Category Archives: D-I-Y media

Interview: Web Tools for Interactive Storytelling

In this week’s blog on the topic of interactive documentaries, guest editor Paulina Tervo decided to look into some of the web tools for documentary makers wishing to create interactive stories.

“As I argued in my previous post, one of the major challenges documentary makers face when creating interactive docs is that there are no sustainable business models yet. The idea that producing a project for the web is cheaper than a traditional documentary is a myth and in many cases it can in fact be the opposite. To make an engaging interactive documentary, you not only need a well crafted story but you also need to develop and design the user experience, and find a coder to put it all together. As the genre is still in its early days, it can be very difficult to find a coder who can understand the filmmaker and vice versa.

Now some companies are tapping into this specific need by offering filmmakers easy-to-use editing and publishing tools that allow them to create interactive and non-linear stories without much knowledge of code or design. What previously would have been a highly expensive and labour-intensive pursuit now gives media makers the freedom and opportunity to experiment without taking huge risks.

In order to understand these new tools and their functions better, I talked to Arnaud Dressen from Klynt (Interactive Producer / CEO at Honky Tonk Films) and Bjarke Myrthu (Founder/CEO) from Storyplanet.


I asked the same questions to both of them. I hope that their answers below will shed some light on what these tools are there for.

Q: What does your tool do and who is it aimed for?

AD:  Klynt is an editing and publishing tool that allows filmmakers to create non-linear and interactive stories easily and without the need to use a programmer. It was designed as an affordable and creative solution to explore new narrative formats on the internet. It is primarily aimed at journalists and filmmakers but is also being used by NGOs.


BM: Our online builder tool makes it easy for you to turn images, video and text into beautiful, engaging stories. You can use our free online toolbox to do everything from your next school project or family album to documentaries, timelines, presentations and more. Storyplanet is aimed for a wide audience, including photographers, journalists and filmmakers as well as educational users and NGOs. 3rd party developers can build on it and extend it. The software is currently in BETA.


Q: What kind of stories can you create using your tool?

AD: You can create stories with any subject, length or genre, ranging from investigations to analytical, observational, historical documentaries, games and mind-map stories. You can create any kind of story architecture.  With Klynt you can do something quite sophisticated and interactive with little knowledge of design or coding. It is not to say that it cancels the need for a graphic designer and a coder completely. In fact a designer and a coder can help you create more original stories using Klynt. Most of our users create stories using their own content.

BM: Storyplanet has broad storytelling possibilities ranging from e-books, interactive timelines, linear movies with links within it, page-like stories where you decide your own user journey, stories with hyperlinked overlays on the image etc. We are trying to cater for all these different scenarios. We are currently talking to the guys at Mozilla to find out a way to integrate our tool with Popcorn maker.


Q: Will you offer templates?

AD: No, with Klynt we decided not to develop templates as our users were not keen on the idea.

BM: Yes we are developing templates at the moment, we call them ‘themes’. There is a debate on whether templates are necessary and there are two camps. We are developing them so that we can cater for a wider user base.

Q: Can you give me some examples of projects that have been created using your tool?

AD: Our production arm, Honky Tonk Films, uses the tool for all its productions. This allows us to push the boundaries of the application, and helps us define the features for future versions. Examples of the productions made with Klynt are  “Journey to the End of Coal” and “Manila Moneyla“.

BM: Witness used Storyplanet to create a timeline of 20 years of their work (which can be seen here), and Al Jazeera used it to create a story on 18 days of revolution in Egypt (which can be seen here).


Q:  What is your revenue model?

AD: Our revenue comes from 3 main sources, 1/3 from license fees, 1/3 from associated production services and 1/3 from training and consulting. We offer two types of licenses to Klynt, 150 euro for the light version and 500 euro for the pro version.

BM: Storyplanet will be a free tool but premium features will be charged for. These may include extra storage, analytics, own URL etc. We are also building a market place for templates (similar to the app store) in order to boost revenue.

Q: Can you guarantee a sustainable environment for filmmakers? What happens to the content in 5 years time?

AD: This is a growing concern for us all. In order to tackle it we are moving closer to more standard technologies and open source policies to give our users more control and ownership.

