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The Comparative analysis is produced within the work of the policy grouping TILLT Europe supported by the Culture Program strand 2 at the European Union. This group has committed itself to producing a package of studies to understand the impact of artistic interventions in business and in research projects, and to formulate recommendations on European policies that should support this type of intervention. The TILLT Europe project Management group consists of members from TILLT (Sweden), DISONANCIAS (Spain) and Social science centre in (Germany).
TILLT EUROPE ACTIVITY 1
TILLT EUROPE PROJECT - ACTIVITY 1
MANAGING ARTS AND BUSINESS COLLABORATIONS: A COMPARATIVE ANALYSIS OF FOUR PROGRAMMES IN EUROPE
Roberto Gómez de la Iglesia Miren Vives Almandoz
TILLT EUROPE ACTIVITY 1 Acknowledgments: Pia Arebland and Roger Sarjanen from TILLT Arantxa Mendiharat from DISONANCIAS Irene Hediger and Prof. Jill Scott from ARTIST IN LABS Nema El-Nahas and John Hartley from Arts Council England 2 .
(From Matarasso’s studies on “Culture: Use or Ornament?”) • • By becoming influential in cultural and non-cultural company localisation and investment decisions through local aesthetics and cultural vibrancy and their impact on talent attraction. (As described by Florida in “The Rise of the Creative Classes”) By being a source of innovation for many non-cultural economic sectors. in order to show and analyse some of these programmes and practices. particularly in the development of the cultural industries. firstly. better education. where new economic paradigms are arising (“intangible economy” and “sharing economy”. processes. management and culture. state its common grounds and specificities. Back in 1997. health. all of which have potential effects on. references and skills that interact with other skills and resources to foster innovation. generating or fostering the development of other related industries. it has been also widely discussed that culture has also had an indirect impact and is able to play other economic and non-economic roles: By contributing through the practice of the arts to social inclusion. the redefinition of the cultural sector broadening the scope of the traditional arts sector to include the creative industries and services was a first step towards those policies that promoted further the new economy of culture. • • Some of these aspects can be seen. labour qualification and productivity. tendencies as described in the KREA Report entitled “Creativity & Culture”).TILLT EUROPE ACTIVITY 1 Over the last 10 years.” By becoming a powerful tool to communicate and share values in a changing society. studied and followed in practice through the experiences of collaboration between art and culture and other spheres that some programmes carried out in certain European countries always under the tutelage of a mediation party have been provided to both artists and organisations in the last years. share general conclusions and lessons learned. it has become increasingly accepted that culture plays an important role in the economy of Europe. provide advocacy and present specific case evidence that could help to better understand the potential not yet fully explored of these other roles of culture. science. secondly. selfconfidence and the pride of belonging. the well-being and happiness of individuals and. Culture provides tangible as well as intangible assets consisting of artistic heritage. The TILL Europe Project develops this comparative analysis package as its main activity. which contributes directly to the economy providing products and services for consumption. corporate image and employer branding. 3 . On the other hand. As reflected in the Study on the Economy of Culture in Europe: “Creativity is a complex process of innovation mixing several dimensions such as technology.
................................................................................................................. 99 Appendix 4: Questionneire Template....................................................................................................................................................................................................... 57 AIL dissemination and communication strategy ......................................................... 15 Chapter 3: The Case of TILLT and AIRIS PROGRAMME .............................................................................................................................................................. 59 AIL Projects and experiences ................ 35 DISONANCIAS method ........................................................ 62 Chapter 6: The Case of INTERACT................................ 12 Main Objectives of Comparative Analysis ...................... 22 AIRIS evaluation ...................................................................................................................... 100 4 ....................................................................... 87 Apendix 1: Bibliography ............................................................................................................................... 16 About TILLT ....................................................................................................................................................................................... 41 DISONANCIAS evaluation............................................................................................................................................. 37 DISONANCIAS dissemination and communication strategy .......................................................... 23 AIRIS Projects/Experiences............................................................................. 18 AIRIS method ......................................................................................................................................................................... 43 DISONANCIAS projects and experiences ...................................................................................................... 27 Chapter 4: The Case of DISONANCIAS ......................... 78 Chapter 7: Some conclusions ................................................ 5 Arts and culture to transform organisations and territories ........................................................................................................ 45 Chapter 5: The Case of ARTIST IN LABS (AIL) .................................... 5 Economic change and cultural change.................................................................................................................................................................... 75 INTERACT dissemination and communication strategy.................................................................................................................................................................................................................................................. 98 Appendix 2: Main Websites used or quoted............ 77 INTERACT Projects and experiences .......TILLT EUROPE ACTIVITY 1 INDEX Chapter 1: SETTING THE GENERAL FRAMEWORK........................................................... 12 Grounds of comparison and Case Selection .................................................................... 59 AIL evaluation ................................................................................... 55 AIL method ...................................... 9 Chapter 2: COMPARATIVE ANALYSIS RATIONALS .............................................................. 73 INTERACT method......................................................... 76 INTERACT evaluation ................................................................................................... 14 Some Notes on Methodology .. 99 Appendix 3: Other references ................................................................................................................................................ 19 AIRIS dissemination and communication strategy ........................ 16 About AIRIS ..................................................................................................................................................................
We search for individualised answers that respect our autonomy as consumers and citizens. The roles traditionally played by different institutions and agents have changed. territorial and community bonds…). artist. to be divergent. 5 . industrial design.” Pavel Büchler. on our own framework of social relationships and on our way of life. as Nordström and Ridderstråle (2000) have reminded us. which seem to be playing a crucial role in the configuration of this new economy. as have jobs. relational capital and communication. then it is in the sense in which artists are producers of culture rather than of discrete artefacts which characterise that culture. Economic change and cultural change Something is changing in the world of economics. strategies. required skills. We are increasingly prioritising processes and meanings onto objects. Technological changes have reduced space and time. It needs them for what they “are”. The main added value of products and services is today the result of the application of knowledge and creativity (scientific research. Immersed as we still are in a crisis atmosphere. “Society undoubtedly needs creativity and vision more than it needs works of art. Constant change is the only permanent thing and. ways of doing things. ideas and values.TILLT EUROPE ACTIVITY 1 Chapter 1: SETTING THE GENERAL FRAMEWORK . subsequently. Everything seems to indicate that we are currently facing a new paradigm as a projection of “the age of access” as discussed by Jeremy Rifkin. engineering. the only stable thing in terms of its inherent contradictions and everyday growth is a person. branding. coproducing and sharing onto exclusively possessing. And they are continuing to change by force. We demand the right to think and act differently. professor and writer. people’s hopes and aspirations. rather that for what they “do” – and if it needs them for what they do. It needs artists with their ways of doing things more than it needs the things they make. Speed has imposed itself on our economic model. A great connective energy has meant that social networks have taken over from many traditional reference institutions… We are experiencing a progressive intangibilisation and aesthetisation of Western economies. Professor in the Faculty of Art and Design at Manchester Metropolitan University. we are simultaneously witnessing a conceptual renaissance of culture and creativity. organisational culture and people management. fears and concerns.
Companies and organisations are now not only producers of goods and providers of services. such as proportionality. the ownership of goods is obsolete. culture and spectacle. to change their organisational models. professionalism. in which there is still time so that human relationships are not only seen from a commercial viewpoint. New values are being proclaimed. they are searching for a new relationship with their public. one that goes beyond that of historical links based on sponsorship and patronage. for that which it knows how to do. to promote creative capabilities and the innovation of their people… According to Jeremy Rifkin (2000). open to other knowledge fields and increasingly strengthened/conditioned by new technologies. personal learning and realisation. new relationships and connections and especially generators of experiences. These are some of the changes that are leading us to a new economic culture and a new economy of culture. what matters now is the exchange of experiences. to generate more efficient communication. A great opportunity is thus being opened for the arts and culture in this new “experience economy” and the “shared economy”. based upon social fields that are not socially accepted as artistic. they want to promote corporate social responsibility. “Progressive” formats. beyond that of the use of artistic techniques as 6 . And these are being developed increasingly more with links to the creative process rather than the embodiment in a traditional format work. We are entering cultural capitalism and abandoning industrial capitalism. to creativity as a basic nutrient to develop a new framework of social and economic relationships. sustainability. diversity. As Joseph Pine II (2000) reminds us. to social and productive innovation. the economic world in general is searching for that which the cultural world supposedly has. beyond that of artistic experimentation in the field of work. the offer of experiences is not only produced in the arts. In the cultural sector itself. a progressive intangibilisation of the arts is currently being experienced. together with the ability to assume risks. languages and messages of rupture within a traditional market environment of hypercapitalist logic and typically industrial organisational models. concern. And through these. interdisciplinarity. intangible services are usable. but also has its place every time an organisation deliberately uses goods as props and services as a stage to engage the public. ideas adoptable… and experiences should be memorable. a critical spirit or reliable cooperation. upon social criticism… Their ideas are presented from a combination of expressions and disciplines.TILLT EUROPE ACTIVITY 1 Commercialisation now no longer aims to excite. we are being flooded by terms and discourses linked to the knowledge society. they also want to be producers of meanings. At the same time. In other words. Tangible products are consumable.
it is the cause. Today. beyond that of cultural industries. that of art. have become keys to social. The following diagram. The relationship between economy and culture exceeds the direct and indirect impact of the former on the latter in terms of gross national product or jobs. but the attempt to understand the logic of cultural development itself as an economic logic of the transmutation of values”. culture and communication (intimately linked as the former is to the latter. but also with this new reality in which culture and the arts are presented to us as a new way of incorporating value to very diverse social and economic activities. the effective field per excellence of economic logic. economic and territorial development. in which the creative sectors. because etymologically to communicate is to make something common. in each and every social manifestation. in which creativity is the raw material alongside knowledge and attitude. strengthen communication strategies or promote new forms of organisation. This is why culture. As Boris Groys points out in On The New (2005): “Culture is. are able to catalyse the creative capabilities of organisations. then this world is that of culture and. to find a relationship) are essential for constructing an “imagination society”. an “experience economy”. The economy of culture does not consist of a description of culture as the representation of specific exterior economic processes towards it. Creativity with a cultural basis seems to be a key in the competitive transformation and differentiation of new organisations. taken from the KEA study “The impact of culture on creativity” shows us the different fields in which a creative strategy based on culture responds to different organisational objectives. accustomed to balancing the tangible and the intangible. including companies. It is a world that is willing to embody its capabilities in everyday life. 7 . balancing the relationships between the force of individuals and group creation. and specifically the arts. Other dimensions exist of this relationship and perhaps the essential one has to do with culture as a breeding ground of the generation of innovative attitudes and values. because of its dynamics and capacity for innovation.TILLT EUROPE ACTIVITY 1 tools in the field of consulting… And if a world exists that is used to managing risk and uncertainty. managing talent. Culture is not the consequence of development. promote productive innovation processes. essentially. foster cultural democratisation and improve the self-esteem of its members.
to verify what real space culture and its agents will have in reformulating public policies. to improve 8 . upon outdated organisational and business models or. beyond that of the application of the logics of efficiency in its processes and structures. the private field of culture. In this sense. to check how far-reaching the discourse is on creativity. On the one hand. They posses the most appreciated abilities in the job market. Their position is strategic. must come to realise upon what it is sustained. And it is true that “innovation” is the fashionable magical word of the moment that provides force to any argument about the need to overcome the crisis. innovation and new developmental models. knowledge.TILLT EUROPE ACTIVITY 1 The wheel of creative Strategy Values Management GOALS Product differentiation Creative workforce Creative Management Human Resources CSR Product Development Branding This change has also made necessary a change in the field of culture. In many cases.” points out María Ptqk in her article entitled Be creative under-class! (www. “Creative workers are today faced with a paradoxical situation that often touches upon schizophrenia. Additionally. the current economic crisis is an acid test for the sector.net) The cultural sector has to be able to apply the high doses of imagination and creativity that are deployed in its products and its ways of doing and operating. beyond that of budgetary cuts and other necessary readjustments in the sustainability of what is on offer and cultural infrastructures. they often appreciate neither the methods nor the results. The traditional bases of cultural intervention in public policies are in many cases obsolete. conversely.ypsite. And if indeed they are acknowledged in impassioned discourses about knowledge as the driving force of the economy. On the other hand. but their working conditions are miserable. upon a growing tribe of highly creative freelancers with a weak economic base. but at the same time invisible or subsidiary.
away from pre-conceived aspects that are not always real. thus anticipating the new needs of citizens in a increasingly more complex framework: that of a society and economy that not only needs knowledge. The arts also need to reflect on their supposed innovative capacity. We have to allow ourselves to be penetrated and disturbed by other ideas and abilities. it still remains a politically correct alibi to continue doing things within “our circle of control”. aesthetic function. The arts are searching for new media.TILLT EUROPE ACTIVITY 1 the competitive position of a territory. positive transgression and proactive disturbance. professionals who are able to relativise their knowledge and attitudes. of “taking on the improbable”. The challenge today is undoubtedly social and productive innovation. beyond that of a decorative. we all need to search for new nutrients in terms of content and form. new spaces in which to act for social transformation. above all. It is the moment of courage. much imagination. flexible environments. We believe that the experiences analysed in this comparative analysis are good examples of what tackling new angles of cultural management implies in art and applied creativity. and this in turn needs diverse stimuli. But in order to achieve this. new discourses. as the artist/consultant François Deck claims. Perhaps they are an example of the new paths that culture can take in these times of crisis to be a truly transforming force? Arts and culture to transform organisations and territories The experiences we are presenting in this comparative analysis – AIRIS (Sweden). citizens who are able not only to tolerate what is different but also to give rise to it. but also new attitudes and. Interact (Great Britain) and ArtsinLab (Switzerland) – are examples of artist/company relationship programmes that have gone from theory to diverse and efficient practice. These programmes create a field of experimentation that responds to a dual need: The arts need new spaces of contrast and development to present themselves to society as an environment that is able to provide creativity and reflection. Creativity requires imagination. because 9 . They have opened spaces for cultural management that were earlier exclusive to that of the “real economy” and have discovered new territories for “experiential artists” who want to apply their abilities to the everyday world of companies and other social organisations. to change our organisations… But in many cases. Disonancias (Spain). Innovation requires creativity. of daring to innovate.
