Stories

‘Don’t just document: make art’: photographer Benjamin Nwaneampeh

One of my favorite photographers in the world agreed to talk with me about the art of making street photos, back in 2018. I loved that conversation. It was so, so fun and delightful.

S P A C E makes space for that kind of conversation–it meanders, flows, and is a sort of exchange that you wouldn’t have any way of guessing what the outcome would be, from the start. I met the artist whom I got to know over instagram then in person, then I asked if I could talk with him for a bit and maybe even record it. It was my first foray into ‘podcasting’. I didn’t get too far, to be honest. I felt less and less interested in hearing my own voice but yeah, the people that I’m lucky enough to get to meet, wherever I go in the world (or surf online) are quite fascinating, at moments like the one in this conversation you can see… how… artists… think. Wait. Think is the wrong word. Feel. [deleted]


In this frank conversation between Design Kompany’s Dipika Kohli and portrait photographer Benjamin Nwaneampeh, we talk about how to get started, the culture of wanting things *now*, equipment, style, the city, and the art of peoplewatching.

‘Forget what people are telling you what street photography *is*,’ says Nwaneampeh. ‘Just go out and take photographs. If you like your pictures, and you feel you’re maturing, you’re growing in it, then just keep doing it. Just keep shooting.’


[deleted] … and then I think… yeah. It’s mostly about that. Mostly about art, itself. Why it isn’t just documenting whatever. Why it’s about seeing. Seeing seeing. And what that means, to each of us. In conversation: that’s where you find things out. At least, that’s where I do.

This one, we recorded together.

You can listen to it.

Here’s a link.

https://soundcloud.com/designkompany/make-art-1

Thanks;)

Interviews · Stories

‘In the Margins’

DK Director Dipika Kohli & Napisa Leelasuphapong talk art, design, and curation, in light, honest and easygoing conversations at the library and garden spaces of the privately funded contemporary art space, Bangkok CityCity Gallery, Feb. 2020.  

This is an excerpt from one of our 2020 issues of S P A C E, which was called S P A C E | Bangkok, ‘The Last Copy is for Reading Here’. Find it in our online store, here.



In the Margins


Words Dipika Kohli
Editing A. Spaice
Photography Napisa Leelasuphapong

A friend of mine who studied narrative ontology once said, ‘There are two kinds of stories. Someone goes on a trip, and, a stranger comes to town.’ In Bangkok in February, I think we had both, in one sitting.

I, a stranger, came to town, but with the help of people who got me started thinking newly, we all sort of went on a new trip. Together. That is what happens, sometimes. Especially in S P A C E.


 


The setting: mid-afternoon, hopping off the MRT for Lumphini Park and strolling through the expensive-looking neighborhood to the place I had arranged to meet the team of Bangkok CityCity Gallery, which is a privately-funded contemporary art space.

It’s the kind of place you don’t really know about unless you specifically are looking, but if you go once, then you probably go reguarly, to see what’s changing. I found myself changing, on this trip. Here’s why. Professional, long-time Bangkokian curators who’ve spent their careers on the work of bringing art to the public, super cool, and I, got to chat, together, about what exactly that even means. A show called ‘The Last Copy is for Reading Here’ was about to close at the time of my visit.


‘If I don’t put myself into it,’ says Napisa Leelasuphapong, the Bookshop Library Manager, who put together the show, ‘then it’s not that interesting.’


Talking was easygoing. Simple. The mostly-empty table where we sat was by the window. A glass of water was offered. A pitcher of ice water reflected all the lights. The shadows of the decal of the title of the show fell on the surfaces, floor, edges, chairs, tables, anything, through the shift of time. An afternoon went by, like this, and I took these kinds of visual notes, while we listened to each other and asked questions that made us all think. And pause.

At these obtuse angles, I was reminded all over again of why I love relational aesthetics. Us, in the room, together. Us, with this show. The show, with us: the copy on the table, the title of this show. Shadow. Light. Exciting, just recalling it, reporting it here. (‘Last Copy’ was, curiously, the first show in the library space. Following our fun, light, and agenda-less drift of conversations, I left the last copy of DK’s limited edition set of four issues of S P A C E | Rīga, ‘Drift’ with Leelasuphapong.)

A leafy neighborhood


The gallery is in a leafy neighborhood that is quite easy to walk around in, which is nice, when you are in Bangkok. So, getting back to my just-for-this-week home, which was a 10-minute walk from there, I thought it over. Sitting on the balcony of the second-floor room, in this wooden guesthouse that is built around a giant tree in a tiny courtyard, and run by an elderly couple who gave me a semi-deal, I really went through the feelings.

What it was, was the same kind of thing that happens when you go very far from home, and come back, and look at it all, again. Sitting there, on that nice outdoor spot poking out into the limbs of this very sturdy, old, and wise tree, I again considered what was around me, relationally.

