Separovic (Croatia, 1967) is a theater director and choreographer in residence at Dasarts, the institute for advanced research in theater and dance studies in Amsterdam. His last work was an intense particpatory piece that filtered a crowd into successively smaller groups based on their answers to difficult moral questions.

Separovic excels at imperceptibly pulling hidden prejudices from within the audience. He directs them as participants, externalizing their beliefs by literaly having them vote with their feet. Except in this democracy, beliefs are instantaneously social. Private opinions become public.

Separovic invited me to act as a creative consultant and participant in the upcoming production. Using his research as the basis, we’ve begun conceptualizing the format and script of the event. It’s something entirely new for me, and beyond the normal scope of +K, so I’m honored to contribute and learn about the world of experiential design.

The Holland Festival, in partnership with the Rotterdam Film Festival, is for the first time displaying the Quay’s sets. Looking into their microcosmic worlds, you see a hidden pathway from the room you’re in to one of dark fantasy.

An economist, engineer and holistic scientist, Ralph admitted that it will take years before his holistic spiritual perspective that is based on increasing dialogue becomes widespread.

Ralph’s notion of Holism, especially with regards to the internet, complements contemporary applications of collective intelligence, and the increasing significance of building a global consciousness through conversations within organizations and the marketplace.

“the internet is the physical and externalized manifestation of the realm of consciousness that we can’t see, but can experience.”

He speaks eloquently about the need to recognize the reciprocity between the whole and its parts, and to respect all the agents in an organizational ecology. His wisdom is inspired by process thinking, which emphasizes becoming, rather than static experience or being. It makes me wonder:

How can we bring forth something that wants to happen?

Directed by Wim Michels, the Hallo Academie is an intensive one-year collaborative creative program for brilliant misfits. Last year I directed a short course on the rebranding of the U.S.A., and I’m honored that Wim continues to invite me to Hallo events.

Exposed 06 was an opportunity to be inspired and challenged by this year’s stellar graduates. I met good people who are unwilling to compromise their creative visions, and I saw communication and product ideas ready for application.

One idea that I feel could be explored to great success is from Hans Knappen who developed custom-designed clothing for his World of Warcraft guild community (EU Black Citadel). Only after he earned the highest honor of level 60 was he able to build up trust in his guild to develop the apparel. Using insights from the interaction with others in the virtual game space, he realized that fellow guild members wanted to purchase fashionable clothing, but were repelled by the blatant branding and overt superficial flourishes. As a result, Hans designed an entire line that is detailed only on the inside, and inspired by the virtual world.

Hans has shown that dedication to an online community can bring offline trust, and demonstrates again the increasingly blurry relationship between offline and online worlds.

Many thanks to Wim and all the Hallo students who shared their time and final projects.

‘In my work I want to touch a deeper layer, a layer that’s about emotions and human instincts. I want to explore the fine line between man and animal.’

It was as if we were entering a slaughterhouse. We walked directly under the performers, who were dangling by their ankles, convulsing, perhaps in their last breaths. We dispersed to grandstands on either ends of the long hall, the lights suddenly blackened, and the piece began between us.

I saw Cry Love with Ilse Vandervelden, a very good friend, former dancer and dance critic for the premier Dutch newspaper, NRC. She’s put Cry Love in perspective, essentially concluding that Linning has established an entirely new dance grammar.

Nanine Linning’s Cry Love, by Ilse Vandervelden

We took 3 hours of HD footage, the best of which we’ll post here soon.

Mixed Use Promotion

That’s the principle behind the North Indian Ragas played by Sitar Master Gaurav Mazumdar and our host and Tabla player, Heiko Dijker.

Mazumdar, one of the most prominent pupils of Ravi Shankar, explained that ragas are meant for different times of the day, based on the warmth and colours of the sun. There are strict rules that define the character of a raga. And ragas must only be played in the section of the day that they are meant to complement and evoke. So an early morning Raga should never be played in late afternoon.

Because of lingering evening light in Amsterdam at this time of year, Mazumdar and Dijker were able to play a wider range of Ragas than would have been possible in India.

Many performances are also held indoors in artificial light. “Electric light has made time stretchable,” Mazumdar said. “When you enter an auditorium, you take the light with you.”

Playlist:
1. Raga Patdeep (of 7 beats)
2. Raga Bhoopali (of 16 beats)
3. Raga Kirwani (of 16 beats)