Feeds:
Posts
Comments

Archive for the ‘Dreams’ Category

cadacut-1080x675

End February, i had the opportunity to attend the “Socratic Design Workshop” in Cadaqués, 1 hour drive north of Barcelona, Spain.

From the Socrates website:

Socratic Design is a new learning method, incubating the generation of the best human future narratives by realising collective wisdom through the art of dialogue.

The exponential technological revolution cannot be incorporated in the old narratives build on coal and steel ideas. Centrality, hierarchy, ownership, secret information and monopolies are no longer guarded in this new tech culture.

The exponential technology era challenges our human creativity in an unseen way. We can only approach this huge potential of power with next level humanity awareness.

We need to reflect profoundly on our values, on our strong and weak points and above all on our implicit and hidden dreams of a human good life; safeguarded in hundreds years of literature, philosophy, human experiences, religions and other narratives.

We can only perform this if we leave behind our old school atomic thinking, using the strength of intense socratic dialogue, using personal experiences, reaching collective intelligence to jump into new frontier of thinking: exponential humanity.

One of the first exercises was to describe your “perfect day” ten years from now. That exercise was more confronting than i thought at first sight. Here is what i came up with. I deleted the detailed daily hour-by-hour agenda of the perfect day, in order not to bother you with too much tactical detail.

 

In 10 years time…

I will almost be 70

My wife almost 60

My daughter almost 20

Our parents will be gone

 

I have become a full time artist – creator – sensemaker

I sell my art, creations, sense-makings, and curations

I curate, selectively, choose my clients/guests

I only select/accept commissions that meet my quality standards of intention and intensity and ethics

 

I am connecting with the experts, the musicians, and artists of all kinds, to bring out the very best in them. I love to work & live with them, to show personal intent and integrity, so that others want to join my projects too.

 

My work has given room to a Foundation for better work (essence of work and deep change)

My work leads to delight, enjoyment, joy, pleasance, elegance, and maybe epicurism.

 

Enjoying the silence of the house and the morning

Writing, researching, and sense-making

Creating, scripting, painting, making sound- and word-scapes

Performing, Architecting rythms and connections

Good food and wine

Family time

Reading and sleeping

 

I am completely disconnected

Only take mails if announced by phone

My mobile can only take calls and sms

I have stopped tweeting, FB-ing,

Enjoying the physical and emotional silence

 

What I do does not scale

I focus on uniqueness, excellence

The beauty is in the perfection

 

I live in another house, with plenty of space, and annex atelier, maybe art gallery

On the country side, the humid heavy earth of Flanders,

Or in Spain, Toledo, Sevilla, in the middle of the heat of the plain fields

The crack in me, Dries van Noten, the tones of a Spanish Guitar, the dry hot summer heat and the shadow and olive trees

 

I have become a hermit

Nothing should or must

There is no time pressure whatsoever

I am in flow

Nothing needs to be proven

 

I am freed from desire

Advertisements

Read Full Post »

Way back in 2010, I wrote a post “Let me entertain you” inspired by one of Robbie Williams’ biggest hits. Some extract of the lyrics below:

Hell is gone and heaven’s here
There’s nothing left for you to fear
Shake your arse come over here
Now scream
I’m a burning effigy
Of everything I used to be
You’re my rock of empathy, my dear
So come on let me entertain you
Let me entertain you

Lyrics of "Let me entertain you" - Robbie Williams

I have evolved since then. The title of this post is inspired by a quote by Brian Eno in an interview in December 2015 with Steven Johnson about art, music, punch lines, and culture in general I would say.

 

“I don’t want to be entertained,

I want to be provoked.”

 

 

 

Here is the video on punch lines.

When I first read that interview, there was no transcript, so I transcribed it all myself (so I did not cut and paste from the site, and everything in this post is my own crunching through the story ;-). Now it’s all for grabs on Steven’s post.

I think Eno’s quote could be a great tagline for the way I think about “events”. I could do my Magritte trick here again and say “Ceci n’est pas un event”. As I have said so many times in the past:

“I am not in the events business. I am in the business of creating high quality feedback loops to enable immersive learning experiences”.

It’s about creating spaces and environments where people want to be provoked, not feeling comfortable, not being entertained. At the edge, but not beyond.

