Category Archives: Expanded Education

Remix culture frames Remapping Europe

In Remapping Europe, we use re-mixing of media both as a tool as well as a cultural framework. The concept of ‘remix’ refers to a broad set of social and cultural practices consisting of the fragmentation, re-ordering, and re-contextualisation of both pre-existing and new content – whether text, sound or image.

url-3Perhaps as a result of the digital shift or perhaps simply as a sign of the times, creators today are working generally more inter-disciplinarily, less willing to define themselves by, or confine themselves to, a single discipline. Remapping Europe brings together film, video, live cinema, performance, media, remixed image and sound and reflects new audiences’ interests. The artists have different profiles complementing each other as media artists, performers, 3D animators, documentarians, musicians, DJs and VJs.

Remix culture frames Remapping Europe: de-constructing narrative(s), recreating new narrative(s) of representation, using D-I-Y forms of media production and appropriating mass media texts. It is a cultural operating system, in which existing audiovisual material and images are framed in a new context, juxtaposed and seen from a fresh perspective, revealing new visions on our past, present and future. Remix is also a tool that is accessible, reflects a multidimensional, rather than a linear interest, and encompasses everything from collaging to digital storytelling.

At its root, both Doc Next Network and Remapping Europe are intergenerational – looking at Europe as the intersection of generations rather than a division or gap between generations. The organisations on the ground have designed intergenerational activities for their communities and the project brought together the narration of the young creators with that of their parents and grandparents. It remixes and weaves the stories, contexts and perspectives of older generations through archival searching – confronting and interrogating them. A personal story becomes the centre of a more collective narrative. Because we are standing on the brink of the greatest generational shift that we have experienced in the western world, we must find intergenerational approaches and innovations – intergenerational knowledge sharing – rather than looking at projects, programmes or solutions that address ‘older’ people and others that address ‘youth’. The inclusiveness of our communities must also include generations.

url-4Many of these intersections raise questions and fuel debate, sometimes heated. Perhaps the most debated is the notion of the value of inter-experiential connections and knowledge – placing the voice of the expert alongside that of the ‘experienced’. The digital shift has played havoc with the comfortable hierarchies that we are accustomed to: between the writer and the reader; the teacher and the student; the amateur and the professional; the consumer and the producer; the institution and the individual. Accessibility of technology means that everyone can create and share their creation without any intermediaries – D-I-Y takes on a whole new meaning. However it is not just Do it Yourself – but it is also Do it With Others, or Do it Together. The subtitle of European Souvenirs, ‘Remixing media, crossing (shifting) borders’, also refers to these elements and intersections.

The increased opening-up of archives and collections to the public further enhances this potential – allowing people greater access to information and the ability to attribute their own meaning to it. Meaning becomes much more important that the information itself.

How do we make sense of it all though? How do we make our way through the masses of information and content? We do need increased media literacy – by the creators (the millions of them) and in the sifting and filtering ability of the audiences (millions more!). Given this caveat, it is our belief that the opportunities and benefits of open access far outstrip the challenges.

Remapping Europe is seeking a new generation of digital storytellers. Remix is both the conceptual starting point and the tool to remap Europe. The existing narrative of a single new image, photograph, recording, sound or story is ‘de-constructed’ from the individual perspective of the participant and a new imagery based on the original is then created. In his book, Remix: Making Art and Commerce Thrive in the Hybrid Economy, Lawrence Lessig (2008) ‘presents this as a desirable ideal and argues … that the health, progress, and wealth creation of a culture is fundamentally tied to this participatory remix process’.

As remix culture is becoming more acknowledged as an essential aspect of contemporary art and cultural practice, Remapping Europe – a Remix provides many opportunities to exchange, interact, to be involved and to ensure peer-to-peer learning. It goes far beyond the individual remix, the individual organisation, institution or community.

