This looks cool.
Nhóm Đọc: The Poetics of Space (Gaston Bachelard, 1958)…
‘Căn nhà–là chốn riêng tư nhất trong các không gian, “bảo vệ người mơ” và vì thế với Bachelard, hiểu được căn nhà chính là cách để hiểu được tâm hồn.’
Something cool happened. This was at the virtual event, SF Zine Festival. This was on Tuesday.
Michael Bridgett, Jr., aka ‘Mike Dynamo,’ talked about making S P A C E. And what it is. And why we do it.
I loved watching it live-streaming and ‘being there’, ambiently, to admire his wittiness and eloquence. Cool that we could do this, from our distant perches in Southeast Asia’s Cambodia and Vietnam. Yeah. Quite neat. Seeing Mike sharing about S P A C E—and especially the Book of Feelings project, something that he, me and a few others I’m working with are exploring together now, was cool. I love working with Mike in S P A C E. I feel lucky that I get to. Check out one of his written pieces, it’s called ‘Continuous Partial Attention’, and it’s over at this page.
Below is the segment of the recording where you can hear him.
Some things that friends of S P A C E both near and far have said about the above…
Awesome! he did a great presentation of S P A C E 🙂 —CS
- Thanks for sharing Michael’s presentation. I love the way he talked about your process in the development of mak[ing] S P A C E. This is wonderful. —DM
This is great! Definitely put a smile on my face. —ND
About Michael Bridgett, Jr.
Michael “Mike Dynamo” Bridgett is a vocalist/emcee and charismatic currently performing with live hip hop band, Hypnotic Fist Technique and 90’s cover project 99 Boyz in Phnom Penh, Cambodia. Mike also writes about media and cultural analysis for fun as well as playing and connecting over video games. Read more, including links to his works in music and writing, at this post.
About SF Zine Festival
‘Cyber Fest will run for three weeks in September, from the 6th through the 26th. We have selected 150 exhibitors for Cyber Fest who represent diverse communities, perspectives, genres, skills, and experiences. Learn more about exhibitors here. You’ll be able to watch live broadcasts of festival programs on our YouTube and Facebook pages. Check out our full schedule!’ –Organizers of SF Zine Festival
AT LAST, the picture of our guests at ‘N’ Hanoi: NARRATIVE. What stories do we tell to the world? Which ones do we tell ourselves? In this brief encounter, 16 people whose paths might not have otherwise crossed conversed and wrote, read and listened, in a space of just 2.5 hours. A magic moment. *!
‘MILLENIALS. I just…’
‘Can’t work with them.’
‘You know. People in their thirties, for example. Mostly those ones. They get all weirded out and want to investigate every opportunity in the universe. But they don’t actually decide on anything. And then, when they don’t, they can’t really… well, I don’t wanna judge or anything, but they seem… really… um… Well, it’s not nice but… confused. Or at least… something that… Hm. Let me put it this way. I wish people could just relax, you know? And notice that if you want less, you can experience more.’
But really I love millenials, I think
‘SO I’VE JUST DECIDED. I’M NOT GOING TO TALK TO THEM. Okay. Maybe that’s not fair.’
‘But really, what it comes down to, I think, what I’ve learned from 20 years of design, is that it’s about editing. What was that famous quote? About essentials?’
‘Simplicate and add lightness?’
‘No, no, the other one.’
‘Perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away …’
‘But distractions get in the way. Other options are distractions. FOMO is a distraction.’
‘And phones. PHONES. What really kills me is the phone thing. How a phone becomes a kind of appendage and it’s weird, you know?’
‘I can’t do it anymore. They talk to you while they’re looking at screens. It’s so awkward. How can you have a quality conversation with that kind of stuff going on?’
(you don’t have to take my word. you wanna hear it from someone else? Like this famous white dude?)
‘I’m not saying they have to pay attention to me or anything, well, maybe I am saying that, but yeah. Okay. But I am saying… well, there is this other person sitting there and looking at you and giving you their whole attention and well, it’s just… it’s annoying. I think it’s a different kind of culture. Yeah, if I put it that way, it’s not personal. Anyway, I can’t be bothered.’
