Lá is Saigon’s first intentionally designed Third Space. Here’s a mood board.
Something is missing when you have to pretend to be someone who you are not. Isn’t it true? I wonder if you, like me, feel that something is going on when we talk about ‘The Society of the Spectacle,’ (Guy Debord, et al), or the missing sense of substance that seems to be receding like galaxies pulling away from each other as we move more and more progressively towards that glam land of pretending to be so interesting.
(I blame the Millennials, of course, but that’s just me. And I know, I know. Stop blaming. Amirite? Er.) I skip those movies now because they spend tooooo much time on those ‘oh my gosh look at me having such an amazing life!,’ scenes that remind me of those tooooo long dance scenes in 80s Bollywood. Yes, I watched those. On VHS. Yes.
Anyway, what am I getting at. I want us to focus on things of substance rather than trying to get ‘likes’. I really mean this because it’s me that’s losing out, me seeing people who could be making something cool, just making something that algorithmically gets ‘liked’ or at least, becomes controversial. What is going on here? Do people not really care about something that moves us, as people, anymore? What? Or do they care as I do, but it’s harder and harder to find each other and interconnect us in moments of connexion that actually goes deeper than just, hey, look at me and my sexy tattoo. What. Who cares about your tattoo.
Something is missing when you want to gain approval through your ‘glamour labour,‘ I feel. But that’s just me. What can I say. How can I put it. Do I write ten paragraphs of impassioned speech asking people to please consider substance over form?
I’m looking for Quality, ladies and gentlemen (ref: Lila, ZAMM, et al). To be continued, when we get closer to publishing an issue of S P A C E centered all around this. One of the images in the new issue is by HCMC-based photographer Anthony Tran, whom I discovered on Unsplash. Most of these pictures below are Tran’s…
I’ll talk more soon, closer to the date of publication, about the authors of the stories to come. Including ‘Circus Girl,’ by Ho Chi Minh City based self-taught designer, Uyen Vu.
S P A C E | Glamour Labor
S P A C E is a 100% crowdfunded effort to link, and interlink, some of us who are asking questions like, ‘Waitaminut. What are we doing here, though?’ Et cetera.
“Medicine, law , business, engineering : these are noble pursuits and necessary to sustain life. But, poetry, beauty, romance and love.. these are what we stay alive for.” –Dead Poet’s Society ([featuring actor] Robin Williams)
‘I think there’s no simpler way to answer your question. [The character played by] Robin Williams has reduced one huge problem of justifying ‘art and it’s purpose’ to people. Art makes everything tangible that one thinks is intangible, because those are mere figments of one’s mind.
‘I can ramble on for pages and still enough can’t be said or written about ART.
‘Let’s take a small example here. Assume you or someone you can imagine is driving a car at a really really high speed and you soon realise that the brakes have failed. You get anxious and sit horror struck as to what will happen next or probably you’re in such a shock that you stop thinking , your brain stops to function, emerging in a blackout. What are those 2 minutes going to be like? Can you write it on paper? Can you explain the feeling of terror that you experienced? You cannot. Why? Simply because words and language face the problem of insufficiency. They cannot define everything. They cannot define a colour, they cannot define a sublime feeling of an experience whether good or bad which is why we need art.
‘In the famous novel by Laurence Sterne: ‘Life and opinions of Tristam Shandy-gentlemen’. Sterne leaves a page BLANK* in between the text when he comes to know of Yorick’s death. I think it’s beautiful. Words and language failed at that point of time when he was grieving Yorick’s death. He decide to leave a blank page because he was so inconsolable that language became inadequate, and explanations futile…
‘Best thing about art is that it never looks for singularity. It is open for interpretations, any art is everybody’s art since the beholder visualises his reality, his knowledge and tries to give it a meaning, which makes it singular. Ironical isn’t it?
‘We may look at Amrita Shergill‘s painting “Three girls” and just assume that it’s a painting portraying three girls. That’s not it. In one single painting , Amrita Shergill pointed out the concern for women where they are challenged in the patriarchal society. They are soon to be married and will be tied in a system of subjugation and unending misery.
‘Art serves society. It’s the mirror of the society we live in.
‘Art is a weapon and an aid of self expression, it is freedom- being able to bend things most people see as a straight line.’
Make that 41. I just checked it again.
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.’