(The couple, their story about coughing and how, no, no, it’s not the virus, ‘He just went to Phuket, see, and smokes, and drank too much!’, so no need to fret about ‘coronavirus,’ as we all were calling it back then.) Did I fret? A little. Did it matter? Not that much, in the end, fortunately. Sure, I did have a slight fever and a sniffly nose, but I slept for two days and it got better. It was hot. Very.

 

Focus


If I don’t put myself into it, then it’s not that interesting, she had said. I kept going back to that. Wondered if I could talk to her some more about the show itself, and not just generally about art and curation, this time. Could we?

In Open Space, which is my favorite style of hosting dialogue roundtables, you can have ‘breakout’ spaces when you want to dive deep into a specific topic. You just arrange another time, another place, and set the theme. So we did.

This time, we talked in the garden, continuing exactly from where we’d left off. Students of design, aesthetics, and art, like us, tend to veer towards the philosophical quite naturally, I think.


‘I studied for a master’s degree in Visual Arts, major in Graphic Design in Belgium,’ Leelasuphapong explained, after first finishing a bachelor’s in industrial design, in Bangkok.

‘The class in which the teacher asked, ‘What moves you as an artist?’ that I mentioned was an optional class. Most of the students joined in the class were from [the] art department. I’m a graphic designer who’s interested in art. :).’


I could relate.

Discover the full story

Read the full story when you order the issue from our store.

Here’s a link.

http://gum.co/space-bkk-lastcopy

Thanks:)

A Philosophy of the Moment · Miscellany

‘What’s it like in Vietnam, DK?’

Since I’m in Vietnam, I think it’s a good time to tell you a little bit about what I’m seeing, and how I’m experiencing, the pandemic, from here.

First, it’s weird as anything seeing news. Especially about what was happening in the United States in January. I mean, whoa. It was troubling, and that’s a very light word. I was reminded of being in Ireland and learning about the attacks on the World Trade Center. I remember that very, very well. Recently, thanks to making a new online profile on the business networking site LinkedIn, and, through that, resuming and restarting dozens of newly rekindled connections, I found the very folks who were with me at that time, in Ireland. Back then they had asked me, ‘Are you okay?’, and this time, we got to download a little about this year’s bizarre spectacle Stateside, too.


 

Ho Chi Minh City

Living very far away

Certainly you think about many things being very far away from the culture that has been familiar but which you chose to let go of, as best as you can, because it doesn’t ‘fit’ you. This is an abstract idea. Then again, what about DK isn’t abstract? ‘Kay, cool. [deleted] Continue reading “‘What’s it like in Vietnam, DK?’”

A Philosophy of the Moment

Why I zine

Many people ask me why.
I found this fun thread of people talking about magazines. Today. And really liked it. I’ll put some of what I found below.
I’ll call out sections that I personally really relate to. I’ll use formatting… Like this.
The whole thing is online…
Find the link that contains the below, and more, in full context at Quora, at this link…
S P A C E the zine, Saigon January 2021

‘In 2011 Time magazine reported about highbrow magazine creatives congregating in a ritzy New York City bar for to release zines they made in their free time. When staff writer Meredith Melnick asked the creatives “Why,” Vanity Fair’s digital design editor Hamish Robertson spelled it out that “I’m the biggest fan of print in the boundaries that it creates, especially because my day job is working on the web. Too many people think that you can just let the page get longer and longer on a website, and while that’s true, it doesn’t always make it better.” Claire Heslop, creator of The Sun Shines on it Twice, quit blogging to return to zinemaking, explaining to the Winnipeg Free Press, “[Blogging] didn’t really work for me, I didn’t get any enjoyment out of it, it didn’t feel satisfying. It’s not the same as having a real, small, colourful and crazy interactive piece of something that somebody made by hand for you.”

‘In an interview with ABC News in Melbourne, Australia, Thomas Blatchford, a volunteer at zine store Sticky Institute**, explained this motivation further. Contrary to what skeptics have convinced themselves of, according to Blatchford, zines have “definitely become much more popular recently” in part because “There’s some horrible people on [the Internet.]”

‘I too have noticed how behavior on the Internet can be quite “horrible” so I sought out to understand why. Reading on the screen triggers very harsh reactions in our amygdala. The amygdala are the neurons that yank our control away from our thinking brain and tell us that we are under attack. The amygdala anonymously writes reactive comments all over the Internet without consequence that range from intolerant and uninformed to downright cruel and abusive. This is why print is a safer and better place to learn. Dr. Faith Harper, who holds a PhD in counselor education and supervision, says “Like handwriting instead of typing, anything that slows down our communication process is inherently more reflexive.”…


S P A C E the zine, Saigon, March 2021


‘If someone takes the time to respond to something written on paper, it’s done out of love, respect, and the desire for a connection, even if it’s constructive criticism. Pam Mueller, a Princeton researcher, demonstrated that people actually learn more and are more thoughtful when they write letters by hand because they synthesize their thoughts instead of just repeating information. Or as Blatchford puts it “People like to know that when they’re sharing something, there are often going to be likeminded people reading…people feel a sense of trust within the zine community.”