More about Remix Culture (video) (video)

This article contains texts from “Remapping Europe – a Remix: a case study in international and inter-institutional collaboration and networking” by Katherine Watson and Vivian Paulissen, to be published in “Migrating Heritage: Networks and Collaborations across European Museums, Libraries and Public Cultural Institutions” by Ashgate Publishing Ltd, Wey Court East, Union Road, Farnham, Surrey GU9 7PT, England.

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Remapping Europe: case study in international and inter-institutional collaboration.

Collaboration across Europe benefits from some key ingredients, which need to be at the root of our working processes. We must cross and indeed break-down borders on many physical and metaphysical levels. Collaboration enhances the ‘spaces in-between’, the intersections between, people, organisations and ideas. In our complicated (but very rich) 21st century, the intersections are not of two spheres converging, but of many – layered, interconnected – and made even more complex by the digital opportunities that envelop us.

The artists of European Souvenirs (left to right): Karol Rakowski (Poland), Bariş Gürsel (Turkey), Farah Rahman (Netherlands), Malaventura (Spain), Noriko Okaku (Japan / UK). Pic by Ricardo Barquín Molero.

The artists of European Souvenirs (left to right): Karol Rakowski (Poland), Bariş Gürsel (Turkey), Farah Rahman (Netherlands), Malaventura (Spain), Noriko Okaku (Japan / UK).

This paper considers a thought provoking project through several lenses, through several intersections. The two year experimental project Remapping Europe – a Remix was initiated by Doc Next Network, a network instigated by the Youth and Media Programme of the European Cultural Foundation. The project launched in De Balie, Amsterdam in October 2012 with a live cinema performance by five young multimedia artists from different corners of Europe called European Souvenirs. (more…)

Expanded Education – The English Edition

Somewhere between a fork and a spin-off, the notebook Expanded Education – The English Edition compiles a series of materials that revolve around the notion of expanded education and are related to the book that Doc Next Network hub partner ZEMOS98 published on the subject.

Click to download

Click to download

Education has always been one of the core themes of the ZEMOS98 project. Not just any old education, but the kind of education that is inseparably bound up with communication and that connects to and networks with other concepts such as audio-visuals, art and experimentation. Education as an element of on-going personal growth, that is not limited to one particular stage of life. Education as play, a way of unravelling the media theatre. Education as an open source operating system that turns us into critical citizens. Education as a game played by all individuals, from all eras. Education as a utopia for a culture-sharing society. When we talk about expanded education, we are not talking about a new concept or something that has just popped out of the blue. (more…)

Download report ‘Learning To See’.

How is the function of film/photography changing and their working methods?
How to use the visual tools in a conscious, critical and thoughtful manner? 
How to follow the technological change wisely for the sake of promoting social change? 
How to apply pictures in social and cultural projects?

Questions like the above made us organise a Visual Seminar – an opportunity to meet for persons working with pictures, practices of looking and the contemporary culture in the broad sense: practitioners (animators/educators, authors) and theoreticians (anthropologists, sociologists, researchers) operating within the field of visual culture. (more…)

Social Impact Through Web Documentaries – Case-Study

I love EthiopiaIn this week’s blog on the topic of interactive documentaries, guest editor Paulina Tervo looks at how web documentaries can be used to make social impact using her own web documentary as a case-study…

“In my third and final blog post in this series I will look at how web documentaries can be used to make social impact. Using my own web documentary project as a case-study, I am going to put forward some of the ideas that my team and I have developed on audience participation and the strategies for social change. I welcome your feedback on this via my Twitter account @PaulinaTervo.  (more…)


In 2009 the ZEMOS98 Festival (partner in Doc Next Network) investigated the alternatives for formal education and other ways of expressing knowledge. 

This process, in which activists, educators and people from the cultural and social innovation sector participated, took place in the context of the international workshop ‘Educación Expandida’ (Expanded Education). That results were collected and documented on, and have served as a starting point for a publication.


The book ‘Expanded Education’ –subtitle: education can happen anytime and anywhere- holds proposals for informal education, social activism and research in participatory processes. Expanded education is a concept that has been aknowledged by institutions and groups from various fields. To ZEMOS98, the greatest achievement isn’t the publication of the book itself, but continuation of the investigative process that began in 2009: ZEMOS98 wants to contribute to the development of expanded education by investing in anti-authoritarian and non-directional projects and methodologies.

