As an artist, it is important to create work that genuinely comes from within. This is the only way that a new and unique point of view is found. It is an easy trap for an artist to generate work she perceives her audience will like. True, the viewer ultimately determines the greatness of an art piece—great art impacts a vast spectrum of people. But a volatile audience cannot be predicted, hence great art is rarely a calculated guess, it is often an accident. The only way an artist can introduce new perspectives is continuing to be curious, ask questions, and explore. Seeing the world through curious eyes leads to new discoveries
Art critic, curator, and historian Nicolas Bourriaud coined the term “relational aesthetics” in his 1998 book of the same name. He’s pretty much inseparable from the concept itself, so chances are you’ll see his name attached (or quoted) wherever you see relational aesthetics pop up. In the book, he defines the term as:
A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations andtheir social context, rather than an independent and private space.
Relational aesthetics is still redolent of the 1990s that it came of age in — the beginnings of internet culture, instant communication, and the instantaneous gain and loss of celebrity, but without the same cynicism we’ve developed today. Relational aesthetics pits the artist as experience curator and, I think, has contributed to the destabilization and popularization of the term. Relational aesthetics also carries the baggage of artist-as-celebrity. [Editor notes that it’s not important really what art critics say]Art critic Hal Foster pointed out in the 1990s that with relational aesthetics, “the institution may overshadow the work that it otherwise highlights: it becomes the spectacle, it collects the cultural capital, and the director-curator becomes the star.”[Editor notes that it’s nice to cite people named ‘Claire’ thus leaves this citation unstricken] Claire Bishop, Antagonism and Relational Aesthetics, pg. 54-55).
Nicholas Bourriaud’s “Relational Aesthetics” (1998)
I love this stuff, like what’s in the picture, just above. So fun! The movie ‘Reality Bites’ comes up sometimes when I read about the academics talking away about ‘relational art’. Dunno why. Or the movie ‘The Wall.’ Or.. well. I’ll talk about it in the series of S P A C E that I’m working on right now, set to be published in the autumn.
Almost all of my events and workshops have places like this embedded in them, for people to engage and interact and connect… with themselves, and the objects that are just… there. I could put some pictures here now to prove that? Maybe I’ll put a few below, whatever’s already been uploaded, okay here they go. Pasted. Also I could point you to the list of all my favorite such ‘installations’, at dipikakohli.com. I called them ‘conversation installations’ sometimes, or ‘salons’ or ‘workshops’ or ‘experiential learning workshops’ or ‘opportunities’ or whatever. I just think they’re fun, though, and when I feel like doing them, I try. I invite. I invite and include widely until the time comes to start. Then the doors close and latecomers will not be admitted. A guest once said that was what was unique, to her, about this stuff. ‘You include a lot of people at hte start of something and then, when it begins, it’s very exclusive.’ Well, yes.
How many emails have I sent to people now inviting them to something in S P A C E? The ratio of the number of people who I’ve invited to become members, a subset of that large group, is very very small. I mean I’m talking less than 1%. Maybe less than 0.1%. I send a hell of a lot of email, as anyone who reads this blog and gets my emails and is like, What is this for?, might wonder. about why, sure. You are included at the start, but not later. Because it takes showing up, for me, to make it be a good moment for the people who make the time and effort to be there, with me, and with each other. For me ‘N’ was about that. Watching the filters do their job and people self-select to be at ‘N’. I love ‘N’.
Okay here are a few pics, below. Excellent. Now, let me get back to writing this week’s issue, working on a sequence for the fall, on ‘Relational Aesthetics.’ See editorial calendar here. Accepting submissions, but from members of S P A C E, which includes anyone who took part in Papers in 2020-21. Cool. See you in S P A C E.
And other topics, tonight at the opening reception zoom party for ‘Vertices.’ An exclusive event for members of S P A C E and their guests.
HT KM, thank you for the call yesterday. That was helpful, insightful, and fun. Thirty years is a long time to know each other, isn’t it? I’m glad I have some longitudinal relationships in my innermost circles that I’ve maintained, to checkin with you, and them, on occasion and remind each other of how our core essences never really change.
