story to the world, from the perspective of Atelier S P A C E. Can you dig it?
Free digital copy for those who join S P A C E in September.