‘Zines are a place where ideas can be nurtured as they develop. As Gillian Beck says in the documentary film $100 and a T-shirt, “Zines are one of the only mediums where people care enough to give feedback and criticize your work” and it’s because we are all part of the same community, with similar goals. The technicalities of zine-making take a backseat to what you’re trying to express, whether it’s something that you need to purge from yourself by writing, or creating art that you don’t have another outlet for, or information that you feel needs to be broadcast.

**DK was in Sticky Institute’s Festival of the Photocopier for two years, in Melbourne in 2019 and online in 2020. They like zines, and we make them: sometimes especially. It’s a fit.
Experiments in Expression · Papers

3 May | Call for Papers

Papers is a way for people to explore ideas together, in a nonjudgmental safe space with a seasoned editorial team headed by Dipika Kohli at DK, to guide.


May 2021 Register at: http://call4papers.eventbrite.com/

What is Papers?

An online writing-and-design-and-generally-creative circle for community. Ambient community that is. International and asynchronous: ‘Papers.’

Here’s how it works.

 

How does it work?

No meetings. Just email: asynchronous, international. Four prompts, sent on Mondays at 7AM USEST. Email converstaions follow with your group, in order to develop your ideas, push past the edges of your creative thining, and link you to our international community.

 

Why?

Because we are tired of superficial, inane chatter and want some actual depth, progression and substance in our online converations. That’s why. Four weeks of amazing online conversations with a max of 4 hosted by DK. More than 120 issues of our zine have been created through ongoing conversations with our guests and collaborators.

Writing. Sharing. Making. New stories. Together. In S P A C E.

Advance bookings only. 

Register online.

Here is a link:

http://call4papers.eventbrite.com/

Thanks.

'S' is for Sincerity · 100 Conversations · Miscellany · Relational Aesthetics

Wikipedia in Vietnamese on ‘Maturity’

Trong tâm lý học, trưởng thành là khả năng thích ứng được với môi trường xã hội, nhận thức được:)) Thời gian và địa điểm chính xác để có những cư xử đúng mực và biết được khi nào nên làm gì, tùy theo hoàn cảnh và phụ thuộc vào nền văn hóa xã hội mà ta đang sống.  Tuổi thành niên. Tuổi trưởng thành. Người lớn.

The translation on that page is this…
Mature
In psychology, maturity is the ability to adapt to a social environment, awareness :)) The exact time and place to behave properly and know when to do, depending on circumstances and depending on the social culture in which we live. Age of adulthood. Manhood. Adults.
And. That’s all.
In giant contrast, below is the English entry. But before I get to that, um.

Can someone reading this page, who follows this blog, and has native Vietnamese, can you, um. Please go and add more to this page on Wikipedia in Vietnamese? I think the emojis detract from the serious nature of the reportage, too. No?:)) I mean I love this:)))) emoji stuff but, on Wikipedia, about ‘maturity?’ Come on. Hãy nói về điều đó.

It’s one hell of a big topic and I think… important. Personally. What do you think though? Gosh I really want to know.
Perhaps we Western-educated lot overthink this thing but you know, look at this. The same idea, in the English entry, on Wikipedia, is miles and miles long. Seriously look. I’ll just paste it here.
Below is the English entry.

Maturity (psychological)

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

In psychology, maturity is the ability to respond to the environment being aware of the correct time and location to behave and knowing when to act, according to the circumstances and the culture of the society one lives in.[1][2] Adult development and maturity theories include the purpose in life concept, in which maturity emphasizes a clear comprehension of life’s purpose, directedness, and intentionality, which contributes to the feeling that life is meaningful.[3]

The status of maturity is distinguished by the shift away from reliance on guardianship and the oversight of an adult in decision-making acts. Maturity has different definitions across legal, social, religious, political, sexual, emotional, and intellectual contexts.[4] The age or qualities assigned for each of these contexts are tied to culturally-significant indicators of independence that often vary as a result of social sentiments. The concept of psychological maturity has implications across both legal and social contexts, while a combination of political activism and scientific evidence continue to reshape and qualify its definition. Because of these factors, the notion and definition of maturity and immaturity is somewhat subjective.