Are artists able to contribute elements and thoughts to help configure new business models? What are business professionals able to contribute in the creation of new paths and challenges for the arts? Where does creative exchange begin. the creation of collective dreams? It is in this setting of the new experience economy where the arts and business are searching for new hybrid spaces of mixtures. the arts have also become allies in the business sector. and differentiation is difficult without innovation. in an increasingly more established trend for the need to feel and experiment rather than possess and accumulate. If we want to do things differently. And it is within this shared search between artists and businessmen and women that the programmes analysed are framed. new meanings that are shared with citizens.TILLT EUROPE ACTIVITY 1 imagination and creativity in specific aspects cannot always be assumed in others. Business organisations also need to respond with increasingly greater speed to a higher level of demands by citizens. And it is necessary in order to move from quality to excellence and from excellence to difference. we need different 10 . to the progressive intangibilisation process of the economy. the result of the incorporation and favouring of diversity. to a higher demand for social responsibility… For all these reasons. in the ability to connect with market emotions. Imagination is the basis of creativity and this is the breeding ground of innovation. To the search for what is really valuable. as well as confidence. because this must be strengthened rather than just accepted or tolerated. to new social needs or old needs embodied in different demands and within different frameworks. Diversity is disturbing. which is creating a major revolution in the way we have hitherto had to understand many of our economic. because creativity does not reside in only one of these sides. To the transformation of its products and services in memorable experiences. The world of the arts and the world of business. relational and commercialisation systems. social and/or cultural relationships. respect. faced with different needs. as well as in its relational capacities with diverse agents and in its ability to generate everyday applications. to the internal and market treatment of cultural diversity. The differential value of organisations is moving increasingly further away from the “what” (products and services) to establish itself in the “how” (methods. in the strength of a shared idea. new stories to tell and new ways of telling them. ability for social solutions…). but it is also necessary to be able to reflect social complexity and respond to a new series of social needs from different professional fields and organisations. What is therefore required is to explore and innovate in the fields of art and in its organisational modes. therefore. in the need to provide creative exchanges. need new nutrients to help them create fertile environments in which to generate social solutions. There is no creativity without diversity. and in the search for a result that has come about from shared work between professionals who often ignore each other. in a different manner.
Therefore. the smooth with the rough or complex”. training different sides.TILLT EUROPE ACTIVITY 1 people who think differently and. which has surrounded man since his beginnings. It seems that we need a new “Renaissance” to understand the proximity and harmony between the sciences and the arts. that of the mediator. above all comes in rough. Cacophony Ltd substitutes calamity for creativity”. inspiration. to discover different business and social solutions. professional respect and confidence. The organisations that head the four analysed programmes ensure the success of experience with their work of identifying needs and partners. keen as it is on new innovative experiences and new solutions. which are often more present in artistic and business environments that in society itself. considered abstract and dry. Over time. The projects analysed are different projects promoting encounters between differences and their logical conflict. Nordström (2000): “Innovation turns a company into a factory of dreams and ideas based on imagination. a great deal of confidence… to construct a process and a result based on a shared objective/meaning. mixes. mediating during the different moments of the relationship. a division of labour was produced. the circle has been closed and mathematics. surprise and collaboration between professionals from incompatible(?) fields. irregular forms. its space of manoeuvre. opposites attract. technical fields and management. come from different areas and environments. while at the same time methodologically energising it. and between all of these and society. Ridderstråle and K. there is a third side to the triangle. Collaboration between different people above all requires mutual recognition. 11 . But these experiences show us that they are not incompatible. They appreciate diversity. therefore. Now. ingenuity and initiative…from the viewpoint of innovation. the study of this third part which helps to bridge those different worlds. According to J. And the first thing needed in order to do this is to break down stereotypes and prejudices. geometry was developed on the one hand and art on the other. and its achievements and failures in facilitating the transdiciplinary collaboration. its method. Novelty is the result of constructive discordances and tensions. and monitoring and evaluating the process or support during the project management of results in certain cases. has became the main focus and the distinctive angle of the present report. that it is possible for interaction to exist between the arts. science. But in this relationship between artists and companies. As the Polish mathematician and father of fractal geometry Benoit Mandelbrot states in an interview published in el PAIS (2006): “Nature. has been merged with art.
the analysis will focus on programmes carried out in Europe that have long experience in enabling extended (>3 month) collaboration projects between the arts and other spheres on a regular basis. the aims and resources of the mediators as well as the nature or profile of the participants varies from case to case. but it also should be taken into account that these effects are not only a result of the nature of the collaborations in themselves. science. are truly committed to the artist’s side of the collaboration experience and are more interested in the impact of the collaboration from the organisation’s viewpoint. Both of them. AIRIS is a programme that has been running at a regional level in Sweden since 2002. education or public sector) and cultural artist supported always by a third party or mediator that enables contact. facilitates common ground. both quite similar in terms of mission and methodology and consisting of an important number of diverse experiences. The experiences that these cases provide will hopefully show some of this multiple-effect that culture can have on the economy and society. but also a method developed and improved through trial and error independently in each case. with a specific methodology developed and supported by a mediation platform that has been developed independently and has only had contact with others in the last few years. however. the mix of skills and capabilities from arts and other fields. Although all selected cases fulfil the proposed criteria. joint project. follows processes and evaluates results. exploratory.TILLT EUROPE ACTIVITY 1 Chapter 2: COMPARATIVE ANALYSIS RATIONALS Grounds of comparison and Case Selection All selected cases shared a common field of activity: all of them are European initiatives designed to promote processes of collaboration between different spheres (business. differing in some aspects from case to case but remaining consistent in the essential features of all of them. We have chosen to compare two main cases: AIRIS (Sweden) and DISONANCIAS (Spain). Consequently. The programme places an artist into a working place (private company or public organisation) to develop a 10-12 month-long open. The AIRIS programme is one of the methods used to introduce culture and the arts into working environments that has been 12 .
ARTIST IN LABS is an annual programme that is carried out in Switzerland by the Institute of Arts. And two complementary cases: ARTIST IN LABS (Switzerland) and INTERACTS (UK). R&D units and public organisations) to develop a pre-agreed nine-month-long joint project mainly focused on developing new products or services. These cases. which provide a complementary view in which the focus shifts a little more to the artist’s side of the experiences: the former because it is embedded in an academic & research arts institution and the latter because its driving platform is an umbrella funding organization for the arts. Placements are provided in major biology. The programme’s aims are to give artists the experience of immersion inside the culture of 13 . a non-profit organisation with the institutional mission of transferring the discourse of art into forums outside the reach of traditional artistic domains. a non-profit organisation that is part of a private corporate group (Grupo Xabide) operating in the cultural management arena at a national level. introducing detours and discords in the normal processes of thought and action. physics and computer science laboratories for international artists and designers to help stimulate the transfer of knowledge and generate new levels of dialogue with scientists. on the other hand. DISONANCIAS is the main activity of a platform called Foro de Gestión Cultural. are closer to the traditional concept of residency in transdisciplinary contexts than to the joint project or co-research used by TILLT or DISONANCIAS. contributing creativity and work methodologies and serving as a catalyst for the members of a team. AIRIS and the other methods used by TILLT promote rich and productive collaboration between working life and the cultural sphere. The programme is based on the idea that artists are by definition researchers and can use their artistic methods and skills to contribute to and propose new and different paths of innovation. new processes or new organisational models and/or on changing corporate culture. Media and Design of the Academy of Art and Design of Zurich. On the one hand. they enhance artist employability in the labour market by discovering new ways to use their professional artistic skills.TILLT EUROPE ACTIVITY 1 developed by the TILLT platform. however. DISONANCIAS. on the other hand. The programme also places an artist (or a group of artists) into an organisation (mainly medium-sized companies. is a programme that has been carried out in Spain’s Basque Country since 2005 and in Catalonia since 2008. they make business leaders in Sweden and Norway aware of the ways in which culture can be used as a radical and innovative tool to improve the working environment and to encourage novel and creative thinking and.
with significant growth potential in other contexts and countries.TILLT EUROPE ACTIVITY 1 scientific research in order to inspire their content and develop their interpretations. which worked together with different agents. To identify best practices and share lessons learned from the mediator’s viewpoint in order to enhance general practice and be able to infer a mediation model from the existing practices. although evaluation and some of the projects is still running. such as business organisations. To collect and compare results and impact evaluation methodologies among the selected cases in order to reveal needs and weaknesses of these processes. resources and prospective future) and the projects within the programmes as practical success and failure experiences on the thesis that all the programmes implicitly stand for and that have been already presented in previous chapters. in order to facilitate input for further and deeper research into this arena. allowing the artists to have actual “hands on” access in the lab itself as well as attending relevant lectures and conferences. aesthetic development and communication channels for the general public and to encourage further collaboration between both parties including an extension of discourse and an exchange of research practices and methodologies. evaluation and dissemination). evolution. to help scientists gain some insight into the world of contemporary art. history. methods. Four or five placement projects have been organised each year since 2006 and the programme has recently expanded to incorporate two labs in China. Main Objectives of Comparative Analysis The comparative analysis activity conducted as the first step of the TILLT Europe Project has the following aims: • To understand the different approaches to the field of study provided by the cases selected at three different levels: the programmes in themselves (goals. The programme arose as an experiment with a limited time cycle. the mediation platforms that drive the programmes (goals. INTERACTS was a two-year programme that organised the placement of artist(s) in host organisations with the mediation of different cultural organisations under the funding and tutelage of the Arts Council of England. artists and mediators. • • 14 .
a framework for variables of the analysis was prepared and research was done to select additional or complementary cases including data gathering. two real life study visits (3 days each) have been conducted by the TILLT Europe Project Team to meet directly some of the main characters (artist. (2) Personal Interviews with key agents from the mediation platforms TILLT and DISONANCIAS. and so on (some references available in the Appendix 3) Finally. organisation and mediation platform agents) of TILLT (Sweden) and DISONANCIAS (Spain) and their views and memories on the projects they have experienced. and (3) Sample documents and reports produced by/within the different programmes. contact and meeting with other experiences and assessment of the degree of comparativeness. template contracts. primary and secondary sources of data has been used for the study.TILLT EUROPE ACTIVITY 1 Some Notes on Methodology This comparative analysis has been designed together with all the TILLT EUROPE participants. In the preliminary stages. Following the guidelines proposed in the TILLT EUROPE Project Application Report. evaluation reports. As secondary data sources: (1) General Questionnaire developed to fill the information needs established in the comparative analysis framework and completed by all the Programme coordinators (a questionnaire template can be consulted at the Appendix 4 of this document). As primary data sources. the scope and objectives of the study were defined. such as catalogues. the conclusion process has also been followed and shared by all the TILL EUROPE Project collaborators 15 .
operating under the name TILLT (http://www.tillt. medicine. In TILLT. creating new subjects of discussion during coffee breaks and acting as a general means of stimulating the mind. From the early 2000s. TILLT has been regionally commissioned to develop new methods on how artistic competence can develop working life and vice versa. both the department of regional development and the department of cultural affairs.” In order to fulfil this commitment. creativity and efficiency at the workplace and thus add to social inclusion. In TILLT. film industry. they say that the purpose of art is to make us change perspectives and view things from another angle. they also believe that the cultural sector can help to increase the individual’s well-being.se). TILLT has developed different methods designed as steps in a progressive path involving different levels of commitment and interaction between the organisations and the cultural world in each of them. dance. operators in the business sector participate approximately in 100 of these customised 16 . For TILLT’s General Director. the creative economy and sustainable development. creative input and in thinking outside the box. as for example TILLT. serving as a meeting place outside the workplace. etc. is nowadays a private non-profit company that has been operating in the Swedish region of Västra Götaland since 1973. The basic work of TILLT here consists of supplying some 50. The first is the Cultural Ambassadors Programme. It provides us with a clear mandate and shows that the region understands the importance of this question. The word “tilt” means lean in many fields. The second method could be called “artistic/creative injections”. to mention but a few related topics. has given us a commission to develop this area. such as the car industry.000 employees in nearly all business sectors with easy and affordable access to a broad array of cultural events and arts. The organisation currently tutors 1. “It has meant very much for us that our region.” she stresses. equality.100 carefully selected cultural representatives throughout workplaces in the region. is critical to success. “The value of a clear commission for an organisation. inspiring these cultural ambassadors to promote the use of culture and art to their colleagues. On a yearly basis. Pia Arebland. TILLT promotes customised cultural programmes to suit the demands of clients (workplaces of any type) in the region in areas of interest such as integration. When you lean you have to change perspective. serving as a hub for the human resource development programme of every workplace affiliated to TILLT.TILLT EUROPE ACTIVITY 1 Chapter 3: The Case of TILLT and AIRIS PROGRAMME About TILLT SKÅDEBANAN VÄSTRA GÖTALAND. this is a key factor in the development of an organization such as TILLT in the long run.
TILLT has developed the AIRIS programme (the subject of this analysis). AIRIS provides encounters and collaborations between working life (companies and other workplaces) and the cultural sphere (represented by a creative artist such as an actor/director/playwright. but a project team composed of people from the company is always appointed to work with the artist. An AIRIS project may involve an entire workplace or some of its subdivisions. has been granted this year to accomplish different European projects. As has already been explained. the artist is placed in an affiliated workplace one day per week. representatives from the Regional Trade Union. The artist is supported by a TILLT process manager and project team from the company and provides a fresh mirror image of the workplace and its staff and. devises an action plan (the actual project) adapted to the observed needs. visual artist/painter/photographer. These projects are regarded as a very important step towards an R&D European network in this practice. TILLT is directed by an executive board of 12 members. An extraordinary budget of 300. TILLT has continuously introduced changes in its structure. and Marketing and Sales. most of them having dual backgrounds with artistic and business-like professional studies or experiences. During this time. Finally.000 euros. the annual budget in 2009 reached 950. the economic model of TILLT shows on the income side that 40% of this budget is covered by grants and subsidies mostly from the Regional Development Committee and Cultural Affairs Committee of Västra Götaland and the Swedish National Council for Cultural Affairs (on a multiple – yearly basis). Delivery and Quality. processes and methods. etc). museums. On the expenditure side. using this as a starting point. 17 . whereas 55% of the income comes from the sale of services (the methods mentioned early) to public and private companies. 61% of the budget covers wages and salaries for personnel and 22% for artists employed to deliver the different services. spread over the three coming years. the last two accounting respectively for 33% and 40% of human resource capacity. The organisational model includes a general director and three functional areas: Finance and Staff. According to the data provided. These interventions are followed by TILLT with a simple but effective evaluation methodology based on online surveys. redefining itself until its present model: a stable platform with a fixed structure of 10 full-time salaried employees and 3 parttime staff. dancer/choreographer or composer/musician) throughout the time span of ten months. the Confederation of Swedish Enterprises and from the regional cultural sector (opera. functioning as a non-traditional consultant and a source of inspiration. Sponsorship and other contributions (5%) cover the rest.000 euros. theatres. On average.TILLT EUROPE ACTIVITY 1 cultural projects performed by professional artists with a result oriented focus during a short period of time.
