Thesis : Performing Creative Collaborations [AAIS 2012/13]

THESIS

PERFORMING CREATIVE COLLABORATIONS

AAIS 2012 / 13 YEONG SUE JAN

* notes Readers should not feel the need to read the thesis in a chronological order as almost every issue address is interconnected some way or another. The reader is encouraged to find his or her own relation between the addressed issues – even ones that are not mentioned and written here. However, it is important to remember that because everything is interlinked, it will be helpful to read some of the other chapters as a basis to understand a particular passage of writing.

French Film Director, Robert Bresson, once said: “To create is not to deform or invent persons and things.

It is to tie new relationships between persons and things which are, and as they are. �

(Bresson, R. 1997)

ABSTRACT This thesis is the culmination of thoughts, experiences, arguments, ideas, inspirations and realizations triggered throughout the span of the past 11 months spent in the AA Interprofessionals for Spatial and Performance Design. It will present the research and development in which the author has observed and experienced first hand in the area of inter-exchange, networks and creative collaborations.

The thesis is written in respect to experiencing, analysing and understanding the processes in which drives creative collaborations. Also, it is a research and development of methods, models and tools that might stimulate and improve further creative collaborations like these.

At the very beginning, the struggles and challenges in which are faced during the process of creative collaboration are highlighted. These challenges are based on both the combination of personal experiences within the author’s participation as well as external sources of case studies analysed. As it progresses, three conceptual models are then proposed and used as a background for further analysis, elaboration and solutions.

The first concept proposes that the creative process of inter-exchange moves through various levels of abstraction – undergoing a filtering process. The second concept, suggests a dialectic manner that allows the creative process to be based at the center, between opposing states. Finally, the third concept proposes the idea of an ongoing cyclical inter-exchange of which the creative process is continuously evolving and re-adapting.

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It is important for the reader to note that it is NOT the point of the thesis to prove that one is better than the other. All three may functions as a guide for creative collaborations. Rather, with an awareness of these models, one can identify and appropriate the use of them to progress development according to the situation. The latter part of the thesis will then address the appropriation of these models in two context :

a) In a context of a network group as a whole b) In a context of an individual positioned in a network group

The empirical material collected through this study stems from the experience of the author being part of the AAIS framework for the year 2012/13. As the AAIS was also involved in a significantly bigger alliance of international networks (namely the Matadero Cultural Center and Lisbon Architecture Triennale), the experience gained allows for greater depth into the overall analysis of creative collaborations.

This framework will be referred to in the chronological order of time, based on three events in which the studio designed. However, the ideas supporting the thesis should not be bound to a linear method of understanding. It is in hope that the reader, at the end of the thesis will be able to draw many new relations between the existing ideas and thoughts of creative collaboration and perhaps, never look at the subject of network the same way they did before.

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INTRODUCTION One cannot doubt the influence in which collaborations has had on our creative practices in this day and time. From the minute conversations we each have on a daily basis to the vastness of information, experiences and knowledge shared across the globe, it is safe to say that inter-exchanges play a big part in our lives, consciously or unconsciously.

OBJECT OF FOCUS This thesis is written with the purpose of creating awareness towards the depth of understanding that lies in collaborative efforts. Hence, the focus of study will be on the process/practice behind creative collaboration. More specifically, a creative collaboration whereby the team itself is inter-disciplinary and consist of members that come from a diverse range of backgrounds, in terms of professions, culture, geographical locations, values and many more. Other than the team itself being inter-disciplinary, there are also external players at play that come from a wide range of background. Some from business and commercial aspects, while others from a more cultural and pedagogical prospective. As the focus is on the practice itself, and the process of it, the chapter ahead hopes to bring the reader into a better understanding of a) The general struggles in which is faced during the process ( as a group or individual) b) Identifying key themes or concepts that might occur during collaborations c) Further elaboration of these concepts – how to appropriate them in the creative collaboration process

The issues discussed in this thesis are not new matters; rather they are existing issues that are now linked with one another to form new relationships. Therefore, it is the hope of the author that, as the reader dives deeper into this writing; they will find themselves beginning to link and form new relationships of the different aspects of networking. This is ultimately, the act of networking, an active verb of relating.

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HOW TO APPROACH THIS OBJECT OF FOCUS? There is no doubt that there are many groups in this world that fit the model of a creative collaboration description. However, the research and analysis of this thesis will be based mainly on a unique real life situation of a creative collaboration – the AA Interprofessional Studio, experienced firsthand by the author. Describe as a post-professional course leading to a PostGraduate Diploma in Spatial Performance and Design, the AAIS functions as a creative office, ‘exploring alternative ways of collaboration with multiple creative professions through the research, conception, design and implementation of a series of genre-defying spatial performances and constructions.’

(AA Interprofessional Studio, 2007)

By being probably the only educational course in this world of this kind, the AAIS has enjoyed the freedom of testing boundaries for what might make up a highly complex creative collaboration. However, along with that freedom comes as well the issue of not having any structures or systems to follow in which might help guide the course and team along the way.

As the aim of the thesis is to analyse the collaboration process, this might produce possible guidelines for future collaborative purpose.

There is no better way to analyse it than through a real life example and by being part of the experience. Hence, the intentions is that the thesis should end up with possible methods, solutions, guidelines and tools that could help improve creative collaborations in such a multidisciplinary setting , particularly in the future years of the AAIS. The motive of this thesis also stems from a personal belief in wanting to create after effects – passing on previous experiences and guidelines in the hopes that they will be of use to the next group of AAIS. The reason for this being said is that personally, as a someone who went through the course of the AAIS in 2012/13, it was realized much later on how much it would benefit the students if they could have receive understanding and perspective from alumni students in order to initiate the start of the networking collaboration. However with that being said, it is also wise to note that, as each year carries varying factors of students, locations, events and situations, perhaps not one structure is meant to fit all.

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“What is the difference between an obstacle and an opportunity?

Our attitude toward it. Every opportunity has a difficulty, and every difficulty has an opportunity.” ―J. Sidlow Baxter

“If there is no struggle, there is no progress.”