American psychologist Jerome Bruner proposed the purpose of the period of immaturity as being a time for experimental play without serious consequences, where a young animal can spend a great deal of time observing the actions of skilled others in coordination with oversight by and activity with its mother.[5] The key to human innovation through the use of symbols and tools, therefore, is re-interpretive imitation that is “practiced, perfected, and varied in play” through extensive exploration of the limits on one’s ability to interact with the world. Evolutionary psychologists have also hypothesized that cognitive immaturity may serve an adaptive purpose as a protective barrier for children against their own under-developed meta-cognition and judgment, a vulnerability that may put them in harm’s way.[6] For youth today, the steadily extending period of ‘play’ and schooling going into the 21st century comes as a result of the increasing complexity of our world and its technologies, which too demand an increasing intricacy of skill as well as a more exhaustive set of pre-requisite abilities. Many of the behavioral and emotional problems associated with adolescence may arise as children cope with the increased demands placed on them, demands which have become increasingly abstracted from the work and expectations of adulthood.

Socio-emotional and cognitive markers[edit]

Although psychological maturity is specifically grounded in the autonomy of one’s decision-making ability, these outcomes are deeply embedded in not only cognition, but also in lifelong processes of emotional, social and moral development.[7] Various theorists have provided frameworks for recognizing the indicators of maturity. Erikson’s stages of psychosocial development describe progression into adult maturity, with each maturational stage characterized by a certain kind of psychsocial conflict.[8][9] The “Identity” stage is characterized as being mainly concerned with issues of role exploration and role confusion, and also the exploration of sexual and other identities. Adolescents navigate a web of conflicting values and selves in order to emerge as ‘the person one has come to be’ and ‘the person society expects one to become’.[10]Erikson did not insist that stages begin and end at globally pre-defined points, but that particular stages such as “Identity” could extend into adulthood for as long as it took to resolve the conflict.[11][12] Piaget’s theory of cognitive development defines the formal operational stage as a plateau reached once an individual can think logically using symbols and is marked by a shift away from “concrete” thought, or thought bound to immediacy and facts, and toward “abstract” thought, or thought employing reflection and deduction.[13] These theories have shaped the investigation of adolescent development and reflect the limitations of cognition prior to adulthood.

While maturity is often termed as a label awarded to a child, research has revealed that children themselves hold a clear sense of their own autonomy and personal jurisdiction. For instance, American elementary-aged school children demonstrated an acknowledgement of the limits of their parents’ authority over their choice of dress, hairstyle, friends, hobbies, and media choices.[14] But this constrained earlier concept of personal autonomy later develops into a broader understanding of individual freedoms, with an understanding of freedom of speech as a universal right emerging by elementary school age.[15] However, younger children do have difficulty with maintaining a consistent view on universal rights, with 75% of first-grade children expressing uncertainty about prohibiting freedom of speech in Canada.[16] But this same study also found that 6- to 11-year-old Canadian children rejected nondemocratic systems on the basis of violating principles of majority vote, equal representation, and right to a voice, which provides evidence for an emerging knowledge of political decision-making skills from a young age.

Biological and evolutionary markers[edit]

Where maturity is an earned status that often carries responsibilities, immaturity is then defined in contrast by the absence of serious responsibility and in its place is the freedom for unmitigated growth. This period of growth is particularly important for humans, who undergo a unique four-stage pattern of development (infancy, childhood, juvenility, adolescence) that has been theorized to confer a number of evolutionarily competitive benefits (Locke & Bogin, 2006). In infancy, motor development stretches long into the early years of life, necessitating that young infants rely on their mothers almost entirely. This state of helplessness provides for an intensely close bond between infant and mother, where separation is infrequent and babies are rarely out of a caregiver’s arms.[17][18] For non-human primates and all non-human mammalian species the growth of the first permanent molar marks the end of lactation and the beginning of foraging, setting an early requirement for independence. Human children, on the other hand, do not have an advanced motor control capable of foraging and also lack the digestive capacity for unprepared food, and so have always relied on the active involvement of their mother and other caregivers in their care into childhood.[19]

The pre-frontal cortex, which is responsible for higher cognitive functions such as planning, decision-making, judgment and reasoning, develops and matures most rapidly during early adolescence and into the early 20s.[20] Accompanying the growth of the pre-frontal cortex is continued synaptic pruning (the trimming of rarely used synapses) as well as increased myelination of nerve fibers in the brain, which serves to insulate and speed up signal transmission between neurons. The incomplete development of this process contributes to the finding that adolescents use their brain less broadly than do adults when asked to inhibit a response and show less cross-talk (communication across diverse regions of the brain).[21] The brain’s “cross-talk” may be related to decision-making concerning risk-taking, with one study of American adolescents finding delayed reaction time and decreased spread across brain regions in a task asking them to determine whether a dangerous action is a good idea or not.[22] Steinberg observes that there is close overlap in the activated brain regions for socioemotional and reward information, which may pose a challenge when making decisions in the most high-risk peer contexts.[23] One study found that preference for small immediate rewards over larger long-term rewards was associated with increased activation with regions primarily responsible for socioemotional decision-making.[24]

Problems with alleged negative correlation between plasticity and critical thinking[edit]