BM: We are developing a way for users to download their data in order to store it on their own server. Since we are still in BETA stage this feature is not functional yet but we can do it for users manually for now.

Q: Do you offer any business models for filmmakers using your platform / software?

AD: This is not our primary purpose. Every project we have done so far has been released for free. In the future we may integrate crowd-sourcing or micro financing options.

BM: Yes. We are planning to have a market place for filmmakers and photographers, so that through our platform you could become a pro-producer and charge for the use of your content. We are also hoping to function as a publishing network, and establishing partnerships with big media outlets who could search and buy content from makers on our platform.

To compare and contrast these two tools, here are the features of each tool in a nutshell:

Edit Rich Narratives
* Mixed Media Editing
Texts, images, audios, videos and hyperlinks
* Customizable layout & design template
Create your own look and feel
* Visual Storyboard
Edit your storyboard like a mind map
Connect Your Story to the Web
* Mash-up Ready
Mix YouTube, Dailymotion, Vimeo videos and Flickr images
* Facebook & Twitter Friendly
Share your favorite sequences on social networks
* Custom Maps
Geolocalize your content
Publish Anywhere
* Quick Publishing
Automatically export your final edit
* Embedable Anywhere
Show your program on any webpage
* Tablet and Mobile Device Compatible
HTML5 player (coming February 2013)

To try Klynt for free sign up on here.

* Flash based – HTML version coming
* Free – planning to make money from premium templates, extra storage and statistics
* Cloud based: No need to download or install software
* Works on Mac, PC and Linux and in all major browsers
* Embed the final story on any kind of website or blog
* Build any kind of story structure by placing tiles in a grid
* Create any kind of layout with video, photos and text
* Add navigation using buttons and hotspots
* Navigate stories going left, right, up and down
* Coming: Embed content from Youtube, Vimeo, Instagram, Flickr, Dropbox etc
* Coming: Collaborate and share media
* Coming: Extend buy building your own plugins and themes

To try Storyplanet please sign up for BETA testing here.

There are many other brilliant and useful web tools for documentary makers, which I did not have the time to delve into. But here is a list of some other tools that you may also want to explore:

Popcorn maker

By Paulina Tervo for Doc Next Network

Insights Into the “Interactive Documentary” Realm: An Introduction

I’m Paulina Tervo. I have been invited to write for the blog in the next few weeks around the topic of Interactive Documentary. Firstly, I would like to introduce myself and tell you a bit about my background. I work as a documentary filmmaker and interactive producer at Write This Down Productions. I was based in London until recently but in April 2012 I relocated to Istanbul with my husband and business partner Serdar Ferit (who I co-own Write This Down with). Not long after we arrived, we met Gokce Su Yogurtcuoglu, and got acquainted with MODE Istanbul and with Doc Next Network. Fast-forward 8 months and we are sharing an office and planning many interesting collaborations together. Su asked me to contribute to this blog, knowing that I am very passionate about this subject matter.

I was introduced to interactive documentaries in 2009 while I was a participant on EsoDoc. The idea of combining the power of the internet with documentary storytelling really excited me. I have always been more of a short documentary maker and I find that short stories can be very powerful. I wanted to experiment and see if I could take storytelling a step further and engage the audience in contributing to the story, giving them tools to make their own decisions about how they experience the story as well as build in ways in which they can get involved in making change.

As a result, in 2010 I started to develop a film idea into an interactive documentary (The Awra Amba Experience). Through this project, I have been exposed to a new world and learned a lot of things about gaming, web design, coding, interactivity and social media. Starting an interactive documentary project has been nothing less of enriching both professionally and personally. But more about my project later!

In this post, I want to briefly introduce interactive docs, including what’s currently going, and what some of the challenges are. Next week I will review a few of the web tools that are being developed for filmmakers wishing to make interactive documentaries. In my third and final post, I will go into the project I mention above in more detail.

In preparation for this post, I have been talking to my colleague Matthieu Lietart, from Not So Crazy! Productions in Belgium, whose book ‘Web Docs – A survival guide for online filmmakers’ is essential for anyone wishing to navigate their way around the web doc jungle. Matthieu says: “What is fascinating is that our audience can interact with our content and with one another creating communities or even social movements. The tools are there, so let’s see what we can produce to make social change happen!”