S P A C E started out as a reaction to the mainstream media’s castings of peoples and places that are ‘exotic’ as something ‘other’, to be exalted or observed rather than commingled with.
Maybe it’s colonization that got us perturbed, or the high school British Literature and American Literature course syllabi that were insisted up on us as ‘literature’ without the global context of so, so very much more that can round out one’s perspectives, and challenge one’s beliefs. That, to me, is real travel.
More room for dialogue, more scope for relating, more opportunity for discovering Self in Other… that’s what I wanted to set out to explore and co-create and then record in weekly e-mag format, in this collected series. In the end, or at least, one chapter’s end, it was to spend a great chunk of time uninterrupted in Vietnam (pandemic) in order to find… Solitude.
The series has been going since 2017 and began in Cambodia with the first sequence, ‘A Philosophy of the Moment.’ Here are some of the other collections, made in popup ateliers in the places where we’ve been, looking for the real and the now. In other words, true stories.
The people who tell their stories to us, directly. In the way they speak. After a period of time in which to build trust, and establish rapport. Not everyone is open to it. But a few are. And when I find them, that’s where we do the Atelier S P A C E jam. To make the zine, and our own, co-created and highly curated arrangements, of S P A C E.
A Philosophy of the Moment, Winter 2018 Finland, Cambodia
The Book of New Things, Spring 2019 Vietnam and Japan
In the Vernacular, Summer 2019 Latvia, Slovakia and Poland
Trust the Process, Autumn 2019 Malaysia and Vietnam
‘Seeing’ No. 1 is a conversation about the art of delivering emotion into one’s photography. What you see is what you get attitudes towards making pictures, we feel, doesn’t get close to the root of what great art can show us. Get to know a person before you snap away their photo. See how they see. Learn how they learn. Love how they love. Then it gets truly… real.
Snippets from a search today that landed me on ‘Outsider Art.’ I’ve had some difficult relationships with ‘Arts’ people and all their Things, including those who put on ‘Outsider Art’ shows. That said, this stuff I read (which I’ll paste now, below), kind of struck me as… noteworthy.
They talk about ‘Outsider Art’ being sort of like, I’ll just do what I want and who cares about your cultural institutions. I’ve never looked into this, or felt ‘community’ with it, or anything. But maybe that attitude is… right.
The relation between the fields of art therapy and outsider art has been widely debated. The term ‘art brut’ was first coined by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet used the term ‘art brut’ to focus on artistic practice by insane-asylum patients. The English translation “outsider art” was first used by art critic Roger Cardinal in 1972.
Both terms have been criticized because of their social and personal impact on both patients and artists. Art therapy professionals have been accused of not putting enough emphasis on the artistic value and meaning of the artist’s works, considering them only from a medical perspective. This led to the misconception of the whole outsiderart practice, while addressing therapeutical issues within the field of aesthetical discussion. Outsider Art, on the contrary, has been negatively judged because of the labeling of the artists’ work, i.e. the equation artist = genius = insane. Moreover, the business-related issues on the term outsider art carry some misunderstandings. While the outsider artist is part of a specific art system, which can add a positive value to both the artist’s work as well as his personal development, it can also imprison him within the boundaries of the system itself.
“Those works created from solitude and from pure and authentic creative impulses – where the worries of competition, acclaim and social promotion do not interfere – are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade.” — Jean Dubuffet. Place à l’incivisme (Make way for Incivism). Art and Text no.27 (December 1987 – February 1988). p.36 Dubuffet’s writing on art brut was the subject of a noted program at the Art Club of Chicago in the early 1950s.
Dubuffet argued that ‘culture’, that is mainstream culture, managed to assimilate every new development in art, and by doing so took away whatever power it might have had. The result was to asphyxiate genuine expression.
Art brut was his solution to this problem – only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated.
I told you about it? About #newcuizines? I’ll be curating here and there some of my favorite food-related [various media pieces] and original stories from the kitchen-atelier of our studio itself. Atelier S P A C E, because. Cooking. Is happening. It has to. There are no take-aways allowed and so, um, you have to prepare things.