 

 

Exactly what architect Clive Wilkinson refers to in his talk “Designing The Theatre of Work”. There is indeed something (un)wise in this notion of “Theater of Work” or “Theatre of Change”. At min 11:30 of this video, he quotes:

“I don’t want people to feel comfortable, I want them to be provoked. I am not going to get great work out of people who are comfortable”

and also

“The architecture and the language of space is not something that is meant to make you go to sleep”

It’s only very recently that I realized the “creating high feedback loops and immersive learning thing” was only about the “how” and not about the “why” and “what” this is supposed to achieve.

I think I have a better hunch about that now: I believe it is about creating high quality change. Deep change. Not the Theatre of Change. Change that is in the first place based on high quality human alignment. Beyond the cognitive, and beyond the tactics of processes and governance. Beyond the illusion and entertainment of the innovation theatre.

I recently bumped into a colleague that is doing innovation work – or should I say theatre – for a big international automotive company. She was asked to give support in the design of a “disruption tour” that was organized for the members of the board in Silicon Valley.

I think we have all seen those disruption tours, where execs are flown into sunny California, get a week immersion, come back all excited as part of this elite club that got to see one or the other hotshot in the valley, and where the initial momentum ebbs away very quickly, usually already after two weeks, when we all go back to business as usual.

But the briefing for this tour was a bit different. She learned that the tour should not challenge any of the “what” and only focus on the “how”. So in other words: avoid in all circumstances that anything they will see and hear would challenge or disrupt their existing automotive strategy. What was asked for was “disruption without disrupting”. Or “Safe Innovation” as I read somewhere else this week.

In Hollywood this is called “entertainment”.

I kept delving in the Brian Eno’s story about entertainment vs. provocation, and found this audio ànd the transcript of the 27th Sep 2015 BBC John Peel Lectures with Brian Eno.

I am very much inspired by both Peel, who has this art of giving others “airplay” and Brian Eno, who really is a “curator d’excellence”, if you look back at what sort of magic mix of artists he brought together in his life, always remaining a “vanguard”, and his restless desire for discovering new places and more:

vanguard

“Vanguard” means forefront, advance guard, avant-garde. Has to do with seeing early signals, making sense of them. Not only seeing. Also building. Building something new. “World Building”.

World building, like the places children imagine. Like the emotional places where children imagine: who would not crave to be in that state all the time? In that sense, I believe my curation and events work is more and more about painting and architecting “states of mind”.

Happenstance that just this week @ribbonfarm had a fantastic post on this topic of “states of mind” titled “Productivity for precious snowflakes”

snowflakes

Two identical snowflakes, via NYT

He is talking about multi-finality (and not multi-tasking) and about the interest in the quality of the experience (and not the mere outcome), and about the source of creative being in the past.

It’s encouraging to realize that many of the states of mind we seek are not “out there” somewhere, to be hunted down and consumed. They are states of mind belonging to our past selves — we wouldn’t crave it if we had never experienced it. We have to go backwards and remember what we once knew, not forwards to some perfected version of ourselves. What would you pay to experience child-like wonder for a day? To watch Star Wars Episode IV for the first time again? To have the ability to snap your fingers at any time and see your writing, your painting, your app with the fresh eyes of a novice?

“Flexing our mental muscles” by imagining new worlds, and “when people synchronize themselves together”, says Eno.

He also introduces the topic of “exhaustion”. I will come back to the theme of exhaustion in another post, as I think it is key to the kind of problems we try to tackle today.

14th century

“We need ways to keep in synch, to keep coherent. That is what culture is doing for us.”

and

“Culture as a set of collective rituals to keep coherent, collective rituals that we are all engaged in”

book keeping together

Brian refers to the book “Keeping Together” by William Hardy. In that book, one of the most widely read and respected historians in America pursues the possibility that coordinated rhythmic movement – and the shared feelings it evokes – has been a powerful force in holding human groups together.

As an ex-DJ, I think my work is about creating rhythms. Architecting these “coordinated rhythmic movements and rituals” for “state of minds” and “states of intentions”.

Way beyond the entertainment. This is about “Creating scenius together”. Scenius is the talent of whole communities. Bringing them in contact with their talent, their potential.

“You simply can’t absorb this (change and exhaustion). You just have to do it collectively. Nobody’s going to be able to do it individually”.