I highly recommend the book both as an entry point for beginners as well as a important reference tool to more seasoned media makers.

The genre of interactive documentary is very young. The first mention of it was in 2002 in France. It has since taken off particularly in France, where public institutions, such as the CNC award grants to interactive documentaries and where broadcasters and publishers including Arte, France 24 and commission web documentaries.

Canada is another country where many innovative projects take flight. The National Film Board of Canada stands out as an early innovator in the genre, with projects such as Highrise, Waterlife and Bear 71 to their name.

In the UK, some broadcasters like Channel 4 and the BBC have been experimenting with interactive programming for a while, whilst organisations such as Power to the Pixel and Crossover have led the revolution on training and project development. Sheffield Doc Fest and the Pixel Market offer some of the best international pitching opportunities for interactive projects, attracting some of the biggest names in the industry. On the academic side, iDocs has been forging links between academia and practitioners, with their annual symposium in Bristol.

Over in America, technological innovation has emerged through organisations such as the Mozilla Foundation, who have for instance developed an open source web tool ‘Popcorn maker’, which I will review in my next post. On the funding front, Tribeca Film Institute is currently one of the only financiers of international interactive documentary productions (where no broadcast film is needed alongside the web component) through their annual New Media Fund.

On the festival circuit IDFA Doc Lab has been the pioneer of showcasing interactive documentaries ever since 2007. Next year, Tribeca Storyscapes begins a new transmedia program to showcase work that explores new forms of storytelling, highlighting innovation across a variety of platforms.

Workshops, labs and hackathons where filmmakers meet coders, web designers, game designers, app designers etc. are getting increasingly popular around the world. Labs and hackathons are great not only for networking but in fostering a culture of creative collaboration. If you are interested in this, I advise you to check out for example what POV and the Mozilla Foundation are doing: POV Hackathon and Living Docs.

There are many fantastic interactive projects out there and not enough space to mention them all. But here is a small selection of my favourites:

Out My Window by director Kat Cizek, NFB

The Johnny Cash Project by Chris Milk

At Home by the NFB

Gaza Sderot by Upian

We Feel Fine by Jonathan Harris and Sep Kamvar

It is an exciting time to be a media maker. We have access to data and stories like never before. Yet, all of this presents a challenge for us. Suddenly, we are expected to take on a host of new roles. You can no longer just be a director but you have to constantly develop yourself to move with the times. You may also have to become a story architect, a web producer, and a community manager – all of these require a whole set of new skills.

Matthieu talks about another challenge filmmakers face:

“One of the biggest problems for many filmmakers is that there is no clear business model in the webdoc industry. Large experiments have so far only been possible thanks to help from film funds like the CNC in France or NFB in Canada, or broadcasters like Arte, France5 and VPRO. Yet, there are also many smaller webdocs that have been created using very innovative financial strategies. Today’s webdockers have to be open-minded and look for new partners and create new funding strategies. But remember that others made it and there are lessons to be learned from that…”

Some people say that web docs are a passing phase. Whatever the future may be, it is clear that the documentary genre is being reinvented. The internet offers us a chance to take the documentary out of its box and gives us new tools to tell stories. I think it’s time to put our egos aside, and put the user first. It’s time to open our minds to new kinds of collaboration across industries, and across continents. The revolution has started and there is no stopping it.

What to pay attention to when developing projects

1. Cross-over! Talk to and learn from people in other industries. It is important to forge partnerships and build a good team of experts in their respective fields.

2. Story is always the most important, technology should come second.

3. Use what the web has to offer and then you can create a truly interactive project – also think outside the box on how to engage the audience in offline events.

4. Find partnerships for distribution – link your story with existing stories, build relationships with online publishers and brands to get your story out there to a wide audience.

5. Small is beautiful – vast complex projects just confuse the audience. Sometimes it is the simplest projects that are most effective.

6. Put the user first – always think from a user’s perspective; how is their experience and what will they do when they first come to your site? Create different entry points to your story.

7. You will need to be multi-skilled and a great manager – you need to stay on top of the entire project all the time (this is not an easy task!)