I’m glad I have a kitchen, to do that. I’ve made some [deleted]… but these look pretty good…
Yes, you know I am not a foodie. But I do like good food. I mean, eating it. How could I not after three years in the gastronomic paradise of West Cork, Ireland (thank you lads). Well. After all that, I am in Vietnam, one of the most brilliant places to be for food especially if you want to see how creative everything can get with texture, color, composition. Style. I’m enjoying it. Continue reading “I <3 New Cuizines”
Been thinking about this since the phrase fell across my radar a few years ago, in response to some things I was making like 16N (‘most people, ‘What the…’?’) and other salons, workshops, conversation spaces in real life for the serendipitous encounter. A few pics:
So what is ‘post post modernism?’ Large, cumbersome, and unwieldy topic. Also not much is talked about there, yet. It’s a good time to bring it up; so let me try.
Modernism began around 1900. It was a rejection of tradition and an attempt to see the world differently. Events such as World War 2 and the Great Depression made many feel modernism had failed. This led to postmodernism, which is cold and skeptical of the grand narrative of Western Society. This grand narrative is explained by Jean-François Lyotard as something. Postmodernism is a very broad term that cannot be defined by specific themes. It is an all-encompassing way of thinking.
Advances such as the internet have changed the way we live, making the world a smaller place but also making communication and interaction with things around us less intimate. Post-Postmodernism takes this as a key reason why a return to sincerity and authentic expression is the way forward for the 21st Century.
Post-postmodernism is a very new idea that is still forming. There are many different ideas about how post-postmodernism could evolve and shape culture. They look to where faith, trust, dialogue, performance, and sincerity can work to overcome postmodern irony.
‘The search for authenticity’
Most scholars would agree that modernism began around 1900 and continued on as the dominant cultural force in the intellectual circles of Western culture well into the mid-twentieth century.
Like all eras, modernism encompasses many competing individual directions and is impossible to define as a discrete unity or totality. However, its chief general characteristics are often thought to include an emphasis on “radical aesthetics, technical experimentation, spatial or rhythmic, rather than chronological form, [and] self-conscious reflexiveness” as well as the search for authenticity in human relations, [Emphasis mine] abstraction in art, and utopian striving. These characteristics are normally lacking in postmodernism or are treated as objects of irony [Emphasis mine]
Postmodernism arose after World War II as a reaction to the perceived failings of modernism, whose radical artistic projects had come to be associated with totalitarianism or had been assimilated into mainstream culture. [Emphasis mine] … Since the 1960s, postmodernism has been a dominant, though not undisputed, force in art, literature, film, music, drama, architecture, history, and continental philosophy. Salient features of postmodernism are normally thought to include the ironic play with styles, citations and narrative levels, a metaphysical skepticism or nihilism towards a “grand narrative” of Western culture, a preference for the virtual at the expense of the real (or more accurately, a fundamental questioning of what ‘the real’ constitutes) and a “waning of affect” on the part of the subject, who is caught up in the free interplay of virtual, endlessly reproducible signs inducing a state of consciousness similar to schizophrenia.
Since the late 1990s there has been a small but growing feeling both in popular culture and in academia that postmodernism “has gone out of fashion.”
A common theme of current attempts to define post-postmodernism is emerging as one where faith, trust, dialogue, performance, and sincerity can work to transcend postmodern irony. [deleted]
In his 2006 paper The Death of Postmodernism and Beyond, British scholar Alan Kirby formulated a socio-cultural assessment of post-postmodernism that he calls “pseudo-modernism”. Kirby associates pseudo-modernism with the triteness and shallowness resulting from the instantaneous, direct, and superficial participation in culture [Emphasis mine] made possible by the internet, mobile phones, interactive television and similar means: “In pseudo-modernism one phones, clicks, presses, surfs, chooses, moves, downloads.”
Feature image: Zines by DK, S P A C E | Autumn 2020, ‘Trust.’
