“Gabriel Shalom and Patrizia Kommerell’s (KS12) stories switch between fact and fiction. Their video essays, which mainly consist of interviews, experiment with new forms of narration, which originate from modes of production and association found in a digitally linked community. NODE13 commissioned KS12’s new work, which has been produced under the title ‘Another Dimension’ as a part of the Deutsche Börse Residency programme in Frankfurt.” – Thanks NODE for the nice words!
We got older. And as we got older we realized we had rules. Not the rules of our parents. Not the rules of some big corporation or government. Rules of interaction, of engagement, etiquette even. We had grown up in a world of magical objects – things with attributes, properties, menus and options. And slowly we introduced this magic back out into the world – at least on the surface of things. In our desperation for control in a world more and more out of control, we began expressing these rules about objects in our aesthetics. Guided by visions of a near future in which the real and the virtual would be seamlessly blended, we created prototypes and simulations with increasingly higher fidelity. Yet the tyranny of the frame prevailed. Our rules collided with systems of another dimension. Stubbornly, we carried on building the simulacrum. We gritted our teeth, we dug in our heels, and we fought to stay lucid as our dreams shimmered across legions of rectangles.
Eno Henze sent us this photo of a certain familiar yet mysterious object from his recent trip to Amsterdam. We first met Eno last year at the Resonate festival after screening Timeless. Now, almost a year later, we’re happy to announce our participation in the NODE forum for digital arts in Frankfurt thanks to Eno’s support. We’re looking forward to give updates as the project progresses, so stay tuned for more details about our new Design Fiction piece, Another Dimension.
From the KS12 studio in Berlin we wish you a happy new year!
Why is Portland an interesting place to create a startup?
How can we understand entrepreneurs and software engineers to be a new creative class?
What roles do story and performance play in the creation of an enterprise?
Following the true story of a group of aspiring startups in the Portland Incubator Experiment (PIE), in the context of Portland’s creative and technology ecosystem, KS12 presents Early Stage, a Video Sprint in collaboration with PIE which starts a conversation on these topics and invites your participation.
Young Cultural Leaders Forum at Salzburg Global Seminar. Photo courtesy of Salzburg Global Seminar.
Last week we participated in an inaugural forum on young cultural leaders at the Salzburg Global Seminar created in partnership with National Arts Strategies. The seminar brought together over 50 people from all over the world to discuss and learn from one another across a broad range of issues in arts and culture. The group of people included a wide range of professionals working in both public, non-profit and private positions within organizations, festivals, institutions, companies, foundations and governments. The international diversity of the session reminded me of the sort of mix of cultures I was familiar with growing up in the suburbs of Washington DC, as well as the time I spent finishing my undergraduate studies at Bard College in upstate New York. On the first full day of the seminar I had what I felt to be a breakthrough insight that informed the rest of my experience in Salzburg. During a workshop about effective communication and active listening I wrote this observation in my notes:
Treat conversations like video interviews.
Witness the other and give them permission and space.
Learning to listen at the Young Cultural Leaders forum in Salzburg last week. Photo courtesy of Salzburg Global Seminar.
Over the last two years I have interviewed over a hundred people. When I am conducting an interview I make an extra effort to tune into what the person is saying. I find that the more I focus and follow what they say, the better my responses are and the more organic the conversation flow becomes. This may seem obvious but its not easy – it takes practice and extreme concentration. Whenever I’ve rushed or stuck too closely to a prescribed list of questions the process invariably results in more static footage. The answers tend towards short or rehearsed. These sorts of more question-oriented interviews always feel pregnant with untapped potential. In thinking deeply about the power of active listening I discovered the similarities to the interviewing process to be outstanding.
Why should granting another person permission to explore and elaborate be reserved for when the camera is rolling? Why isn’t this the default approach to all the conversations we have? How does the presence of a recording device change the way we focus our attention on another person?
I have returned from Salzburg with these questions resonating strongly. As we dive back into our work editing Early Stage we carry a renewed sense of the importance of listening in all the work that we do as storytellers.