Let’s make S P A C E for just such conversations. Check out ‘Zines & Cuisines,’ a project of Atelier S P A C E, in Vietnam. Here’s a link. https://www.behance.net/gallery/120909493/Zines-Cuisines.
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.
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?’”
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.
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.
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. 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.
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. 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. 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. 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
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. 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. 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’.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. 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. 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. 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. 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. 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
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. 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.
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. 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). 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. 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. 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.
Problems with alleged negative correlation between plasticity and critical thinking
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.
Legal and political issues
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. 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. 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.
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. 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 which are not recognized as requisite to an understanding of individual political rights. More recent research 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.
Cultural and religious issues
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.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. This served a historical purpose of blocking women from taking part in economic or political events. 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.
While older persons are generally perceived as more mature and to possess greater credibility, psychological maturity is not determined by one’s age. 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. 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. 
- Mental age
- Attitude change
- End-of-history illusion, in which people believe they are currently as mature as they will ever be
- Mature minor doctrine
- Neoteny or Juvenilization – the study in developmental biology of species that never completely reach maturity.
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- Steinberg, Laurence; Elizabeth Cauffman (June 1996). “Maturity of Judgment in Adolescence: Psychosocial Factors in Adolescent Decision Making”. Law and Human Behavior. 20 (3): 249–272. doi:10.1007/BF01499023. ISSN 0147-7307. JSTOR 1393975.
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.
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
This week, a pretty fun collage, from real life and internet conversations that wound up in a pretty wacky set.
S P A C E | HCMC ‘Quarky.’
Here’s a link.
S P A C E | HCM, ‘Quarky’..
I’m just gonna tell you what it was like. Being out here, where I am. Over… lockdown.
Being known to someone and seeing that person or set of people regularly: that’s been absent, these last four months. It’s a curious and intriguing opportunity, though. To find out things, totally solo, with no agenda, no history with anyone, and even kind of forgetting about the old histories. Which is liberating, too.
My balcony hotel room on the fifth floor was a gift, for three solid months. I am lucky. I think my favorite part was the amazing wifi. I also had a view of the sky, and some stars, on the days before rainy season got going in full swing. Part of why I left there, finally. Also, you were allowed to move around again. And so, me being me, I got in a taxi, then a bus, then another bus. [deleted]
The only things missing are the balcony, wine and the pistachios. Also my Zoom kind of broke. A bit of a story, but… I prefer it this way. [deleted] I’m happy writing. And, a lot. And zining, of course. Setting things up for 23 June and 30 June‘s issues. They’re called ‘Continuous Partial’ and ‘Start with Something Simple.’
Also, I was playing new music, while talking to old, old friends on Zoom and asking after them, also just snacking away on pistachios, because these are good. And it felt quite cozy, too, because this reminded me of a different moment, in another hemisphere, and another decade. Seattle. And with pistachios, that time, too. Also, water. I didn’t have wine, then. I was just so happy, that day. Played some of my favorite music, enjoying the simplicity of it. Knowing what feels good, and setting things up. (HT… well, you know who you are… it’s been more than a decade since we met, wow. I suppose that’s how it goes sometimes.)
It was good, then, and it is good, now.
The next things are coming up now. Wineless, pistachio-less, and balcony-less and even kind of zoomlessly… but what that does is… it…
S P A C E.
HT Guests of ‘Papers‘. Thanks for being there and sharing so, so much. I appreciate it! <3
Last few weeks, been offline.
Sometimes it’s nice to just narrow things down, and focus.
A few things. A few people.
Just 4, actually, for this next internet-based virtual installation. Four! Much simpler.
This is the new thing. The Interactive Papers Project. It is set to start 1 May.
As always with me, choosing where to focus, next, and what to make, has taken a bit of time and reflection. Because this time, I added, ‘for whom.’ The answer quite surprised me. Went offline for delving deeper, and came up with some new metrics for S P C, its goals, and the people I feel I most gel with when it comes to co-creating. Like ES said, once, ‘It’s not for everyone.’
Dipika Kohli’s Interactive Papers Project..
Thanks to all who have submitted applications. If you’ve been selected to register, you’ll have been notified by now. To those who’ve already confirmed by registering, check your inbox—just sent you an email.
Bailing out the airline industry???? Are you serious?
I am tired.
S P C | Bangkok, ‘The Age of Anxiety’ mixes in some new photography from Bangkok by Dipika Kohli, along with some internet images like the cover shot… stuff that seemed to ‘go’ with the theme.