It reminded me of 2006 in Seattle, when DK had just gotten started and when we had, way back then, as we aim to now, I feel, patronized other labels that also support environmentally (and especially socially) sustainable ideals. Truly and sincerely doing this, I mean. Not greenwashing or BS or nonsense. Just. Doing. Good things, in good ways. No one is perfect and of course we all have to make money to live; but that doesn’t mean we have to sacrifice things. Things like, for example, taking the time that it requires to nurture relationships that add value to our lives in other ways, or do the work it must require to foundationally, and bolsteringly, build the communities we want to be a part of because they help us grow. You need to have a structure in place for a form to work well; the structure is the engineering bit. The form is all image-y these days and lacks substance, I feel*, which is why I’m getting back to my core work in Engineering and related fields (environmental work, sustainability, et al). It’s not something I can talk about publicly yet, but maybe, maybe I can later.
[*Aside: For further reading, refer to Guy DeBord’s Society of the Spectacle.]…
If LOHAS came about in the mid-2000s, what about ALOASS. A Life of Authenticity and Social Sustainability, for 202Xs? Hrm.
Much, much more to say about this. Soonish, or whenever it makes sense to share, I’ll get to it. If I want. For now, this is this. Here is this snippet, a kind of footnote for my future post. This bit’s from Wikipedia…
Lifestyles of Health and Sustainability (LOHAS) is a demographic defining a particular market segment related to sustainable living, “green” ecological initiatives, and generally composed of a relatively upscale and well-educated population segment. The author Paul H. Ray, who coined the term Cultural Creatives*:“What you’re seeing is a demand for products of equal quality that are also virtuous.” Included in the cultural creative demographic are consumers of New Age goods and services.
Just under half of the CC population comprises the more educated, leading-edge thinkers. This includes many writers, artists, musicians, psychotherapists, alternative health care providers and other professionals. They combine a serious focus on their spirituality with a strong passion for social activism.
The more secular and extroverted wing of the “Cultural Creatives”. They tend to follow the opinions of the core group and have more conventional religious outlooks. Their world views less thought-out than the core group and less intensely held.
Ray and Sherry Anderson created a questionnaire to identify “Cultural Creatives” in Western society. The characteristics below were identified as qualities of a “Cultural Creative”. Agreement with 10 or more indicates status as a “Cultural Creative”.
love of nature and deep caring about its preservation, and its natural balance.
The concept of “innerpreneurs” to denote persons who create a business that focuses mainly on their own inner goals and development was first introduced by Rebecca Maddox in her 1996 book Inc. Your Dreams The “innerpreneurs” concept is also central to Ron Rentel’s 2008 book Karma Queens, Geek Gods and Innerpreneurs, in which he identified the “Cultural Creative” subculture in entrepreneurship. Rentel named entrepreneurial “Cultural Creatives”, “innerpreneurs”.
While entrepreneurs use their business for monetary gain, “innerpreneurs” use their business to find personal fulfillment (creatively, spiritually, emotionally) and create social change.
“Innerpreneurs” have the defining characteristics of an entrepreneur:
high need for achievement
high need for independence
low need for conformity
internal focus of control
love of ambiguity
propensity for risk-taking
obsession with opportunity*
[*Editor’s note: Super true, for me, here. Ahem.]
In 2008, there was much discussion in the Western media on the ‘creative economy’ and the importance of the ‘creative class’. Richard Florida published a series of books on this identified ‘creative class’ and their upcoming economic importance. Bill Gates spoke at the World Economic Forum 2008 on the need for ‘creative capitalism’ as a solution to the world’s problems. They theorize that being creative and inventive will be the key to business success in the 21st century and that a country’s economic success will be determined by its capitalists’ ability to mobilize, attract and retain human creative talent. See Douglas Rushkoff for an update on how this evolved.
Ray gives the term “Integral Culture” to the growing subculture. He also refers to this as transmodernism, which he refers to as the “Cultural Creatives”. They are concerned with ecological sustainability and in the case of a core group have a commitment to personal and spiritual development. These are individuals who can meld the best of traditionalism and modernism to create a new synthesis, having a cognitive style based on synthesizing varied information from many sources into a big picture. This term can also apply to integral theory, a conceptual framework expounded by Ken Wilber.