- Frederick Douglass

EXISTING SITUATIONS AND STRUGGLES

Perhaps one of the main motivations which drove this thesis was and still is are the many struggles in which was faced during the collaborative process. In retrospect, some of these struggles have found the means to in overcoming them, others, however are still in the process of getting there. Whether or not the solutions have been discovered, the identification of any problems towards staging a creative collaboration is already a first step. One cannot treat a cure a symptom unless one can first identify the cause of the symptom.

What is laid out in the next pages or so will highlight various struggles in which a one might face when approaching a creative partnership within an inter-disciplinary setting. The solutions to some of these struggles will later on be address in the coming chapters.

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WE ALL HAVE A DIFFERENT CREATIVE LANGUAGES

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One of the first and easily recognizable challenges of any collaborative effort is the differences in which we all carry with us. Be it in language, understanding, perspective, value, culture and so forth. In the context of a creative collaboration, this challenge refers to the ‘language’ of our profession in which we communicate our ideas to one another. It is the field in which each individual is considered to have an expertise in. A musician in a sound industry, a chef in the culinary world or a teacher in education. Each of these profession communicate their ideas in line with their expertise of their field.

One example of a challenge in different creative language is the meaning and its representation behind the word. For a photographer, light may mean the important in getting a great shot, where else in the world of a chef, light might possibly imply the texture or characteristics of an ingredient. Our varying backgrounds generate different connotations for words in which we try to communicate to one another. In this light, it is clear why this is an apparent struggle in any creative collaboration as it seems to prolong the process of communication and might be frustrating for team members having to give an explanation for every idea or thought behind it.

DEVELOPING TRUST TAKES TIME

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As a creative team, the ‘space’ in which we work might seems at first rather ambiguous. All newly formed networks go through this initial stage of integration. Meetings feel strained, communications are awkward; everyone feels the tension of not knowing how to dance around each other without stepping on their toes. It takes time to understand one another’s style of working, role, habits and values. This challenge poses a big barrier for many when wanting to commit to a creative collaboration especially in a situation whereby the time frame does not allow for it to gradually grow at a comfortable pace. Also a big notion of this struggle stems from the fact that we as humans tend to be self reliant. Therefore, putting trust in a team member’s reliability is a daunting aspect that might tend to scare of many before they even dip their legs into the waters of creative collaboration.

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DEALING WITH MULTIPLE DESIGN DIRECTIONS IN A TEAM

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For many who have been part of the collaborative process, they can vouch for the fact that it is surely difficult to make decisions as a whole team, especially when it comes to conceptual ideas, creative direction and vision. Perhaps this is because the ideas at this stage are still on an abstract level and has not been defined enough yet. No one can doubt that the conceptualizing process is a crucial stage for any development.

Hence, how does one deal with not just two but four or five “design directors” in a project? One of the team members of the AAIS frankly put it,

“ I have never worked on any project where there were six designers. It is just crazy.”

This was experience in the early stages of the AAIS, at the start of January in which, 6 students with research and developments in mind needed to come together and piece them in one cohesive thought process. Not just a shallow link between every idea but a distillation of everyone’s work and the common ground that ties it all together.

As an observation, some of the students brought up the issue of them realizing that the previous AAIS’ works seemed more like individual projects rather than a whole event. However when being put in the same situation, the current students realized the magnitude and difficulty of this task.

The team required hours upon hours of sitting together in a room, throwing out ideas, hashing out opinions and perspective, sometimes with an unavoidable disagreement in between. It probably is and will always be the hardest aspect in the process of any given creative collaboration.

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SHAPING POSSIBILITIES

Although one might say there is great benefit to be working within a multi-disciplinary team, it should be noted that the struggle that arises from here wouldn’t be to come up with a great idea, design, concept etc.

The challenge is to be able to analyse the best ways in which synergy could take place with many great options to choose from to get the best of the best. This is where endless possibilities often cripple the creative process. It is more of a challenge to make choices when there lays before you an infinite amount of routes as opposed to when there is only one choice for you to go walk by. This struggle was clearly seen in various situations throughout the course of AAIS. [ for further elaborations on a similar situation faced in the AAIS course, please read excerpt attached ]

HOW DO WE ENSURE CONSTANT PROGRESS?

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This struggle might not apply to all the creative collaborations as it did much more in the context of the AAIS course. However, one should also realize the need for constant adaptation in any creative process. In every collaboration, there is never a stage in which one can finally say, “ It’s perfect.” as we all know that perfect isn’t what we are looking for.

The challenge behind adaptation is closely linked with the struggle with many design directions. This is because at every level of adaptation and re-contextualization, the process of conceptualizing and the hardest task has to take place once again. Every team member is required to return to the drawing room, spend possibly even more time that they did in the previous round to brainstorm and readapt. This was clearly seen three times throughout the course of the AAIS, as the structure of the course required an adaptation of ideas towards the location and context of the events organized, namely London, Madrid and Lisbon.

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CONCLUSION As the different struggles have been laid out, the next chapter will address three key conceptual theme. These themes, if appropriated wisely, could be the means to overcome these challenges. As the struggles not only apply to an individual’s situation but to a system within an existing network, the following concepts will address them at two different scales :

a) In a context of a group/network as a whole b) In a context of an individual in a network

PERFECT ISBO RING There will never be an end but a continous cycle of evolvmentat every level, the design holds a quality of completelness,yet not final

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AAIS JOURNEY OF WATER The journey of water starts from a source, at the river flowing into a confluence of many rivers, congregating at the ocean and finally to the atmosphere and returning through rain as the source once again.

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CONCEPT & NOTIONS The stage for interexchange performs its creativity is a complex field that integrates various influences such as culture, history, attitude, values, role, personal perception and so forth. It would be wise to believe that these influences are important and should not be isolated when looking into the process of creative collaboration and networking.