One problem with the notion of mental maturity as in adults being both more critical and less plastic than children is that it assumes a negative correlation between plasticity and independent critical thinking. This assumption is criticized as the ability to clearly distinguish ideas from each other and critically assess them would increase the capacity for self-correction and not decrease it, making the correlation between plasticity and independent critical thinking positive and not negative.[25]

Legal and political issues[edit]

The definition and determination of maturity has been applied to the issue of criminal responsibility of juvenile offenders and to a number of legal ages. The age of majority, the most broadly applied legal threshold of adulthood, is typically characterized by recognition of control over oneself and one’s actions and decisions. The most common age threshold is 18 years of age, with thresholds ranging from 14 to 21 across nations and between provinces. Although age of majority is referred to as a jurisdiction’s legal age, the legal ages of various other issues of legal maturity like sexual consent or drinking and smoking ages are often different from the age of majority. Aside from age-based thresholds of maturity, restrictions based in a perceived intellectual immaturity also extend to those with a variety of mental impairments (generally defined as anyone with a mental disability that requires guardianship), with laws in place in most regions limiting the voting rights of the mentally disabled and often requiring the judgment of a court to declare fitness. Similar to those restrictions placed on children, persons with mental disabilities also have freedoms restricted and have their rights assigned to parental guardians.

One reason cited for why children and the mentally disabled are not permitted to vote in elections is that they are too intellectually immature to understand voting issues. This view is echoed in concerns about the adult voting population, with observers citing concern for a decrease in ‘civic virtue’ and ‘social capital,’ reflecting a generalized panic over the political intelligence of the voting population.[26] Although critics have cited ‘youth culture’ as contributing to the malaise of modern mass media’s shallow treatment of political issues, interviews with youth themselves about their political views have revealed a widespread sense of frustration in their political powerlessness as well as a strongly cynical view of the actions of politicians.[27] Several researchers have attempted to explain this sense of cynicism as a way of rationalizing the sense of alienation and legal exclusion of youth in political decision-making.[28][29]

Another reason cited against child voting rights is that children would be unduly biased by media and other societal pressures. On the whole, this view is unsubstantiated, with interviews with youth revealing that they often have a great deal of knowledge about news programming, media bias, the importance of evidence, evaluation of arguments on the merits of their evidence, as well as a preparedness for forming arguments of one’s own using available evidence. In cognitive research, some studies conducted in the 1970s offered a skeptical view of adolescent understanding of democratic principles like freedom of speech.[30] However, this research is now recognized to have used challenging and contradictory vignettes that placed a high demand on still-developing verbal and metacognitive skills[16] which are not recognized as requisite to an understanding of individual political rights. More recent research[16][31] has unveiled that even elementary school age children have a concept of freedom of speech and that by ages 8–9 this concept expands beyond a concern for personal autonomy and onto awareness for its social implications and the importance of the right to a political voice.

Maturity has also been taken into account when determining the fairness of the death penalty in cases involving mentally retarded or underage perpetrators. In Atkins v. Virginia, the U.S. Supreme Court decision banning the execution of mentally retarded persons, was decided on the grounds that “diminished capacities to understand and process mistakes and learn from experience, to engage in logical reasoning, to control impulses, and to understand the reactions of others” was cited as the evidence supporting a reduced view of criminal culpability.[32]

Cultural and religious issues[edit]

In Jewish religion, the “becoming a Bar or Bat Mitzvah” (literally “an [agent] who is subject to the law”) refers to the ceremony declaring that a Jewish child is morally and ethically responsible for their actions, is eligible to be called to read from the Torah, as well as responsibility to abide by the 613 laws written in the Torah.[citation needed]Traditionally, this ceremony awarded adult legal rights as well as the right to marry. Similarly, Christian churches hold Confirmation as a rite of passage in early adolescence. The rite holds fewer practical responsibilities than the Bar/Bat Mitzavah, but carries ethical and moral consequences. In all churches, of age Christians are responsible for going to church on Sundays and for confessing their sins periodically; within certain denominations it is also a common practice to warn children that it would be a mortal sin (an act punishable by banishment to hell) to lapse in these responsibilities.

Prom is celebrated throughout many countries of the world following or prior to final coursework for the year or after graduation. Various parties, ceremonies, or gatherings are held, ranging in their focus on academics, bonding, or as a farewell. In some Western European countries a post-degree party consists of burning notebooks and final projects. In certain countries, such as Colombia and the United States, the prom has come to take on a dual role of celebrating both academic achievement as well as sexual maturity. Quinceañera, in parts of Latin America, Début in the Philippines, Ji Li in China, and Sweet Sixteen in the United States coincide closely with graduation, which highlights the importance and broad recognition of the transition; however, these celebrations have been most prominently celebrated only by girls up until recently.