Forty-one is more views on that page than for any other portfolio page I’ve ever posted on that platform. And I mean I’ve been kind of ambiently on there since 2017, not really seriously, though, not like now. I guess I just want to show people the context of S P A C E instead of just pointing them to my store. Ha, oh, I just pointed you to my store. Well, it’s a nice little collection, I feel:)…
But back to our story. About connexion, conversation, spacemaking, and now, food.
It’s exciting to me that it’s kind of interactive, too. It’s not just a ‘look at what I did’ thing but a co-created, on the spot, in real time, synched conversation space, too. With those who browse and read all the way through to the ends of paragraphs with links, then click the links, something happens. A conversation. And that, ladies and gentlemen, is the entire raison d’être of S P A C E. To connect. To converse. To make that exchange… It’s starting to happen more and more, digitally, now, because… well, you know why. But yeah. Let me reflect now for a moment. On perhaps why the other projects for Atelier S P A C E were less interesting to view.
Maybe the earlier stuff I had posted, for example, stuff like this..
… was too…. er. Abstract? Hm.
[moment of insight slooowwwwlly dawns on DK, as the penny drops]
Wow. Quite possibly, eh.
I can see it now.
I guess I was caught up in the thing itself and forgetting to communicate about it, clearly, but that is natural when a thing is starting and it doesn’t know what it is yet. It rolls along and gathers momentum, rounds up, becomes more wheel-y and not as clunky as a square wheel. Ooh. More abstractness. Sorry, lads.
Let me try to articulate it simply. I guess, I just wanted to do it. Atelier S P A C E popups around the world, to co-create. I did this for a few years. You know, I really did. For 2017-2020 I was very interested in gathering people in remarkable moments for connexion. But I don’t think I knew exactly how to communicate what that looked like, in actual fact. Somehow people meeting and talking together over a meal is easier to digest. Haha, see what I did there, digest.
So let me change gears.
Instead of zines. Something else. Something new.
‘Và có lẽ ta nên dành ít thời giờ ở trường đại học làm đầy đầu óc của học sinh với các nội dung qua các bài giảng, và nhiều thời gian hơn thắp lên sự sáng tạo của họ, sư tưởng tượng và khả năng giải quyết vấn đề của họ bằng cách thật sự nói chuyện với họ.’
‘And maybe we should spend less time at universities filling our students’ minds with content by lecturing at them, and more time igniting their creativity, their imagination and their problem-solving skills by actually talking with them.’
A book that popped to mind while I was perusing uncanny numbers of news sites, from January through May 2021, was Thomas Kunh‘s The Structure of Scientific Revolutions, How do we know we’re on the brink of something major shifting? Maybe you remember; maybe it impacted you, too, quite heavily… 2008… I and others of my cohort saw that year’s financial crises and [some of us] thought maybe capitalism was gonna get gone. [deleted]. Then, no.
Bailouts came, some of us left the United States, and I don’t know what happened next. Who really knows. Well. I guess not knowing is part of it. The whole thing about the book that I wanted to tell you about. I’ll put some of that here now, in a second. But yeah. This pandemic is showing us more, though, about [deleted]. It’s pretty basic. It’s about… Fairness. Or? Tell me what I don’t know and I’ll read more about it and teach myself things. What now? I’m curious.
‘Since [Kuhn] considered problem solving to be a central element of science, Kuhn saw that a new candidate paradigm “must seem to resolve some outstanding and generally recognized problem that can be met in no other way.
There’s more. ‘Second, the new paradigm must promise to preserve a relatively large part of the concrete problem solving ability that has accrued to science through its predecessors. While the new paradigm is rarely as expansive as the old paradigm in its initial stages, it must nevertheless have significant promise for future problem-solving. As a result, though new paradigms seldom or never possess all the capabilities of their predecessors, they usually preserve a great deal of the most concrete parts of past achievement and they always permit additional concrete problem-solutions besides.