” Her strategic view of TILLT in five years is for it to become a key agent at a European level in these matters. Conducting research is essential in order to visualise the effects of creative partnerships between the cultural sector and the business sector and to develop this new vocabulary. There is fear from the corporate sector of non-result oriented processes. which is significant for artistic processes. building a network from existing models and experiences that can spread these practices across Europe. To succeed in reaching the traditional (not creative business) working world organisations. developing its own business model and offering value added in exchange of monetary retribution. portfolio of programmes/services and amount of projects delivered. thus reassuring both parts integrity and interest in order to provide a breakthrough when developing creative partnerships. the present structure of TILLT confirms this aspect. with almost the same percentage of the fixed structure committed to the “selling” part rather than the “delivering” one. the most clear sign of value that can be sent to the target audience. TILLT’s general director mentioned: (1) to communicate the value of TILLT’s methods to the business and art sector and politicians.TILLT EUROPE ACTIVITY 1 Because of its independence. (2) to build the organisation: consolidate and develop it further to fulfil its mission. TILLT initiated the study in collaboration with the Västra Götaland Region Art Councillor with some preliminary questions such as: What benefits would an artist 18 . TILLT has translated its offers into business language. About AIRIS The AIRIS (Artist in Residence) programme was first launched in 2002 as a pilot study involving four participating artists in four different workplaces. youth. when asked about the three most important challenges in the mid-term. resources. The understanding for using cultural competence and methods to develop business is sometimes difficult to get for both sides. it is essential to find a new vocabulary. TILLT’s general director explains these challenges further: “There is fear from the artistic sector of using art instrumentally. Therefore. and (3) to pull resources together and build a European R&D network in this field that can perhaps spread its benefits on a broader scale. Not in vain. size. In the same way. the TILLT model is built on the premise of value involved in the exchange between culture and working life and is the clearest example among our cases for understanding the third-party role.
mainly through networking. Subsequently. The role of the process manager and his/her dedication to the project has evolved over time and the lessons learned from year to year. This is a crucial activity and also one of the most complicated. According to Alexander Styhre and Michael Eriksson. commercial visits. the ratio between contacted companies and actual participants is still low. As previous steps for any round. some activities such as the following have to be accomplished by TILLT’s structure: − Prospective search for companies interested in taking part within the programme. − Face-to-face explanatory meetings and signature of agreements with interested companies. 19 . Good and clear communication from the beginning is a key aspect in negotiating the final agreements. TILLT employs and assures AIRIS artists for the time of the project. intangible and open as the AIRIS programme requires intensive effort from TILLT’s agents and a lot of courage from organisations. which also have to counterbalance a perceived economic risk (amount of time devoted to the project by its personnel plus the 30. (2) enhancing the competitive potential of a workplace by enhancing its creative potential and health status.” AIRIS method The AIRIS programme is organised in yearly rounds. and (3) a labour market goal where new arenas for employment opportunities for professional artists are being created. external researchers of the project in the article “Bring in the arts and get the creativity for free: A study of the Artists in Residence project”. As a part of this agreement. Its general objectives have to deal with: (1) creating new interfaces between culture and business within private and municipal business companies by process-oriented collaboration. participation in business conferences and debates. each round including 8-10 projects. etc. this means that AIRIS is “a culture project which includes three separate goals: (1) a culture-political goal to create an arena where industry and the culture sector and its agents can meet and interact. and (3) expanding artistic outlet and spawning new work methods.TILLT EUROPE ACTIVITY 1 provide for the change and development work of a company? Over time.000-euro participation fee). − A process manager from TILLT is appointed for each project. based on standard templates created by TILLT according to the AIRIS programme methodology. To translate the value of something as different. (2) a business development goal aimed at enhancing the creative capabilities of industry and public sector organizations. the programme has evolved and redefined itself thanks to the internal and external evaluation that has been performed on a yearly basis.
including an evaluation of the activities and a final seminar wherein all participating artists and companies report their experiences and what they have learned.000 euros per artist.500 euros per month. (1) Anchoring the project (1-10 months depending on at what time the organisation signed up). − Employment of the artist by TILLT: signing of a standard labour contract in which dedication and remuneration conditions are stated. Once these preliminaries are fulfilled. In this way. such as: − Strategy/Planning Meeting with Contractor/Management aimed at intensively involving the management in the project from the beginning and obtaining support throughout the process. further steps are taken. 20% capacity (one day per week) at a salary base of 2. (2) research: the artist researches the organisation and creates contacts with the co-workers and to jointly formulate an action plan for the project. introducing him or her to the specific conditions of the workplace as well as 20 . artistic freedom is also emphasised in the AIRIS project. anchoring the project in the organisation has become a very important goal in each project. which is always present in the process for support and never to direct it. (3) action plan implementation: the artist works with the action plan and develops a number of activities. In order to achieve this anchoring. − Selection of a Project Team: a team is appointed at the workplace prior to launching the project. however. most of the artists are employed for one year. TILLT uses certain tools to manage the involvement of the different agents. Working life experience (from culture institutions and departments) is also valuable and a number of artists with previous AIRIS experience have been re-engaged in new projects over the years. events or workshops in collaboration with the co-workers in the organisation. It is important to obtain representatives from the sections affected by the project. This results in an employment cost for TILLT of about 9. − Selection of a professional artist carried out by TILLT from its own network of national artists of all disciplines. TILLT has identified an organisation’s commitment as a key success factor in the collaboration process. in addition to this. The number of team participants will vary according to the structure of the workplace. and (4) final phase. occurs one month before kick-off): From its experience. presented here as successive phases in the process: (1) anchoring: working in the organisation’s involvement. because then the team will function as an entrance and guide for the artist. communicating and relational skills are highly regarded but. including charges. According to the provided data. The participation from the artist in this process. Generally speaking.TILLT EUROPE ACTIVITY 1 Past experience has shown the need for this role. The artists are expected to be professionals working with methods and events suitable to their own field of expertise.
− The Project Team. The Project Team is the link to management and other personnel. Artist workplace participation is on average one day per week. processes the information that will lead to an Action Plan. the artist must work out the relevant questions in collaboration with the actual workplace staff. Participants are the Project Team. the artist will recognise present needs for change and development work that the workplace is engaged in. The Action Plan. focus and goal of the project. − Artists from all the projects in AIRIS are given four-day introductory training in order to prepare them for contacting the organisations and making them familiar with the AIRIS methodology. in collaboration with the Project Team. Union Coops. In order to do this. The artist will then present his or herself and their work in order to initiate communication with the workplace staff.TILLT EUROPE ACTIVITY 1 being contact people for the artist. (2) Research Phase (2 months): Instead of arriving at the workplace with a preconceived model of the project. creating confidence. an evaluation tool. an aid for demarcation as well as a framework for return (since it contains the scope of the project and the schedule). the artist is introduced at the workplace and its business is presented in order to enhance his or her conceptualisation of the specific workplace conditions. the workplace anchoring process continues to be stimulated by the artist’s interactions with the staff and in the Process Meetings. including the artist. The Team juggles ideas and concepts with the artist to work out one or several specific sub-projects that will lead to the formation of an Action Plan. artist and TILLT Process Managers. in dialogue with the Management. process support and quality assurance. The Action Plan may be regarded as a tool for conceptualisation since it describes the objective. and the staff involved. worked out in close collaboration between the artist and Project Team at the workplace. Conception input comes from a greater team that. Middle Executive Level. with the purpose of broadly anchoring the project within the company and functioning as ambassadors. Using observation as the method. etc. other collaborative teams. etc. A kick-off Seminar is organized by TILLT as a unique event for simultaneous project launches: representatives from the Project Team and Management for all participating workplaces. − The Management and Project Team participate. The kick-off 21 . etc During this time. together with the artist and TILLT’s process manager in designing the next step: the research phase through a specific meeting. Process Meetings occur once a month and constitute a distinct framing of the project. One individual in the team assumes the role of contact person for TILLT’s Process Manager/Coordinator. contains the Conception/Objective/Performance and Timetable of the project. which is the required output of this phase. discussing shared values. is presented to other levels through meetings or specifically devised events with the Management Team. The objectives of these meetings are briefings concerning frameworks.
A mid-term seminar organised by TILLT and attended by Project Teams. the Project Team plus the artist prepare a presentation to be shared with other participants. TILLT shapes and guides the process through all the phases. coaching. researchers and media at a final seminar. etc) continue to be active while the Action Plan is implemented. there is an ongoing process of reflection from each edition to the following one in order to assess efficiency and look for improvement. (4): Aftermath (1 month) At the termination of the project as scheduled in each Action Plan. This seminar is a useful tool to exchange views and ideas on the different projects. come from the collaboration between the artist and the workers in constant communication with the management. artists. a researcher from the research Institute for Management of Innovation and Technology (IMIT). As we have seen. researchers. Process Meetings. takes place during this phase. it is difficult to isolate a distinctive communication policy for AIRIS projects. etc. 22 . based on the input collected from each of the year cases. AIRIS dissemination and communication strategy According to TILLT’s Marketing and Sales Manager. TILLT has worked since 2005 with M.TILLT EUROPE ACTIVITY 1 comprises a mutual basis for the participating workplaces and offers new networks. The actual contents. Workplace Management. final evaluation is conducted. since it is mainly embedded in TILLT’s Communication Plan. For the external evaluation. a document in which all Project Teams and artists collaborate to produce as a means of articulating the experiences achieved from the projects and enhancing the tools for future projects. TILLT Project Managers. strengthen the network and relationships and compare starting points and actual situations. (3) Action plan implementation: (6 months) All the established dynamics (artist participation. the actions done and their impacts on the organisation. internally for the process and externally for the impact on organisations. mediating. Internally. The mediator role is very present in the process without intervening directly in its contents. which is the last event of the process. At this stage. Eriksson. communicating and evaluating the experiences. An important tool for evaluation is the Annual Report. creating relationships. Documentation (interviews/photo) of all projects is also scheduled during this phase.
events and TV documentary. press articles and so on. the dissemination geographical coverage was mainly regional and national but TILLT is planning to increase it first to Scandinavia and later to Europe. The aim is to address the needs of working life even more. conducted by TILLT. AIRIS consisted of seven to ten parallel organisations. commercial leaflets (main folder with all activities and specific folder for AIRIS). finally. As a result. AIRIS evaluation TILLT has always been very concerned with research and evaluation on the AIRIS programme. as we have seen. accountability for received public funding and continuous improvement of the method to better reach its goals.TILLT EUROPE ACTIVITY 1 The purpose of the communication strategy has to do with brand building. raising awareness about services and promoting the adoption of these services and. 20 different events were organized in 2008. in the middle of the project. it was conceived in the beginning as a pilot study to test some research questions regarding interaction between the arts and business worlds. IMIT has followed six AIRIS projects 23 . Their communication strategy is yearly aligned with research and evaluation results. and afterwards. a major communication change has taken place in 2009. External and internal evaluation processes have been conducted with the purpose of providing advocacy about the value of the AIRIS proposal among potential participants. Until now. Data was gathered from organisations with a questionnaire before start-up. transparency in TILLT activities with its target audiences: workplaces. Types of content produced for dissemination (commercial content and informative content) are presented under a wide range of formats and supports. including a new trademark and totally new communication strategy. TILLT representative participated in 65 conferences and received 40 media coverages. a research team at the IMIT Foundation (Institute for Management of Innovation and Technology) has been surveying the participating workplaces since 2005. Researchers also attended individual interviews with representatives from the organisations during the start-up phase and after the project was finished. As a result. because. such as TILLT's website. For external evaluation. politicians and cultural institutions. Each year.
(2) efficiency and creativity. 2007) about the AIRIS project. 24 . Statistics on short-term and long-term sick leave respectively for the twelve months during the AIRIS project and twelve months prior to the project were also collected. respectively. Some of these conclusions have to do with: Significant changes in the quantitative study mention “meeting new people and getting new perspectives on the work done” and “breaking conventional structures”. changes were carried out in the following AIRIS project. for example by replacing the middle questionnaire with interviews. Researchers produced a report for each AIRIS round and presented it on the homepage of TILLT and IMIT and at the final conference of each AIRIS project. 1999). the presence of experiments. making it possible to make additional conclusions. (3) defensive (from Kylén. In the final report.TILLT EUROPE ACTIVITY 1 with a total of fifty participating organisations. for example an initial education on change management for the artists. namely the ability to work with alternative perspectives and the ability to work with uncertainty. 1999). 1996). the presence of supporting and hindering routines of action (Kylén. In the earlier AIRIS projects. there is a risk of measurement error. 1996). both as a respondent and as evaluator. the conclusions were more focused on the change process due to a limited number of statistical observations. According to TILLT’s researchers. and strategies for change (Norrgren et al. 1996). 1999). and (4) effect 1 and effect 2. the conclusions had a high statistical certainty and the recommendation added to the conclusion was to try to capture additional overall pictures to further develop the understanding of the effects of an intervention based on art and culture. management of complexity and uncertainty (Adler. Modifications of the evaluation process have been carried out between the different projects. but it was found necessary to reconstruct each index to obtain even higher statistical certainty. In addition. The results of each AIRIS project have been added to earlier studies. The questions in the questionnaire used have high statistical validity for each dimension/factor or index in their original index. when trying to interpret a single question. Based on these early conclusions. respectively (from Norrgren et al. the view on planning and efficiency (Adler. The indexes used in the evaluation were: (1) organisational climate (from Ekvall. 1999). Statistical certainty is higher when using an index based on several questions and observations. a scientific article was published in the Creativity and Innovation Management journal (Styhre & Eriksson. The questionnaire that was used tried to capture the organisational climate for creativity and innovation (Ekvall. respectively (composed by Niclas Adler). These can be seen as close to two qualities that are often seen as the attributes of an artist. 1996).