8. Have fun! Experiment, try new things, don’t be afraid. Nobody has a formula as to what interactive documentaries are – be part of inventing it!


New Doc Next Theme: Interactive Storytelling.

Introducing a new Doc Next Network featured Theme for December and January: INTERACTIVE STORYTELLING.

At a time when interactivity is redefining the documentary landscape, Doc Next Network, as a movement committed to reimagining the notion of “documentary”, tackles the link between digital interactive technologies and documentary making by zooming in on interactive storytelling practices.

Promoting documentary as tool for communication as well as documentation, and forming a link between traditional media and the constantly developing world of free culture, Doc Next Network investigates interactive storytelling as a new model of exchange between young creators, providing them an alternative space to be inter-active, inter-participatory, and inter-dependent. 

Essentially, the interactive multimedia capability of the Internet provides documentarians with a unique medium to create non-linear and multi-linear forms of narrative that combine photography, text, audio, video, animation and infographics. Beyond that, with the development of new authoring tools, with HTML5 and open video possibilities, media makers are getting enabled to create a wider range of experiences and personal ways for the networked audience to tap into the narrative sphere of a documentary, giving them an active role in the negotiation of ‘reality’.

With the Do-it-with-Others (DiwO) approach deeply ingrained in our network, we believe these practices help the new generation of media makers create meaningful, socially engaged stories in a participatory framework by introducing new ways of interaction, conversation and sharing of ideas between and among their different communities, allowing them to compare the realities of different worlds and ultimately to present in novice ways alternative perspectives on contemporary Europe and beyond.

Social justice through free culture and expanded (media) education.” This is what we seek to promote and accomplish through our work as Doc Next Network. We welcome, investigate and help construct new approaches, methods and tools of storytelling to do just that.

The theme of Interactive Storytelling will run until mid January 2013.

Interview Doc Next maker Hande Zerkin


Documentary director and street photographer Hande Zerkin from Izmir, Turkey, participated the International Documentary Festival of Amsterdam (IDFA) 2012 as one of the invited media makers of Doc Next Network. Hande is one of the directors of the short documentary Just Brewed It, We’re Waiting for It to Settle (Demledik, Çökmesini Bekliyoruz), screened as part of the Doc Next Mini Cinema program during IDFA 2012.  The documentary was completed during the Youth MODE Creative Documentary Workshop ‘Local Heroes of Izmir’, organized by Doc Next partner MODE Istanbul in February 2012. Hande also took part in the North Aegean Narratives project, produced by Istanbul Digital Culture and Arts Foundation and facilitated by MODE Istanbul, and completed as a part of the project the short documentary I Missed the Bus. 

MODE Istanbul team interviewed Hande Zerkin during IDFA 2012. To read the interview in Turkish please click here.



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)

Call for Dutch Do-It-Yourself film-makers.

Doc Next @ IDFA: Open Screen for Dutch Do-It-Yourself film-makers.

Are you a young Dutch film-maker? Have your your best work screened in the Doc Next Mini CInema, at the International Documentary Film Festival (IDFA) 2012!

Doc Next Network calls for short video documentaries, made by young (< 30 years old) Dutch film-makers, within the theme LOCAL HEROES. Share your work in this group to enter our Dutch Open Screen.
A selection is made by a professional jury and will be screened at IDFA 2012 (15 – 25 November), in the Doc Next Mini Cinema situated in the heart of the festival at the Rembrandtplein, Amsterdam.

This years theme is LOCAL HEROES. We are looking for self-made videos, documentaries and reports about people & symbols that inspire and provoke you.

Doc Next @ IDFA is about an alternative perspective on Europe, do-it-yourself and free culture. The Dutch Open Screen is open to any young film-maker (younger than 30 years old, no need to be officially educated) living in The Netherlands. Upload your film in this group. Add your name, age and a short description. Deadline: 1 November 2012.

