On the final lap ...

I've amended the three slides for the Introduction and Problem Solving section, with notes included.  Let me know if it makes sense.

In the next ten minutes, we are going to give an overview of how methodologies influence a practitioner's approach to their work.  We have identified five key methodologies that can be employed within our own disciplines, and will show how these methodologies can function as a process, or device within the creative industries.  Different projects need different approaches, utilising a combination of different methodologies at different stages of the process.  There is no meta methodology to the order in which the points are being raised.

Talk through each bullet point.

Problem Solving - practical problem (ie how to fix something)

Focus / restriction – too many ideas, need to apply boundaries

providing alternatives – avoid being stuck in a rut

reviewing / reflection – the iterative reconsideration   

critically contextualising - ?

Problem Solving

At the highest level, the goal of any creative task is to achieve or accomplish something.  These tasks become a problem when any step involved in the achievement / accomplishment becomes difficult, doubtful, uncertain etc.

Problem solving methodologies can be employed to overcome these blocking issues.

Since each step in the creative process is likely to be inflicted with different blocking issues, different problem solving methodologies are required.

1  At the onset, deciding upon a direction may be a problem, and this can be solved by employing a brain-storming methodology.

2  Further into the process, the difficulty of practical implementation may be solved by employing a scientific methodology.  Strictly speaking this is an iterative process in which the problem is stated, research is performed, a hypotheses is formulated and tested, and as a consequence either confirmed or reformulated.  Although we are not engaged in scientific investigation this approach to problem solving is ingrained in western analytical thinking, and is implicit in most of the formal problem solving we do.  

3  One of the most interesting problem solving methodologies comes for the world of literature and is attributed to the master detective: Mr Sherlock Holmes. His approach is a variant of the scientific methodology in which he advocates thinking, backwards, with an empty mind.  

A visual representation of the process of 'thinking backwards' can be seen in Lina Peterson's work for the museumaker project. 

We're looking at a piece from Lina's exhibition “Imagined Objects of Desire”, which formed part of museumaker project at the University of Nottingham Museum in 2010.  Museumaker was a collaboration between the Arts Council, the Museums, Library and Archive Council, East Midlands and Renaissance East Midlands, with funding from the Arts Lottery and the Esmée Fairbairn Foundation.  By showcasing contemporary craft at the very heart of regional museums, museumaker's aim was to  develop new audiences and new understandings of both the craft work and the museum’s rich local collections”.   Sir Christopher Frayling

Rather than looking forward, and using the museum exhibits as a starting point, Lina elected to start with the museum piece and work backwards.  She looked at museum objects that had parts missing and chose to fill in the gaps – looking at what wasn't there.  

In solving the problem of what response to make, Lina chose to look backwards.  Using a 6^th Century urn as inspiration, she chose to explore the decorative marks on the surface.  Rather than exploring the marks and urn as a starting point, they were the destination, and instead Lina imagined what tool might have been used to make the mark. 

And now I'll pass you over to Wendy ...

PS  I've changed the banner background colour ... sorry, it's the artist in me!  We need to make sure the fonts and slides all have the same format, so will check this when we meet tomorrow.

My slides - commentary

This is what I am thinking of doing in relation to the slides I sent by email:-

Slide 1 - Image of tapestries.

Intro to Jane Kidd's tapestries: 'Handwork series: to the bone, in the blood, from the heart.'

• Each shows part of a forearm or hand, alongside a representation of traditional cloth.
• The detailed graphical representation of the hand shows it as an essential part of the culture represented by the woven cloth fragments.
• The insecure position of both is signified by their fragmentary nature.
• So they involve the viewer both visually and conceptually.

Slide 2 - diagram of the cyclical nature of the creative mind

• I looked at this work with reference to the cyclic model for methodology, where reflection at all stages of the process helps to set boundaries and refine focus.
• Starting with the Problem or Idea - According to Jane Kidd, 21st Century textile art has moved away from the handmade object to hybrid approaches to material and process.
• This observation generates her Research Question, which might be - Can the qualities of traditional tapestry be revived in a meaningful, contemporary way?
• This, in turn, defines the Methodology - Research into historical and worldwide traditions of woven art.  Use of traditional materials and techniques. (Defining boundaries and refining her focus)
• Leading to a Research Outcome - A series of tapestries, that are a form of what she describes as 'woven speech', linking maker to viewer and communicating across time.  A commentary on the decline of handcrafted objects, and simultaneously an attempt to reverse this decline. These are contemporary works, employing traditional processes, but making a powerful statement.
• This 'solves the problem', and sometimes poses another, leading to further work.