TILLT EUROPE ACTIVITY 1 respectively. In the qualitative material. When asked to think about some ways of improving evaluation procedures. but a combined one. (5) in spite of the limited number of respondents’ universe. From both evaluation processes. on an individual level. an openness for new things. The AIRIS project and the artists have given the participating workers and leaders an impetus that partly moved them outside their comfort zone and in many cases expanded their comfort zone. respectively. there is an ongoing internal process of reflection from each edition to the following one to assess efficiency and look for improvement. (4) using established instruments to reduce complexity and uncertainty in the statistical work and also help to make accurate conclusions early in the process. Trends in the quantitative material mention “decreasing resistance to change” and the view on a good leader in the organisation as one who “can capture new possibilities and adjust the operation to them”. the quality of the results in the questionnaire makes it not advisable to keep the initial three times of data capture. many lessons have been learnt that have contributed to re-shaping and tuning the processes until now. (2) using more of storytelling and case descriptions instead of statistical results in the dissemination of the results in each step of the study. These trends signal an increase in the ability to change. As examples of actions and decisions taken within the programme based on evaluation recommendations. This probably creates a wider space for change and innovation. external researchers involved in the study suggested: (1) not designing an exclusively quantitative study. (3) the motivation of the respondent and. both directly (decrease of resistance) and indirectly (making use of possibilities). the next step would have been to leave the paper questionnaire and instead capture the data digitally from the Internet. it has been most fruitful for the development of the project and achieving its goals. and (6) close cooperation between researchers and mediators regarding the interpretation of the results/conclusions and their implications for the process in the following projects. therefore. At the same time. it is repeatedly found that the experiences of the project resulting in increased cooperation and better coordination of the organisation. do not reinvent the wheel. Almost every step in the present methodology has to do with this. using both quantitative and qualitative instruments. based on the input collected from each of the yearly cases: interviews and final reports elaborated by artists and Project Teams. 25 . as well as an improved working climate. There is an unwillingness of workers and leaders to leave their comfort zone and try new ways of acting or challenging the dominant assumptions on management approaches.
among others: Greater attention than is currently given to the anchoring process of the AIRIS project at the workplace prior to project launch. Artists regard this forum as highly rewarding and it paves the way for new constellations and for collaboration within and outside of AIRIS. for additional enhancement of the common grounds existing between sub-projects. a resource for the Artist as well as the workplace. o Transferring knowledge from artist to artist: from 2005 on. such as: o Four-day artist team introduction course: TILLT has expanded this procedure from one halfday’s info into four full days of further training. mid-term. In this very process and as a challenge to be answered by TILLT. This is an excellent group forum for resolving problems. To be able to keep his or her roots as an artist. This is crucial to the kind of comprehension. one or several artists have participated in subsequent AIRIS projects for the sake of utilising and transferring prior experience to new artist teams. the kick-off. The continuous development of a common seminar structure.TILLT EUROPE ACTIVITY 1 the AIRIS coordinator cited. and termination seminars. that is. 26 . it is important that the artist remains as an artist and not an ordinary consultant. It has been subject to continuous enhancement and structural development. which is yielding increased comprehension and more security before the AIRIS work. the resistance that the artist/project will encounter from the launch and later. comparing situations and other exchanges. as well as stimulating common problem resolution. o Individual artist coaching: immediately sets the structure upon individual continuous fine tuning practice with the purpose of establishing an early warning system. Faster AIRIS establishment will be achieved by an anchoring process based upon necessity adapted to the particular workplace. Process management: a distinguished TILLT function. we have found it immensely important to develop a strong support process. paving the runway and supporting the process without directing it. Artist team fine tuning approximately once a month. To obtain the best results. the concerns are now about how to help workplaces to set up tools for future work in the AIRIS spirit using their experience in the project. It is available as a way of resolving conflicts and training for both parties.
arts. thought. the participating companies and organisations represent a great variety of industries and public sector organisations. Participant in the AIRIS project 2002-2006 Company Industry Food supermarket Health care organization Truck manufacturer Construction Company Techinical deparment Municipality Shipping company Dental health care Pharmaceutical company Real statre company Health care organization Health care organiztion Real state company Working life deparmente Municipality Medical thecnology company High School Engenieering company School Civil engineering deparment Human resource deparment Municipality All the previous processes might be better described and understood by following a few examples of past AIRIS project experiences. or the actual procedures that took place. at least for a time. or the type of artist who intervened. Data on these experiences comes both from TILLT’s selection of significant cases collected in the questionnaire and real-life study visits. Moreover. size and amount of people from the organisation involved. Alexander Styhre and Michael Eriksson mentioned in their article some examples of this diversity: Artist Artist Photographer Actor/Play writer Choreographer Singer / sonwriter / Musician Actor director Singer and Musician Choreographer Artist Artist Choreographer Actor Playwriter Musician Artist Actor / director Musician Artist Musician Actor / director Table 1. popular and classic music. long term effects cannot be monitored with the existing data and the question of “what happened next?” is still unanswered.TILLT EUROPE ACTIVITY 1 AIRIS Projects/Experiences As already stated. choreography and photography. corporate culture or even health. However. AIRIS projects have been carried out within organisations and with artists from a very broad background. most of the cases show how the performed actions had a positive effect on organisations by enhancing communication. both for the organisation and the artist. including a number of different categories of art forms such as acting. Even though the cases differ from one to another in the type. 27 .
The images were seen on the website and projected onto the factory walls during 28 . such as: Graphics and Writing Contest: the best summer photo or best short story by a Paroc employee was chosen. The Swedish head office is located in Skövde and the company has plants in Hässleholm and Hällekis. Tighten Connection” (2008) Paroc Group is one of the leading European mineral insulating wool manufacturers. In this way. a “lubricant” to smooth the change process and the working climate. shifting responsibility to lower levels of the organisation. which had been previously identified by the union. Paroc was deeply involved in a change process concerning HR policies. The AIRIS programme was directed towards encouraging the employees in meeting outside of work and towards abolishing unnecessary grumbling in between shift teams and improving the rate of feedback and encouragements. (3) pride in the work done by each of the workers. etc. The AIRIS project. Victoria Brattström is an actress and director and trained at the Theatre Academy at Göteborg University. In 2006. She is inspired by the power inherent in structured creative thinking and feels a challenge in investigating the creative process of various forums. AIRIS could help build bridges in three dimensions (between departments. it was also keen on creating better visibility and a rebirth of creative powers in individuals.TILLT EUROPE ACTIVITY 1 PAROC (Hällekis ) + Victoria Brattström: “Break Isolation. These efforts were made through different actions. departments. top-down and between units). (2) increased collaboration across borders: shifts. 200 of whom are in Hällekis. Furthermore. under the name “Break Isolation. (4) smoother organisational processes. AIRIS focused on opportunities for new meetings to yield enhanced knowledge of others’ work procedures and roles by using creative processes. Paroc AB Sweden is part of the Paroc Group Conglomerate. AIRIS was seen as a supportive instrument. as well as in others using TILLT’s methods. The plant managers benchmarked for suitable projects and decided to bring the AIRIS programme into two of the plant organisations. reflected in various projects that aimed to developing leadership skills. and (5) increased innovation capability. changing salary systems or implementing new health policies. Tighten Connection”. Paroc AB Sweden turnover is approximately 1.06 billion SEK and employs 419 people. She has participated in one AIRIS run programme. where she also currently teaching the Musical and Actor Programme. was designed towards achieving: (1) better knowledge and enhanced pride of working at an environmentalist company. Working climate surveys conducted at the plants showed the Board of Directors at PAROC the need for some action.
which encouraged everyone. they used the expression “factory mentality”. When asked what that meant. text and sound as the medium.TILLT EUROPE ACTIVITY 1 the election contest. when the participants were asked to describe their workplace. Kick-Off Event: the action plan was presented at four occasions involving all employees at Paroc through different dynamics. resistance to change and fear of being the one who stands out. Motivation and communication levels increased considerably. “Now I see the man behind the machine. Moreover. On several occasions.” “The project has meant that we have begun dealing with some profound issues at the workplace. Many have opened up and ventured to come out of their shell. a sense of fellowship was enhanced. new contact networks were built. games and contests that make more human contact and personal involvement possible “We Are Doing It” documentary: a documentary about parts of the process that makes insulation out of rock. a more open working atmosphere was created and the AIRIS programme has put PAROC in the limelight of media attention. Participation in the contest as well as choosing winners was open to all employees. such as individuals who didn’t feel seen and heard or acknowledged as the person they are. as can be inferred by statements from some of the participants: “People have gained a broader understanding of both their own roles and those of others in the big picture. although causality is impossible to demonstrate.” Satisfaction levels. and because of this it will be easier to respect each other’s work. the parallel change processes that were carried out in Paroc together with AIRIS and other external factors resulted in a 24% increase in the level of production efficiency at the Hälleki plant. But as stated by the participants: “Not everything has been easy. This is a change we will profit from. AIRIS helped to break this type of negative pattern.” “AIRIS made us talk with each other in new ways.” 29 . they suggested expressions such as seclusion. The Project Team replied by compiling the material into an exhibition. however. The results were clear: the AIRIS programme was highly appreciated by most employees.” said a machine operator. however. made us meet as human beings instead of cogs in a wheel. It was done by the Paroc staff during five days of recording at five different locations within the plant. focusing upon the people in the process and the craft behind it and using graphics. remained high.
Anna decided to arrange a series of workshops in which the staff was inspired to interpret and embody the core values of the company. they are engaged in using culture as a kind of tool kit. They believe that culture is a driver of innovation and creativity. and b) in order to obtain one molecule for a compound. stimulates “left and right brain” uses and corporate responsibility (it can show that the company takes culture seriously. She received a card pass from the company and wandered around everywhere and talking with people for the first two months. Astra Zeneca represents 31.g. etc. in the Department of Clinical Research at AstraZeneca. This involvement has been progressive. a castle.000. The drug innovation process takes 8-12 years. by supporting the orchestra. helping to bring people back into work after they have been sick). These photographs. when people suffer from stress. cross-functional work. where the staff posed in front of a bright light against a white screen and the shadow cast was photographed. rehabilitation processes (e. Of the 700 researchers. as the results they were obtaining were convincing enough to demonstrate that these efforts were paying off. a section that underwent extensive change during the project period. enhanced communication. In this department. supports change management activities. were transferred onto large sheets of glass that were placed in strategic places throughout the newly constructed company building.5% of Swedish net trade. e. you have to scan 100. The leadership team discovered that “we didn’t know a lot of things”.g. This means that: a) people have to stay motivated and creative in a project for a long period of time. etc). establishes new platforms for meetings without hierarchy or boundaries between parts of the organisation. This AIRIS project gave the employees many valuable insights into new ways of thinking and coherently 30 . so there is a high number of “failures” and people have to deal with projects that “don’t work out”. Impact has been measured internally in terms of declining sick leaves.TILLT EUROPE ACTIVITY 1 Astra Zeneca R&D + Anna Persson (2004) + Maria Mebius Schröder (2006) Astra Zeneca is a multinational pharmaceutical company employing 65.000 people in 45 countries worldwide. conducting research to find out about people’s problems — as an artist/outsider she was able to find out things that managers did not know. in turn. The visual artist Anna Persson participated in the first AIRIS Project in 2004. employer branding. out-of-the-box thinking. 80-90 took part in the projects over the next 6 months. This was done by creating silhouettes for each of these core values. having put into practice all the methods developed by TILLT. from the initial idea to a marketable drug. The facilities at Mölnal are devoted to clinical research.
A good result for her is: “When you leave the room with more questions than you entered with.g. This was relevant for them because the new project-based organisation entails people shifting roles. Maria commented that what was most interesting for her was the frequency with which people asked: “When is the portrait finished?” and “Who decides when it is finished?” From this she observed that “doing things right” and “doing things on time” was very important and she compared this with the “performance agony” that artists also know a lot about from their work.” The whole department participated in this project (45 people). There had been a series of reorganisations in a short period of time and people felt lost both in terms of their identity and their status. simply involving taking a picture of daily life and putting it up. She also led a series of workshops. It shows people who they are in a very intimate way and is a disciplined form of listening. People are still talking about this project. the Change and Benefit Manager commented that “the change in the people’s mindset still stays wherever you are in the organisation. therefore. combining leadership and followership. It sharpens and broadens your thinking. based on physical movements. the group was dissolved. from leading to following and leading again. being playful. dancer and choreographer.” For him. which focus on values and show people that there is no right or wrong. calling it: “Don’t be so damn ambitious”. something these highly educated employees had rarely had the opportunity of doing beforehand. about leading and following.TILLT EUROPE ACTIVITY 1 forged this large group through the sheer joy of free experimentation. Another approach she took was to lead Socratic conversations. by asking them to conduct interviews with colleagues in ways that they would talk about themselves indirectly (e. However. courage is the key success factor in these processes and to continue carrying out the effects of these projects would be the big challenge. even if the department is not here. individually and in terms of their function. was the selected artist for the second AIRIS project in 2006 within the Drug Safety Surveillance Department.” A spin-off effect of the project was a photography exhibit that the employees developed themselves. but they never open. Maria reported that the group manager at the time described the feeling as: “like we are race horses waiting for the stable doors to open so that we can run. She started working on an identity theme with them. 31 . They also created a new communications group that organised breakfast meetings and lectures. the company decided to move the function of drug safety supervision to Hungary and Bangalore and. Unfortunately in the context of cost-cutting measures. e.g. talk about a relative who had a big impact on you). Time to get to know each other in new ways. Maria Mebius Schröder.