These interviews with Brian Eno are from last year. Before Bowie sent us Lazarus and left us all alone on 10 Jan 2016.

 

 

My good friend Gary Thompson also leveraged Bowie’s death into an intimate and very inspiring blog post about “being provoked” and “being at a trailhead, at the start of a new year and being on a journey without a map”.

Tony Visconti, who produced several of Bowie’s albums, acclaimed Bowie’s visionary status.

“He always did what he wanted to do,” and “And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life – a work of art.”

Bowie and Eno are not entertainment. They are provoking art. Work becomes art. The essence of work is art.

“Art is everything

that you don’t have to do”

Brian Eno

At a reception earlier this week, I bumped into a friend who follows my blogs, tweets, and artwork.

She basically asked me “Quo Vadis, Peter?” and “What direction are you going with all this?” It’s a great question I am struggling with on an almost daily basis.

I will answer cryptically with the title of Otto Sharmer’s latest book “Leading from the Emerging Future: From Ego-System to Eco-System Economies”and with the last verse of Bowie’s Lazarus:

This way or no way
You know I’ll be free
Just like that bluebird
Now, ain’t that just like me?

Oh, I’ll be free
Just like that bluebird
Oh, I’ll be free
Ain’t that just like me?

Enjoy!

 

Read Full Post »

This is my first post of the year, and I don’t believe I properly closed the previous year.

fleches bxl

Surreal traffic sign in Belgium

On the last day of 2015 I paid a visit to the Magritte Museum in Brussels. It was one of those surrealist days, when the Brussels mayor has just announced the cancellation of the new-year fireworks, and the city was still under terror alert level-3, meaning that a threat is “possible and likely.”

magritte logo

I was early – just before the opening of the museum – and the city had something unreal. The air was fresh, the light was bright, everything was peaceful, and mainly Japanese and American tourists were hanging around enjoying the square.

The entrance of the museum also was surreal: visitors now had to go through a x-ray scanner, like in airports. I am pretty sure the place must be full of CCTV cameras, whose output is possibly most of the time ignored by human or more advanced computer vision systems.

I think we are overreacting here, and that it will get worse. There is a big disconnect between the reality and the perceptions created. And it changes my behaviour. Already now, I notice how I change my behaviour when entering in surveyed territories like airports (and now also musea): I don’t try to look into the eyes of the guard, maybe I dress more conforming, become submissive, and become more careful in the wordings and subjects of my posts and tweets.

I have become submissive.

Luckily, the queue at the museum was not long yet, and I could shrug off the defeat and start enjoying the museum tour.

The Magritte museum is part of a the complex of the Royal Museums of Fine Arts of Belgium, located in the heart of Brussels at the Place Royale. It is housed in the neo-classical landmark Altenloh Hotel, superbly restored in 1984. I had visited the Royal Museums complex before, but never the wing where Magritte is hosted.

The main entrance of the museum is via a big elevator (the museum is spread over three floors, and the tour starts on the 3rd floor). I go quite frequently to an exhibition and one immediately notices when you are entering a league in its own right. This is an absolute world-class collection and museum, I recommend it to anybody who visits our city and has a couple of hours to spare.

“The museum’s multi-disciplinary collection is unrivalled. It contains more than 200 works consisting of oils on canvas, gouaches, drawings, sculptures and painted objects as well as advertising posters, musical scores, vintage photographs and films produced by the artist.”

magritte headshot

Headshot René Magritte

René Magritte was a Belgian surrealist artist. He became well known for a number of witty and thought-provoking images that fall under the umbrella of surrealism. His work is known for challenging observers’ preconditioned perceptions of reality. (from Wikipedia).

I believe that the skill to “challenge observers’ preconditioned perceptions of reality” – in other words curating, creating, and making sense – is becoming more and more important is this age of rapid change, where shortcuts and platitudes are rather the norm, in stead of depth in our reflections about cultural change.

Robert Fritz said: “Structure determines behaviour, and behaviour drives culture”.

book marvelous clouds

In that context, I highly recommend the book “The Marvelous Clouds” by John Durham Peters, who starts where Marshall McLuhan left it in 1964 (that is now more that 50 years ago), when he coined the phrase “The Medium is the message” in his most widely known book, Understanding Media: The Extensions of Man.