Moving away from the challenges, we now turn our focus on three key conceptual models to be shared, discussed and analysed further on in the chapter. They are, [1] Filtration, [2] Dialectic and [3] Cyclical. These developing concepts were published by Erik Lerdahl, who wrote about “STAGING FORCREATIVE COLLABORATION IN DESIGN TEAMS�.

In his writing he used the conceptual models as a basis to develop new methods and tools that could stimulate better collaborations.

During the course of researching and understanding these models of creative collaborative process, it was interesting to discover how they were so easily relatable to the conceptual themes that the AAIS students have been designing and appropriating their work on. It was almost as if these conceptual models were designed specifically for the AAIS present year students. Perhaps these connections and associations have been there all along. It was just a matter of drawing the viewer eye to the realization of these relationships.

Therefore, having being able to draw a relation from three conceptual models of Erik Lerdahl with three conceptual themes of the AAIS design, the next chapter will compare and contrast the ideas behind both sources. Each chapter will look for similarities between both source, and analyse the way in which it is appropriated in a creative collaboration. It aims to tie new relations between the theoretical models of Lerdahl with the pragmatic models of AAIS. We will also aim to take note of any differences between both groups of models. In doing so, this will further help the growth of the creative collaboration process. + marks a conceptual models from Erik Lerdahl that is applied in creative collaborations * marks the conceptual themes applied in AAIS design work

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AAIS CONCEPTUAL THEME

CYCLES OF TRANSLATION AND FILTRATION

[ refer to design dossier page 03 ] The phrase “Cycles of translation” first came into place for the AAIS team during a creative weekend at the AA workshop in Hooke Park. We created the cyclical translation system which has 3 points of performance interpreting the performance of previous points. For example, a dancer transforms the sound which is played by a musician into movements. Kinect and Processing generate the graphics according to the movements that the dancer makes, and the musician creates a series of sounds interpreting the movements.

THE STORY BEHIND CYCLES OF TRANSLATION It was a starting point for everyone to understand and familiarise themselves with each other’s creative language. It became evident that the process of mediation operates almost unconsciously when someone operates in their field of expertise. By tossing an idea around the table, each person had a different view on the same sentence because they mediated the thought through the perspective of their expertise. Most of the time, this is carried out almost unconsciously.

However the exercise of the “Cycle of Translation” was a conscious effort. Thus, the process of filtration became more apparent as each individual were acting purposefully on their vehicle of mediation. As Jonathan interpreted the sounds from Mauricio, his knowledge and perspective of sound in relation to dance affected the way he choreographed his movements. To help us understand better Cycles of Translation, let us refer to Latour’s theory of Circulating References.

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The phrase Circulating References comes from Bruno Latour’s book of Pandora’s Hope. Here he talks about the difference between reality and perception. “Reality is independent of human’s perception, not created by it” implying that almost everything we have come to acknowledge as truth has undergone filtering process – in order that we can perceive it.

He writes, “ There is never an immediate visibility of the fact, but only a series of mediations, each of them translating a more complicated reality into something whose forces can more easily be passed down the line..... No such thing as transport without transformation” How then should we define mediations? Mediations refer to negotiation to resolve differences that are conducted by impartial parties. Already we can see that mediation implies that both ends of the spectrum have differences [reality ---------- perception].

Also, Latour links this closely with filtration saying, “We don’t gain access to reality by subtracting the layers of distorting perception added to the world, but only by increasing the number of mediators...... As if more filters there were, the clearer the gaze was.”

(Latour, Pandora’s Hope, p137) Based on the few statements above, we now draw some point of relation in the two parallel situations of the AAIS cycles of translation with Latour’s circulating reference. If Latour defined mediation or the act of filtration as an importance to resolve differences, then the act of filtration on Jonathan’s part through his profession as a dancer is indeed important for him and Mauricio [and vice versa] to come to a common ground of understanding and agreement. Supposing they were to present a single idea collaboratively, It is for both of them, the act of distilling two different views till they become one thought.

CIRCULATING REFERENCES

Latour sums it up best by saying, “Two actors are always mediated by a third : this is the ultimate lesson of the circulation of references”.

(Latour, Pandora’s Hope, p139) The third actor, also referred to as a mediator may very well be represented by a human or non human filter. In the AAIS case, it came from Jonathan’s personal analysis of sounds he heard, influenced by his culture and background and then, represented through his movement.

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+ VISION BASED METHO DOLOGY ERIK LERDAHL’S MODEL

Now we ask, how can we bring the idea of Cycles of Translation into the creative process of collaboration within a network of interdisciplinary professions? In his writing on, Dr Erik Lerdahl proposed a methodology that draws on the same notions translations, circulating references and filtration. This, he refers to as the Vision-based Methodology+. This methodology is divided into four levels of abstraction as shown in the diagram across The idea behind these abstractions is based on study where users of industrial products are increasingly seeking products in which they can identify with emotional and experiential fulfilment. [Jensen 1999], Based on this study, the model shows that the different levels of abstraction and what they represent in the creative process. These levels are :

1) 2) 3) 4)

Spiritual – intentions [ what they want to achieve ] Contextual – expression [ how they communicate this intention] Principle – concept [ forms and functions] Material – product [ defining the terms of the product ]

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VISION

AB

SR TAC T

VALUE

SPIRITUAL INTENTION

PHILOSOPHY PURPOSE

STAGING

CONTEXTUAL

STORY

EXPRESSION

MOCK UPS

CO NC R

ETE

SYMBOLIC STYLE

QUALITATIVE STRUCTURES PRODUCT PRINCIPLES

COMPOSTION

PRODUCT DETAILS

TESTING

DOCUMENTATION

PRINCIPLE SKETCHES

MATERIAL US EOF MATERIAL PRODUCTION

diagram 1.0 showing the four levels of abstraction in every creative process

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CONCEPT

PRODUCT

<< DIAGRAM

As noted on the diagram, the first two levels of abstraction take place on an intangible value. Things like ideas, notions, emotions, perception, where else the latter two levels takes on a more tangible approach to the creative process. This is where the ideas take on a form. Nonetheless, it is important to note that not one level is superior above the rest. The creative process may start from the bottom as well, whereby the choice of material acts as a filtration to produce a metaphor for the spiritual level. This we elaborate and demonstrate to a case study of the AAIS further on in the

LOOKING AT THE VISION BASED METHODOLOGY IN COMPARISON WITH CYCLES OF TRANSLATION Now we see the similarities in which both models go through - the process of filtration in order to achieve a progressed result. In this process the filter is alike to the mediator. It brings two opposing end to a common ground in the middle in order that for the idea to move on to the next step. Therefore we can summarise four things about this concept of filtration, mediation and translation in the context of creative collaboration : >>

The process of mediation is needed for progression in any creative development.

