DK is reopening for commissions

After about seven years of not doing any graphic design work-for-hire, something changed.

Someone asked me to make a thing.

I started it, and as I went, I realized, it’s time to bring this service back and offer it again, to those who might run across this site and say, ‘I like that! I want to hire these people. Who are these people, anyway? And what is S P A C E?’

Glad you asked.

About DK

We are a team of people who collaborate in the cloud: Dipika Kohli is the creative director. Akira Morita is a cofounder working on design thinking and innovation consulting. Jas Plac does our outreach and communications. And A. Spaice does research & development. These days we make a weekly e-mag, called S P A C E. it’s about design and discovery.

The people we meet in the places where we go (mostly Southeast Asia and Northern Europe, since 2014), share stories, sometimes, and when they get to a place where they feel like they’re becoming something substantial, we shape these into ‘zines.’

They’re 16 pages, each, designed to be read in a single sitting, say over coffee. At times, we make black & white issues so they’re easy on printers, so you can download, print, fold and assemble your own, by adding your own creative flair.

Got into a bit of a discussion about this with someone yesterday who is 24.

This person was highlighting to me his past work, in something that I didn’t find too terribly intriguing but he really wanted to impress me, I guess, so we watched some clips of things that he had produced. I suppose he is an event producer, but not trained or anything, just self-designed. That’s fine, of course. I’m self-designed in design, having studied civil engineering and worked in architecture and journalism. But design is something people just ask me to do.

For example, a friend from that era, VH had asked me to make a senior t-shirt, when we were in high school, because she liked my drawings and comics, and no one else was putting forward an idea, and I was the Vice President of the Student Government at that time, so we put out a call, I think? And I don’t think anyone entered. So I made it. I don’t even know what it looks like now, thinking back, but V. had liked it and was happy. I had done t-shirts for Governor’s School East for my hall, too, and before that a lot of things like program covers and posters through elementary and middle school that had won prizes and stuff, so. I guess. That it was… destiny, haha. Or just… a knack for it. And lots of attentiveness to continuing to do it, not get sidetracked by other things, just doing the drawings when I felt like it. Helped that this was in an era where we didn’t have internet. Nice thinking about the senior t-shirt design, again. That was fun. I was 17.

Depth. I was talking about yesterday’s conversation and somehow got distracted thinking about being 17. It’s kind of related, though, right? I mean, you get good when you practice, but you have to have some kind of latent talent to start getting good, too. And encouragement. Fact. In my case yesterday, I think skipping over ‘talent’ and ‘practice’ and ‘encouragement’ was taken for granted by this young person who saw $$$ ‘I got paid for this’ $$$ as an indication of its having had value.

Not to me.

The thing I saw was just… well. Lacking in substance.

Happens. And more and more these days, when we have substitutes for real life in the form of video streams and chatboxes. What happened? Well, that’s out of scope, here.

My thing is, let’s bring some of the good stuff. Let’s open the doors here at DK again, and show people how they can arrive at… quality. I know how to do this. Why not share. Selectively, of course. Not for everyone.

I have a particular way of deciding if I will care about a project, which has everything to do with the attitude of the person asking me to work with him or her or them. Truth is, if I don’t see much thought in something, I have no interest whatsoever.

Most people I meet on the road I will know for less than three hours. I meet a hell of a lot of people, on the road. Yesterday, I just listened politely, but then, something happened.

Weirdly, it just did…

Sometimes this does this. I went into speechmaking mode.

‘Edgy’

Perhaps because we had a third guest, join us in the middle. Who. Was. Really. Attentive, and who had gone through my samples of drawings, and poetry and other stuff that I felt like sharing, with great admiration and accolades. Okay, it was flattering, but yeah, he really was curious about me, my work… my thinking. What I’ve been up to here in Vietnam. I have some stuff now that has Vietnamese language translations, too. So you can tell, if you’re the kind of person who can tell, that is.

Maybe there’s not one particular type; but there are a few people… one out of a hundred?, who resonate with DK’s style.

D: The other day, someone asked, What’s your TEDx talk about? I said ‘Death.’ Then he said, ‘Ooh!… Edgy.’ But it was 8 years ago

A: You are. DK is edgy

D: What!