McLuhan proposed that a medium itself, not the content it carries, should be the focus of study. He said that a medium affects the society in which it plays a role not only by the content delivered over the medium, but also by the characteristics of the medium itself.

When I start playing and mixing with Fritz and McLuhan, I get to something like:

“The medium informs the structure,

Structure informs behaviour,

Behaviour informs culture”

A significant part of the structure we operate in is made of media. Media as in plural of medium.

The air is medium, water is medium, the Internet is medium.

But like Magritte, we are unaware how easily the medium can be tricked. Is what we see real, unreal, surreal, or pure illusion?

Check out this great post about Adversarial Machines by Sanim on how easy our machines can get fooled by adversarial robots.

“At the heart of many modern computer vision systems are Convolutional Neural Networks. On some vision tasks, CNNs have surpassed human performance. Industries such as Web-Services, Research, Transport, Medical, Manufacturing, Defence and Intelligence rely on them every day.”

And

“Adversarial Examples are a fascinating area of ongoing research. They highlight limitations of current systems and raise a number of interesting questions. While industries are racing to include visual intelligence systems in mission-critical infrastructure, looking at edge-cases and exploring solutions is a productive path. 

The discussion in that post – and especially the part on generating adversarial images and “mangas” – is fascinating. And should us make think very carefully how all this can be used and misused in a medium of networks, CCTV cameras, and online and offline surveillance.

airport

trump

In other words, the image of the reality is not the reality.

The map is not the territory (Alfred Korzybski in 1931), meaning:

  • A map may have a structure similar or dissimilar to the structure of the territory…
  • A map is not the territory.

In The Medium Is the MassageMarshall McLuhan expanded this argument to electronic media. Media representations, especially on screens, are abstractions; are virtual “extensions” of what our sensory channels, bodies, thinking and feeling do for us in real life (Source: Wikipedia)

Which brings us full circle back to our friend Magritte who hits the nail – or should I say pipe – in many of his paintings, the most famous work entitled The Treachery of Images, which consists of a drawing of a pipe with the caption, Ceci n’est pas une pipe (“This is not a pipe“).

pipe

The spirit if Magritte is still very much alive. In true surreal traditions, Belgians started posting pictures of cats during threat level-4 in November 2015.

cats

These are deeply human and intended reactions to ever more chaotic environments and media.

I believe it is very important to nurture these human intentions, and the arts of humor, surrealism, and deeper languages than pure digital representations of reality.

Yes, we are talking here about the language of art.

Brian Eno recently defined art as:

“Everything that you don’t have to do

In that spirit, I leave you with some quotes from Magritte. They are displayed across the three floors of the museum in the same typography of “Ceci n’est pas une pipe.” All quotations are consolidated in a nice PDF that you can find on the museum’s website, with the original French version, and translations in Dutch, English, German and Spanish.

quotes

Many of the quotes are very powerful. Here a selection of my personal favorites. I hope you enjoy them as much as I do.

I wish for real love, the impossible and the utopian. I fear knowledge of my exact limits.

To be surrealist is to banish the notion of ‘déjà vu’ and seek out the not yet seen. By this I mean this moment of clarity that no method can reveal.

The real value of art is measured by its capacity for liberating revelation.

Nothing is as strong a defense as love, which allows lovers to enter into an enchanted world perfectly formed for them and where they are protected admirably by isolation.

Rebellion is a reflex of the living man.

Liberty is the possibility of being and not the obligation to be

All that I desire is to be enriched by intensely exciting new thoughts

Please do share with me your intensely exciting new thoughts. Onwards for a fantastic 2016. Happy new year !

Read Full Post »

Many of my readers know I was trained as an architect. Some of the rhythms, insights and passions of that profession continue to weave into my work and my sense making.

Just over the weekend, I completely randomly bumped into a very well done interview with star-architect Rem Koolhaas in Flanders’ business newspaper “De Tijd”. It’s in Dutch, but I found it so inspiring that I translated the juiciest chunks of that interview, with some personal context around that.

Rem Koolhaas (70) founded the Office for Metropolitan Architecture (OMA) in 1975. Besides its headquarters in Rotterdam, the agency has offices in New York, Beijing, Hong Kong, Doha and Dubai. He is also a professor at the Harvard Graduate School of Design and wrote important publications on architecture, such as ‘Delirious New York’ (1978), “S, M, L, XL (1995) and ‘Content’ (2004). In 2000 he was awarded the Pritzker Architecture Prize, the Nobel Prize for architecture.