This is even more crucial within collaboration as each party brings to the table their different intentions, perceptions etc.

mediators or filters are represented by the actors, human or non human alike.

They could be an individualâ&#x20AC;&#x2122;s profession, knowledge and creative language of their expertise which they bring to the table. What happens is that by bouncing ideas off one anotherâ&#x20AC;&#x2122;s perspective, the idea begins to clarify more and more.

As the team experience multiple journeys of filtration, mediating differences between their understanding and perception, what might result is a unified and clarified idea, agree on all that still contains the essence of each individual intentions. This is especially important in regards to the challenged mentioned earlier about having too many design directions.

All through the four levels of abstraction, this process happens over and over again.

For most collaborations, it begins with the level of conceptualizing moving all the way to the level of production. Sometimes the filter might not be an expertise of the individual, but rather an external factor of constrain that mediates out even more unnecessary elements till clarity can be found.

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gradient states keywords written down on post-it note forming the conceptual board

>>

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AAIS CONCEPTUAL THEME

IN BETWEEN &GRADIENT STATES The background story of this concept came for the AAIS team, during an intensive week of conceptualization. It was right after the team’s site visit and trip to Madrid and Lisbon in the beginning of the second term. At this stage, an overall unified concept had not yet been formed. Rather, when presented to both the Madrid and Lisbon parties involved, the ideas remained individualistic and seems more like 6 projects thrown into a single space rather than one overall idea.

Realizing this, the team begin distilling one another’s concept, each idea, each research statement and intention by writing down key words on post it notes. After almost a hundred key words were written, the AAIS team applied what was just discussed in the previous chapter to their situation. The process of filtration began – gathering thoughts and notions which could be agreed on by all, eliminating others that did not seem key to constructing a concept statement. Thus, as it is being seen in the image above, the statement “Gradients and In Between States” came about. This words represented the idea of the influence of states on each other. << read page06 [ dealing with multiple design directions ]

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Let us divert a little with a narrative that might help in clarifying the statement.

Imagine yourself at the beach and about to enter the water. Because of the difference in temperature, the human body experiences a special moment. It is in precisely that moment that the human brain differentiates what is warm and what is cold.

Because, if the body never experienced the cold, it would have nothing to compare it with the existing temperature – hence not knowing what warm was in the first place.

What this concept is essentially is creating an awareness of when the blurring of boundaries happens - special moment of contact when warm body hits the cold water. In this undefined area of different states, it eases the trespass to the opposite site, resulting in realization.

After countless distilling processes, it was found that in each of the AAIS member’s research statement, the key aspect was a notion of blurring the boundaries between two different states and its effect in being able to enhance the understanding of each aspect better.

• YOUNG Ambiguity of bodily space and structural space • YOUNG Finding the in betweens of virtual and reality • ELYSE Finding the common ground between two language • MAURICIO Defining space with vocalization • HELEN How we perceive our relationship to space and time through nature?

• SUE JAN Finding the influencing factor from food to culture • LYN Bridging the gap between people’s authorship in a system and how the system functions

As the experience above was written, the author was at the same time, analysing the writings of Mihaly-Csikszentmihalyi. In his writing, “Creativity”, he highlights that even within ourselves, there lies the potential and natural instincts of in between states. He writes : “Each of us is born with two contradictory sets of instructions: a conservative tendency, made up of instincts for self-preservation, self-aggrandizement, and saving energy, and an expansive tendency made up of instincts for exploring, for enjoying novelty and risk. We need both. But whereas the first tendency requires little encouragement, the second can wilt if it is not cultivated. If too few opportunities for curiosity are available, if too many obstacles are placed in the way of risk and exploration, the motivation to engage in creative behaviour is easily extinguished. Sustaining high levels of curiosity is the starting point of creativity.” ( Csikszentmihalyi , M. 1996 ) Csikszentmihalyi recognizes the importance of the middle ground between both parties so that the awareness and understanding can be heightened.

In another instance, Stefan Klocek’s principle in his article of “The practice of creative collaboration” seems to support the same thought as Csikszentmihalyi. He point outs that creative collaborations takes on the structure of having to fleet between two states : a) Designing by yourself alone at the desk (alone time) b) Reviewing your thinking with someone else (design meeting) During the early stages of the collaborative project we begin by working in longer periods together. However, as it progress, we are left to design the details individually. What one realizes is, that inevitably working on the micro scale raises up issues that were not considered before. This is when the creative process jumps back into the boardroom with everyone else and solve issues as a team. Never does one state overshadows the other, rather both depend on each other to aid the progress.

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+ THE DIALETIC MODEL ERIK LERDAHL’S MODEL

Having stated all these notions that seem to hold onto the core idea of inbetween states, we make comparisons of those with Erik Lerdahl’s second methodology – the Dialetic model. This model, he recommends to be highly used for the means of creative collaboration especially during periods of time where a team might find themselves at a dead end with no way of progressing forward. He proposes that design is a creative activity in tension between “soft” and “hard” aspects to the design fields. Meaning, these opposite states are mutual necessary conditions in a creative collaboration. >> Perhaps it is best shown through a graphic illustration on the next page The arrows within the circle note the complementary pairs within the circle. When they all collide in the center, this is where the activity of design takes place – at the in between grounds of two opposing ends.