A: …

D: …

A: …

D: Well, once someone in Seattle said I was popular

A: You are not popular. You are edgy

D: How is this ‘edgy’! I don’t even a phone and I type on zoom chat to you and use email

A: That is edgy

 

Quality is a vector: it goes up and down

Everyone knows capitalism doesn’t care about quality (or morality, or ethics). It has one thing it cares about.

This—DK—is different. This is a place where we optimize for something else.

I call it…

Quality.

The level of thinking, the level of work, the level of caring, and something that had… substance… was clear to this third person. Not my companion in the conversation, but the third person. For that guest’s benefit, despite my headache and slight cold and all-day bus ride, and variables that I don’t feel like putting down here, despite it all, there I was, launching, as I do, into… well, S P A C E.

Was kind of fun, actually. HT KEF, who would have enjoyed it, and sat back, I know, smiling knowingly, with the sharp observations of only KEF, which would go, roughly, I think, ‘Just another step in the evolution of DK.’ Since KEF and DK have been acquainted since, and were dear friends for most of the mid-1990s, I can picture it, and I can enjoy the knowing that yes, that’s it. We’re on a new trip, now. All kinds of things are starting up again. But, quietly.

Anything is possible, that was our tagline back in 2004 when we started DK in Seattle from that chic architects’ office sublet. I wonder if AH remembers it. Or EP. I wonder if JK does, or if any of our clients, guests of brown bag lunches like Dream Kitchen, or collaborators for projects who helped with illustration or photography or web dev, or friends, or guests at our parties like Sugar and Dazzle will recall it. The feeling. The feeling of going into the unknown, together, to quest what we may. In a place that goes… there.

 

 

Think Sun Ra, for example.

Think… Art, substance, magical potentially… taken together, a little spark… set against the backdrop of Debord’s Society of the Spectacle blandness… what is this? This? This is DK. This is what we do. Discover, design, and outline it: together. Quality.

Need help with a design project ? Get in touch >

 

Wine, pistachios, my balcony and Zoom

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.

 

Up

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…

Makes…

S P A C E.

HT Guests of ‘Papers‘. Thanks for being there and sharing so, so much. I appreciate it! <3

 

Hey Seattle, I made you a mix tape

Here it is.

Dear Seattle… Reading the news, thinking of you. With a long look from afar (very, very far). It’s been 2004… so, what’s that, 16 years?, since I started this studio in Seattle, out of an apartment in Capitol Hill on a laptop with my best friend, Akira Morita.

I decided to make you guys a mix tape. I’m not sure if the article that made me think up the idea’s worth clicking over to, but a particular paragraph was pretty much me going… “Yup…”’ Here’s the part that’s good: ‘… but Gen Xer’s — the latchkey kids of the ’80s and ’90s — are uniquely qualified for social distancing. In their youth, they spent hours alone in their rooms, watching after-school specials, doing homework, making mixtapes for their friends. To this day, they’re perfectly content holed up at home and finding ways to entertain themselves.’

For those of you who still read this blog, thanks.

made you this mix tape, ‘Dear Seattle’…

Here it is..

‘Dear Seattle’

A mix tape.. <3 dipika

 

A

 safe hands by world health organization’s dr. tedros adhanom ghebreyesus (@DrTedros)

don’t stand so close to me (the police)

look sharp ! (roxette)

posse on broadway (sir mix-a-lot)

yoshimi battles the pink robots (flaming lips)

 

B

 

ghen cô vy with English subtitles (nioeh x khắc hưng x min x erik)

play with me (taylor eigsti)

sleeping in (the postal service)

staring at the sun (simple kid)

 

A

safe hands (world health organization)

There are simple things we each must do to protect ourselves from #COVID19, including 👐 washing with🧼 & 💦 or alcohol-based rub… [Note: this is a great video to show you how to do it super correctly!] 

don’t stand so close to me

look sharp!

posse on broadway

yoshimi battles the pink robots

B

ghen cô vy

play with me

sleeping in

staring at the sun**

**Erm, and about that hat… Yup. I know Shelby NC. HT RJ and AP

N: ‘NOTICING’

The 16-way big blind date. Is still. Getting. Organized. Who knew?