322_1rem_koolhaas_oma__portret_portrait__copy

Portrait Rem Koolhaas O.M.A. Office for Metropolitain Architecture shoot for Andy Warhols INTERVIEW, Russia © Ronald Tilleman all right reserved

The interview was made in the context of the opening of the Garage Museum in Gorki Park.

Garage Museum

It was Dasha Zhukova, the 34-jarige spouse of Russian multi-billionaire Roman Abramovich who approached Koolhaas to build “her” museum. Thanks to the deep pockets of her husband, she ensured herself this way of her own name and fame in the international jetset and art scene.

I really encourage you to watch this great promo-video of the museum. It is so inspiring when you start thinking about musea as educational spaces. Look at the wondering faces of the kids in that video. Think on how educational immersive experiences are becoming so key to our understanding and sense making. The Garage Museum is run by the Post-Soviet generation and that is so refreshing. And – surprise – it includes fragments by performance artist Marina Abramovic.

Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Active for over three decades, Abramović has been described as the “grandmother of performance art.” She pioneered a new notion of identity by bringing in the participation of observers, focusing on “confronting pain, blood, and physical limits of the body.” (from Wikipedia).

It is a coincidence – or probably not – that performance, improvisation and new notions of identity cross my path again, and makes me reflect again of my work as event-creator evolving gradually into experience, romanticism and mystery.

But back to the interview. The journalist kicks off with an observation about the label of “star-architect” and how that is associated with neoliberal money-grubber who designs antisocial icons for the private super rich.

Rem Koolhaas reacts:

“Since the beginning of the 21st century, there is increasing attention to an ever smaller group of architects, of whom one expected to produce ever more spectacular buildings. Especially in high-rise commercial noticeable increasing pressure to make extravagant, rare designs. “

“Since the triumph of the market economy, the relationship between the public and the architect is cut. The takeover of the market economy in the architecture was harmful. The architect can no longer identify as someone who serves the public interest. Previously our inventions benefited humanity. Now that’s gone, like a tablecloth is suddenly pulled away.”

“While architecture previously revolved around the creation of community, to live together, the emphasis on selfish icons wipes that away. Cities can no longer exert as much influence as before, when they had enough money to build projects.”

It makes me think about the work of Christopher Alexander – my all time favourite – who protests against efficiency in architecture and the loss of appreciation for patterns, beauty, and the “quality without a name – QWAN”. See elsewhere on my blog, like here on “The battle for beauty”Like Alexander, Rem Koolhaas is at least as famous as a thinker and writer on architecture.

I think an architect must be a change expert, because you have to shape change. Therefore, you must know what is happening in the world. Before I became an architect, I was a journalist. And actually I’m still investigative journalist. I observe. My life is one big string of anthropological and sociological explorations. I’ve always had a particular attention to what is neglected. So I wrote my book about New York in the late seventies, when everyone had written off the city.”

He also confirms some of the insights that digitization of architecture – but I would expand that to any form of making great work – creates some fundamental flaws in creativity.

“I think some architects have a very simplistic look at the digitisation. For instance, they believe that 3D printing will provide free creativity. That is a myth. Therein lies a fundamental fallacy about architecture. Architecture is not at all about letting your imagination go. You must confront your imagination again and again with the request and desire of your customer.”

And then on privacy, something that becomes most tangible when you are at home, in your house, in your bedroom.

nest

“It dawned on me last year when I was curator of the Venice Architecture Biennale. We have reconstructed the history of building elements, such as wall, floor, heating, and so on. We realized that all of them are on the verge of changing status. Take the thermostat. That used to be a thing that you checked. Now that gives your data to the energy supplier. Such a smart thermostat knows when you leave the house and when you come home again. Before you know it, sensors that follow you anywhere in your home surround you”

“We live in a world which is so addicted to comfort it as undermining our freedom. The dividing line between comfort and repression is thin. We submit ourselves to a huge monitoring system that records all of our movements in a building. We seem almost happy that we have no privacy anymore. For someone of my generation is that strange because we were still in the streets in the seventies to defend our privacy. “

lonely swimmer by Sterling67

Picture of Lone Swimmer by Sterling67

“I travel a lot, and I find that very inspiring. And above all gives me a great deal of privacy. Like swimming, though. I swim every day one kilometer, wherever in the world I am. “

Read Full Post »

The Sweeper - Marc Chagall

The Sweeper – Marc Chagall

I am deeply emotionally touched by the beauty of Dries Van Noten’s “Inspirations” exposition at the Fashion House in Antwerp and Marc Chagall’s Retrospective in Brussels.