There is an advantages at the tension between reality and fantasy, concrete and abstract etc.

Interestingly, the word tension now gives new understanding to Buckminster Fuller’s tensegrity term. There is a need for tension within his structure otherwise it will not hold up. Likewise, there is a need for tension in between both extreme states where the activity of design can progress.

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diagram 2.0 showing the opposite elements and where design lies in the center In every example, we see the beauty of interdependency and interconnection of seemingly opposing elements. Never is one independent of the other, but rather, both require the opposite for even its existence. Perhaps it is best summed up in an illustration written by Tanizaki, through his book, ‘In Praise of Shadows’ written in 1933. A paragraph in this book illustrates through Japanese culinary the beauty that is the product of two opposing elements, light and darkness. “ From the muddy, dark miso soup that’s richness was provoked from the dimly lit houses of the past to the black lacquerware that performs the act of bringing forth the glow of a grain of rice, shadows are an integral part to traditional Japanese culinary arts. He speaks of the ideal conditions for rice “this pure white freshly boiled food, heaped in its black (lacquer) container, each and every grain gleaming like a pearl, sends forth billows of warm steam… Our cooking depends upon shadows and is inseparable from darkness. “ [Tanizaki, 1993, p19]

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A AIS CONCEPTUAL THEME

CONTINOUS EVOLVING BACKGROUND In the month of February, during the stage of conceptualization, a title had to be agreed on that would represent the essence of what the team wanted to achieve throughout the 3 events. After much struggle in finding the right title, a task was given by tutor, Allard van Hoorn – to watch the movie Rivers and Tides by Andy Goldworthy that we may be inspired to come with the right frame for the title.

Though it never was mentioned again, upon asking many months later, what title he had in mind when suggesting this movie, Allard replied “ After effects.”

The movie Rivers and Tides documents Andy Goldsworthy makes sense-luscious sculptures entirely out of things he finds in nature — stones, twigs, leaves, plant stalks, clay, ice, snow. It highlights the theme of “growth, time, change .....”.

What is most intriguing is the fact that the artist accepts that everything is ephemeral and subject to the ravages of time. Day by day, he plunges into new marvels and stays with the present moment which is unrepeatable and precious.

This idea of temporality and transformation brings about the idea behind AAIS narrative for its concept and title, Flow Fields - the journey of water.

“To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.”

-Henri Bergson

However, one should be careful to consider, that it’s the combination of an ephemeral characteristic that brings about transformation. Without transformation, ephemerality is just a notion fleeting by – it doesn’t bring any difference in its existences. In a complementary manner, transformation finds itself hard within reach if it carries the characteristic of permanence.

In that light, we draw a similar conclusion to John Dewey’s thoughts in his writing of Education and experience.

“Experience,” he notes, “ or rather, the reflection of experience, is an important way to educate, because of its progressive nature. This is the matter that will therefore never end up as a finished product, but however, will promote further learning experiences” (Dewey, J. 1983) This brings to mind a similar phrase in which was always a reminder to the AAIS students during the course of the year – everything is a on-going process of development. However, at every stage it should be able to be presented. It represents the ability for adaptation, reconfiguration, simply change.

One might say it is a cyclic progression, however, in reference to the diagram below, the journey of water shows that no cycle ever ends up the same as its original state. There is a level of progression, a return to it location but perhaps in a more developed state.

We can even say, it is a spiralling development.

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+

ERIK LERDAHLâ&#x20AC;&#x2122;S MODEL

THE CREATIVE PROCESS MODEL How then do we draw similarities to Lerdahlâ&#x20AC;&#x2122;s third methodology of creative collaborations?

In his third model the Creative Process model+ is viewed as a natural, cyclic movement, giving continuous progress. The process is driven by intention or purpose and involves an initial letting go and breaking up of existing knowledge, order and understanding in order to achieve development. Purpose remains the driver behind this cycle, pushing the creative process through the 6 stages that may bring about growth and evolution. These stages are : a) Insight b) Order c) Standstill d) Deconstruction e) Chaos disorder f) Crystallization / distillation

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diagram 3.0 showing the cycle of growth For most people, the hardest part comes between standstill and deconstruction. This is because at this point, the creativity seems developed to a certain level. One finds satisfaction at achieving this much thus far.

However, in order to be able to push it to the next level, one need to deconstruct what might seem to have been the perfect order.

Erik Lerdahl clearly backs up this statement with his insight on reflection : “If the reflection around the process is lacking the learning will be less significant. Reflection in action has been described as a central element of the design process” [Schön 1983].

Reflection should usually happen at the end of a product. However, in current times, most people find it hard to take time to reflect, consider, and learn from what has happen. It is in this weakness that the potential for further growth is lost.

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WHAT THEN CAN WE CONCLUDE OF THIS CONCEPT?

This model was applied by the AAIS network during their collaboration first with Matadero in Madrid and then at the Lisbon Architecture Triennale.

Upon each event, the students realized the need for readaptation of design and programme, especially toward being site specific. Even though the design produced for London suitable, everyone knew that there was only more to be reconstructred and re-iterated as the elements were brought over to Madrid. In each Flow Field event, the core idea behind remains the same. However, its context and the various ways in which the core idea is address had to be changed.

In the context of creative collaboration, how can we apply this to the process of working within a network? One of the simplest ways was to constantly change the roles we hold and partnership of work within our network. For example, in the first event, Raluca and myself worked together on the culinary experience – which was a great collaborative effort that brought synergy from both sides.

However in the third event, Helen partnered up with Raluca to design costumes and props for the performance at Lisbon. The idea of switching roles and partnership allows one to extend their boundaries of first knowledge and understanding in trying new things that was never handled before. Staying too long in one’s comfort zone can only end up desensitizing one’s ability and expertise.

Thus we conclude that “discomfort” is essential in breaking through the next level of distillation in any creative process. Like in the film, the destruction of Andy’s art pieces was seen as necessary and an important part of the creative plan – because it provided a lea way for a better art – one that is given to nature to take its course. Secondly, we note the importance of the element of time here. To every fraction of the creative process – there is a general timeframe in which the novelty of it last.