Read more about the book here: (download in PDF available)

Going beyond education habits.

The Visual Seminar was organized 27-30 September 2012, within the Polska.doc program of  The Association of Creative Initiatives “ę”.

We met to work on the changing forms of educations and the sense of the use of visual tools; to reflect on the circulation of images in contemporary culture and the role of seeing as a way of bringing the marginalised subjects to the state of visibility.

One of the aims of the Visual Seminar was going beyond our habits related to the daily work of animators/educators/coordinators. We are often so deep in realising our activities that we cannot find time to ask questions outside of the grant application forms. We have decided to stop for a moment and to critically reflect on the work and methods that we use, the sense of which seems so obvious to us.
We invited 17 practitioners – people who educate, animate and coordinate projects with the use of photography, film, art and the Internet. The participants represented big institutions, small NGOs and freelancers. What brings them all together are the same tools and practices related to visual issues and the readiness to think about the concept and meaning of “visual education”.

We invited 16 guests – visual culture anthropologists, sociologists, new media researchers, education theoreticians, artists and curators. We spent 4 days on intensive important work full of challenges and questions. In the beautiful surrounding of the Oczyszczalnia we listened to demanding lectures, led lively discussions, criticised “good practices” during workshops, analysed images found online and YouTube videos, worked out conceptual experiments with the use of the camera and the Internet, summed up our experiences asking new questions and drawing unexpected conclusions.
Łukasz Zaremba and Magda Szcześniak, visual culture researchers working for their doctorates at the Warsaw University, opened the seminar with their workshop that presented seeing as an activity that seems transparent, yet there is nothing obvious in it; as an area of social conflict. Dr Iwona Kurz from the Film and Visual Culture Institute gave a lecture during which she presented issues related to researching visual culture. She focused on the consequences of the non-existence of this idea in the educational system. Ruben Diaz of the Spanish Organisation Zemos98 and the Seville University presented a speech about the ideas and practises related to the remix culture. The next day he presented his concept of “widened education” that can work anyplace and anytime breaking the system and the hierarchy of the school education. Edwin Bendyk of the Collegium Civitas presented scenarios of the future related to the development of the new media and technologies and their relationship with social and political change. Dominika Widłak-Mańka from the educational department of the British Film Institute described its goals and the operating model. She gave examples of specific activities and programmes aimed at diverse groups and societies. A sociologist team – Agata Nowotny, Michał Danielewicz and Agnieszka Strzemińska – moderated the ongoing process of generating knowledge. In the workshop blocks they initiated group work and discussions aimed at summarising and drawing conclusions as well as questions arising thanks to the different perspectives presented by the guests. They worked non-stop – there was no end to conversations during the brakes. We continued debates, exchanged stories about our experiences and working methods. Only sometimes did we find time to lie on the hammock, go for a short walk or lie at the pond.

Summarising the 4 days’ work opened a new stage – we divided subjects that we will work on with the collective publication in mind. In the cooperative work and the on-line consultations we will create texts, interviews, recordings and podcasts on the most interesting subject matters. We will analyse, among other topics, visual education as the tool for teaching critical thinking, the changing role and meaning of an “educator”, seeing as a bodily and space-related activity, the value of education as arousing doubt – not standardising knowledge, the notion of “effectiveness” of images in social projects, ethics and politics related to the valuation of aesthetics, the visuality of the public space and the role of photography in projects related to human rights and diversity. 2 months of intensive work await us. The publication will be out this winter!

We would like to thank all the guests for inspiration, knowledge and support. We thank the participants for their involvement and openness and we congratulate on your courage to reflect and on your persistence in work. We would also like to thank the National Centre for Culture, The Foundation for Visual Arts, Political Critique, the Archeology of Photography Foundation, the Center for Citizenship Education) for books and materials for the newly initiated “visual library”.