looking for the following qualities: breaking barriers within the department paving the way for better communication enhancing feedback culture respecting one another trusting listening 32 . roles and expectations. dancer and choreographer. and Szczecin. She also has previous experience in directing various workshops in the business sector The objective of this AIRIS project involved: (1) better comprehension of other people’s work. Poland. Discussions and decisions were made public in monthly distributed newsletters. All Ambassadors and executives met once every two months to present their procedures and agenda to be distributed one week in advance. (2) making space for reflection to provide resolution oriented discussion and measures. Maria Mebius Schröder. with a department office in Ålesund and subsidiaries in Göteborg. such as: Each department/team met once monthly to collect issues/ideas to be dealt with by the Port and Starboard AIRIS Teams (the entire Action Plan as metaphor taken from the Shipping Sector). The Port and Starboard Teams met once a month to look into current issues for resolutions. to be emptied by the Ambassadors. (3) improving internal routine. A mailbox was set up to receive signed or anonymous suggestions. and (6) reinstalling co-worker dialogue. Collection of creative stories from the icebreaker vessel workshops with Maria and each innovative idea was rewarded. (4) creating conditions for a systemic view and ownership. Sweden. (5) stimulating creativity and innovation. Study visits were made between each department during the autumn. has participated in four AIRIS programmes. after which the Management Team reported to the Ambassadors and Port and Starboard executives. The Management Team agenda was processed at these meetings. Norway. as well as several “Creative Kicks” with TILLT. The directors of each team/department were Messengers and Ambassadors.TILLT EUROPE ACTIVITY 1 Teknothern AS + Maria Mebius Schröder: “Translucent Teknotherm” (2008) Teknotherm AS is a leading Norwegian company in the production of maritime cooling plants and has its head office and production plant located in Halden (90 employees). some procedures registered in the Action Plan were established. According to these goals.
however.000 people. reinforced and elucidated value foundation. etc. But it is vital if you want to change your business. was to set up an influential Project Team. Christine Falkenland has written fifteen novels. If the Project Team cannot respond to the process and run the work itself.” “The method means that you have to abandon your fixed positions and meet on neutral ground. as stated by some of the participants: “I think that many of us felt that we needed to do something to enhance communication at the company. She is also a trained writing coach who likes to encourage other people to write and has 33 . it is going to be very difficult to maintain long-term impact. with the mission of supporting political organisation and managing and directing its work in the region.” Strategic Region Management. municipalities. My first task. That is of course highly uncomfortable for a manager who is used to sheltering behind his armour expecting everybody except himself to change. we found it hard to put our finger on what precisely it was that didn’t work and what we could do about it. among others. common meeting structure. collaborating. various poem collections and children’s books since her debut in 1991. organisations. with business companies. The WG Region employs some 50. improved communication.” Results were noticed in terms of enhanced innovation power. the upper echelon of function executives of the West Götaland Region Management. The West Götaland Region promotes growth and sustainable development. then. AIRIS has supported our work on these issues in a methodological and structured way.TILLT EUROPE ACTIVITY 1 Taylor made workshops for each department with Maria and creative disturbances were held in the cafeteria during lunchtime in order to generate: surprise stimulate cross team communication etc This plan reflected quite well the artist’s thoughts: “I have participated in several AIRIS projects previous to this one and I know how important the Project Team is. West Götaland + Christine Falkenland (2008) The Strategic Region Management Group is composed of nine individuals. universities and national bodies.
I think it is important that management should also try using the AIRIS method. so that we can show that we’re taking the issue seriously. instead. In the words of the participants: “We want to create a place for informal exchange and communication and have time for pleasure and play. And in addition. I had to be an unambiguous and influential leader.” The goals of the AIRIS project were stated as: (1) making time and space for meetings.” The artist also explained her reasons: “I know I’m good at encouraging people and I wanted to try my methods within a new context. we’ve come a long way in this area. we’ll be more specific about the occasions when our meetings are to be result oriented as opposed to occasions when we can make space for a more reflective. such as memory and writing exercises. (3) making space for creativity and reflection.” 34 . For two reasons: one. and (4) encountering others and oneself. During the project. longstanding discussion.TILLT EUROPE ACTIVITY 1 participated in other AIRIS projects. for I had to keep a tight grip with great persistence in order to get anywhere. management literature or keeping a notepad. as expressed by participants: “We’ve realised that we’ll have to meet each other in different ways if we want a more efficient work team. This is a very result-oriented team that is ruled by very rigid structures. From now on.” The proposed procedure in this case had to do with engaging the nine-person team in some activities. In the West Götaland Region.” “She [the artist] succeeded at striking a harmonious balance between her demands upon us and the limited time we had at our disposal to realise them. As stated by the artist: “I realised quickly that there was no space for me for trial and error. we seldom meet physically. and that was a challenge too. because we believe in the real benefits of the AIRIS project. with AIRIS for instance. Some of the participants explained the reasons for having an AIRIS project in this workplace as follows: “I have for a long time been interested in ways in which the culture sector could contribute to other business sectors. and because of this. (2) finding a sense of fellowship. I sometimes saw myself as a parasitic insect. We want to meet one another with time for ourselves.” Some of the results noticed had to do with making the working methods of the team visible and creating space for a work reflection moment. relay race and diary writing. and two.
The DISONANCIAS platform views innovation not as an end in itself. DISONANCIAS believes that there is a real demand not only by companies needing creativity. introducing detours and dissonance into the usual processes of thought and action. DISONANCIAS does not emphasise the new jobs for artist that can be created. 35 . an innovation paradigm in which there is an interaction between agents that goes beyond that of transaction or commission and in which the final results benefit both parties. DISONANCIAS aims to transmit to society the importance of developing creative environments and extending innovation culture in all its aspects. but the contribution to professional development of artists that such an exchange might have. This exchange has an unquestionable benefit for both parties and is important for diversifying innovation processes. It is based on the premise that artists are researchers by definition. Although the discourse of DISONANCIAS has a lot in common with the discourse of TILLT.com. from the viewpoint of the artist’s role. providing creativity and work methodologies and serving as a catalyst for team members. but also by artists wanting to interact in broader fields than the strictly cultural. Additionally. is a programme for driving open and collaborative innovation between artists and companies of any size and field of activity.TILLT EUROPE ACTIVITY 1 Chapter 4: The Case of DISONANCIAS DISONANCIAS. In the long term. its main focus is on innovation. Art for Innovation. both productive and social. research centres or public entities. but as a tool to change ways of acting. as well as promoting social responsibility in organisations and a commitment of artists with society. which also explains the greater support it receives from industry related public entities. DISONANCIAS aims to have an effect on so-called “open collaborative innovation”.disonacias. www. they are able to propose new and different innovation paths. beyond that of economic benefit. Within the framework of collaborating with organisations. attitudes and values. Not in vain DISONANCIS was finalist for the AEDME prize 2007 for corporate social responsibility and was selected in 2009 as a case of good practice by the European Union within the year of creativity and innovation.
Fees from participating companies covers 42% of the budget. although 10 of them were conducted as pilot experiences under the name of “Divergentes”. coming from the private sector. FORO was founded in 2005 by Grupo Xabide. the programme has accounted for 40 different projects. Unlike TILLT. thus. FORO DE GESTIÓN CULTURAL (Forum for Cultural Management) is the non-profit platform behind DISONANCIAS. there are two full-time people and two part-time people. At the same time. while communication and marketing represents another 23%. not similar to TILLT.000 euros and the economic model is quite different from TILLT’s model. etc) or experimental activities that required public funding. when a parallel round of DISONANCIAS was launched in Catalonia. The relatively high investment in communication. and this self-financing ration is much lower than in TILLT’s case. with significant differences in goals and methodology and.TILLT EUROPE ACTIVITY 1 From 2005. In terms of personnel structure. coming mainly from industry related public institutions and to a lesser extension from culture (unlike TILLT’s case). communication and consultancy that has been operating in Spain at a national level for more than 20 years. publications. As TILLT is the organisation behind AIRIS. This unit would create and run activities related to research (congresses. with administrative support from Grupo Xabide and other specific collaborations pro-bono of other employees of Grupo Xabide (as for example. DISONANCIAS budget structure shows that grants and subsidies account for 54% of the budget.) education (cultural management courses. a kind of R&D unit for the cultural sector. the consultant in charge of the internal evaluation process). these sources of income come mainly from the regional government. the DISONANCIAS structure also differs: wages and salaries and artist remuneration represents 29% and 40% of the budget. every FORO activity or any round of DISONANCIAS has to make its own fundraising efforts for both public and private money. by this means. followed by local governments and. is also explained by the fact that TILLT’s direct sales 36 . DISONANCIAS has always been carried out with international artists and organisations in the Basque Country until 2009. In this way. respectively. a private company in the field of cultural management. the national government. FORO does not have an institutional commission that justifies a permanent allocation of public funds to it. On the expenditure side. cannot fully be counted as such. 2009’s round has been managed with a budget of 350. On the income side. Grupo Xabide wanted to promote. finally.
certain activities. In other words. high dependence on public money and not many other income sources. although in 2009 two editions of DISONANCIAS were launched (one in the Basque Country and another one in Catalonia) with some months of slack. reaching all sectors (especially the public sector) and being able to devise new methods based on interactions with art to complete what DISONANCIAS has to offer. from an organisational viewpoint. (2) to continue improving the methodology of collaborations. such as the following. research centres or public entities is opened through DISONANCIAS communication channels: website. − Call for organisations: a public open call for companies. Prospective search for companies interested in taking part within the programme is also done by the programme director and the two coordinators. have to be accomplished by the DISONANCIAS structure: − Fundraising activity: unlike TILLT’s case. but completely necessary if a new round has to be launched. and (3) to achieve a high level of recognition in the research and business sector. business organisations and other possible “ambassadors”. shared resources and methods is out of the reach of such a small structure. principal concerns for the future as stated by the director of the programme and the two coordinators are: (1) to obtain pluriannual grants for DISONANCIAS to make the programme stable and develop the structure at a national level (a big enough structure to be able to deal with projects throughout Spain). DISONANCIAS method Like AIRIS. The same applies for private sponsorship. DISONANCIAS is organised on yearly rounds and each round includes 8-10 projects. With a small but flexible structure for running the programme.TILLT EUROPE ACTIVITY 1 force task has been partially substituted in this model by a more developed communication and advertising strategy. every year there is a high degree of uncertainty. The possibility of running isolated projects without the economies of scale in terms of support. this is also a crucial activity that 37 . public money is granted to DISONANCIAS each year under request and through the regular channels established by each government level. A five-year strategic vision will become a key agent to carry out the programme throughout Spain. advertising in press and other media. DISONANCIAS coordinators consider that this is a very time consuming activity for such a small structure. media attention. As previous steps for any round. Therefore. As in TILLT’s case. DISONANCIAS aims to become a nationally operating TILLT.
This. In addition. DISONANCIAS believes that leaving this decision to them empowers the companies and makes a good starting point for anchoring since it develops their commitment by sharing decisions. organisations and artists. In this specific item. The justification for the open call lies in the nature and complexity of research fields defined by participant organisations. according to the definition of the research field made by each of them. the parties negotiate how they can exploit the results of the project in case they are able to be used in the market or commercialised: (1) the results are registered under a Creative Commons licence (in 38 . However.000 euros plus VAT. and is very related to the previous point. to reduce perceived risk. therefore. again. quality of the pre-project. Needs and research propositions vary greatly. they end up choosing one artist. does not happen in the case of TILLT where research needs are not specified in advance. interest in teamwork and exchange. This is why DISONANCIAS has proposed open international calls from the beginning. DISONANCIAS makes an open call where artists of any type can send a pre-project adjusted to one or more of a host organisation’s needs. From the very beginning. communicational and relational skills. etc. of course. innovation. The criteria for selection has to do with background and suitability for the organisation’s needs. but many times they are so specific that the natural network of artists that DISONANCIAS has developed over time cannot provide the most suitable candidate. is probably one of the biggest differences in procedure between DISONANCIAS and AIRIS. the joint research pre-definition lies one of the biggest philosophical differences between both programmes and evidences further the slightly different discourse each of them supports. Before this. An international jury comprising wellknown professionals from the arts. enterprise and public institutions then selects up to five possible candidates for each organisation. which. The pre-selected artist dossiers are presented to the organisations. Collectives of artists are welcome to participate since they are already very used to sharing research and projects and their interdisciplinary skills are highly regarded. from the beginning. it is difficult for one artist to be selected for more than one DISONANCIAS round. in DISONANCIAS the perceived economic risk is lower because participation fees are less than half: 12. Every year 150-200 applications are received from all over the world. after studying the information and carrying out an interview (most of the times by telephone or Internet due to geographic diversity). companies are asked to define as much as possible the field of joint research.TILLT EUROPE ACTIVITY 1 encounters similar difficulties. This fact also contributes to make the project more tangible and. and therefore risks. As the organisations and their needs are very different. − International call for artists: this. DISONANCIAS is not such an open project as AIRIS. DISONANCIAS signs separate agreements with both parties.
but at the same time it deprives the process of an important evaluation tool and a very effective early warning system. There is also no need to write a final report (only a brief text for the final catalogue) and no meetings are pre-scheduled with the DISONANCIAS coordinator on regular basis. but at the same time there is a risk in carrying out one of the phases for too long at the expense of the other. in DISONANCIAS there is no fixed amount of time that the artist has to be at the company per week. In summary. This again makes the task of the project team lighter and less bureaucratic.000 euros (including travel expenses and accommodation and excluding VAT) for their professional services and a non-employment contract is signed. the mediation process is quite similar to the one developed by TILLT. This again provides more flexibility to extend or contract the time the project team can dedicate to conceptualisation or production. further steps are taken. no standard rules for intervention are defined: the meetings with project teams and programme coordinators are organised when a necessity is detected (average number of meetings for this purpose being three). collaboration in evaluation and communication efforts) a lot of emphasis is put on freedom for each project team. To illustrate the first idea. Main differences can be noticed in DISONANCIAS processes being less supported (probably due to fewer resource availability) and for the same reason. although it encourages informal encounters with former artists and company representatives of former editions in the seminars. for non-profit projects). DISONANCIAS organises no introductory courses for artists. apart from minimum requirements (such as seminar attendance. Once these preliminary requirements are fulfilled. Generally speaking. more flexible to adjust to each case’s circumstances. or (3) the artist receives no more than his or her initial fee. To illustrate the second idea. but this sometimes means that the interaction work is done in big pushes rather than fluidly. This can be good for international artists who care able to organise their trips and their time better. artist-organisation to develop a methodology that suits them both rather than constraining them into a structure devised by a 39 . out of the so called methodology seminars (events where participants get together and talk about their projects and experiences). Project teams are not asked to handle a formalised action plan by a specific deadline. DISONANCIAS pays the artists between 10-12.TILLT EUROPE ACTIVITY 1 general. (2) the artist receives part of the benefits generated by the commercialisation of the result. The result of this negotiation is contained in the agreements they both sign with DISONANCIAS.