A number of traditions are associated with the earlier critical maturation point of menarche. A girl’s menarche is commemorated in varying ways, with some traditional Jewish customs defining it as a contamination, with the customs shaped around cleaning it away and ensuring it does not make anything or one unclean.[33] This served a historical purpose of blocking women from taking part in economic or political events.[34] The Maori of New Zealand, the Tinne Indians of the Yukon, the Chichimilia of Mexico, and the Eskimos, among other groups, all hold varyingly negative beliefs about the time of menarche and what dangers it brings.

For boys and young men, practices such as scarification and hazing act as a rite of passage into a group. These practices test and assert the expectations for pain tolerance and allegiance for men in those groups. Various branches of the military hold similar formal proving rituals, such as boot camp, that, aside from serving to train entrants, also demarcate an initial recognition of maturity in the organization, with successive experiences building upon that. Many occupations and social groups recognize similar tiers of maturity within the group across many cultures, which emphasise maturity as a form of status.

Age[edit]

While older persons are generally perceived as more mature and to possess greater credibility, psychological maturity is not determined by one’s age.[35][36] However, for legal purposes, people are not considered psychologically mature enough to perform certain tasks (such as driving, consenting to sex, signing a binding contract or making medical decisions) until they have reached a certain age. In fact, judge Julian Mack, who helped create the juvenile court system in the United States, said that juvenile justice was based on the belief that young people do not always make good decisions because they are not mature, but this means that they can be reformed more easily than adults.[37] However, the relationship between psychological maturity and age is a difficult one, and there has been much debate over methods of determining maturity, considering its subjective nature, relativity to the current environment and/or other factors, and especially regarding social issues such as religion, politics, culture, laws, etc. [38]

See also[edit]

References[edit]

  1. ^ Wechsler, David (1 March 1950). “Intellectual Development and Psychological Maturity”. Child Development. 21 (1): 45–50. doi:10.2307/1126418. JSTOR 1126418. PMID 15420813.
  2. ^ W.A., Hunt (1941). “Recent developments in the field of emotion”. Psychological Bulletin. 38 (5): 249–276. doi:10.1037/h0054615.
  3. ^ Adler, Nancy (November 1997). “Purpose in Life”. Psychosocial workgroup. MacArthur. Retrieved 2011-11-03.
  4. ^ University, Johns Hopkins (1885). “Circulars”. 4. The Ohio State University: 106.
  5. ^ Bruner, Jerome S. (1 January 1972). “Nature and uses of immaturity”. American Psychologist. 27 (8): 687–708. doi:10.1037/h0033144.
  6. ^ Bjorklund, DF (September 1997). “The role of immaturity in human development”. Psychological Bulletin. 122 (2): 153–69. CiteSeerX 10.1.1.453.8039. doi:10.1037/0033-2909.122.2.153. PMID 9283298.
  7. ^ Johnson Ph.D, M.P.H, M.D., Ph.D, Giedd, M.D, Sara B, Robert W, Jay N. (2009). “Adolescent Maturity and the Brain: The Promise and Pitfalls of Neuroscience Research in Adolescent Health Policy”. Journal of Adolescent Health. 45 (3): 216–221. doi:10.1016/j.jadohealth.2009.05.016. PMC 2892678. PMID 19699416.
  8. ^ Erik H. Erikson (1968). Identity: Youth and Crisis. W. W. Norton. ISBN 978-0-393-31144-0. Retrieved 9 June 2013.
  9. ^ Kemph, John P. (1 March 1969). “Erik H. Erikson. Identity, youth and crisis. New York: W. W. Norton Company, 1968”. Behavioral Science. 14 (2): 154–159. doi:10.1002/bs.3830140209.
  10. ^ J. Eugene Wright (1 October 1982). Erikson, identity and religion. Seabury Press. ISBN 978-0-8164-2362-0. Retrieved 9 June 2013.
  11. ^ Francis L. Gross (1 February 1987). Introducing Erik Erikson: an invitation to his thinking. University Press of America. ISBN 978-0-8191-5789-8. Retrieved 9 June 2013.
  12. ^ Roweton, William E. (1 April 1988). “Gross, F. L., Jr. (1987). Introducing Erik Erikson: An invitation to his thinking. Lanham, MD: University Press of America. 148 pp., $23.50 (hard cover), $10.75 (paper)”. Psychology in the Schools. 25 (2): 209–210. doi:10.1002/1520-6807(198804)25:2<209::AID-PITS2310250218>3.0.CO;2-B.
  13. ^ Herbert Ginsburg; Sylvia Opper (1988). Piaget’s Theory of Intellectual Development. Prentice-Hall. ISBN 978-0-13-675166-3. Retrieved 9 June 2013.
  14. ^ Nucci, Larry (21 March 1981). “Conceptions of Personal Issues: A Domain Distinct from Moral or Societal Concepts”. Child Development. 52 (1): 114–21. doi:10.2307/1129220. JSTOR 1129220.
  15. ^ Laupa, Marta (1 March 1995). “Children’s reasoning about authority in home and school contexts”. Social Development. 4 (1): 1–16. doi:10.1111/j.1467-9507.1995.tb00047.x.
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Continue reading “Wikipedia in Vietnamese on ‘Maturity’”

Experiments in Expression · Relational Aesthetics

What is relational art? What are relational aesthetics?