I thought I was done with ‘N’ for a while. I thought I had these rules around it: the old page for it and my best attempt to share the story so far, is here. (I had some other side sites going to “document the journey,” or whatever, but that became tiring. People wanted me to do that kind of thing, because they said it would be good, so sure, I was new at experience design project S P A C E jam stuff, back then,  so I tried to do it their way.) Kind of went like this:

Them: ‘You need to explain it, DK. Don’t you have pictures? So they can see what it’s going to be like? You have to sell it to them.’

Me: ‘WTF, it’s art. You don’t explain art. You experience it. Then you decide for yourself what it means.’

‘…’

‘…’

‘That’s going to be a hard thing to pull off.’

‘So? I want to do it like this or not at all! I’m looking for the people who are looking for… me.’

‘……’

‘Why am I even.. asking you? Gosh. You’re just not. Getting this, are you. F, f, f.’

‘Maybe I’m not that clever enough…’

‘…’

‘…’

‘You want to be spoon-fed or something?’

‘Yes! Tell it to me like–‘

No.’

UNDOCUMENTED. So mostly, there are no pictures. I think it gets in the way of the intimacy of the space. I do have one 16-persons-in-a-pic ‘N’ selfie. I did take a few shots in Phnom Penh and London, because, wow, it was just… beautiful to have the whole 16-way blind date idea in real life and so yeah, documented those but they’re like not that great of pictures because, iPad?, and also, dark. So? I have them. I have the memories, though, and I cherish those far, far more. I don’t have to share them anywhere. So yeah. I didn’t keep up with the whole side site journal documenting thing. Things like that to ‘maintain buzz’ and ‘include people who couldn’t be there’ got to the point where the mood to do that just… ended. So I casually was okay with it if I forgot the passwords or maintaining it got too hard and I just… let it go. These things happen, too. I said, after ‘N’ Penang: NOSTALGIA, that I was done for a while. That I would take a break.

But, then… I fell in love with a venue. Yeah, I did.

It just has that vibe.

It’s perfect, for ‘N’.

Yup, I found a crazy cool venue, with an ‘N’ in its name, in a city that has an ‘N’ in it, and *these are among the criteria* that I look for when I choose to throw an ‘N’ party. An ‘N’ party is a big blind date where 16 people show up to meet each other, in real life, to talk about a topic that starts with… guess what letter!

So yeah. I’m here, and I’m starting to go through the old conversations in old emails and seeing who might like to be part of ‘N’ in the secret city where I am going to be when it might happen. Yes! I am going to decide later! I am going to leave it open, for now. I am going to confirm, when I feel like it, when it’s closer to then, if it is happening or not. (To everyone, that is, who isn’t already ‘in’ on the conversations, where we confirm stuff and send agendas and meetpoints and homework. Not everyone needs to know. So I’ll be vague and casual and noncommittal with anyone who is not, of course, actually saying ‘yes’ to my direct invitation. If you just got email from me, this is the jam.

The hosting of an ‘N’

The people who come are the right people. The things that happen are the only things that could have. It starts when it starts (but we’ll probably say 7PM), and it’s over when it’s over (this can last years), and the last thing is, if you’re not having a good time or learning something, you can leave. That’s ‘the law of two feet.’ I didn’t make these up; these are the basic frame making rules of what’s called Open Space Technology, HT MC, who left the book Open Space Technologies on purpose for the random passerby to find it, in her cafe in Battambang, where said passerby (yours truly, DK) chanced to go (solo trip! Battambang 2014!!) and see it, read it, and begin to host everything in Open Space style, from that point on.

So… Who got my email? Email me back and I’ll send the next e-note in that sequence. I wrote it in 2014, but it still fits the mood of this cookie, and I’m ready to do an ‘N’ jam, again, with 16 people who are going to like what they see when they read this invitation and follow through the links.

Are you there, curious, reading, listening, and wondering? People have come from out of the city and out of the country to join ‘N’, so please get in touch if you are resonating with this. We’re looking for you, if yes. If you got the invite and said ‘no,’ that’s cool, really, it is, but, um, no way ever am I going to ‘keep you updated on future things!!’

‘N’ is a filter, for me. What kind of people say ‘yes’ to this wacky, crazy invitation to show up in real life for something that you don’t even know what it is yet?