In other words, you don’t know all the ways of fixing it. You probably don’t even know the ‘it’ center of ‘it.’ [deleted] … and that I sound like a Stoic. [deleted]. That’s why I do it. Make S P A C E.)
The way we work isn’t working, so let’s try something new
According to WHO, this group of people will look at how human activity affects the environment and wildlife habitats. For example, how is food going to be produced and distributed? What about urbanization, and infrastructure?International travel and trade, too. All of these are activities that lead to biodiversity loss and climate change, plus putting more pressure on the natural resource base. Guess what this does? Sets the table for the emergence of zoonotic diseases. And who the hell knows whatever else. [Update: A lab in Wuhan was making covid and it leaked? [deleted] and we don’t know anymore what to believe. HT MT, good conversation the other day, re epistemology et al.] Well, I’m sure someone knows. Someone who studies this stuff.
[Aside: Here is where I normally would go and reach out to one such person. But I think they might be kinda busy right now, and this is more or less a vanity blog, and no one is asking me to do anything like find out, so. I just. Won’t. Instead I’ll put another pretty picture here…]
“Human health does not exist in a vacuum,” Dr Tedros Adhanom Ghebreyesus, WHO Director-General, said. “Nor can our efforts to protect and promote it. The close links between human, animal and environmental health demand close collaboration, communication and coordination between the relevant sectors.’ [Emphasis mine]
Here is an excerpt from a 2020 issue of S P A C E, in which Jas Plac interviews typography designer Pilar Cano, whose beautiful work on Thai typefaces caught our eye.
Pilar Cano: Mastery of typedesign ‘is a really long process, months and years… you really need to like it. You look at cognitive processes…how we read, how our brain processes, and the eyes, how you… want the eyes to see things. There are so many layers, and you learn many things.’
JP: A lot of people I know would love to be a type designer. But lack discipline. How did you make it?
PC: Well, for me to make it as type designer meant being able to make a living from designing typefaces only. Now there are more foundries, but [when I started] there were just a few places that hired type designers: a few big companies and a couple of small ones, so I tried to take my freelance career in that direction, but that wasn’t possible. Then I saw an ad from Dalton Maag in London, which back then was much smaller than today, and applied, and got hired.
Mono no aware(物の哀れ, もののあはれ), literally“thepathos of things”, and also translated as“anempathy toward things”, or“a sensitivity to ephemera“, is a Japanese term for the awareness of impermanence(無常,mujō), or transience of things, and both a transient gentle sadness(orwistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.[wikipedia]
Been talking. Been quieting. Been sharing, but only very selectively. Rekindling with a handful, and learning that sometimes the best thing to do is… start again.
Above is a piece of work by Matt Shlian. I found ‘Swire’ while perusing this article. In which Shlian shares personal thoughts about what makes a piece of art great: ‘A piece of art needs to connect. It needs to have some element of truth to it that resonates with the viewer and leaves them something after they’ve left the piece.
‘A good piece asks questions,’ he says, ‘and teaches you something you didn’t know or shows you something you didn’t know you knew. It articulates something we’ve felt, and we connect to that thing in a way where words aren’t necessary. It’s a feeling that’s hard to describe but makes us feel less alone in a way—that someone else understands us and gives a voice to this thing inside us. ‘A piece of art extends beyond its frame and becomes part of us…’
And you? What are you making lately? What about just-for-today?
Discover and connect with us, if you’re curious about how it all works, to get conversations going in a way that illuminates… us… to each other, and ourselves. Our reflection-oriented conversions happen through Kismuth, with the 2014-2020 program called The Cojournal Project, and more design- and philosophy and other thinky thinky goes on while we co-create in S P A C E. Together.
“The jigsaw classroom was first used in 1971 in Austin, Texas,” says psychologist and University of California in Santa Cruz Professor Elliot Aronson. He is the author of Nobody Left to Hate: Teaching Compassion After Columbine.
Here’s why DK got curious about him, and the jigsaw method. As Jiddu Krishnamurthi said, insight comes from seeing without prejudice. Freedom is seeing this kind of insight. And this method is a way to get there. He also said not to quote him, so I’m using indirect quotes, hey. Cool.