Because some pictures come from the internet, there’s a feeling of looseness and detachedness that happens naturally in this age of digital communication. Not that we’re experts at that; most of the time it’s just impressions. But there was a breakfast conversation DK overheard that got us thinking, ‘Wow. Is it really this bad?’
It seems that it is.
Where is connection?
The lead story for this is ‘Here Comes the Dance,’ by Dipika Kohli, created at Atelier S P A C E | Battambang in Sept. 2017, kicking off this series and setting our intention for the magazine, too.
Today, we share S P C | BKK, ‘The Age of Anxiety.’
Order S P C | BKK, ‘The Age of Anxiety’
This is a members-only edition of S P C.
Start your subscription when you order this issue.
Here’s a link.
Today we share ‘A Life that Isn’t Yours.’
- Contemporary ‘New Wave’ Photo Essay
- Commissioned by ‘The People Who Want to Do Stuff’, a new nonprofit organization set up by the Cambodia-based collective, Artists In Residence, at Their Houses. Cost of creating this work: $4,062
- This series was conceived and led by A. Spaice, in collaboration with Dipika Kohli, in Phnom Penh. Find further information, below
A Life That Isn’t Yours
Photo essay by A. Spaice & DK
What a critic is saying
Critic L.O.Q. writes, ‘ALTIY is a significant and highly relevant, not to mention hugely important, if I haven’t said that already, investigation into the works of art that are made today and shared digitally and largely impersonally with equally impersonal audiences, and why that’s something to really stop and think about, anyway.’ L.O.Q. will publish the full critique in an upcoming issue of This Magazine is The Awesome, and the two schoolfriends we discovered through deep internet searches for just the right face and ‘look’ for this series, whose stage names are ‘Susan’ and ‘Carly,’ will star in a forthcoming lifestyle segment of a new BBQ reality TV show, ‘Squirt.’
All photos used with permission of their creators, over at that new website that lets you do that kind of thing. Completed January 10-February 4, 2020.
About A. Spaice
A. Spaice is an artist who works in a variety of media. By putting the viewer on the wrong track, Spaice makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of a global superabundance and marketing.
Spaice’s artworks never show the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, they try to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere, while the build-up of tension is frozen, to become the memory of an event, that may or may not ever take place. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By examining the ambiguity and origination via retakes and variations, they try to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. A. Spaice currently lives and works in Phnom Penh. —Artist Biography written by 500letters.org.
New graphic art and poetry, this week in S P A C E.
Very simple, this one.
Reason is, I’ve been reading about backwards invention and this is kind of the application of that. It’s where you remove features and then you get to something that is less complex and more refined. This is nice, this is working, I think.
Here’s a link.
TODAY WE ARE SHARING the last of the 12-week set of zines in the S P A C E | Winter 2018-19 collection, ‘A Philosophy of the Moment.’ This was created with new and different others in our digital zine project, S P A C E. The last zine in this set is S P A C E | Malmö, ‘Vakt.’
A new series, S P A C E | Spring 2019, ‘The Book of New things,’ is set to begin on 5 March. This is thanks to crowdfunding support. No ads. 100% member-supported. No endorsements, no BS. Learn more about S P A C E and how to subscribe, as well as see our schedule of upcoming issues to be co-created in S P A C E through June, at our crowdfunding page, here.
S P A C E | Malmö, ‘Vakt’
‘Trust the process’
Special thanks to Joji Minatogawa, a very creative person and an architect. I just added him to our contact page under ‘mentors,’ after clearing it first with him over the phone. I really am glad we can still call around the world and see what people are up to, and let them know that we are still here, still curious, still interested, and very much appreciative of the old conversations that went places. Because now, together, here we are. Some of us are still at it: asking the big questions. Questing one another, and the ideas that might come out for a very special, very quiet, very intimate sort of dance. Now, learning to quietly add the right bits and take out the wrong ones, until further getting that good stuff, the good stuff that’s left. Refinement. I am noticing, reading, listening, and still curious. Thanks for the conversations so far. It’s getting really good, now.
‘Design is making meaning. Art is making connexion:’ A. Spaice
Feature photo: ‘Internet I Hate You’ popup installation by Dipika Kohli, at Noir Kaffekultur in Malmoe, November 2015