-Selections for the MinI Cinema will be made by a jury with members of IDFA, Doc Next Network, Metropolis TV and Holland Doc;
-The selection will be announced on 15 November 2012;
-Films that are NOT in English or Dutch should be subtitled;
-Entries remain property of the maker but can be used in any means of communication by the European Cultural Fondation, Doc Next Network hub partners, Metropolis TV and Holland Doc;
-The Dutch Open Screen @ IDFA is a one-off event. The organizers do not commit themselves to follow-up activities;
-By entering the Dutch Open Screen makers make themselves aware of Doc Next Network and its goals (;
-Entering the Dutch Open Screen is free of charge. When selected for screening, there is no (financial) compensation;
-The exact date and time of the screenings will be communicated on

We have 2 IDFAcademy accreditations for Dutch DIY documentary makers who enter their work in Dutch Open Screen. From 15 until 18 November 2012, the IDFAcademy offers an intensive four-day training program for emerging filmmakers, producers, and film students. Full programme online here.




Get inspired at!






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.

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.

All creative works are derivative

European Souvenirs, a project by Doc Next Network, wants to re-conquer European imaginary. Remix techniques help us not only to understand the past, but also a way of re-writing our past.

Doc Next Network is working on European Souvenirs an independent, process-oriented, investigative, collaborative, innovative and high quality multi-media project that will shake up our minds and our prevailing imagery of the places we live in. The project is commissioned by the European Cultural Foundation in its quest for new European inspiring narratives, and designed by ZEMOS98 (Spain).

[FMP width=”640″ height=”360″][/FMP]



VJs, or any artist who takes on the precepts of contemporariety as proposed by Marcel Duchamp and his ready-mades, uses the material at hand as a source of inspiration. The copying, manipulation and representation of the real includes images from films, DVDs, video clips and video games.

In an interview by ZEMOS98 about his remix of D.W. Griffith’s The Birth of a Nation, the musician and philosopher Paul D. Miller a.k.a. DJ Spooky said: “the profile of the DJ is already established in our minds, which is why the art of the 20th Century has become the inspiration for the art of the 21st century”.


Augustine of Hippo identifies three times:

“(…) a present of things past, a present of things present, and a present of things future. (…) The present of things past is memory, the present of things present is sight, and the present of things future is expectation”.


The greatest video remixer of history of  video art is precisely the father of  video art, its most famous pioneer: Nam June Paik. On the 1st of January 1984, artists from all over the world were invited to participate in a global satellite project called Good Morning Mr. Orwell as a tribute to George Orwell.

Paik’s main concern was to create an international product made up of a mix of synthesized images that he would remix together in real time. This work was the first television zapping experience involving Eastern and Western images, because Paik structured the tape as a collage of images. Paik’s collages –said Jean Paul Fargier – tend to infinity.

“Culture is an endless palimpsest”, according to Roland Barthes: no tradition, no memory, no myth is ultimate: the process of communication is endless indeed. “All creative works are derivative”, Nina Paley explains.

Our media landscape (Antoni Muntadas) is full of texts, audios, videos and pictures: a constant loop that puts together and build a common imaginary, that is, a cultural, symbolic and token dimension of norms, traditions, rituals, values, institutions, laws and symbols that a society has in common, respect and works as a frame for the ways of living together.

European Souvenirs departs from the convention of the traditional audiovisual memoire: the (media) archive. This process-oriented media project researches and translates a combination of media archives from different european institutions to show on the stage the connections between European media landscape and its social imaginaries, dealing with the representation of european identity, experience and tradition.

Inspired by avant-garde art movement philosophy, by its experimental techniques like the collage, influenced by expanded, abstract and live cinema and radically linked to the paradigm of remix culture, European Souvenirs retrieves media documents to implement, reconcile and capture the imagination of Europe.


Remix as a new cultural paradigm: memory, fiction, utopia and archive. Archives become treasures to be discovered, overwhelmed by the information age. European Souvenirs is a unique archive and source of media documents that tell other or important stories (not visible for the mainstream media): it can bring those stories to another stage, remixed in a highly qualitative live cinema performance that will tour in different countries. In a constant process of interaction, found images from the past produce new ideas:

“You don’t have to look for new images that have never been seen, but you have to work on existing images in a way that makes them new. There are various paths. Mine is to look for the buried sense, and to clear away the rubble lying on top of the images.” (Harun Farocki).