The Visual Seminar is part of the Polska.doc programme run by The Association of Creative Initiatives “ę” executed within the Doc Next Network with the financial support of the European Cultural Foundation.

The Visual Seminar is supported by the Polish Film Institute.

Doc Next Network develops method for involving immigrant media-makers.

Doc Next Network initiated a training course “Working with Immigrant Media-makers” in London, taking place on September 12, 13 and 14. The goal of this cross-sectorial training is to develop shared methodologies to involve young D-I-Y creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. The training is part of the ‘Remapping Europe – A Remix’ project.

‘Remapping Europe – a Remix’ is an investigative artistic project that aims to contribute to an inclusive cultural practice and public imagery in and of Europe by connecting young creative media-makers who have (im)migrant perspectives from Spain, Poland, Turkey, and the UK to wider European intergenerational audiences.

The project’s activities stem from one underlying principle: re-mixing of media as a method to re- view, re-investigate and re-consider prevailing imagery of (im)migrants in European societies and to ultimately, ‘re-map’ Europe visually, geographically and mentally.

The activities include transnational, cross-sectorial learning platforms, investigating the immigrant’s perspective in the public debate and imagery; creative remix ateliers in Spain, Poland, Turkey, and the UK, involving 48 young digital storytellers with (im)migrant backgrounds and perspectives; international showcases of their remix works at significant cultural festivals in each of these countries and in an on- line media collection; major remix-performance and installation in Amsterdam and Seville, with a wider participatory, digital component involving European citizens across the continent and a research publication and catalogue documenting the processes and outcomes of the project.

The Goal of this cross-sectorial training is to develop shared methodologies to involve young DIY creative media-makers with (im)migrant backgrounds in the creation of new remixed media works. Cultural experts of the partner organisations (The Doc Next Network ‘hubs’) will bring a community worker of a local immigrant organisation from their country to present and discuss practices on how to reach and include young immigrants in their creative media making ateliers.

What are the challenges and opportunities that can be used for a shared methodology to reach ‘hard-to- get’ target groups? The training is a stepping stone for the inclusion of young immigrants in the remix ateliers.

  • To develop a ‘target group’ to understand who it is we aim to work with;
  • To develop a recruitment methodology for finding participants;
  • To understand existing methods of practice when working with young (im)migrants;
  • To gain an understanding of the tools at our disposal for the Remix Ateliers;
  • To develop local and joint Remix Atelier methodologies;
  • To create a common language with mutual understandings and agreements;
  • To understand how we can avoid stereotyping and pre-assumptions that may hinder the project.

Keep posted about this project , the outcomes of the London training and more Remapping Europe: Like us on Facebook or become a member of our Linkedin group.

Seminar Media Education

Jak zmienia się funkcja filmu/fotografii i metody pracy tymi mediami?
Jak używać narzędzi wizualnych świadomie, krytycznie, refleksyjnie?
Jak mądrze podążać za zmianą technologiczną, aby wzmacniać zmianę społeczną?
Jak używać obrazów w projektach społeczno-kulturalnych?

Używasz w swojej pracy animacyjnej/edukacyjnej mediów wizualnych (filmu, kina, fotografii, internetu)? Masz wpływ na to, jak robią to inni? Chcesz podzielić się swoim praktycznym doświadczeniem wzmocnionym teoretyczną refleksją? Zapraszamy Cię do udziału w Seminarium Wizualnym.

Seminarium Wizualne to wyjątkowa okazja do spotkania osób, które pracują z obrazami, praktykami patrzenia i szeroko rozumianą współczesną kulturą. To okazja do spotkania praktyków (animatorów/edukatorów, twórców) z zaproszonymi teoretykami (antropologami i socjologami) zajmującymi się kulturą wizualną.

Spotkanie będzie nie tylko okazją do wymiany doświadczeń, refleksji i pytań, ale też pierwszym krokiem do wspólnego stworzenia wyjątkowej publikacji – „Wizjonerzy. Scenariusze przyszłości”. Koncepcja i zawartość tej publikacji on-line zostaną stworzone przez uczestników Seminarium.