Slide 3 - Images of work by Norma Starszakowna and Liz Nilsson (Different outcomes from similar starting point)  Is this what's meant by 'Chance favours the prepared mind' ?

• Have similar starting points. Both deal with the concept of memory and text.
• They also use some similar techniques, including screen-printing, yet their finished work is very different.
• Starszakowna's ethereal, translucent hangings contrast with the more structured, geometric work of Liz Nilsson.
• Each made a different set of decisions, set themselves different boundaries based on previous and current experience, and refined their focus in the process of making the work.
• Starszakowna's translucent, silk organza hangings are screen-printed with heat-reactive pigment and various print media.  They could be described as ethereal, with exquisite textures and surfaces, glowing with colour.
• Liz Nilsson's work, on the other hand, is very geometric, with rectangular layers, each (again) screen-printed, but on a much more structured surface, in neutral colours, and with a series of lazer-cut circles in a regular pattern.

Are You A Chancer?...

Stochastic process, or 'Chance' Music

'Instead of dealing with only one possible way the process might develop over time (as in the case, for example, of solutions of an ordinary differential equation), in a stochastic or random process there is some indeterminacy described by probability distributions. This means that even if the initial condition (or starting point) is known, there are many possibilities the process might go to, but some paths may be more probable and others less so'

Iannis Xenakis was a composer that employed the use of his UPIC system, where by the musicality can be influenced by the engraving of lines and envelopes on a tablet. Employing this methodology ensured that the outcome of the piece is entirely dependent on randomised decision making, almost generative. When we add or subtract, extend or condense at non specific points, the music is made from the process. Its interesting to think how one could approach the 'etching' for a work and how influential this may be on the piece itself.  He also integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. This interesting as he is using a space to as a prequesit to his work and vice-versa, and by employing this methodology, a direct link to input and outcome can be witnessed.

Equal Chance

http://www.math.harvard.edu/~knill/teaching/math144_1994/probability.pdf

I have included a link, noted above, which deals with some interesting conceptual ideas which in turn help influence work from two main inputs 1) Continued methodology 2) Serendipty and the Converegence of random variables. So, how does this fit?....

'A set of random variables is called identically distributed, if each random variable in the set has the same distribution function. It is called independent and identically distributed if the random variables are independent and identically distributed. A common abbreviation for inde- pendent identically distributed random variables is IID' 

Are You A Chancer?....

This helps to highlight the groups remit for how a certain methodology can influence ones work. One could directly employ the use of a chancing a dice roll or coin flip, but what is more interesting, is how one can be controlling over 'chance' itself, as it were, so that the element of random actions can be more conducive for the creation of art in all disciplines. With this in mind we can influence the ingredients 'going in' so that we may lean upon the results we actually want, or we can completely disregard this ideal, and stick with the the 'chance favours the brave' methodology.

Flow Chart Music Experiment!....

Ok, so here we have some interesting points to make for our presentation. I have compiled this so that they hopefully read more efficiently, in 'presentation mode' Also, a visual example of how 'flow chart music', used as a methodology, can directly or indirectly as it may seem, influence ones work. To start with, some points included within the presentation:

¤ There are many ways one can construct a works

¤ Similar to I Ching by Cage, we can replace a flipping of a coin with the roll of a dice

¤ Steve Reich’s ‘It’s Gonna Rain’ (process music)

¤ Two Wallensak tape machines..

¤ Through mechanical error, the two tape machines start in unison, then drift apart.  

¤ Through this mistake, the methodology for phase shifting was invented through ‘happy accidents’

¤ Flow Chart Music continued…

¤ Can be utilised as a process tool

¤ Decision Making Removed

¤ Outcomes materialise from serendipity

¤ Success is questionable

¤ Subjective, results will vary

¤ Promotes free flowing work – BUT HOW?............

Brian Eno:

"Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results."

So.....

¤ We could define that 1- 6 relates directly to a predefined parameter that once applied, can change an audible outcome

¤ This can be articulated visually with the following flow chart:

¤ Here is an example flow chart highlighting how ones results can be influenced from this methodology. 

 

A quick record of yesterday's meeting (Chris / Vanda, please add anything you remember that I may have missed out or is inaccurate):-

• Some of us were concerned that the way we were tackling our question was too vast for the amount of time available, and that we need to get the balance right with reference to different methodologies and disciplines.
• The way some of us work corresponds more closely to the action research methodology model, rather than to the one used by Cage.
• Chris has worked out an interesting structure for the presentation in relation to music.  It's interactive and should work well.
• I offered to research examples of the way that setting boundaries to achieve focus influences the work of textile artists, e.g Jane Kidd.  Another possibility might be Norma Starzakowna and Liz Nilsson, who are both concerned with the concept of memory, but whose work is quite different.  I will find some images to show this, and possibly do a mind-map or similar to show their methodology.  
• Vanda will work on some linking points/slides.
• Kerry thought that reference to specific models of methodology, with an intro to artists, possibly how they generate ideas/create possibilities and what their work shows about their methodologies would be useful.
• Chris has already set up a pdf of slides that we can all use as a template - idea being that we each contribute (2?) slides.  We accept that we will probably have far too much info, and will need to cut it down at the next meeting.

Hope this is ok as a record.  Please add or correct anything!
Wendy

Action research - boundaries and focus

• Action research - a combination of scientific methodology and brainstorming, and much closer to what I/we(?) do?
• Boundaries are set at the outset of a project.
• These are broad parameters, and at this point a variety of different outcomes are possible.  In the creative arts, this is a positive thing, allowing for new ideas to be considered within the overall aims.
• As a project progresses, research activities within it inform decisions about where it will go to next.
• At every stage of the project, decisions are made and boundaries set.  This works towards refining the focus.
• Throughout the project, an organic process of action, observation and reflection takes place, constantly revealing new possibilities.  These are evaluated against the original aims and rejected or incorporated into the research.
• Planning occurs at every level and re-focuses the research back onto the original question.

Textile artists Norma Starszakowna and Liz Nilsson both deal with the concept of memory and text.  The outcome of their work is very different, even though their starting points are similar.  Starszakowna's ethereal, layered, translucent hangings contrast with the more geometric, structured pieces of Liz Nilsson.  Each made a different set of decisions and boundaries, and refined their focus in the process of making the work.

Elementary, my dear Watson

The methodologies of problem solving:

Of all the questions that are asked during the creative process the one that is dependent on the ability to solve problems is how. Only when the practical question of how is answered can our creative ideas become a reality. The Methodology most suited for this, and most other problem solving, is the scientific methodology¹. Strictly speaking this is an iterative process in which the problem is stated, research is performed, a hypotheses is formulate and tested, and as a consequence either confirmed or reformulated. Although we are not engaged in scientific investigation this approach to problem solving is ingrained in western analytical thinking, and is implicit in most of the formal problem solving we do. A more familiar problem solving methodology, and arguably more natural is brain-storming². This is usually a group activity in which a large number of solutions and ideas are suggested and are combined and developed until an optimum is found. However, brainstorming has a number of short coming derived from the group dynamics that are often involved³. One of the most interesting problem solving methodologies comes for the world of literature and is attributed to the master detective: Mr Sherlock Holmes. His approach is a variant of the scientific methodology in which he advocates thinking, backwards, with an empty mind while talking things through with a friend⁴ - a process likely to be familiar to most artists … oh, no, sorry, that's called a tutorial or work-in-progress seminar!

1 http://teacher.nsrl.rochester.edu:8080/phy_labs/AppendixE/AppendixE.html

2 http://www.mindtools.com/brainstm.html

3 Stroebe, W.; Diehl, M. & Abakoumkin, G. (1992). "The illusion of group effectivity". Personality and Social Psychology Bulletin 18 (5): 643–650.

4 Reasoning Backwards: Sherlock Holmes' Guide to Effective Problem Solving Young Associates Inc (1 Mar 2011)