They brought me back in contact with a part of myself that I had neglected since my Leading-by-Being days in 2007-2009, the quest for purpose that lead to the start of this blog in April 2009 titled “Singing my own song”.

First, the fantastic Dries Van Noten expo in Antwerp. Not a retrospective: Dries is too young for that (he is about my age :-). But an amazing overview of his work since the Antwerp Six till today.

The whole expo breathes passion and perfection.

Rebel Entry Dries van noten

From the Rebel entry, to the unique vitrines per collection, the well documented sources of inspiration, the pancartes with beautiful texts that read like poetry, the perfection of the clothes themselves, the tissues, the lightning, the contextual artwork, the cohesion of the collections.

Vitrine 1 Dries Van Noten

Here is the text of the pancarte introducing the collection inspired by The Flemish Masters:

“Framed faces and portrait necklines. Majestic understatement. A whisper of paganism underpinned by noble restraint. Opulent textures: silk velvets, silk jacquards, duchesse satins combined with leather embellishments for a modern twist. Jewel colored embroideries and encrustations translated from Jan Van Eyck’s rich palette. A sinuous and covered silhouette, at once languid and austere. The whole and its parts.”

Some more visual impressions:

Hand and Skulls Dries Van NotenNurejev Dries Van Noten

It made me look into the work of Dries Van Noten. And I found this amazing video of what I call his “Chandelier Show” for his Spring/Summer collection 2005:

I found that the shows are produced by Etienne Russo from Villa Eugenie (yes that is the name of the production company)

To capture the spirit of the times, and to enshrine it within an exceptional house and with the singularity of its team. It is also a concern for exigency and for an insatiable perfection, and a fully comprehensive pragmatism oriented towards the imaginary. No element is left to chance, because the smallest of details is not fortuitous, because the random is impossible and the unforeseen a challenge, each event becomes an exceptional moment.”

Walking out of the Antwerp Fashion House, I felt deeply touched and moved by so much beauty. Next-door was an Art-Book Store. I hang out there for an hour, dreaming away in wonderfully produced books about architecture, artists and craftsmen.

On my way back home, Klara (the Flemish Classic Music radio station) played Bach vocals. I felt the softness of my heart and the perfection of the moment at 120km/hour in the privacy and comfort of the car.

Chagall

A couple of days later, I went to the Marc Chagall retrospective in Brussels. I was early, and the museum was not crowded yet. I took the audio guide and started the tour.

2 faces Marc Chagal

The first painting was a small self-portrait from 1921. The guide whispered that it were in fact two faces: the masculine and the feminine, the Yin and the Yang. I was touched by the synchronicity: why was this the first painting in my search for artistic identity?

Marc-Chagall-De-verleiding-1912-Saint-Louis-Art-Museum-Schenking-van-Morton-D.-May

Second painting. Adam and Eve 1921. I preferred the Dutch title “De Verleiding”, or “The Seduction”. Don’t ask me why 😉

Two big impact expos in a couple of days. It left me dazed and confused. Yes, I could do a quote from Led Zep here, but it seems I already did that in an earlier post.

I shared my confusion with some friends over a couple of calls.

One good friend introduced me to the concept of “Liminal state”, the being in-between two states. Adolescence is such a liminal state.

“Liminality (from the Latin word līmen, meaning “a threshold”[1]) is the quality of ambiguity or disorientation that occurs in the middle stage of rituals, when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the ritual is complete. During a ritual’s liminal stage, participants “stand at the threshold”[citation needed] between their previous way of structuring their identity, time, or community, and a new way, which the ritual establishes.” http://en.wikipedia.org/wiki/Liminality

I am exploding of creativity.

I have more than 60 posts in the queue. Paintings. Music compositions and soundscapes. Video trailers. Transmedia productions. Poems. Fairytales. Night stories for children. Book illustrations. It’s all sitting idle here on my hard disk and my sketchbook.