Projekt ma charakter partnerski – zapraszamy osoby, które są gotowe do zaangażowania się we współtworzenie projektu od początku września do końca listopada.

Seminarium odbędzie się w terminie 27-30 września 2012 roku, w Oczyszczalni (Regowo, w okolicach Warszawy).

Praca on-line nad publikacją i przygotowanie tekstów potrwa do końca listopada 2012.


> udział w trzydniowym, intensywnym, kameralnym (ok. 15 osób) Seminarium (zapewniamy udział zaproszonych gości i moderatorów, nocleg, wyżywienie, przestrzeń do wspólnej pracy – prosimy o samodzielne pokrycie kosztów dojazdu),

> spotkanie z praktykami pracującymi w podobnym obszarze,

> spotkanie z teoretykami i ekspertami z Polski i zagranicy,

> możliwość współtworzenia nowatorskiej publikacji skierowanej do szerokiego grona odbiorców.


Agnieszka Pajączkowska

tel: +48 506 09 09 15

Seminarium Wizualne jest częścią programu Polska.doc realizowanego w ramach działań Doc Next Network dzięki wsparciu finansowemu Europejskiej Fundacji Kultury (ECF).

Seminarium Wizualne jest projektem współfinansowanym przez Polski Instytut Sztuki Filmowej.

Design your life with passion

Malgorzata Marczewska designed Art Coaching course for 14 animatours and trainers from Doc Next Network partner the Association of Creative Initiatives “ę” (Poland). As a network, Doc Next Network is developing a methodology for empowering young media-makers as they capture their own realities. This is a conversation with Małgorzata Marczewska. By Dorota Borodaj.

Coaching is…

A method of working with people and releasing or activating the maximum of their personal, professional or creative potential (needed for the execution of their goals).

In Poland it is probably confused with psychotherapy?

Most companies start defining coaching with explicit information about what coaching is not. It is not therapy, counselling or consulting, it is neither mentoring nor treatment. However its tools are known and used e.g. in therapy. Most therapists work with the present time and the past. Therapy is supposed to fix certain dysfunctions. It looks for their sources in the patient’s past. Coaching is always directed to the future. It serves for defining goals to be met in the future. A coach supports his/her client in unleashing potential that will help realise those goals. The difference can be seen in the language – not a patient, a client. This imposes partnership and causative relations with the coach.

You have been working in this profession for a dozen years. Yet I have the impression that it is only in the last several years that we hear more about coaching in Poland.

The idea of coaching was born in sport in the 70s, in the USA. It was gradually spread across other spheres of life. Business became a natural receiver very quickly. Later, coaching started to cover other professional, personal, and, finally, artistic cases. This tool reached Poland relatively late, that is when it has already been a common and natural technique of working with people in the United States. Students work with coaches practically in every art school in the States. There are more than 50 kinds of coaching registered in Great Britain. In Poland we still tend to address coaching as such.

What is art-coaching then?

Coaching intensifies diversity and pulls out the potential hidden in a given person. That is the reason for its use in fields that need variety the most, e.g. in the arts. Art-coaching is a phenomenon that does exist in Poland. Only we rarely call it that way. When I tell about coaching I often hear that my interlocutors use the same tools and methods in practice, but they define them differently. Many people working with artists do present an attitude that is key to coachwork – they treat them with respect and openness, they focus on releasing their creativity.

When it comes to artists, creators, this work is conducted on an exceptionally sensitive organism. On the one hand artist are assigned with certain hysteria, on the other – it is often forgotten that they work on their own emotions and, at the same time, function on a tough art market.