However, if it remains too long, it dulls perception and creates complacency. We note here that the ability to adapt is key. Lastly, it is also essential to remember that every level of progress and its by-product should carry the ability to provoke the next level further. It is the sowing of seeds into new ground. >> dancers of New Movement Collective wearing costumes designed and made by Helen Fitzgerald with Raluca Grada

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COMPARISON VISION BASED MODEL GO THROUGH LEVELS OF ABSTRACTION AT EVERY LEVEL : DISTILATION OF IDEA

FILTERATION MEDATION FINDING COMMON GROUND CIRCULATIN REFERENCE

DIALETIC MODEL

GRADIENT STATES

FINDING DESIGN BETWEEN TWO OPPOSED ENDS DESIGN HAPPENS AT THE TENSION

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CYCLES OF TRANSLATION

INBETWEEN TWO STATES BLURRING THE BOUNDARIES BETWEEN BOTH SIDES LOCAL AND GLOBAL AFFECT & FRAME EACH OTHER

CREATIVE PROCESS MODEL

JOURNEY OF WATER

REFLECTION IS NECESSARY TO PUSH FORWARD THE DESIGN TIME OF DISCOMFORT AND CHAOS

CONTINUOUS EVOLVING LEARNING TO ADAPT TO CONTEXT SPECIFICATION CYCLICAL PROGRESSION EPHEMARILITY

AN APPROPRIATION OF MATTERS A list of challenges remained unsolved at the beginning of this essay while three methods have been laid out and drawn to new light in relation with the AAIS conceptual themes of the year. Hence, the next chapter of the thesis will recount a variety of incidents and examples, experienced firsthand in which address simultaneously the solutions to challenges or the appropriation of concepts to the creative collaboration.

Some account for the perspective of an individual in a network, while other examples take on a wider scope of outlook â&#x20AC;&#x201C; writing from the perspective of a network group. All in all, these narration of case studies are written to prove that these theories and aspect in the practice of creative collaboration are pragmatic and have been put to the test in a real life situation.

Let us first address the challenges that were highlighted at the beginning of the thesis in relation to the three conceptual themes of Filtration, Gradient States & Evolving

1) We all have a different creative languages 2) Developing trust takes time 3) How to deal with multiple design directions 4) Shaping the possibilities 5) How do we ensure constant progress ?

In the light of staging the collaborative process and design the network experience, it would do good to remember that in case of networking – trust is most essential. In the beginning of the essay, it was highlighted that trust required time to build upon and grow. However, what if time was limited and didn’t provide that platform for trust to grow?

A particular situation took place within the time of production right before the AAIS first event in Roca London that demonstrates a solution in such circumstance. Productions for all the elements were an extremely heavy load – it could not have been handled by just 5 students and tutors themselves. This is where another network came in – the Hope group [ a Christian church community in which I was part of ].

Throughout the whole production period, seeing the need for volunteers, I initiated the task of gathering people from the Hope network to help out. From time to time, varying on their schedule, these volunteers came to the studio to help with task such as sticking triangular pieces for Young’s cloud costume piece, building up the domes which was led by Lynnette, giving input and making the furniture pieces for the Culinary Experience and so forth. They were even recruited as welcome guides at the Opening Night of Flow Fields London.

The question posed was how does trust come about in a short amount of time? It is important to note that within each respective network, a trust had already been built long ago. All it took was an activation of that trust and bridging the gap between the AAIS network and the Hope group. Thus, in answer to the problem of not having time to build trust, it was more a matter of taking hold and draw on the trust that was already existed.

It is interesting to see how even though the two networks had no common ground or interest with each other [one a religious community, another a performative designed academic group], such synergy could have been created with one another. Writing from the perspective of coming from both the network, it was a fulfilling task to be able to bridge that gap and produce such synergy. Hence, we can now extend our perspective on the idea of trust within a collaborative group. As long as there is trust between the members of a network, a mediator – then it is easier to synergized the entire network with another.

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BEING THE BRIDGE BETWEEN TWO NETWORKS _HOPE & AAIS

Image above : Hope group helping out with productions for Flow Fields London

tutors Jonathan Goddard (NMC) & Mauricio Pauly (DFE)

There were many other examples of bridging the gap and building on existing trust throughout the time of AAIS. One, regarding the group of musicians and dancers that the AAIS worked with. As New Movement Collective and Distractfold Ensemble has already created a network amongst themselves, all it took was the activation of this existing trust between them by â&#x20AC;&#x153;mediatorsâ&#x20AC;? Mauricio Pauly (member of Distracfold Ensemble) and Jonathan Goddard(member of New Movement Collective) who were tutors of the AAIS. One important thing to note is that, some synergy might result in benefits for both sides simultaneously. However, on other times, it might only result in benefiting one side. Nevertheless, it is good to realize that the giving outwardly towards a network can never end in a loss for anyone.

It just takes a longer time as these synergies travelled the lines of the network and benefits are returned in a different manner possibly through a different contact even. We are comforted to realized that in a network where trust has been built, no one is ever at loss but the more we give pour into the network, the more we gained not just as individuals, but as a whole group, that continues enlarging and progressing. >> top: dancers of New Movement Collective bottom : musicians of Distracfold Ensemble

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15

CONSTANT EVOLVMENT IN EVERY ASPECT The table below demonstrates the Creative Process Model* in the real life situation of the AAIS illustrating the fact that every collaborative process should and will go through a time of evolvement, re-iteration and adaptation in order to proceed further.

FILTER/LONDON

GRADIENTS/MADRID

CYCLES/LISBON

AAIS OWN NETWORK

MATADERO NETWORK TWO COMMON NETWORK WORKING WITH OTHERS

TRIENNALE BIGGER NETWORK, WORKING UNDER OTHERS

POSITION YOURSELF IN A NETWORK

BECOMING THE BRIDGE FOR BETWEEN TWO NETWORKS YOU ARE IN

YOU IN A NETWORK, FINDING URSELF IN A BIGGER NETWORK

FULL DECISION CONTROL

NEGOTIATIONS AND MEDIATIONS TAKE PLACE GIVE AND TAKE

WORKING TO COMPLY AND FIT INTO A LARGER NETWORK’S CONTEXT.