Chroma key (a photographic compositing technique based on the separation of colors in the original images)

Remix culture is much more than an artistic antecedent based on the idea of surrealist collage. Remix culture is much more than an audio sampling technique inspired by the origins of phonography and highlighted by Djs since the 80s. Remix is deeply embedded in our culture and influences the intersection of education, communication, culture and politics. European Souvenirs artists will tend to become invisible as the creators of the work.

Once the show begins, the home-videos and other found material from the archives will be suddenly charged with meaning not intended by the original producers. Techniques like sampling, dub, assemblage, collage, remix, chroma key or scratch are applicable to this particular project because of the availability of this ready-made material from the archives we work with.

Fade in (audio or video effect used to begin a sample in total silence or darkness and gradually increase the audio signal or lighten a shot to full brightness)

It makes sense for the European Souvenirs project to become archaeologists of image and sound in order to keep up with our age and to transform old footage in new and meaningful media. The souvenir as «a memento, keepsake or token of remembrance» is the core of the project. Apparently disconnected, a chaos of souvenirs is re-organized through remix techniques to capture completely new and updated visions and ways of imaging the society we live in.

Wipe (one shot replaces another following a 2-dimension pattern)

European Souvenirs champions the idea of a multi-layer reality woven of diverse identities, experiences and traditions. European Souvenirs represents that complex idea by a multimedia, collaborative, work-in-progress project which is characterised by the use of found footage and multi-layered rhythms. Remix techniques help us not only to understand the past, but also a way of re-writing our past.

Scratch (a video editing technique as a variation of moving a vinyl record back and forth on a turntable)

“We need history, but not the way a spoiled loafer in the garden of knowledge needs it.” (Nietzsche, Of the Use and Abuse of History). “New techniques for our past and history, which are themselves our future.” (Walter Benjamin). European Souvenirs wants to re-conquer the destiny of present-day European imagination of itself.

Copy & Paste

“Our markets, our democracy, our science, our traditions of free speech, and our art all depend more heavily on a Public Domain of freely available material than they do on the informational material that is covered by property rights. The Public Domain is not some gummy residue left behind when all the good stuff has been covered by property law. The Public Domain is the place we quarry the building blocks of our culture. It is, in fact, the majority of our culture.” (James Boyle, The Public Domain).

European Souvenirs is a live cinema performance that will be staged for the first time at Imagining Europe on Saturday, 6 October 2012 at the renowned cultural space De Balie in Amsterdam, and will tour afterwards in different countries across Europe and beyond.
The artists work with audiovisual material from leading European institutions that have opened up their archives for this project: Eye Film Institute (Amsterdam), Institute for Sound and Image (Amsterdam), OVNI Archives (Barcelona) and Filmoteca de Andalucía (Córdoba), Digital National Archive (Warsaw), SALT (Istanbul) and the British Film Institute (London).

Curated by Spanish artists and remix experts of ZEMOS98, European Souvenirs will be created by an artistic ensemble of five European media-makers that were born during the decades of the 1980’s and later in Spain, Poland, UK, Turkey and the Netherlands. They have different profiles complementing each other as media artists, performers, 3D animators, documentarians, musicians, DJs and VJs.

The audience will enjoy an audiovisual journey through the re-interpretation of home and institutional archives. This performance aims to capture the views of a new generation of media-makers to address key concerns and issues of the Europe we live in for a broad audience in Europe and beyond.

European Souvenirs has its own website with updates about the project, portraits of the artists and more. You can also stay up to date by becoming our friend: Like our Doc Next Network Page on Facebook!

Poland.doc Inspirations available in English

Inspirations is a series of articles, interviews and videos written with young creators and culture animateurs in mind.

The series opens with a documentary series How to make a film, created by Polish documentary maker Piotr Stasik for the public television channel Kultura. Texts range from general reflections on being creative (To be creative by cultural animateur at the Center for Contemporary Art in Warsaw, Maria Parczewska) to practical advice (Photography in work with children by Association “ę”’s own Agnieszka Pajączkowska).

With something to liven up the minds of every one interested in film, photography or more broadly creative work, Inspirations invite the reader to challenge themselves – to be inspired.

Full list of articles and videos is available at the Poland.doc website.

All episodes of How to make a film also available on the Association “ę” Vimeo channel.