My kind of people.

S P A C E kind of people.

Artful, curious, and ready-for-the-things people.

With that set, there’s no way that you can go wrong, as a host. Because the people who come, like Open Space says, are the right people. Guess what? We don’t care how popular or good-looking or smart or rich you are. We just want you to want to be part of it. That’s it. That’s the whole thing, the center of it. ‘N’ quests you.

Agile. Agile design, agile publishing, and agile ‘N’.

This is how we roll.

Comments are open for a bit, in case someone wants to say something about all this ? Email also open. The new new address, not the old new address. Tx.

‘N’ London: NOTEWORTHINESS ticket, 2015

‘A Life that Isn’t Yours’

A photo essay, made from images found on the web. A follow-up post to this week’s issue, in which our focus was on photography, and how we interact with what we see that’s made by and of people we don’t know and whom we will never meet.

Today we share ‘A Life that Isn’t Yours.’

Factbox

  1. Contemporary ‘New Wave’ Photo Essay
  2. 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
  3. 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.

Issue #58, S P C | Zakopane, ‘Reason, Rhyme & Illusion’

New graphic art and poetry, this week in S P A C E.

Very simple, this one.

Light.

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.

Simplicity.

Here’s a link.

http://gum.co/space-zakopane

 

Issue #57, S P C | Phnom Penh, ‘Saturday’

The science fiction series, ‘Uncertainty’, by A. Spaice continues this week with S P C | Phnom Penh, ‘Saturday,’ a fresh zine with a surprisingly light-on-the-eye set of vector images. They’re made by Dipika Kohli.

‘…’

‘Can we play monopoly?’

‘Not right now.’

‘…’

‘I have to fix a typo, right on the front page.’

‘…’

‘It said science nonfiction, which, you know. It can’t be. Either it’s science fiction, which it is, or it’s nonfiction.’

‘Science nonfiction, well. That would be like, if you go to the moon, and there are aliens waiting for you.’

‘…’

 

Science fictions

Discovering how to write in a different way (third-person) is part of DK’s new directions for 2020. We’re talking about it a lot in different places, but lightly, quietly and in just a very small inner circle. I can’t share where it’s going yet but I can tell you how it began. A writer’s workshop in southwest Ireland. Impersonating the instructor, kind of on a whim, in a surprising, unexpected move that we now understand is the hallmark of everything DK. Short. Sweet. And a little bit… wacky.

‘Wacky? What is this word?’ (This was at a new bar, about to change its name, in Aarhus, circa 2015).

‘Wacky? Well…’

*googles*

‘See? What I meant was–‘

‘–WACKY. That’s it!! That’s the name for our new bar!!!’

‘Um, well, it’s not exactly–‘

‘WACKY !!!!’

‘…’

Wacky.’

 

***

 

I think, one who might be watching for a while the progressions of DK’s creative work, which has not been shared here much but is coming through loud and clear in this week’s zine, might simply recognize ‘Saturday’ as a natural step in the movement towards something tighter, clearer and of its own ilk.

Which, of course, we think is the point of making all this time, to see what might emerge. It’s a long story. [Deleted].

‘Just another thing in the evolution of D,’ as KE had once put it. Stars. Fractals. Chaos… those were their conversation topics, along with terrible jokes that no one else would laugh at besides KE and DK.

Catch a glimmer of a hint of what’s to come with S P C this year when you get this week’s issue.

S P C | Phnom Penh, ‘Saturday.’

;)

Here’s a link.

http://gum.co/space-pp-saturday

NUK | Designing brand identity in Phnom Penh, 2014

Naming, brand identity design, and showing up to make space—quality space—for the process of people who want to discover somethign new, together, is what we did for NUK Cafe. This was 2014. DK had just opened up our doors in Phnom Penh for business, and this was our first gig.

Since then, five years’ experience of living and learning here in Phnom Penh has given us a chance to flex our creative and intellectual muscles. We’ve gotten into very different kinds of projects, since moving away from typical brand identity deign. Still, I think it’s important to share the jo gurney, and how we got to where we are from where we stated. This post is part of a series of updates to our portfolio.