Art is always connected with internal, spiritual work, with experiencing. We can interpret this sensitivity as hysteria but it is just a specific way of experiencing life, nothing else. People very sensitive to beauty, emotions and events, feel an urge to stream these feelings through art. On the other hand – they are not taught how to protect this sensitivity, how to influence it without destroying it. This is topped with the fear of “selling oneself”, the fear that professionalisation can be somehow related to commercialisation of ones actions. Many creators declare their contempt for all things connected with marketing in one line with declaring their artistic freedom. Whereas selling can be understood as presenting oneself, presenting something that one considers valuable. I see this as a communication process between people, as presenting things that we want to share with others. The question is, do I want to learn to show it in a way that will be comprehendible to people, so that it would influence them. Next question: do I want to make a living of my creativity. Most artists strongly want to show their art, despite all doubts. This creates an inner conflict – I want the world to hear about me but I am afraid, I don’t want to conform, to be priced. So sometimes I would do nothing that could help others hear about me.

What is the basis of the coach-client relationship?

There are two key fields in coaching. The first one is the coach’s attitude. The coach has to be able to work with him/herself, his/her attitude, with a certain ability to manage his/her inner states. Putting it more clearly – the coach cannot impose his/her feelings and opinions on the clients. This requires strong emotional maturity and an inner balance. The coach does not evaluate or give advice. The coach cannot judge. His/her most basic task is something we call cautious presence. At the same time the coach has another field at hand – a multitude of techniques used for releasing one’s potential. Namely: questions, exercises and homework. All this is conducted in a certain period. Usually the minimum length of cooperation is 6 months. The coach and client meet once a month but the client’s work continues all the time in between the meetings. The first meeting is the time when a contract is accepted. The coach presents a schedule of the whole process. Then both sides have to agree that they want to work together. Though the preliminary rules may sound very soft, coaching is in fact a very accurate activity, defined in time. Its effects have to be measurable and verifiable in a way. The central meaning is again on the client’s side. It is the client, not the coach, who defines what should be done and when. In the future, these assumptions will let the client know that his/her goals have been completed.

What happens during the monthly meetings?

The aim of work is changing dreams into goals. The trick is to plan them in time and to set clear tasks. Their completion will let us know, that a goal had been met. Example: I am a young photographer, a beginner. I want to go professional. My dream is my own exhibition. I am changing this dream into a goal and I set milestones needed to achieve it. The role of the coach is to support this process, to help the client define and extract his/her inner resources, which will make the realisation of the goal possible.


The coach helps define what way of thinking limits the client and what can let him achieve his/her goals. The coach asks questions. The coach ignites the client’s whole knowledge about him/herself that enables him/her to do the best thing in the best possible way. The coach takes care of inner emotions, blockades but does not advise specific actions. He/she picks tasks and exercises with consideration of blockades and the potential of the client. The coach’s ethics is a key element. It has to always accompany all tools used in his/her work with the client. It is absolutely intolerable to make advantage of any knowledge or information received during the work with the client and so is judging the client and his/her decisions or choices.

Talking about coaching we have to approach the stereotype that assigns this type of work to affluent people.

Money is not a key question in coaching. A coach who keeps to the professional ethics in his/her work will approach each client individually – also in the matter of remuneration. Coaching is not reserved for rich businesspeople. It is a universal, open invitation to change. It is often said that a coach is the one to believe in his/her client more than the client does. The coach’s ambition, or better – task, is pulling knowledge that lies within the client out of his/her depths. This is the most important and the most motivating part of coachwork.


Małgorzata Marczewska is president of the Chamber of Coaching, representative of the International Couching Community Poland. She has conducted coaching, training and individual consultations for 15 years. She manages the training company ITEM, designs and conducts long-term development programmes and coaching, she creates learning organisations. She promotes coaching as a universal tool for supporting ones personal, family and professional plans. She specialises in Innovation Design and coaching of Effective Change Processes for institutions, companies and individuals. Together with Manuela Gretkowska she co-founded the Women’s Party as a learning organisation. She is of the co-founders of the Poland is a Woman foundation. She gives lectures at the Warsaw Film School, runs ArtCoaching and LifeDesign courses. She is the initiator and author of the LifeDesign platform that supports designing ones personal and professional life. She works as coach for businessmen, renowned artists and designers.

This article was originally published on Polska Doc.