some time for ideas selection and some time for developing one idea towards a prototype phase. To introduce ways of working and working environments different from the usual. to specify the role of each party and to create a platform for an effective exchange and understanding of the interests of the other: “Why am I/are you here participating in the project?” Months 2 and 3: • Artist and project team are strongly recommended to develop together the plan. A meeting schedule should be included in the plan. Each presentation meeting is attended by the artist. to share their doubts. Based on output from the first methodology meeting. internal assessment of projects that are considered to require some kind of intervention from DISONANCIAS is carried out. one person from marketing and communication and one person from HR. including 2-3 people for the field of research. To introduce evaluation tools. establishing some time for exploration. project team and DISONANCIAS coordinator. These meetings are especially useful and necessary when the teams have chosen too quickly an idea and want to work only on it. • • Both the artist and project team start exploring the field. To establish the value of the project. as well as potential budgetary limits for the prototype phase. Observation at some project meetings is conducted for evaluation purposes. to provide tools for the development of a common language between the two parties. 40 . Month 4: − Methodology seminar gathering together the companies. the standard procedure for a DISONANCIAS round is as follows: Month 1: − − − − A Project team is appointed in each placement. some time for ideas gathering. Objectives: − To promote further exchange between the participating organisations. First methodology seminar: one and a half days. Objectives: To launch the collaboration projects. In this way. surprises and ways of dealing with the projects. Phone or physical meetings with projects to clarify again the aim of the project and possible ways of developing it are scheduled. one person from management. To fight against stereotypes. First evaluation interviews take places to assess expectations.TILLT EUROPE ACTIVITY 1 third party. gathering together all companies and artists.
data analysed and a final report produced. most projects should have been through the idea generation phase and should commence work to develop a tangible idea. the general purpose of the communication policy is to raise public awareness towards the programme and attract new companies. internal assessment of projects that require some kind of intervention from DISONANCIAS is carried out. artists and sponsors. Phone or physical meetings with such projects are conducted to resolve conflicts or readjust ways of working.TILLT EUROPE ACTIVITY 1 − Based on the previous methodology seminar and observation sessions. looking for solutions in a collaborative way. Based on the previous methodology meeting and observation sessions. what could happen now. sponsors. Objectives: To focus on the blocks and on uncertainty. Afterwards: Final evaluation interviews are conducted. Months 7-8: By this time. process or prototype. such as to generate debate and support with updated info those individuals and collectives interested in the same field as DISONANCIAS. To create a platform for the exchange of ideas. which changes have happened. Month 9: Each project team presents the results of the joint research at a final event public event of variable format that takes place in more than one city and which is opened to artist& business community. both private and public. some “fine tuning” meetings are conducted for the projects that were detected to require it. To explore more about “what” than about “how”. − Observation at some projects meetings is conducted for evaluation purposes. DISONANCIAS dissemination and communication strategy Similar to TILLT’s case. A catalogue is prepared by DISONANCIAS with all the experiences and published and distributed through DISONANCIAS website. 41 . Communication and dissemination also have other goals. media and general public. Months 5-6: Second methodology seminar with all participants (artists and companies). this stage concentrates more efforts towards this area. To share the direction/sense of the projects. Although documentation of the process is done throughout the programme.
seminars and workshops. number of websites linkreferenced (200). comics. some figures on DISONANCIAS communication can be viewed: number of communication impacts (DISONANCIAS 2008/09 Euskadi: 75 press. DISONANCIAS places much emphasis on dissemination both as a strategic goal and as an operative tool. The final event for the presentation of results implies DISONANCIAS web coverage. Innobai. Euskadi and Innova. videos. For instance. speeches PP presentations. Networks are very important for the dissemination process but require agile and dynamic internal communication. for the call for companies. audiovisual documentation and reference on the website. etc. the communication process follows the development of each round of the programme. number of conferences. publication of the call on the DISONANCIAS website and mass mailing through an artistic institution and website database is prepared. number of newsletter subscriptions (6. 55 radio. etc. pictures. press advertising (general and specialised) is used. In general. 125 websites). This content is delivered through quite a wide range of channels. film exhibitions. press summaries. publication of the call on the DISONANCIAS website and face-to-face informative meetings are conducted. at international level. 15 TV. a press conference is organised and references are given on the DISONANCIAS website and in other media. making-of video screening.5 Spain License. podcasts. gatherings. and number of website visits (150 visitors per day). and so on). number of registers in mailing list (art) (4. etc. When artist selection is ready. Spreading news through specialised networks help target better specific audiences.TILLT EUROPE ACTIVITY 1 As already mentioned. national and regional general and specialised press. All content created by DISONANCIAS are subject to the Creative Commons Attribution-Non Commercial Share Alike 2. DISONANCIAS events (conferences. participation of DISONANCIAS representatives in conferences. seminars and workshops organised or attended (20). with almost 23% of its expense budget and over 25% of its human resources devoted to this function. TV coverage. and so on. press conference. Estrategia Empresarial). To illustrate all these. For 42 . music. such as DISONANCIAS own website and newsletter (which is considered to be one of the most important tools). For the call for artists.604). Types of contents produced for dissemination are diverse: articles. radio coverage. seminars and workshops. national and regional Radio. national and regional TV. Other events through the process receive press coverage. Arteleku. The end of the round is marked by publication of the catalogue and dissemination through the DISONANCIAS web mailing list. Naider.020). other web-based spaces: blogs and links in other websites relating to art and/or innovation and/or business (Innobasque.
etc) and art and research networks that can spread the news and support the initiative (Hangar. 22@. In 2008. APD.net) and aimed to evaluate the impact of the collaboration process on the participants (more than the process in itself). detaching a consultant from Grupo 43 . it would also be helpful to obtain hard quantitative supporting evidence from the evaluation process that can be conclusive (numbers sing!). according to her. to attract ambassadors (it is difficult to talk directly to companies and organisations without the backing of someone they already trust) and to generate wider audiences (if you can attract the interest of general audiences. the three most important challenges or accomplishments to obtain in this field are: to create new formats for communication (it is difficult to communicate year after year if you do not create a sense of newness). even better. The research process began in 2007. Both final reports are available in Spanish. When asked for a self-assessment on the effectiveness of its communication policy. artists. it is also important to develop strategic alliances with certain media that could support the programme by disseminating news and advertising (EiTB. and cultural and economic media. a PhD student from the Complutense University of Madrid called Cristina Rodriguez was writing a dissertation on collective applied creativity and conducted her field research within the framework of DISONANCIAS. artsactive. CitylabCornellà. you will also be able to attract the interest of politicians and decision makers). So far. ADEGI. CIDEM. representatives from the business sector and innovations agencies to act as ambassadors and recommend the method (Innobasque. DISONANCIAS took the evaluation process semi-internally. The only piece of evidence for feedback was a basic satisfaction questionnaire that the coordinator sent to participating companies. Estrategia Empresarial).ypsite. etc). DISONANCIAS evaluation No research was conducted in this area during the first years of the project. This common ground is still undeveloped. At the same time. find a common language that is useful for companies. the DISONANCIAS communication officer explained that to improve communication policy it is necessary to use a specific language for each audience or. It was not very conclusive and had a very low rate of response. Diario Vasco. In her opinion. DISONANCIAS contracted external evaluation with YP (cultural producers and research collective: www.TILLT EUROPE ACTIVITY 1 DISONANCIAS.
and on the impact of the collaboration process among participants. health. economic. and (2) a year after the end of the process. – New products or services generated (quantitative): measures number of new products or services that have entered the product pipeline of the organisation (at any stage) due to the project. is conducted at two different levels: target cases. environmental. Evaluation takes place before the process starts: assessing expectations of participants before the process through personal interviews (target cases) and written questionnaires (regular cases). Some of the indicators used deal with: – Values associated with the project (qualitative) for participants: categorises the type of results that can be expected from the project in the long term. to find room for improvements (efficiency). Internal spread (quantitative): measures proportion of workers taking part or affected in any way by the project. which eventually would become case studies. working climate enhancement occurring because of project. to ascertain if it contributes and how it contributes to fostering innovation (effectiveness). new tools or methodologies. process results and overall impact on organisations is studied: 1) at the end of the process. This person conducts evaluation both on the programme itself. sustainability. Networks and relationships (quantitative): measures growth on the network and contact map of participants. audience reached. working climate. etc. and regular cases. the activity is recorded and monitored in two different ways: 1) monthly: summary of activities carried out during the period in a specific questionnaire format (all the cases). Unlike TILLT’s evaluation processes.TILLT EUROPE ACTIVITY 1 Xabide and commissioning her with the process. – – – – – External visibility (quantitative): measures media exposure gain through project and. conceptual. subsequently. interviews are conducted with participants (all cases) to identify outcomes. changes in work structures or process. and 2) observation sessions scattered during the collaboration process: an observer takes notes on pre-defined observation fields or variables (only target cases). an impact interview is conducted again (only companies). social. DISONANCIAS uses both qualitative and quantitative ones and no pre-defined indexes have been established. again because of scarce resources. brand visibility. During the process. Participants select which values can be attached to the project: aesthetical. 44 . Corporate cultural change (qualitative): defined as new organisation models. This evaluation. Perceived return on investment (qualitative): qualifies the proportion between efforts and resources invested and results obtained. After the process ends.
When asked about problems or principal flaws found in the evaluation process. some evaluation findings and recommendations about the programme had to do with: (1) in some cases. the experiences within DISONANCIAS are diverse: out of 30 projects. Artists. three research centres and 20 medium to small size private companies from industry and services. sharing of key success factors. and (3) need for a support process after DISONANCIAS. some of them show that if not prevented the effects of DISONANCIAS tend to dilute and disappear over time. long-term effects have not been followed. However. two universities. (2) importance of the methodology seminars to gather companies and artists together during the project: reassurance. common problem solving. The internal report for DISONANCIAS 08-09 has not been produced yet. tasks. three media groups (one of which has been participating in every round of the programme). times. (3) in some cases. Risk of frustration and negative results if not managed. still believing in the value for the company that the project had. most of the interviewees blame this on bad times and the economic crisis. As in AIRIS’ cases. DISONANCIAS accounts for one medium-size municipality department as the only representative of the public sector. comparing it to a seed that needs time and good weather to provide fruit. and (4) need to spread the process within the organisation if the desired output is any kind of innovation concerning the organisation itself. Collectives of artist are not unusual: on average 3-4 of the 45 . difficulties and misunderstandings of the concept of co-research. (2) need to establish a distinctive role for researcher/evaluator (as an objective function apart from the process). DISONANCIAS projects and experiences As in AIRIS. Only one year after measurements have been taken for just a few cases. From the previous external report. community sense.TILLT EUROPE ACTIVITY 1 – New ideas portfolio (qualitative): new ideas generated through the process. have been mainly visual artists until now. on the other hand. build the value of evaluation for participants and develop tools to facilitate data transfer from participants: web-based tools. designers and relational artists. difficulties to set planning after the creative phase: budget. risk of not achieving goals if not managed. the researcher talked about: (1) participants not allocating enough time or effort in the process: they don’t understand the value of it. although there have also been architects.
participation. however. the company manager found some issues and was very resistant to even define the area of research (which had to be with the traditional business model and have a high degree of emotional attachment and core value issues related to it) and. it can be inferred that DISONANCIAS has been just a first step in the path and that all the projects need time. In his area of work. The company was interested in exploring new businesses and business models for the commercial distribution network of the company (commercial offices at the street) that differentiate the company from other competitors (via Internet or phone). Santiago de Chile. further collaboration and courage to continue developing and achieving their own potential. converting the agents identified for each project into veritable generators of a shared project. etc. research. involvement and negotiation. on the other hand. He questions and criticises the reality upon which he decides to work and his pieces emphasise the ideas of process. Seguros Lagun Aro + Josep María Martín (2008/09) Seguros Lagun Aro is an insurance company operating regionally in the Basque Country and employing about 3. The selected cases show some process of joint research resulting in a positive effect on organisations by opening new ways of thinking and doing. shows similarities with the process in Paroc on page 19-20. he creates new intervention strategies by using art in certain consolidated structures that are nonetheless not lacking in cracks. Some of the differences between AIRIS and DISONANCAS that have been stated before. Data on these experiences comes both from DISONANCIAS selection of significant cases collected in the questionnaire and real-life study visits.000 people. and also some of the similarities. From all the cases. Josep María Martín is a Spanish artist who has completed several projects in Japan.TILLT EUROPE ACTIVITY 1 projects per round are performed by an artist collective of some kind. the project in Lantegi Batuak on page 36-37. Difficulties started soon: on the one hand. resources. and who is a professor at the Haute École d’Art et de Design in Geneva. but at the same was a big burden for the company in terms of cost. would be better understood by looking at a few examples of past DISONANCIAS experiences (for example. not very many artists wanted to collaborate with an insurance company because they thought the research was too commercial and would not interest them. Switzerland. by creating ideas for new products or services and by enhancing communication and corporate culture. based on the empowerment of workers). 46 .
they didn’t know any more than that. They all answered by talking about products and working lines. open to external collaborations and to the general public. firemen. general knowledge about their activity. they decided to go for an internal lab (not open to the general public). thieves. He proposed to create a new laboratory that would be an international reference about the idea of security. The employees were asked about the mission of the company. all linked to a certain extent to the idea of security (judges. Afterwards. The innovation manager was present during all the interviews. politicians threatened by ETA. Several debates about it were organised within the company and also with the people who did the interviews. etc). After many meetings. describing all the steps from the beginning to the end. anthropologies. There was nobody within the company thinking about how to generate security and new products were in fact copied or improved from competitors. since they had learnt that they could not think about new products if they did not first have a in-depth. including the general manager and innovation manager leading the project. The general manager had a previous very positive experience of building a design lab in a company producing washing machines and he supported the idea very much. The artist processed the information with the team involved in the project and he also involved some students he teaches at a Barcelona design school.TILLT EUROPE ACTIVITY 1 Among the artists that applied. The company was very surprised to see how people were willing to take part in the process by investing their own time. nurses. He proposed to link Lagun Aro’s activity to the concept of security and to start the process by organising interviews with both employees of the company (from workers to top management) and with external people. The artist proposed a very detailed methodology. He was given a very good welcome and a very good connection was established from the beginning. who was presented to a 12member project team. The artist proposed to collaborate with an architect to create such a space. About 30 individual interviews were conducted and filmed. External people were asked about their idea of security and what creates security or insecurity for them. linked to the company but not within it. 47 . So did most of the members of the team. he presented his conclusions to the whole group: the mission of the company should be to generate security. although two or three people were not very positive about it. the jury only selected Josep María Martin.