Aronson: “My graduate students and I had invented the jigsaw strategy that year , as a matter of absolute necessity to help defuse an explosive situation.” Why should we pay attention to his research and ideas?
First, I personally experienced the jigsaw method of learning when I was 10. Thank you Mrs. C. And my teammates, whom I wrote letters to after moving from the north to the south of those United States. We had really bonded, after all. Kids. Kids who work together. In nurturing spaces. It was the best part of my education, up until I got to calculus class and the stars fell out of the sky. Okay. I love math. More about that in a bit
I loved the jigsaw method (which I didn’t even know that’s what we were doing) so much it is half of the base for everything I make with my group projects, salons and workshops. The other half are ideas that I learned from Bar Camp in Seattle about letting people choose to go where they are interested; an idea that was outlined in a textbook MC had left at Kinyei, in Battambang, and I happened to go there, and happened to find it. What are the rules of Open Space? The people who come are the right people, the things that happen are the only things that could’ve, it starts when it starts, it’s over when it’s over and you can leave anytime if you aren’t learning anything. Now you know why I left the US in 2013.
This style of self-directed learning (Open Space) as well as collaborative learning (jigsaw) together form the structure of the stages I make in S P A C E’s ateliers, that is, Atelier S P A C E. Here’s what it looks like. A quick collection of five randomly selected images from my archives (I searched “workshop”, “jazz” and “16N“).
But let’s get back to our psychologist’s story, shall we?
Let me share what the method’s aim is.
The Jigsaw Classroom — a cooperative learning technique — is an efficient way to teach material that also encourages “listening, engagement, and empathy by giving each member of the group an essential part to play in the academic activity.”
“The city’s schools had recently been desegregated, and because Austin had always been racially segregated, white youngsters, African-American youngsters, and Hispanic youngsters found themselves in the same classrooms for the first time. Within a few weeks, long-standing suspicion, fear, and distrust between groups produced an atmosphere of turmoil and hostility. Fist-fights erupted in corridors and schoolyards across the city. The school superintendent called me in to see if we could do anything to help students get along with one another. After observing what was going on in classrooms for a few days, my students and I concluded that inter-group hostility was being fueled by the competitive environment of the classroom.”
What do we need to do to better connect, better engage, and better collaborate?
An architecture of social engagements that happen at work as well as independent of work, outside of focus group, as well as within them. Design. Let me get back to actually engineering things.
Or check out the Jigsaw Method. If you’ve read to the end, I know you know how to find things out, on your own. Because the people who read to the end are those kind of people, independent, and stuff, and also, I like that I don’t have to tell you where everything is. I mean, heck. I don’t even know. How can one person scour the entire internet? Anyway. I loved the jigsaw method and true collaboration is at the heart of everything Design Kompany cares about. Collaboration, co-creation, jazzy mix-it-uppy improvisation. With the results that are modern, and speak for themselves.
Comments are open so if you find cool stuff, just say. Ta.
Image: Shunya Koide / ‘I’m a developer / designer. Also, love taking pictures. Based in Tokyo.’ shunyakoide.com
‘The Powers of Ten films are two short American documentary films written and directed by Charles and Ray Eames. Both works depict the relative scale of the Universe according to an order of magnitude (or logarithmic scale) based on a factor of ten, first expanding out from the Earth until the entire universe is surveyed, then reducing inward until a single atom and its quarks are observed. The first film: A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe — was a prototype and was completed in 1968; the second film: Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero — was completed in 1977. The Powers of Ten films were adaptations of the book Cosmic View (1957) by Dutch educator Kees Boeke. Both films, and a book based on the second film, follow the form of the Boeke original, adding color and photography to the black and white drawings employed by Boeke in his seminal work. The 1977 film has a number of changes from the prototype, including being entirely in color, moving the starting location from Miami to Chicago, removing the relativistic (time) dimension, introducing an additional two powers of ten at each extreme, a change in narrator from Judith Bronowski to Philip Morrison, and much improved graphics. ‘In 1998, Powers of Ten (1977) was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.’