What if I’d give more space and attention to that piece of my real me? What if I’d give exclusivity space to this? Not a side activity but get it into my core? I feel an obligation to also give that part of myself as a gift. Maybe it is THE gift. Maybe this is what I was meant to be.

Bringing “events” to a level of artistic performance. Where to set the bar? Well, Dries Van Noten’s capacity to make me dazed and confused is an interesting bar to set for my own work.

What if the result of my work leads my audience in a state of enchantment, reflection, silence, a first step towards a possibly passage as well.

The bar is to put a spell on you.

To sweep and get us back to purity. To melt in symbiosis and deliver each other to the other side of the passage. That is the movement.

IMG_4977

Own artwork “The Movement”, Petervan 2015, Soft Pastel on green paper, A2 format

My friend told me: “A passage. A rite. You get through the other side or you stay in it and acclimatize. Passagework is deeply energetic. Make sure you surround yourself with energetic help and support. Like yoga, Reiki, or other energy work.”

It brings me all back to my Leading by Being days: a transition, a passage, a rite not finished. A connection with the deep self not fully completed.

Now, I feel I am so close to passing the rite. Dries Van Noten and Chagall have unfrozen me. So much clarity now in intention, ambition and purity to jump into the warm pool of real contact, uncertainty and vulnerability.

Oh Lord, please deliver me into the other side.

Read Full Post »

IMG_4798

Artwork Petervan 2015 - Thinking Man - Pencil and watercolour

Since a couple of months, I am chewing on a couple of themes that feel interrelated. Themes like scale, uniqueness, and beauty, eternal, ephemeral, one-ness, and only-ness.

I started wondering:

  • What if scale is not the answer?
  • What if I would start focusing on my uniqueness?
  • What if beauty becomes more important than function?

I was on a track where I believed that scale and uniqueness where opposites, and I only wanted to do things that were unique, one-time, never repeating, and NOT trying to create efficiencies. NOT trying to create economies of scale and/or scope.

I spoke to many people about this, and every time I saw their eyes glazing, wondering what world I was living in, and whether I was completely disconnected from business reality, or from reality full stop.

I was more or less told to conform, to behave, to try to do what everybody else was doing: running around at being very busy and being hyper-efficient in doing and scaling things that in my mind were not very meaningful.

During a walk-n-talk months ago with Nilofer, she hinted that uniqueness and scale are in different categories.

Some others hinted me at the concept of doing something that is NOT designed to repeat and permanence made them also think about the opposite, when one created with the objective of only happening once, designed to be ephemeral. Like making a drawing on the beach that is washed away by the waves. If you were not there, you have not seen it. At best it’s documented on video. But the performance itself was unique, only happened once.

Like the snow Art by Simon Beck: working hours on one snow drawing, enjoying the ephemeral beauty of it, but with the certainty that it will be gone with the new thaw of the next snowstorm

Snow Art

I took all the advice, and kept thinking.

I thought I landed on something named

Un-Scale

But that started smelling too fast like slow food or some other sort of new fashion. It was also a different “unscale” than Hemant Teneja’s https://hbr.org/2013/10/economies-of-unscale-why-business-has-never-been-easier-for-the-little-guy/ .

It was also a different “ephemeral”, different from the ephemeral messaging like Snapchat who were just valued at 10B USD.

Doctorow

I was reading Amanda Palmer’s foreword in Cory Doctorow’s latest “Information does NOT want to be free”, where she mentioned there will always only be one Grateful Dead.

grateful-dead-608x417

They realize that companies won’t be manufacturing millions of identical things, but will need to make hundreds, perhaps thousands, of slightly different things

Learning how to do that—how to make an evening interesting for an audience, with just me and a stage and things I’d written, partly because it seemed to me that one day it might not be as easy to make money from selling stories in the traditional way

Many of us became authors in order to avoid getting up on stages in the first place

I started looking in to the concept of “One-Ness”, which is about integrated meditative consumption, unity, even Greek mysticism.