‘You sound like you’ve made up your mind.’
‘I think [Millenials] could use some simple framing. Simplicity-making. To get clarity on things. Anyway I like the new young people. The like, 22 year old and stuff ones. They don’t talk with their screens always on and poking at you, like it’s no big deal to call up a picture of someplace to illustrate with a digital thingy what they want to tell you. Like information is more important. Than eye contact. But the younger ones, they actually look at you. And listen. They listen! I’m…. I was really shocked when I met a few, this past trip to Europe. I met them and they listened. Like—without phone-checking.’
‘Phones. Bother you, huh.’
‘Yeah. I don’t have one.’
‘You don’t have a phone?’
‘… wait. How does that work?’
‘It’s not that complicated. It’s like the nineties, is all.’
Phoneless in Phnom Penh
‘YOU ASK THE YOUNG TWENTYSOMETHINGS simple questions and they don’t go all frenetic on you. You can be pointed. You can say, ‘What are you worried about?” or “What’s next?” You don’t have to worry that they’ll take it like you’re their uncle and interrogating them. They accept the challenge of it, and answer honestly. They really do. They entertain the questions and they are careful in their response-making. They don’t waste their breath or get all crazy about FOMO. They just don’t. I like that. I like these new people, coming up.’
‘So what are you going to do?’
‘Okay. Well,. I think I’ll do SELF.’
‘For the Millenials?’
‘Mostly. Yeah. Or for whoever thinks it’s cool to think about things slowly and work out what’s important to them.’
‘What’s it about?’
S P A C E.
More like this, and exclusives
THIS POST originally appeared in our online eZine, S. P. A. C. E. Get it and discover what people around the world are saying about their creative process, when you become a patron of DK.
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IN DENMARK I got to hear a pretty neat collection of intriguing bands at a weird and fascinating spot in Copenhagen called Mandags Klubben 5e. (More about them, another time—so fun.)
But for today I want to share an interview with someone intriguing I met, whose upcoming album is another thing I’d like to share about in a future post as it has a connection to one of our own pieces of work, The Book of Songs, in an abstract, tangential sort of way. Abstract and tangential, now that I think about it, is exactly what was awesome about being there on that day last autumn.
Let me expand.
Loved the sound of a young group called Gunslinging Bird Quartet, and started drawing in ball point pen and off the page—two new things for me, at the same time. I later asked trumpeter Erling Skorpen about the style of music he and his bandmates play, and why. Free jazz.
DK: Cool show, can you tell me about your band?
ES: Through years of playing and exploring different types of music, we all found a common interest in this type of jazz music. It’s merely a process—we might part ways with this aesthetic in one year or ten years. This is the music we all love, and which inspires us right now.
DK: What makes you happy?
ES: When we are playing music and it really works out. Drinking coffee. Pleasant surprises.
DK: How do you define intrigue?
ES: When you listen to a concert, and you notice that the musicians are really into what they’re doing. When you can feel the energy in the room, and there exists a special atmosphere there. That’s the feeling that best describes intrigue for us.
DK: How do you define quality?
ES: When music is honest and it connects with the audience. When you really hear that these people mean what they do.
MEMBERS OF the band are: Trym Daniel Rødvik – alto saxophone; Erling Skorpen – trumpet; Alex Riris – double bass; Amund Nordstrøm – drums & percussion.
Discover Gunslinging Bird online here: Soundcloud.com/gunslinging-bird.
Arts and culture, conversation and the story
IT’S NOT FOR EVERYONE, as Erling says and which is exactly why I enjoyed being there. Mainstream can get in the way of real connection, in my opinion. When you bumble into the unexpected and find intrigue, there is something *! that happens.
It’s delight these days, I’m convinced, that makes up the aesthetic of a new kind of ‘beautiful.’ And when I say ‘delight’ I don’t mean some user interface or an app. I mean, real life. What is the role of music in society? What is the role of poetry, of design? To make artfulness, I think. To meander, to open hearts.
But what’s your take? Comments welcome. —DK
This post originally appeared in the INTIMACY sequence of our eZine, S. P. A. C. E.
TODAY, A GUEST POST from Sandro Gisler. DK got to know Sandro through a collaborative writing project of Kismuth Books, which culminated in the publication of a small anthology. More than a year on, as we reopen THE MIRROR, we asked Sandro if he felt like sharing his thoughts on being part of that journey, and where he is now. And, this.
“THIS,” he says, “is precisely what campfires are for. The sharing of stories. There’s a spiritual connection between flame and narrative.” —V. M. Straka
CAMPFIRES. It has been a while. But the other day, I had once again the privilege to be a storyteller: My kids’ school hosted a Reading Night, and I volunteered to read a story. Equipped with a flash light, I sat in the dark in an old-school class room, a flock of five-year olds sitting cross-legged in a small circle, hanging on my lips as I told local folk tales.
Reading the Straka quote about the campfire made me reflect about Sharing Stories, and I soon realized: ‘Sharing Stories’ may be the most profound human experience. I have long held that language is at the core of what it means to be human.
Language can range from a simple tool for exchanging information all the way to provide comfort, to share value, to remember history and to form bonds. But in between, there is a wide spectrum of nods, of Hey-did-you-hear-about’s, of quick blurbs and fragmented reports. Standing at the water cooler, waiting at the bus stop, over dinner with loved ones.
Let me introduce at this point the Share button. Have you clicked one today? Several times? Was it a Share button that brought you here, to this post? Or did someone mention it at the camp fire last night?
What is the Share button’s value? Does it cut us off from others by driving us into Social Media isolation? Does it create that same social bond that the flames of a campfires or the shine of a flash light create?
Well, as much as I am a romantic sucker for camp fires and late night storytelling, I am also a pragmatist, and value a simple hug over a grand red carpet welcome. A quick coffee over an elaborate tea ceremony. That’s where the Share button comes in. The Share button is the global water cooler, the café at the corner of the universe, the pub of Earth’s town square.
THERE ARE FEW THINGS in the world I like better than sitting at a campfire. But let’s face it; had I only shared stories and formed bonds while sitting at a campfire, it would’ve been a lonely life.
I treasure the shouts, blurbs, dinner table fragments just as much. And likewise, the glimpses into the souls and lives of those I’m connected with through social media. Whom I would not see at a campfire or a dinner table any time soon. I want to know how they feel. About the bus ride that morning, about the election, about the refugees, about the lack of snow, about what will come next.
There is a value in every human interaction, no matter how mundane or how electronic. What matters is the connection. —Sandro Gisler (@sandrogisler)
Editor’s note: Guests of ‘N’ in Phnom Penh authored this essay, together. Read more about the project 16N here.
IN 2015, GIRLS WEAR PANTS, suits, have pixie hair, tattoos and even chase men. These are now normal.
Other normal situations are validated only when backed up by science, like what is a normal blood pressure? The rest are subjective. As Morticia Adams quoted: “Normal is an illusion.”
But… is it? Normal is something that has already been done, many times. The more something has been done, the more normal it is. Actually, there’s more. Way.
THE NORMAL DISTRIBUTION CURVE IS A GRAPH which shows the spread of random variables, or behaviours, in a population. It centres around the mean, or average, which is the sum of all expected behaviours divided by the population. 99.7% of all values are within 3 standard deviations of the mean. Like this:
When very recently I met with and tried to explain this concept of “normal” to DK, it was, um, funny. She didn’t quite know what I meant.
She had, I think, her own idea about ‘N.’ She said: “You mean, like the normal vector? Like, 90 perpendicular to the horizontal? And then when 16 voices converge, wham, on a plane, like this, see this animation? Yeah, like that, so when wham, that happens, that MOMENT, that’s when, whoo, you go UP, into SPACE, like 3D, like up the vertical that is the “NORMAL” vector!!! OMG!!!!”
Not quite, DK, but, that’s cool.
Then I thought, Morissey.
MORISSEY SANG ‘there is no such thing as normal’; a statement I believe and find comforting, in that I repeat it frequently whenever the need arises.
However, in recent years I have become more aware that a CONSTRUCT of normality exists, and if you don’t neatly fit into this, then prepare for questions!
‘We don’t have to agree’
NORMALITY IS WHAT YOUR ENVIRONMENT expected you to do or think, the referent environment mostly has referent expectation. With that in mind, here’s a thought.
We don’t have to 100% agree to someone, as long as we can find a common ground that’s acceptable to both sides. You get yourself an agreement. They said it right when they said: “Better communication skills will get a better outcome.”
May I be frank? Okay, these are my random innermost thoughts. Ready? I’ve never met a person who feels normal. Abnormal is normal. Normal for who? Dehumanizing in any culture is not normal. I don’t want a normal job or relationship. Describe life as vibrant, sticky, juicy, challenging, fluffy… my ideas about normality are negative. Is that my “normal” thinking pattern? Hm. Now I’m wondering.
Maybe it’s this, though. Normal is when we can live simply. Read books whenever we want to without being tested on. Paint because we want to, not because we’ve got something to prove. Enjoy the moment with no place to rush off to. We just want to be, boundless and infinite… Or? I’m still thinking…
P.S. Some other things that came up after the event last Sunday, as I’ve been ruminating. Normality. Like the rest. Falling within a deviation determined by cultural narratives, science and, most importantly, perception. Normal shifts based on country, decade, household… Constantly changing, ever imperfect. It is those ideas and people outside the spectrum – that are abnormal – that are often responsible for greatness.
And this one: Normality. A quality that can only exist in reference to other things – the past, other people, abstracted rules. A quality of the self-conscious ‘I’ rather than the present ‘I.’ As a substitute for balance, it’s a quality forever at war with itself.
What do you think? What’s normal? Why do we think so?
Editor’s note: First published in S P A C E in 2017, this short Q&A about the creative process still rings true today to those of us at DK who remain very curious about how to continuously improve on what we make.
OFFLINE CONVERSATIONS lately are turning to the process itself, and, to take it further, discoveries that happen on the way to ‘making.’ Maybe it’s in the air? Looking back on what creative people have told me about this work of making, I recalled something I learned from science podcaster Jai Ranganathan. (Find him on twitter at @jranganathan.) We had met at a science conference in NC’s Research Triangle Park. That was the kind of place where bunches of people convened to share tips on making science interesting to a general audience, more or less, and I discovered Jai was set to instruct scientists at University of California Santa Barbara on how to use social media.
DK: What do you need to think about when opening a wide-open project like a podcast? That’s a pretty big blank canvas.
JR: First, define your purpose. Then, what’s your scope? Do you want to be a local brand? Have a national audience? If you want a large audience, people really go for video.
DK: OK. So if you know your purpose, then what? Any tips?
- Think about where can you add value. Ask businesses, ‘What’s a problem you have?,’ and then share, ‘Here’s how we might solve it.’
- Give your product away so people want to know more.
- You can do latest tips. Interviews. You could have seminars.
- Just get started. Do it frequently. Keep it short—2 minutes.
DK: Wait, so you just have to be prolific?
JR: You don’t have to be flashy, or always funny, or the best-looking. But you have to be compelling in your voice. Be engaged, animated, and interesting.
DK: But what about talent?
JR: Talent is overrated. You have to be interesting/entertaining first, or else it doesn’t matter what you have to say!
DK: How do you do that?
JR: Boring podcasts are that way because people are checking boxes off a how-to list, as opposed to doing something that’s really them. Anything creative like this—podcasting, video, or writing—is about deciding what you want to say, and what’s your way of saying it. How to make that your own is key.
DK: How did you get into this?
JR: I was doing my postdoc in conservation biology. If you’re not a scientist, your job is to write papers. I was disenchanted after a while. How likely was it that what I wrote would lead to action? So as a hobby, I started interviewing scientists. I’ve always really liked radio. Someone found me and offered to pay me to do this, so now I have $2,000 broadcast-quality equipment and I make a good living. But, I had hoped more people would listen.
DK: What can others learn?
JR: It takes a while to figure out what you’re doing and why the heck you’re doing it. Don’t make it too scripted. You can have a script, but don’t read it. Imagine somebody giving a talk and reading a script–it’s death! And you know, you have to like doing it. And keep doing it, that’s key. Don’t wait to get good. No one sprouts out of the earth fully formed.
Published in S P A C E, 2016.