Discovery, networking, change, and reinvention has led us through a wide set of experiences.

Journeys that, for better or worse, taught us some important lessons. I’ll just leave it at that. It’s a long story.

 

DK designs NUK. Here’s a detail of NUK specifications for usage, 2014

A new DK portfolio

Really enjoyed the NUK project.

Sharing as I go, now, since DK’s going to open again for design commissions from February 2020. That’s a lot of stuff to anticipate, for DK, but the short story is this. We’ve done things, we’ve been places. We’ve learned. We have more to do.

The work is the work, not the pretty pixels you see at the end of hte design process. If learning by doing and seeing how we get from a blank page and zero idea of what to do towards the finished things, which almost always are a 100% co-created set of designs (yes, we hand you pencils sometimes, and get to work together!), then yeah. Get in touch. This is the place to do that.

 

Being honest

We’re really only interested in working with business owners who have 5+ years’ experience. For those interested in solopreneurship or personal branding, perhaps try our 8-week workshop, The Mirror, instead of our heavy-hitting journey of brand identity design for DK (which is also waaaayyy more expensive.) It’s not for everyone. (Still, there are 1 out of every 100 people who ‘get’ us, our approach, and see that there’s value in doing it right the first time, even if that means going through the hard question-asking series of things that we will ask of our clients. Apply to be a part of DK’s brand identity design programs from February. Apply here.)

The original post about the story of how we came to make this design for a cafe  in Phnom Penh back in 2014, is below.

 

//

A throwback.

To 2014.

Phnom Penh. DK had just arrived to Cambodia.

‘Never imagined we’d stay five years:’ DK.

 

Emergence, innovation, change: Inventing as we go

Design. Making meaning out of vague and abstract collections of thought. Streamling and clarifying…

I still remember when we did this, for the NUK Cafe, which we named and branded back in 2014.

That was DK’s first gig in Cambodia.

Things have evolved for them quite a bit at NUK, I think they’ve moved on from our original design, but the ‘N’ is still there on the cups that DK’s Dipika Kohli drew.

Which is this:

Brand design for NUK Cafe // DK 2014

I really like this story. Of how you start with ‘…’ and get to this design. It’s not a straight line. The creative process moves around and changes a lot, in the middle. It’s how it goes. It’s how we learn, and how we grow, too. Since DK had been doing branding work for more than a decade, it wasn’t hard. (These days we’re not doing branding work, by the way. More consulting. More experiential programs. Like these.)

 

Flux

Breakfast in Cambodia by DK’s Dipika Kohli. See all of her books.

Of DK’s founders hitting the road in 2013, going in search of ‘I don’t know what it even is yet’, and discovering the first team in Phnom Penh to give DK an open hand to design the way we know how to design. By asking questions. Listening. Learning. Gathering. Percolating. Generally: trusting the process. Why not? It’s worked for us for so many clients in the past.

It makes me happy.

Funny, all that drawing of the ‘N’ and exploring it led to the birth of something completely different.

Things. Turn into things. Don’t they?

#trusttheprocess

Issue #44: S P A C E | Rovaniemi, ‘Blank Sky Checklist’

Emergence

Lots of conversations. Lots of back and forth. Lots of email, discussion, redirection.

All of it goes into the current week’s issue, S P A C E | Rovaniemi, ‘Blank Sky Checklist.’

Cover photo by BOSS.

 

‘Art takes time’

This week, we publish Issue #44.

It’s a cocreation between Alexis Jokela in Finland and Dipika Kohli, our creative director and editor of Autumn 2019’s S P A C E collection, ‘Trust the Process.’

DK  had spent three months in the north of Finland in summer 2018. ‘The whole thing is getting kind of interesting now that the conversations are weaving over themselves and inviting new people to join them, too. That’s because, I think, it’s because, mostly, I love to keep things moving, keep things in progression, because it’s more fun than starting from zero. Art, like I wrote in A Place Called Home, art takes time.’ For DK, the best part is that things are starting to place themselves in such wonderful ways that people are meeting each other now. In person, even. This is beautiful. Connexion, at its best.

 

Order S P A C E | Rovaniemi, ‘Blank Sky Checklist’…

This week, the lead story is ‘Ch_cklist,’ by Alexis Jokela, who also is the author of ‘A Summer Love Story’. That was published in S P A C E’ | Oulu. Following similar threads, ‘Ch_cklist’ touches on the things we all go through when we manage to learn how to master our feelings, let things move and shift, and find flow.

S P A C E | Rovaniemi, ‘Blank Sky Checklist’ is published exclusively here in S P A C E. Download it all this here.

http://gum.co/space-rovaniemi-blankskychecklist

 

Issue #43: S P A C E | Brooklyn, ‘Art 4 Art’s Sake’

L’art pour l’art

This issue is Brooklyn, ‘Art 4 Art’s Sake.’ Why Brooklyn? Well, that’s where I went to art school for a scant semester–not my scene–but also where I started to ask questions about the point of art, and making it, and learning that you can find your way off to the sides of the places where people insist that you draw within the lines. There are no lines. But that’s just something you have to find out, if you’re inclined, as you go. Making things, trying things. Seeing what feels right.

It was in NY where jazz entered my life in an important way, because jazz and improvisational jam sessions taught me how to make art in a way that lets you leave room for ‘that which might yet emerge.’ All this time later, DK are working sometimes in innovation consulting, but also, experimenting with co-created mini-magazines in the Cloud. I know. Weird. HT MT.

A lot of stuff here to say but I’ll save it for another journey, another moment, and maybe if I’m lucky, find my way to another jazzy, understated, unpretentious, not-sleazy, international, intergenerational music venue. Hard to find, these days. Believe me. I keep looking…

Every so often, magic happens. Like in this issue. I’m really happy that I got to work with Michael Bridgett, Jr. and Paavo Heinonen on it. I love the quirky way it all came together. Landing in the canvas of a digital paper-space that let us talk, together, in an ambient, light, philosophical way.

Get it here.

http://gum.co/space-brooklyn

Order S P A C E | Brooklyn, ‘Art 4 Art’s Sake’…

Grice’s Maxims of Conversation

In linguistics, the cooperative principle describes how people can be effective at conversational communication in common social situations—that is, how listeners and speakers must act cooperatively and mutually accept one another to be understood in a particular way.

Paul Grice put it this way it, ‘Make your contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.’

Put some of this stuff into the story, in the Ninh Binh issue of S P A C E.

That was a fun one..

Issue #38: S P C | Riga, ‘This is This’

A great conversation set led to the creation of this issue of S P A C E.

Many thanks to Nils don Sihvola, whose cover art is featured here. The story is by Dipika Kohli.

NILS DON SIHVOLA

‘DIGITAL VISUAL arts-digital SLR and image processing-is my thing. In 2013 a friend sold me his Canon 500d digital camera. Instinctively and instantly, I knew that the digital camera would be my tool to make art. Art: something I’ve known since I was a child I wanted to make. Every year I practiced, and in 2017, went to study photography at Kymenlaakson opisto in Inkeroinen, Finland.

‘Ever since, I’ve wanted to investigate questions like, ‘How does form support content? What’s “balance” in a composition? What can an image say, in complement to, for example, a spoken message?’

‘In a world that relies on the flat 2d spectacle, rotating the axis to discover a fresh perspective can mean the difference between “love” and “pain.”’
Instagram: @nils_don_sihvola

 

DIPIKA KOHLI

‘Art, to me, is a great conversation. I design space for that.’ [website | instagram: @dipikakohli]

 

 

Order it here >

S P C | Kuala Lumpur, ‘Kaunter Tiket’

‘Kaunter Tiket’ was compiled into a creative fiction story through DK’s Atelier S P A C E | Malaysia series in KL over two months in 2018.

This Tuesday’s release of S P A C E | KL, ‘Kaunter Tiket,‘ is set to be a digital remix of the print version of this zine, which had been shared in real life with just a handful of people whose paths we crossed in unexpected places. There were just 20 of those. Now we are sharing the story again, but in a new form.

New art. New added pieces. New stories. And new beginnings.

There can be no end to relationship. There may be the end of a particular kind of relationship, but relationship can never end. To be is to be related: J. Krishnamurthi

HT: Des RajDebbie Chapman, Ajax Warren,  Muhd Muqhriz, Saarah Choudhury