FIRST ATTEMPT

REFINED

DILUTED

SOURCE

CONFLUENCE

OCEAN

PRODUCTION EMPHASIS STRUCTURE

PERFORMANCE EMPHASIS PEOPLE

PARTICIPATION EMPHASIS PUBLIC

100 PPL

300PPL

5000PPL ++

REVOLVE

INVOLVED

EVOLVED

PRODUCING, PRESENTING

COMMUNICATION, CULTURE

REFLECTION, DIGESTION, EVALUATION

KITCHEN PREP WORK

TABLE – CONNECTING, WITH PEOPLE

OUT OF RESTAURANT DIGESTING

RAW

COOKED

ROTTED

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LEARNING TO ADAPT Moving from Madrid to Lisbon – the idea of having to deconstruct everything we assumed to be the perfect model seemed daunting. This notion was first address in a meeting with Beatrice Galilee, chief curator for the Lisbon Triennale two weeks after the Flow Fields Madrid. In that meeting, as the AAIS team showed her images of the previous event, Beatrice reminded the team about the ideas behind Close Closer – to begin to question things rather than provide answers. It was even mentioned that one should not play it safe anymore with the design but rather – begin to experiment, test things that would never have been done before as intent to trigger more than just architecture but what drive architecture.

From that meeting, each student begin to see their own design development in a new perspective and begin de-constructing what was perfect for Madrid to contextualized toward Lisbon. Hence each design element saw a new way of approach. Young’s Cloud was no longer an emphasis on its visual effect but rather, her focus of development went into developing the sounds that represented the cloud characteristics.

Likewise in culinary experience, transformative food was not the main priority of development but rather, the act of consuming through a different sense that brought on a transformation in a personalized manner.

As a whole design, the Flow Fields in Lisbon was much more experimental, depending a lot on user’s feedback, audience interpretation and participation, nature’s unpredictable elements of weather and light. It one’s eyes, it may have not been as visually aesthetic as it was in Madrid, but the beauty of design came from the interaction with audience – something that was not given a high priority in the past two events.

It was crucial that this issue of audience involvement was address here in Lisbon, as it was highly stress upon during the first term of the year but absently brushed aside in the light of more pressing matter at that time during London and Madrid’s event.

In relation to the table above, we can see how a constant evolvement of elements from the first to the third. Architecturally, London being the most caught up with physically of producing structure wherelese Lisbon looked at diluting arhictecture and focusing more on the ephemeral issues of reflection and evaluation. Just as water dwells within the body of the ocean and returns to vapour form in evaporation, Lisbon was a appropriate culmination of the AAIS journey allowing the original ideas to regenerate itself for a new passage of development.

1

RESTRICTIONS ARE GOOD AND NECESSARY To address another challenge previously brought up in the thesis, what happens where there are too many choices or directions in which one needs to push forward and proceed? In this, we recognize how important restrictions are in the collaborative process. These restrictions was elaborated earlier on as a type of FILTRATION in the concept of Cycles of Translations.

CASE STUDY 1.

Term 2_ March : Having passed the spiritual and conceptual levels of Flow Fields, the team was now required to form the concept in a tangible manner – structural elements. Here many ideas once again came flooding in about the structures could be built, the physical ambiance to be created during the event. One way of eliminating the possibilities was through the limitations of the budget. Earlier on, bamboo was highly favoured for building the structure. However due to constrain of budget and availability in the right form of bamboo, the team members decided to eliminate the possibility of bamboo material. With the knowledge of cost and budgetary restraint, the team could then make informed decisions on which materials would be affordable – hence influencing the design of the elements.

CASE STUDY 2 Before the team arrived in Lisbon, there was a difficulty in planning the programme and specification of each element as it was site specific. However, as soon as the team arrived at the courtyard of the Palace – many decisions soon took place. Initial plans of having light projections on the “Cloud” and domes had to be eliminated due to the bright light of the sun. Also, as the venue in which Flow Fields took place would not be opened to the public – this restriction automatically finalized the need for no projections. Hence, a change in design of the programme had to be made. Also another

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SCRIPTING CREATIVE LANGUAGES The solutions to addressing the challenge of different creative language became the most apparent at the Flow Fields Lisbon. It is not the matter of understanding each otherâ&#x20AC;&#x2122;s creative language but rather finding subscriptions to those languages. Below we see it demonstrated in a few context.

Here we see, in finding the common ground to different languages : there always requires a subscription to an element. Also we note that a script ( in any form) is important to give direction. Within this script, there are rules that are made and followed through to give cohesiveness to the subscription.

CASE STUDY 1 [ AUDIENCE WITH DESIGN ] As the theme of Flow Fields Lisbon was to remind the people of the memories of the courtyard as a school and create new memories, one of the programme was designed as Smell the Memory. This was basically a programme to activate memories based on a scent that is perceived by the visitor in the courtyard. As the smell hit the nose of the visitor, different memories are triggered. There was a blackboard that allowed the visitors to write down their memory of the smell.

visitors writing down their memory triggered from the domes

CASE STUDY 3 [ DESIGNER WITH AUDIENCE ] In order to find a common ground, Elyse developed what we called Fabric Speakers (conductive thread sewed in a speaker shape that produces sound when coming in contact with magnets.) these fabric speakers were sewn onto hats for the audience to wear during the performance. The sound was only activated when the dancers holding magnets came to touch their speaker. As the hear the sound being played in their ear, each individual visitor received and framed their own perspective of the courtyard and also the memories that came along with it. Elyse’s intentions was to bring her creative language to a level whereby the audience understood it in their own subscribed perception.

visitors listening to sounds on fabric speaker

CASE STUDY 2 [ MUSICIANS WITH DESIGNER] Student Young Eun Kim had difficulty in communicating with the musicians on a piece of music for the performance of “hear the cloud!” as her knowledge of music was limited. However she developed a music score based on the Korean words that describe the characteristics of a cloud. In this score, she made a rule with the musicians of Distractfold Ensemble that for every word written on the score would be one gesture that the musicians would make to produce a sound. In this way, her script allowed the musicians to still communicate their sounds in their respective creative language but at the same time subcscribing to the creative language of her as a designer.

young practicing the score with musicians from DFE

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FINDING FLOW : WHOLE VS DETAILS GLOBAL VS LOCAL One of the main group task for Lisbon was to design the Main Performance structure as a guideline and script to direct both musicians and dancers as well as represent the overall theme of Flow Fields Lisbon in context to Close Closer.