I.
What Wikipedia says about relational art

 

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”[1] The artist can be more accurately viewed as the “catalyst” in relational art, rather than being at the centre.[2]

Source: Wikipedia

 

II.
What ‘Happenings’ are and what Situationism was

American artist Allan Kaprowcoined the term “happenings” in 1959 to refer to ephemeral, somewhat theatrical, but also participatory, art-related events, many of which were conceived in such a way as to be intentionally open-ended, allowing for improvisation. Artists honored this sense of spontaneity by creating rough guidelines, rather than strict rules or scripts, for participants to follow. The particular social contexts/dynamics and groups of participants (which included the audience members) involved in each happening were integral to the form the events took, causing the same performance to develop differently each time it was carried out. The central belief held by artists involved in creating Happenings was that art could be brought into the realm of everyday life.

The Situationists, a group active from 1957 to 1962, were heavily influenced by Marxist theory, which purported that while living under capitalism, individuals experience alienation and social degradation in their daily lives. They were equally informed by Guy Debord‘s theory of “spectacle,” which states that under capitalism, the mediation of social relations occurs primarily through objects. Wanting to offer solutions toward both these concepts, Situational artists focused on creating works that brought people into direct, immediate encounters and experiences with each other.

For example, they used the strategy of détournement (defined as “turning [preexisting] expressions of the capitalist system and its media culture against itself”) to enact “Situationist pranks,” such as distributing misinformation through false broadcasts, pamphlets, and even church sermons. Another strategy used by the Situationists was the “dérive,” defined by Debord “as a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances.” In other words, a dérive was an unplanned journey, like walking through a city’s streets, during which the individual (referred to by Debord as a “psychogeographer,” and also commonly understood as a sort of “flâneur” or romantic wanderer/stroller) allowed himself to be fully aware of, and engaged with, the surrounding environment. They also organized “situations” which were very similar to “happenings.”

Source: https://www.theartstory.org/movement/relational-aesthetics/history-and-concepts/

 

III. Nineteen-Ninety-Eight and Nicolas Bourriaud‘s book

The French curator Nicolas Bourriaud published a book called Relational Aesthetics in 1998 in which he defined the term as:

A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space

He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world.

Source: https://www.tate.org.uk/art/art-terms/r/relational-aesthetics

A Philosophy of the Moment · Miscellany · Relational Aesthetics

Of angular velocity [ω]

I.

A high rate of proper motion can indicate that a star is located nearby, as more distant stars must move at higher velocities in order to achieve the same rate of angular travel across the celestial sphere.

Tốc độ chuyển động thích hợp cao có thể chỉ ra rằng một ngôi sao nằm gần đó, vì các ngôi sao xa hơn phải di chuyển với vận tốc cao hơn để đạt được cùng tốc độ di chuyển góc trên thiên cầu.

Source: https://glosbe.com/en/vi/angular%20velocity

 

II.

Particle in three dimensions

The orbital angular velocity vector encodes the time rate of change of angular position, as well as the instantaneous plane of angular displacement. In this case (counter-clockwise circular motion) the vector points up.

In three-dimensional space, we again have the position vector r of a moving particle. Here, orbital angular velocity is a pseudovector whose magnitude is the rate at which r sweeps out angle, and whose direction is perpendicular to the instantaneous plane in which r sweeps out angle (i.e. the plane spanned by r and v). However, as there are two directions perpendicular to any plane, an additional condition is necessary to uniquely specify the direction of the angular velocity; conventionally, the right-hand rule is used.

Let the pseudovector be the unit vector perpendicular to the plane spanned by r and v, so that the right-hand rule is satisfied (i.e. the instantaneous direction of angular displacement is counter-clockwise looking from the top of ). Taking polar coordinates in this plane, as in the two-dimensional case above, one may define the orbital angular velocity vector as:

where θ is the angle between r and v. In terms of the cross product, this is:

From the above equation, one can recover the tangential velocity as:

Note that the above expression for is only valid if is in the same plane as the motion

Source: https://en.wikipedia.org/wiki/Angular_velocity

Experiments in Expression · Relational Aesthetics · The Muse

MP3 | You Push People Away

I just added this to the store. It’s part of the download bundle for the issue we made about Solitude. I’m really happy with that one. It’s probably one of the best ones we’ve made for the Atelier S P A C E } Spring 2021 collection. I’ll also be sharing it in real life today at 3-4.30PM at our first popup show for this year. I’m excited! See you in the spaces and talk to you in the cloud if that’s where we meet. Happy day, after a big rain, not as hot and I think we’re past the heat wave.