I started reading some of Nilofer’s first articulations of “Only-Ness” http://nilofermerchant.com/2013/01/17/onlyness-the-topic-and-the-talk-at-tedxhouston/

Onlyness is that thing that only that one individual can bring to a situation. It includes the journey and passions of each human. Onlyness is fundamentally about honoring each person: first as we view ourselves and second as we are valued. Each of us is standing in a spot that no one else occupies. That unique point of view is born of our accumulated experience, perspective, and vision. Some of those experiences are not as “perfect” as we might want, but even those experiences are a source for what you create. For example, the person whose younger sibling has a disease might grow up to work in medicine to find the cure. The person who is obsessed with beautiful details might end up caring about industrial design and reinvent how we all use technology. The person who has grown up under oppression might end up advocating for freedom of speech and thus advance the condition of his country. This individual onlyness is the fuel of vast creativity, innovations, and adaptability.

Embracing onlyness means that, as contributors, we must embrace our history, not deny it. This includes both our “dark” and our “light” sides.

Each onlyness is essential for solving new problems, as well as for finding new solutions to old problems. Without it, people are simply cogs in a machine – dispensable and undervalued – and we’re back to the 800-pound gorilla approach in organizations (and our economy). With it, gazelles [employees, community members, and partners] are singularly unique and able to contribute meaningfully.

And then it suddenly dawned on me: I was mixing up several dimensions.

I tried to articulate my insights in a Powerpoint slide:

uniqueness and scale

There are 3 dimensions in this slide. I was balancing in the zone between uniqueness and ephemeral. But found it difficult to integrate the 3rd dimension of Scale/Scope. In fact, the slide was two-dimensional only. I needed a sphere. I decide to hand draw it:

Scale Unscale

Dimension-1: the spectrum from Permanent to Ephemeral

  • Permanence, the same tone as “Long Now”, “Many-Ness”, things that are designed to last
  • Ephemeral, the same tone as Short Now”, “One-Ness”, things that are designed to disappear, not to last, like the snow art

Dimension-2: the spectrum from Uniqueness to Commodity

  • Uniqueness, the same tone as Nilofer’s Only-Ness
  • Commodity, the same tone as “Multi-Ness”

Dimension-3: the spectrum from Scope to Scale

  • Scale: what everybody seems to focus on. Investors don’t invest if it does not have the potential to scale, to be viral. The tone of “economies of scale”. For some sort of efficiency game. Still don’t like it, even if I can imagine something when Only-ness starts to Scale
  • Scope: what seems to count when one thinks platform business or platform economics.

I don’t want to scale nor scope my Only-Ness, my Petervan-Ness.

I want to create unique performances, multi-media, trans-media experiences, where I touch my audience at another (additional) level than the pure cognitive. I’d love to resonate at a subconscious level, with very unique storytelling and narratives. All build up from my own writing, artwork and self-composed music, sound and light landscapes.

I am entering a period in my career of “multiple gigs”.

I have installed a small studio at home. Maybe the embryo of Petervan Productions. Trying to master new tools. Trying to have the first story ready for dry-runs by March 2015. And a first live performance around summer. For small audiences only. Not to scale but to un-scale my Only-Ness.

Let me know if you want to be part of one of the dry-runs.

Read Full Post »

Some time a ago, i took a “little” break for the rat-race, also know as “sabbatical leave”. It allowed me to find internal rest, and clarity about a lot of things important to life. One of the “plans” was to stick to “the plan of not having plan” and let emerge what comes.

I got back to drawing – yes, i was trained as an architect – and discovered i am still quite good at drawing straight lines, but really challenged by curved lines, like human bodies, faces, hands,… probably a testimony of my inclination to the cognitive, analytic, “straight” thinking patterns that formed the first part of my life.

I also did a little dive in the works of Carl Jung. One of the works i struggled through was “Man and his Symbols“.

 

Jung Man and his Symbols

 

I was particularly attracted to the part on dream analysis, and how a dream strictly spoken can only be analysed by the dreamer himself. There is not something like a standard way of analysing dreams. I followed the suggestion to document my dreams. I found this quite confrontational. Very personal. Most of it not really for publication on a public blog.

But i was surprised how some dream transcripts came out in different formats: from films scenarios, to paintings, or even poetry like.

I will start publishing some of these dreams. Here is the first one: i labeled it “breakfast”. Hope you like it.

 

Warm hands wiping

Caressing the table

Weeping leftovers of the night

Used and worn-out shrapnel

Dispersed sparks amidst breadcrumbs and tears

 

More to come…

Read Full Post »

« Newer Posts

%d bloggers like this: