(Un)common
Ground: Creative Encounters across Sectors
and Disciplines
by Cathy Brickwood,
Bronac Ferran, David Garcia and Tim Putnam,
Editors
BIS Publishers, Amsterdam, 2007
159 pp. Paper, $N/A
ISBN: 978-90-6369-166-0.
Reviewed by Jonathan Zilberg
jonathanzilberg@gmail.com
(Un)common Ground: Creative Encounters
across Sectors and Disciplines is
an inspiring collection of reflective
case studies of multi-dimensional cross-sector
collaborations between the academic and
commercial worlds, specifically in the
context of a partnership between the Utrecht
School of the Arts (HKU) and the media
center Virtueel Platform with support
from Arts Council England. The book itself,
written in the spirit of "radical
pragmatism," emerged from a seminar
for media experts at Amsterdams
Cross Media Week in 2006. Its aim is to
investigate the dynamics of interdisciplinary
practice and identify research methodologies
so as to better understand how academic
research and the creative industries involved
in new media can engage in collaborations
in mutually enriching ways. Above all,
it is the intriguing notion of uncommon
rather than common ground that make this
such an intellectually interesting book,
that is, in participatory challenges and
in the contingencies, the incommensurability
and the provisional relations through
which knowledge emerges in inter-disciplinary
cross-sector collaborations.
True to the title, each chapter reveals
how creativity emerges from uncommon ground
and how inter-disciplinary projects that
nurture this natural incommensurablity
can produce unintended creative consequences.
One of the most interesting aspects of
the study is how it self-reflectively
documents the unfolding of its own creation.
The way in which it does so not only provides
a useful model for conceptualizing, organizing,
managing and documenting such projects
but a record of some interesting new ventures.
For instance, in the realm of art education,
a guild system has been revived to provide
a transitional space for art students
entering the market place. Other ventures
can be found in the emergent fields of
inclusive design and consumer driven innovation
and in the use of inclusive design in
the public sphere in grass roots creative
communities and much more. In addition,
the (Un)common Ground describes
the emergence of tactical innovation media
labs and lab culture as a service industry
that can be combined with educational
projects so as to provide a context for
enabling generative and constructivist
learning environments linking academia
and industry. In short, no one interested
in working in new media and cross sector
inter-disciplinary collaborations can
afford not to read this book.
That being said, the problematic aspect
of this study lies in its underlying idealist
tension that there is an irresolvable
contradiction between creativity on the
artists part and control in industry,
that is between the desire for uncontrolled
expression and the power and need of the
organizer to facilitate and control that
expression for the purpose of the collaboration.
Beyond that tension, the most interesting
insights in this study have to do with
how knowledge emerges in such contexts.
Here it is Ann Galloways fascinating
conclusion that stands out as remarkable.
Galloway explores why we need to closely
examine the scars and seams that in effect
structurally define these projects. As
she relates, it is important to understand
what gets cut, where, when and why, and
of how knowledge comes to lie in the fold.
Thus beyond the markedly brief case studies,
it is Galloways reflection combined
with Trebor Scholzs reprinted article
"The Participatory Challenge"
from Curating Immateriality (2006)
that provide the kind of intellectual
labor that both intellectually oriented
managers and artists will want to attend.
Some of these more theorized discussions
are indeed surprisingly stimulating, surprising
in terms of how while they come across
as intellectually playful they are nevertheless
rigorous and important for understanding
new media and the changing nature of the
world in the age of mass participation,
or should we say potential mass participation.
For instance, Charles Leadbeater, introduces
the notion of the beach ethic, drawing
on the ordered and self-regulated behavior
we experience on beaches without overt
control. His insights into the profound
shifts occurring in contemporary society
make for fascinating reading. When read
against the tensions expressed with the
participatory and collaborative challenges
as evident in the wide-ranging discussion
of ownership, constraints and dissent
in open and closed systems in Ferrans
article, the fully collaborative intellectual
nature of this project becomes particularly
evident.
There are several interesting issues relating
to collaborative projects that stand out
in this study. Historically, the project
is interesting because it documents the
creation of a new artists guild
society in Holland where such guilds first
originated, but this time in the institutionalization
of interdisciplinary cross-sectoral collaborations.
In terms of team building, the project
is interesting as these collaborations
rely on bringing together individuals
that have sufficient common ground in
terms of their broad competencies and
uncommon ground in their respective specialist
depth. And yet, despite the claims for
a unique productive nexus of professionalism
and achievement of the aims of the inter-disciplinary
creative quest, stark contradictions and
shortcomings emerge, indeed un-common
ground.
Two central assumptions of the study are
questionable: the said rarity of successful
collaborations and the importance of accepting
anti-consensus over the importance of
achieving consensus. Moreover, it is perhaps
telling that after the collaborations,
every artist stated that they would have
been keen to accept a job with the companies
they had worked with and yet in no instance
did the companies make any such offers.
The question then might be asked that
if these type of collaborations were as
successful as claimed, in terms of being
innovative and economically productive,
then why did industry not hire any of
these artists with the mutual diplomatic
caveat of-course instead of allowing for
the possibility of future such internships
and collaborations?
What has been left unsaid here, what has
been cut out to a large degree is industrys
perspective, wherein in fact lies the
essential differences in the critical
folding process. These are the questions
that I am left with especially considering
how exceedingly scant the bibliographies
are in terms of engaging the enormous
literature on collaborations more generally.
This is particularly revealing, perhaps,
in that inter-disciplinary cross-sectoral
collaborations are highly productive when
common ground and common aims are established
to achieve specific ends. One is left
wondering whether collaborations involving
new media are so different from other
forms of collaboration that the larger
literature on collaboration could not
have been bridged, abridged, or in the
language of this study - folded in. Simply
put, in the cutting and folding process,
the whole history of collaboration in
the arts, science, academia and industry
has been left out of the equation.
Besides the challenge for more academically
rigorous work, it is arguable on another
level that the flaw in this study lies
in the privileging of the anti-consensus
model. Artists are herein being treated
as gifted outsiders whose egos have to
be protected in order to sustain the collaboration.
Crudely put, they have to be tolerated
for their potential creative input in
a process in which the requirements of
business to achieve particular types of
products for specific ends are seen oppositionally
as antithetical to the creative process.
For instance, in the spirit of allowing
for uncommon ground and an anti-consensus
model the concerns of the managers are
set aside in order not to dampen the artists
creativity. In these instances, as predicted
by business, the results were indeed unsuccessful.
It seems to me that there is a double-standard
at work in which the knowledge of the
managers of the requirements of the market
is not taken on equal standing as the
need to pamper the artist. On the other
hand, when one examines any successful
creative industry, I would contend, that
acute creative consensus and acceptance
of the need to sometimes make difficult
and contentious decisions is part of the
process of creating any great work of
art, product or project. It is surely
this delicacy over avoiding rather than
accepting conflict that weakens this project
in its practical dimensions over and above
the acceptance of the plurality of difference.
Indeed, in order to analyze and reflect
upon this range of experience, an anthropologist,
Samuelle Carson, was hired by Arts Council
England to report upon the Interact Programme
in which artists were placed in creative
industrial contexts. In stark contrast
to the other articles in this study, Carson
emphasizes a great deal of common ground
and how the real differences devolve upon
ownership of intellectual property generated
during such collaborations. In significantly
furthering this discussion, Bronac Ferran
provides a critical article on contracts
"Models of Ownership in Challenges
of Contemporary Creativity" which
highlights the 2006 Intellectual Property
Summit: Codes and Creativity through
drawing together comments by key figures
in new media collaborations such as Roger
Malina. In this domain, it is particularly
interesting to read how contracts are
seen as boundary objects that allow for
security and common ground.
Ultimately perhaps, it is the dynamic
between creativity and control that emerges
as this studys contribution, an
issue of substance which to which Sholz
and Galloway add powerful insight. However,
all in all, considering that the seminar
in Amsterdam (out of which this book emerged)
was organized in the spirit of a radical
pragmatism with the explicit goal of examining
"what actually happens"
in collaborations so as to dramatize differences,
surely a more nuanced perspective on power
and the irreducible difference between
pure and applied creativity is required.
In order for managers, educators and art
and design professionals to engage in
productive cross-sector collaborations,
one has to achieve at least provisional
common ground in order to create a successful
product or manage a successful collaboration.
And there not only should we nurture and
accept friction as conflict zones in which
decisions as to what to cut and how to
fold inevitably have to be made but draw
on the virtually galactic history of such
experience both positive and negative.
For instance, perhaps the starkest contradiction
in the inter-disciplinary era lies in
the claim that while academic institutions
are populated by the most creative, innovative
and individualistic of people, these same
institutions, in contrast to industry
when required, show the greatest resistance
to change. In some degree this is certainly
the case in the sense that fully inter-disciplinary
work can only be done from the professional
safety of a firm location within ones
own discipline. In fact, as inter-disciplinary
work is deeply constrained by turf wars
between and within disciplines, it might
best be seen as a zone of productive conflict
akin to the folding process defining uncommon
ground. While the struggle between cultural
studies and anthropology is a particularly
divisive example, when one considers the
extraordinary vitality of the emergence
of new cross-connecting sub-fields in
biology, genetics and biochemistry, the
vast productive nexus of university research
and industry and the whole history of
the industrial revolution and design,
and the response to it in the Arts and
Crafts Movement, never mind the penultimate
example of Leonardo Da Vinci as an arts
and scientist arms consultant, one has
to wonder at the way in which this new
Dutch guild assesses the assumed irresolvable
differences between business and academia,
arts and sciences, process and product.
Perhaps the greatest value of better understanding
uncommon ground then is that it provides
us with a means to achieving more productive
common ground.