Sound. Art. Collage. Thoughtful writings. Most of this work is by Akshay Harake, who answered the question on Quora, ‘I always push people away?’ I edited parts of it and made it into this shortened auto version; but the full text is in our zine, along with other DK-esque curated snippets. The text for this audio is also of course in its original and unedited form, on Quora. Cool. Checkit.

A Philosophy of the Moment · In real life

Atelier S P A C E | Opening Reception

Opening Reception

Atelier S P A C E | Spring 2021 Collection, ‘Thoải Mái’

Atelier S P A C E is making zines each week. They are designed by our team in Ho Chi Minh City. The concepts for each week’s issue arrive from real-time conversations with the people we discover, on our daily routines, in search of… the new. Find out what it is, and see our Spring 2021 collection. Each zine is part of a limited-edition set of no more than 4 issues, and you can find out what we have been doing and also how you can join us for the Summer 2021 conversations, ahead.

Tickets are VND 150.000.

Max 8.

RSVP to http://designkompany.com/contact

Details from there.

A Philosophy of the Moment · Experiments in Expression

24 March | Popup Atelier S P A C E Meetup

 

 

Wondering how we got to making bilingual issues of S P A C E, ever since winding up in Vietnam (long story). Well. It starts simply enough. Shall I tell you? Alright then.

This is how it starts.

I gather my energies and finally get around to making an invitation.

[deleted]

Ready and set.

The next popup? Is on.

Discover Atelier S P A C E

About this Event

A meetup for those interested in new things.

We are Design Kompany, a producer of experiential learning workshops in Asia, Europe, and N. America (usually). Lately we are in Vietnam and collaborating with new people who make things, too. Photographers, designers, illustrators, graphic artists, typographers, digital media specialists, and the very curious are welcome to meet us in real life at this rare poup art installation.

Atelier S P A C E is in HCMC, in District 3. The event will be at a cafe on Ly Van Sy near the big market, by the canal. The exact location will be shared with registered guests *only*. You will receive an email with the meetpoint and a number to connect with in case you get lost.

This is an open format program. The invitation is open. There is a participation fee. Register to confirm your spot. Here’s a link.

https://www.eventbrite.com/e/atelier-s-p-a-c-e-meetup-tickets-146866045295

Thanks.

Stories

Dear K

D: ‘これからどうなるのか、いつVNから出ることができるのかと…’

X: …

D: ‘ぐうぜん多いとよくいわれているひとですわ。’

X: ‘………’

D: ‘ですから、何とかなるでしょう。’

X: ‘なるか。’

D: [うなずきながら] ‘うん。なる、なる。 きっと何とかなる。’

'S' is for Sincerity · 100 Conversations · A Philosophy of the Moment · Innovation Consulting + Design Thinking · The Muse

Emergence

I’m in a cafe with old men greeting each other and sitting together having their usuals, it looks like, and I’m in the back, as far from the outside smoke as I can be while still managing to catch the wifi signal. In my zone, kind of an old schoolhouse-looking thing that reminds me of rural North Carolina and the elementary school I had had to go to there, with its attendant brokenness and dirt and crusts of old stories that may or may not speak of pain, all that, I am having a mango smoothie. It’s not a smoothie like you think it is if you are used to ‘smoothie’ and its saccharine, overpackaged, too much neon, brand-picture in the United States.

It’s a sinh tố xoài. Damn good, this.

Simple, everyday things.

Today I shared a few pictures of foodstuffs with my newly reconnected with acquaintances Stateside wondering what the hell I am doing in Vietnam. It has been a year. I guess it’s been a year for everyone, but yeah.

A year of silence amidst a global pandemic that seems to have no end in the near future… ?

It’s been a year of solitude, like seriously, for me. I’m cut from the place and people who know me in the way that you know people when you have a history with them. For better or worse, this is my situation. In many ways I am relearning, re-assessing and coming to terms with the fact that I don’t really need to integrate into the models that have been imposed by, say, colonialism, or racism, or misogyny, the patriarchy, social hierarchies, different cultural norms, immigrant thinking, ‘nationalism,’ religious beliefs, et al. In short, all the lines that get in the way of just being… who we really are.

Who am I? [deleted]

The work of art is to show man who he really is, I heard, spoken on the stage of a giant theater in London, maybe around 2015. I forgot the year now. The year is blurry. I just remember the line. I remember it, and I remember thinking, That’s right. Still feels right. No popping over to the UK to speak English these days. Just laying low, studying the language here, passing through digital archives of my old travels to publish new things, with our programs, in S P A C E, Papers, and the Cojournal. My hangouts, on the web.

A year of solitude, though, and I also know something new. There is such a thing as art for the sake of art, art for an audience of… One.

Solo.

Is a good moment.

Too.