WRITING. Editing. Working on things. More when I have more, about the books, mentioned them here, coming out this fall. I <3 this part.
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.
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.’
Get Breakfast in Cambodia here.
‘So, like, what was on it.’
‘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. ✨
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.
What are zines? Why do they exist? Who does them?
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.
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:
The counter-institutional disposition of the zine publisher’s practice, along with the cut-and-paste aesthetic of zines, has seen some attribute a revolutionary history to the form, drawing parallels with the actions and publications of pamphleteers and artists, including… the Soviet-era samizdat writers; Dada and Surrealist artists; and the Situationists of Paris, France.
Check out the full article, posted here.
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.
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