A rough sketch of timeline (global level) was drawn out dictating the time of the programme. From there, the students started populating this structure with phases of performances. (local level) Examples of phases to populate the Main Performance structure + Fabric speaker phase : dancers move around audience with fs hats and place magnets on their ear so they could hear sounds. + Mist skirt phase : a dancer wearing a costume with mist skirt would dance a specific angle in relation to the sun in order to produce a rainbow.

Because of the restriction in the timeline of the main performance structure, each phase could be position at its most suitable interval within the performance. Elyse aimed for a period of total silence during her phase of fabric speaker. With the general structure drawn out, she could pinpoint exactly when the silence would happen, thus indicating that no other programmes should be making sounds at that moment. This in turn then helped her to decide and progress on with the development of her choreography with the dancers and musicians.

These going back and forth between designing the overall structure for the main performance and details for the phases of performance applies the concept of the dialetic model â&#x20AC;&#x201C; going back and forth between two different states in order to gain awareness, perception, understanding so that progression takes place. Working in details helps bring up questions and issues that has never been thought about at such a large scale. When this happens, it is then brought up to the global scale, affecting change and defining it more and more. In turn, the changes and define structure of the global scale creates restrictions and guidelines in which to help the progression of the local scale.

When something is successful as a visual, it is due to the acceptance or the recognition it has gained from various points of perspective. We are all different and so we see different. If however a visual of a particular event has a same effect upon a thousand of different perspectives, or different human beings, then it responds to being successful.

The aim of success is not the only approval, but the after effect that is sustained.

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CONCLUSION In attempt to find solutions and answers to the creative collaboration process, it was realized towards the end of the thesis that every situation is unique and there, the design process does not occur the same for every time. However, this should not mean that one could disregard all types of models, concepts or tools. The elaboration of the methodologies and conceptual models were not only to function as a proposed guideline. Rather, in realizing that they (methods, tools etc) were more importantly, a vehicle to demonstrate the novelty of being able to tie together existing ideas, some from the unlikeliest sources, into new relationship with one another.

What is more important than tools and methods is the awareness that is gained through perception. The ability to combine ordinary matters into extraordinary ideas is far more valuable than any guideline or check list in which one could possible come up with. That, personally is the core notion and implication of understanding the process of networks and creative collaboration.

The ability to bridge existing networks.

The drawing of new relationships between existing ideas.

The opportunity to shape possibilities.

These are the things that will carry on as an after effect.

Perhaps it is best summarized in this excerpt: “ It’s a truism that inspiration often strikes when disparate ideas, influences and materials are put together in novel combinations. Frans Johansson has written an excellent book, The Medici Effect , based on this idea: “When you step into an intersection of fields, disciplines, or cultures, you can combine existing concepts into a large number of extraordinary new ideas. “

The AAIS course was an endless intersection of fields, disciplines, culture, perception in which one could really seize every opportunity to shape the most impossible possibility. However, that intersection, as we now can start to take shape not just within a course context but anywhere around us, in our daily lives, our network of social interactions, diverse groups of interest and so forth. The awareness gained through the AAIS experience is only the kickstart of many after effects to take place not just in creative processes but extended to the every aspect of daily living.

BIBLIOGRAPHY BOOKS Csikszentmihalyi, M. (1996) Creativity: Flow and he Psychology of Discovery and Invention Harper Perennial Latour, B (2000) Circulating References. In: Pandora’s Hope. London: Harvard University Press.

Fitzgerald, H. (2013) Light Field | Light, Time, Tropism: A Spatial Experience of Networks AAIS Harman, G. (2009). Pandora’s Hope. In: Prince of Networks: Bruno Latour and Metaphysics.

Melbourne: Re.press. p73-79 Phd Lerdahl, E.(2001) STAGING FOR CREATIVE COLLABORATION IN DESIGN TEAMS Models, tools and methods Norwegian University of Science and Technology Department of Product Design Engineering Trondheim, URN:NBN:no-2324 Bishop, P. Williams, L. (2013) The Temporary City – Dream of Permanence New York : Routledge Adrià, F. Soler, J. Adrià., A. (2008) A day at El Bulli : An insight into the ideas, methods and creativity of Ferran Adrià. New York : Phaidon PressLimited

OPEN SOURCE ARCHITECTURE –

http://www.domusweb.it/en/op-ed/2011/06/15/open-source-architecture-osarc-.html

THINK ‘NETWORK STRUCTURE’ NOT ‘ NETWORKING’ By Tim Kastelle on 13 Feb 2010 BETTER TOGETHER; THE PRACTICE OF SUCCESSFUL CREATIVE COLLABORATIONby Stefan

Klocek • April 18, 2011

Film Review By Frederic and Mary Ann Brussat | Rivers and Tides: Andy Goldsworthy Working with Time Directed by Thomas Riedelsheimer {http://www.spiritualityandpractice.com/films/films.php?id=9214] REVIEW BY DAVID LOFTUS ON RIVERS AND TIDES http://www.documentaryfilms.net/Reviews/RiversAndTides/ MOVIES Rivers and Tides, 2001. [Film] Directed by Thomas Riedelsheimer. Germany http://www.youtube.com/watch?v=AT3lveJmjY EXHIBITIONS The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns