(Un)common
Ground: Creative Encounters between Sectors
and Disciplines
by Cathy Brickwood,
Bronac Ferran, David Garcia, Tim Putnam,
Editors
Bis Publishers, Ámsterdam, NL,
2007
160 pp. Paper, € 24,00
ISBN: 978-90-6369-166-0.
Reviewed by José-Carlos Mariátegui
Alta Tecnología Andina (Lima, Peru)
and London School of Economics (London,
UK)
jcm@ata.org.pe
The topic of trying to relate academia
(particularly in arts and design) and
business has been mixed with contradictions
about its actual results. There are several
studies, most of them related to empirical
case studies. Perhaps one of the most
well known publications on this subject
was Beyond Productivity: Information,
Technology, Innovation, and Creativity
(National Research Council, USA, 2003).
(Un)Common Ground may seem as another
good intention to unite those areas; however,
it seems that after certain naïveté
about this blurry topic. This new publication
is more realist and critical towards the
cases they point out.
Therefore, there are some critical issues
and comment that are worth mentioning.
First, it is discussed in most of the
chapters about the binding between academia
and business; however, the majority of
the articles are written by people from
academia or the ones that facilitate this
bundling, mostly facilitators and consultants.
It would have been interesting to incorporate
also opinion (or interviews) by some business
people that may be even more objective
about the outcomes.
The second argument is more related with
the nature of the approach, which is quite
focused conceptually into design in a
very broad sense. Though when it gets
to the examples, the book tends to be
focused in industrial design and product
development, which is an interesting area
where it seems that multidisciplinarity
is essential. In the creative sector,
Geke vanDijk states "cross-disciplinary
collaboration and knowledge sharing are
powerful catalysts of innovation".
He also explains a new notion defined
as service design that expresses
that current products are no longer isolated
elements, but a network of different experiences
and combinations, such as the case of
the iPod and iTunes. Yet in all the cases
around experiences, it is not only the
design but also the content that counts
decisively.
The third one has to do with locality:
It is true that the publication and the
event were held in Amsterdam, but most
of the cases, if not all, are European,
mostly British and Dutch. Tim Putman included
some information about the case of the
Indian entrepreneur J. N. Tata, founder
of the multinational conglomerate Tata
Group. It would have been interesting
to include other people from other realities,
since it seems that both Britain and The
Netherlands had been pushing towards these
approaches and are just beginning to see
the good outcomes.
Beyond these criticisms, perhaps the most
valuable part of the book, as said previously,
is its current perspective, out of the
naïve vision that was present in
previous publications on the subject and
taking more practical perspectives.
Other interesting element about the cases
is the focus on the lab culture
that is defined as spaces for innovations
where quick turnover and rapid prototyping
are essential to get some products out
of it. A media lab is even considered
a space of social interaction more than
just of infrastructure (as it was more
regarded in the 90s) that facilitates
opportunities around organisational innovation,
creativity, and communication. Garrick
Jones digs particularly on this subject
by offering the different types of collaboration
between academia, commerce and industry,
from the most informal and colloquial
(Café Culture) to the most sophisticated
and institutionalized (Labstatic) in which
teams are supported with technology, process
design, studio space or production budget.
We are entering a new age of participation
in which blogs, WIKIs, and digital video
are generating a shift in the consumer,
from a mass production of industrial good
into a individual production mainly of
immaterial goods that are more customizable.
Participation is therefore the new spectacle.
All over cyberspace more people are trying
to show themselves in order to feel they
are different. Series like the Big Brother
or American Idol are a good example of
this current media-based spectacle. Therefore,
situations that expose media evolution
both in terms of social interactions and
the effects of technology are the only
way to maintain a reflexive and opinionated
perspective of new media.