which was inserted in their strategic plan for the next five years. The research commissioned by the company dealt with applications of the concept of transformable architecture. (3) linking the company to the idea of community through their offices on the street. allowing for great versatility in structural solutions for architecture. The collective Recetas Urbanas. And for the 8-10 people to transmit to the workers what was happening in the group. All the “receipts” provided on the Recetas Urbanas website to build very different types of structure are freely 48 . The project team decided to present the idea to the company board outside of DISONANCIAS in order to continue the relationship with the artist and to go through the project. In general. They develop subversive projects in various fields of urban reality. because nine months is a very short period of time. The results of the collaboration (in this case. it can be hardly called a co-research) involved: (1) clarifying the mission of the company (to generate security). the principal flaw of this process was time constraints. from the systematic occupation of public spaces with containers to the construction of prostheses on façades. The company has also developed a system of mobile enclosures. Cirujeda always works in the limits of what is legal and illegal and around the concept of auto-construction. is a group of experimental architects. based mainly on systems developed by Lanik. new platforms/spaces are needed within the company instead of being adopters of foreign products. (4) realising that to think about strategic new lines.TILLT EUROPE ACTIVITY 1 The period within DISONANCIAS stopped here. and (5) structuring an internal platform to carry out further research about the idea of security and open to external collaborations. from design to manufacture and assembly. It was also difficult to transmit to the board the importance of the whole process to justify the necessity that comes at the end. Lanik works with several of its own patent systems. roofs and even plots of land. courtyards. He wants to provide people with tools to be able to build their own houses or public furniture to emancipate them from their financial situation or the absence of public investment. The artist was very quick in defining the methodology and reaching the conclusions after the interviews and the company would have needed more time to integrate the process and be more involved in it. which basically consist of spherical nodes and tubular bars screwed together. Lanik + Recetas Urbanas (2007/08) Lanik is a company with 60 employees from the construction sector specialising in the development of structural systems. (2) the fact that what generates security is to be part of a community. and its leader Santiago Cirujeda.
Cirujeda has developed his activity in many art events (Venice Biennale. etc.). Espai de Arte Contemporáneo de Castellón. They chose the concept of transformable architecture because they felt it was a new field that was going to grow.TILLT EUROPE ACTIVITY 1 usable by any citizen.html). The creative process took on tangible form in the shape of constructed prototypes that were put through technical trials and the opinion of the general public (http://www. a model of structural packages for the self-construction of small-scale houses has been conceived. the manager and board of the company were not very convinced about what could happen in DISONANCIAS but they knew they wanted to try. in the very centre of the city. but can be moved elsewhere when they are not useful anymore in the place they are built (for example refugee camps). Thus. Based on an in-depth analysis of the potential of Lanik’s current range of products and a search for new and until now unsuspected applications for these products. always keeping in mind that they were not definitive buildings. They left open the option of working with the company’s products or not. They discovered a whole world of activists and another relation to the work. the concept of self-construction has taken shape as a field of experimentation of the transformable nature of architecture. They were very impressed by his experimental and radical side. but they did not know how to work with it. The company provided him with the material to build it. the company chose Recetas Urbanas because they were the most radically different. also by his way of working: he is hardly ever paid for his work as architect and makes a living by giving lectures. After several meetings and working sessions.madridabierto. The project team (comprising the general manager. The result of this combined research was responsible for a profound change in the perspective of the 49 . Among the four candidates proposed by the jury. It was exhibited for a month as office information about self-building of building roofs. perhaps to be commercialised in the future. Recetas Urbanas developed several plans of housing based on their system. sales director and project manager of spatial structures) and Santiago Cirujeda connected very well together. but also for various city councils. the artist proposed to them to use their system to build small and self-constructed units and they had the opportunity to actually build one in a Madrid art event (Madrid Abierto).com/es/intervenciones-artisticas/2008/santiago-cirugeda. R&D director. In the beginning.
they’re not afraid of mistakes.” 50 . through a lack of involvement from staff.. owing to a lack of time. The company feels they should have taken more advantage of the artist and that they should have spent more hours and dedicated more people to the project. and even the recycling of their materials to construct public facilities without any kind of permission or support. they managed to coordinate these two apparently irreconcilable interests very well. as well as the relationship with the artists having provoked a catalytic effect on the company’s work team and a multiplicative effect on internal creative capabilities. The DISONANCIAS project was carried out within the framework of the Innovation and Entrepreneurship team and was defined as: “To design an ‘environment’ where activities aimed at the development of creative. innovative and entrepreneurial abilities are encouraged in the short to medium term for engineering students. Therefore.. Lanik helped to disseminate housing situations of an “allegal” kind. This creativity is not generally tapped in companies. Its main activities comprise training. of creativity among the employees.” The artist discovered the need to find opportunities for himself to develop the prototypes in real situations and to appreciate how business companies might contribute to common welfare: “Even when the Lanik people found themselves outside their commercial framework. because both the company and the artist were very busy at that time. professors and company professionals. because of the confines of work procedures. the main difficulty was time.” Mondragón Faculty of Engineering + Platoniq (2008/09) Mondragon Goi Eskola Politeknikoa is a comprehensive non-profit education cooperative. the company has learnt that to develop a research project. and the difficulty of finding common agendas and dedicating time to the project. a great amount of time and people has to be invested. research and technological transfer to companies and other public and private entities. This should perhaps remind us that companies and citizens constitute the instruments that ought to regulate politics. From both sides. As the Lanik general manager stated: “Artists have a crazy kind of creativity. lack of competition. We ought to encourage the use of creativity within companies. liberating free time and allowing mistakes happen in original contributions. Its teaching activities began in 1943 and it has been behind the creation of many innovative company experiences.TILLT EUROPE ACTIVITY 1 future technical and social applicability of the company’s products and technologies.
Twenty organisations (mainly companies) were in the project and Platoniq had to find ways to connect their requirements with the potential of the students and researchers from the University of Mondragón. The desire outlined behind the entire project was to reactivate the original mission of the cooperative model (return to source) and disseminate innovation drop by drop. Highlights of its most renowned projects are Burn Station (2003). and started developing the local network. and it also organised a physical encounter in a symbolic public space (pelota court). encounters to exchange experiences and ideas based on the demand and offer of citizens from places as diverse as Barcelona. five company requests or problems. They visited the Faculty of Business Studies.TILLT EUROPE ACTIVITY 1 Platoniq (Susana Noguero and Olivier Schlunbaum) comprises a group of cultural producers and software developers who carry out research into the possible social uses of technology and networking in the aim of improving communication strategies. health clinics. an ideas market to facilitate an encounter between people. etc. After several meetings in Mondragón. a distribution system for copyleft music.com) to link problems. Both parties agreed in re-shaping the co-research project in this direction. self-learning and citizen organisation. Together with the Innovation and Entrepreneurship team. large and small machine tool manufacturing companies. social uses of technologies and self learning. Some results of the collaboration were: (1) a first experiment of physical encounter based on the website. they chose five research solutions. five ideas from students and five pioneering challenges. carrying out meetings with most of the professors from the 18 lines of research in the Escuela Politécnica Superior. Mondragón Group cooperatives. a small village near Mondragón and Azkoitia. Platoniq created a website (www. Humanities. The result of its work generates collective innovative tools and research methodologies. elderly people’s homes and farm worker unions. The artists defended the idea that what was needed was not a physical space that would generate activities oriented to innovation.ideiazkoa. Cambridge. in order to work together from a distance. therefore. 51 . problems and solutions. Their area of working is. the Wiki became public. Jakarta. Lisbon. solutions and people. there was an opportunity to insert the project within a bigger local project on regional development. and the Bank of Common Knowledge. Platoniq installed itself for a month and a half in Antzuola. The artists created a Wiki accessible to the Mondragón team and to them. but networks and mobile encounters used as tools. Singapore or Dublin. as well as a broad Internet audiovisual archive under open Internet licenses. London. Hong Kong. Later. Casablanca.
necessity of a greater use of technological tools (Wiki. which currently accounts for 35% of its activity. economic and/or political development. Lantegi Batuak has become a reference where the social inclusion of people with disabilities is concerned. pedagogy based on learning from others. But over the last decade. Its work is situated somewhere between communication for sharing. it has broadened out its field of action into the services sector (gardening. companies and students. the definition of strategies for collective development. thus creating a management and local distribution cooperative of business ideas.TILLT EUROPE ACTIVITY 1 with the participation of more than 60 researchers. necessity of being on the ground to make things happen. 52 . digitalisation. (3) a common desire (mainly motivated by the artists) to reproduce the dynamics of Ideiazoka in other areas. painting. etc).100 of whom have an intellectual or physical disability or are mentally ill. thereby promoting a social movement of innovation. 2. the firm has had a presence within the sector of industrial subcontracting. From its origins until the beginnings of the 1980s. and (4) as lessons learnt by the organisation: necessity to build networks to connect people transversally. Over these 25 years. resources and opportunities. art committed to its time and other dynamics relating to applied creativity and R+D+i. consultancy without too much methodology. in particular of an intellectual nature. real grass roots sociology.” Amasté is an ideas office specialising in articulating relational and participative mediation processes and mechanisms for encouraging creativity and imagination as tools for innovation and social. etc. guerrilla marketing warfare. vending.500 people. etc). to progress from the solution of “continuous education” to that of the “continuous connection” of people. skills. (2) the demonstration that it was possible to create an important dynamic from the work of a small motivated group (two artists and some more people from the university). Lantegi Batuak + Amasté (2007/08) Lantegi Batuak is a non-profit organisation whose mission is to generate job opportunities for people with disabilities. normality. cleaning. The mission of this project was to raise awareness in Basque society regarding the jobs disabled people perform as workers. direct marketing. It currently provides work for 2. transmitting integration. The research area was defined as “looking for new relationship spaces between Lantegi Batuak and the social framework of Bizkaia (the region around Bilbao where the company works). and it has its base in Bizkaia.
After some time. As a result of this collaboration. Several workshops were organised in which disabled people had the floor so that they could tell about/show their work experiences: what they do. presentation. what it means for them to go to work. The workshops were very successful and started to create a whole new dynamic in the company (about 50 people were involved). A working group was created. because they didn’t find any idea that would satisfy both parts. etc). an orchestra only “uses” its musicians as musicians. etc. 53 . what production processes they are involved in. their motivations. aiming for the less possible mediation. the blog is still active and has become bigger. aiming for the least possible mediation (in terms of conceptualisation.TILLT EUROPE ACTIVITY 1 The general manager was very enthusiastic about participating in DISONANCIAS from the beginning and quite easily defined the field to investigate. tools and methodologies have been generated to create participative communication in the first person by the very people concerned (the disabled). They wanted to redefine the first idea the artists presented. where new technologies were used as a vehicle of expression. giving them the possibility of expressing themselves. The company then decided to experiment the idea through workshops with the employees. using new technologies (cameras on mobile phones. A blog was created to transmit the voice of the workers: http://estolohehechoyo. The collaboration with the artists continued after DISONANCIAS to develop other strategies. but also the ones who take the picture. The jury pre-selected five projects and the company chose Amasté among them. The workshops were spaces of digital literacy. They started organising meetings in a quite intensive schedule (once a week). etc). execution. because of its pre-project (disabled people as superheroes). etc). The feeling from the company was that the artists were not creative enough. but they went through a major crisis in the middle of the process. empowering disabled people as producers of their own content and information and providing them with their own tools and spaces for communication and connection. the relations they have with their colleagues. not taking them in account at all for other functions. DISONANCIAS intervened giving examples of organisations that were not able to use the potential of their own organisation (for example. The artists then proposed that the disabled people should communicate what the company does. its trajectory and the fact that it knew the local context well. The dynamic of the project continued internally after the artists have left. like finding new contracts. comprising 6 people from different departments. They are not just the ones who appear in the "photo".com.
As stated by the general manager: “The process worked as a mirror where we saw and asserted ourselves. they have seen this project as an opportunity for practicing their own philosophy: “One of the functions of artistic practice today must be to force and to favour situations that would otherwise be unlikely to happen or that would take longer to happen. for instance) opens up other ways of thinking. Another important function can be the democratisation of tools and processes of expression. Working from a perspective so different from what we are used to (social management or client-led industrial processes.” 54 . We understood that creativity and innovation form part of our nature.” For the artists.TILLT EUROPE ACTIVITY 1 Video documentation of the process has won several prizes and has been on TV at national level. of interacting with society. communication and reflection that make us free. the potential of new technologies and the value of the DISONANCIAS process. because we would not be able to exist if it were any other way. The company has learnt the necessity to give voice to its own employees.
55 . aesthetic development and communication though their support of public symposia on art and science as well as art exhibitions in the labs and lectures by the artists designed for the scientists. more know-how transfer to the local public through organised exhibitions and conferences. The concept is to make awards to national artists and designers from all disciplines and provide them with an opportunity to learn about scientific research and respond by making interpretative reactions and prototypes.ch).TILLT EUROPE ACTIVITY 1 Chapter 5: The Case of ARTIST IN LABS (AIL) The Institute of Cultural Studies. such as exchanges with Chinese laboratories based on themes like environmental biology and other corporations in Europe. Further adopted changes. In 2006. The AIL programme also has some international projects. 12 international artists were placed in nine national science labs for 4-6 months. and engineering and computer science. as well as an exchange of research practices and methodologies (http://artistsinlabs. Each residency allows the artists to have actual hands-on access inside the lab itself. unlike preceding cases. organises a programme called ARTISTSIN-LABS. as well as attending relevant lectures and conferences. The process of the programme generates know-how transfer between artists and scientists from the disciplines of biology. fees for scientists to teach the artists. leading to the present format of the programme. four artists per year. University of the Arts in Zurich. The programme is conducted. It began in 2003 with a pilot project grant from the Swiss Ministry for Innovation and Technology (KTI). This experience was followed by the release of a publication and two exhibitions in 2005 in Switzerland and India. by a research institution in the field of art training. but limited to Swiss artists. physics. The co-directors also help scientists gain some insight into the world of contemporary art. as well as fosters a community of artists and organizers who are interested in innovation and discovery. a longer-term grant by the Swiss Federal Office of Culture (BAK) was awarded for three years. a stipulation required by the funding source. derived from continuous monitoring of the process included longer residencies of nine-month duration. therefore. The main aim is to encourage further collaboration between both parties including an extension of discourse. As a consequence in 2004. it is conceived as an educational and experiential methodology.
Its annual budget is about 260. They use standard sociological methodologies for case studies in their research towards bridging the two worlds of art and science. supported by two interns from the local unemployment office. the co-directors see themselves engaged in training artists in scientific discourse and training scientists in communication and the arts. not including wages and salaries of the dedicated structure. This coordination implies supporting the residencies (mediation in all aspects) and also organising exhibitions.TILLT EUROPE ACTIVITY 1 In 2009. questionnaires and approaches between different science labs. The most important challenges for the programme according to its co-directors has to do with: (1) securing funding for the long term and staff security. the programme expanded to allocate Swiss artists in Chinese labs and vice versa. organising collaboration between artists and scientists on projects for the general public and raising society’s awareness about scientific issues that affect their future. becoming consultants for others who are interested in trans-disciplinary practice. being involved in international exchanges. Subsequently. a new grant was received from Pro Helvetia for Chinese/Swiss exchange between artists and scientists in both countries. 56 . its construction and its acceptance by the public. editing publications. (3) bringing new insights from trans-disciplinary practice for the future of innovation and dynamic discourse in the public realm. As a five-year strategic vision. It can be noted that the first three mentioned challenges are much aligned with the previously analysed cases. (2) creating a community of people interested in the interface between the arts and the sciences.000 Swiss francs. and (4) transferring this research and know-how into art education. respectively) and one assistant (30%). whereas the last one is more specific to the working arena and background of the programme’s driving institution. attending and organising conferences. workshops and exchanges and even performing as consultants for other organisations. They evaluate the experiences of artists and scientists by comparing video interviews. They evaluate the processes of each art project. The programme is run by a small structure of employees from the Institute of Cultural Studies and comprises two co-directors/researchers (25% and 80% of dedication. The AIL research group coordinates and documents all AIL residencies.
aesthetic development and the semiotics of communication. An overview of each research focus is published on the AIL’s website in order to help the artists with their application proposals. (2) to allow artists to have an actual hands-on access to the solid raw materials. After this. etc) to be developed through the residency period. as occurs in DISONANCIAS. expected results in terms of prototype and education gained. The subsequent selection process occurs in two stages: (1) Shortlist: The co-directors. the analysis of the proposal in relation to the technical and personal requirements available. the co-directors search for interesting/interested labs (each year more labs are contacting them directly to become engaged with the program) and. including an extension of discourse and an exchange of research practices and methodologies. The application should include a proposal (concept description. they keep in mind criteria relating to: the potential of the proposal to be accepted in a specific scientific research context. When selecting candidates. However. together with each lab. and (5) to encourage further collaboration between both parties. (3) to encourage unique potentials and allow them to attend relevant lectures and conferences held by the scientists themselves. processes and methodologies. interpretation and originality in the proposal for the prototype. including the ability to communicate about ideas. a call for applicants is made and then spread internationally and nationally through the AIL website and other networks. up to three research groups are defined in one lab.TILLT EUROPE ACTIVITY 1 AIL has so far placed 28 artists in 21 labs with the following aims: (1) to give artists the opportunity to be immersed inside the culture of scientific research in order to develop their interpretations and inspire their content. which are used by the artists in order to reach the general public. pertinent debates and scientific tools. 57 . select a shortlist out of all the applications and interview candidates from the shortlist. (4) to help scientists gain some insight into the world of contemporary art. they ask the artists to define the area of research in advance. rational for applying to the lab. only Swiss artists or artists living with legal Swiss permits are eligible to apply. But before the residencies can start. as occurs in the cases of TILLT and DISONANCIAS. AIL method The programme provides simultaneous nine-month residencies to four artists in four labs each year. and the level of innovation. In some cases. the potential of the projects to be publicised within specific scientific contexts and be accessible for the general public. certain activities have to be carried out by the managing platform. In this way.
such as trips. was taken to encourage the involvement of scientists in the project. the AIL-method basically appoints one person inside each lab research group who is “responsible” for the artist.500 per month honorarium is established for the artist. Apart from this. the potential to expand the project and distribute the result. whereas the labs are paid for teaching the artists at least four hours a week for nine months: Total CHF 14. phone and internet access and have a kick-off meeting with everybody involved for advice. On the other hand. and (3) 58 . meetings. (2) insisting that the artist give at least one lecture to the scientists about their work. the suitability of the projects in relation to art. but in a much less intense level than occurs in TILLT. during an artist's residency they often connect with other scientists and/or engineers because of their own interests as well and sometimes end up working very closely with them. the labs within AIL must offer all their facilities plus access to all equipment to the artist and they also sometimes fund other artist-related needs. a CHF 2. including levels of previous work and their history of collaboration. AIL’s programme representatives support the process during the collaboration period by: (1) organising regular meetings with all artist participants (four per year) to address any problems and networking. For the residency process. They also accompany the artists on their first day in the labs to make sure that they have their desk. The AIL organizers meet with the lab scientists before the process starts to make clear all that is involved.TILLT EUROPE ACTIVITY 1 (2) Jury: The jury (consisting of five independent judges from the fields of art and sciences and representatives from the labs) decides on the winners based on the following criteria: the professional level of the artist’s skills. employment and payment procedures. In these contracts. AIL also encourages anchoring as an important aspect of the process. materials etc. events. the feasibility of the process of production and time scale. the artist and the organisers (AIL) – copyright and confidentiality agreements. However. etc. and so on. who also retains intellectual property rights on any prototype.400. the interactive potentials of the prototype result. In this way. Everybody receives a paper with important information on what is expected. and similar to the other programmes. unique amongst our analysed cases. and the comparison of all the proposed projects Contracts: Standardised three-party contracts are signed establishing the role of each part – the lab. This measure.
probably also because the organisers see themselves as researchers and facilitators first and then as mediators. 59 . firstly because we help the artists to meet scientists and be inspired to make a prototype. AIL publications (research related) and AIL Events (exhibitions. As explained by one of the programme’s co-directors: “We look for ‘value added potentials’. advertisements or press releases. AIL evaluation As has already been mentioned. brand building. Other supporting material to this content are posters and postcards.TILLT EUROPE ACTIVITY 1 controlling the level of support from the lab and have regular meetings with the scientists (4) visit the artists/scientists in the labs and support/mediate where necessary By this description. and secondly we serve as catalysts to bring science to the public by exhibiting and making publications of the results. Therefore. AIL dissemination and communication strategy The purpose of the communication policy has to do with raising awareness. This gives us our level of evaluation about the process. meaning that we see ourselves as part of a educational production line. lab interviews and documentation of the process. our evaluation is related to what is produced and how it is received. Content produced for dissemination is related to the three main communication tools: AIL website. We also collect the reports and make interviews from all the artists and scientists and compare the comments. and therefore the means and structure for mediation is smaller. internal evaluation conducted by co-directors of the programme takes place in three stages: before the process through interviews. during the process through the halfway reports written by artists and regular meetings with the co-directors. Research interests lie both in the process and in the final prototype result. conferences and symposia). analysis and jury discussions. as in DISONANCIAS case. the entire programme was devised to respond to research purposes. it can be inferred that the levels of intervention are lower for AIL than for TILLT. and after the process through the final written reports from the artists.” In this way. its major reference for communicating news and offering resources and information. advocacy and policy guidance and expansion of networks by including potential new participants (artists and labs) in the project. AIL communication coverage is both national and international.
Since the programme originated. For example. which take users and viewers into account from the beginning of the design of projects We are encouraging artists and scientists to see the 'other' as valuable outsiders. expanding the know-how transfer between artists and scientists. residency time was increased to nine months.g. Comparisons of processes and methodologies helped to: (1) encourage conceptual and social discourse. We are fostering the potentials of creative problem solving. 60 . some of the conclusions that co-directors have taken from their overall work as mediators and research are quoted below: “The creation of an art and science community interested in scientific research and its effect on the public is a long-term project and we need to have more consistency in our funding. much more emphasis has been put on early engagement of the scientists and more follow-up and support of the prototypes have been progressively incorporated Some of the findings about the programme’s impact observed by researchers deal with: Improved public access: scientists felt that the results made a difference (exhibitions and press-conferences helped). After these years of running the programme. and (3) raise more questions about the relationship between the skills. thanks to feedback from artists and reflections from the labs and the AIL organizers.TILLT EUROPE ACTIVITY 1 Outcomes and impacts of the AIL programme are discussed on a public level in conferences. (2) shift both the scientists and artists perspectives about their own practices. exhibited as well as documented and published in books and magazines. which is also an area of future development for TILLT or Disonancias. slight adjustments have been made. methods and processes of art and design and those of science. We have already become experts and consultants in this Trans-disciplinary Educational sector (e. Zmodule workshops etc). but we need to keep learning We have really started to raise public awareness about artistic interpretation of science and foster a 2-way feedback loop between the artists and scientists themselves. We need to encourage the ZHDK to support real trans-disciplinary rather than only interdisciplinary practice and we feel media art has a place in the combined fields of art and science. Potentials for collaboration need to be encouraged after the residency takes place.
TILLT EUROPE ACTIVITY 1 We are creating connections that might lead to more fruitful art-sci collaborations in the future. thereby increasing information flow about scientific. We are allowing each party to have access to pertinent debates outside their own disciplines and to think "out of the box" of the confines of those disciplines. We are tapping into public and grassroots organizations. social and ethical issues. We are encouraging examples of clear "issue based"-artworks which tend to go beyond more local/personal artistic interests. We are putting Switzerland on the International map as place where art and science research is actively taking place on a serious level.” 61 .
sharing their interest for interdisciplinary or even transdisciplinary work. Bellinzona The Brain Mind Institute. ETH Zurich Table 2. University of Basel Centre for Integrative Genomics (GIG) University of Lausanne The Neurobiology Lab at the Institute of Zoology. Museum of Transport Luzern Center for Biosafety and sustainability (BATS). ETH Zurich The Aquatic Research Centre. 62 . Artificial Intelligence Lab. EPFL University of Lausanne. Istituto Dalle Molle di studi. Davos. Dubendorf Institute for Psychology. CSEM. University of Zurich The Center for Integrative Biology. Network of AIL laboratories Artists also come from different artistic fields. University of Geneva (in corporation with CERN). ETHZ The Institute for Snow and Avalanche Research SLF/WSL. Alpnach The Institute of Information SYSTEMS. Snow and Landscape Research WSL. Basel Center for Microscopy(ZMB). University of Lugano The Physics Department. Zürich The Paul Scherrer Institute. University Basel Computer Run-time Systems Institute. EAWAG.TILLT EUROPE ACTIVITY 1 AIL Projects and experiences AIL projects have been carried out within Switzerland as can inferred from the following list: (except for additional Chinese Science labs) Name of the institution The Swiss Federal Institute for Forest. The Geobotanic Institute. Villigen The Planetarium. ETH. University of Zurich The Computational Laboratory. ETH Zurich: The Swiss Center for Microelectronics. The Artificial Intelligence Lab.
environmental politics and art. Objective of the residency as it was stated in the artists’ final report: “Ever since human beings were expelled from Garden Eden. Kenya and Vietnam). For some GMOs are a way back to paradise on Earth. the longing for paradise remained. main stages of the process can be inferred. Brazil and Vietnam. His path as a performance artist has since traced the line between science. they learned some basics lab practices of Genetic Engineering in the lab. Since completing her Masters degree she has carried out various art projects and scholarships in a number of countries. for others they are just another doom of temptation. policymakers and ordinary people in order to get an impression of the GE/GMO situation in each specific country. genetically modified organisms (GMO) are already out there in the real world. teaches environmental bio-safety in practical courses and just concluded a 6-year GMO Environmental Risk Assessment Capacity Building Project in three countries of the world (Brazil. Gen-technology seems to be a possibility to rebuild Garden Eden on Earth. The Lab supported them to go to Switzerland. In these events they always provided room for feedback and interdisciplinary discussions with the public through self-organised art-cafés or art-science dinners. they realised that while scientists are still studying the risks and chances of genetic engineering (GE) in the lab.TILLT EUROPE ACTIVITY 1 Hina Strüver & Mätti Wüthrich + Institute for Integrative Biology (Geobotanics). finishing parties and by in-between-performances. including genetically modified (GM) plants. the two artists build their artistic project. ETH Zürich (2007) The Institute for Integrative Biology at the ETH focuses on the evolution and ecology of plants. The group of Angelika Hilbeck carries out research on potential environmental impacts of GMOs. The project attempts to make a performative and artistic mapping of the actual social and ethical discourse of the Geobotanical lab” From this same source. Hina Strüver received a Master of Fine Arts from Braunschweig University of Art. On this entire group experience and expertise. They wanted to explore how scientists and policymakers communicate the risks of GE/GMO and how the public perceives these issues. Mätti Wüthrich graduated in Environmental Sciences at the Swiss Federal Institute of Technology Zurich. installation and performance. 63 . adapt to the local situation. majoring in object art. As well they spoke to artists and curators with the aim of finding a suitable location for their performative installations and invited everybody to openings. But before leaving. In the beginning. talk to the relevant scientists.
a plant whose growth depended on public opinion in different countries. where we cooked a Swiss-Vietnamese meal. a blog. we were able to explain and discuss the topic on a specific. After this Swiss experience. everyday basis. The last stop was Vietnam. GE/GMO is almost unknown to the public. an easy accessible communication platform with a creative 3 manipulation potentials of GM plants. therefore. They built an installation that was developed through three performances. According to Greenpeace Brazil.” In the end..regrowingeden. where the artists implemented the simulation of a virtual “genetically modified organism”. photo-documentation. such as the one local people from the northern mountains have used for centuries. a living organism.” After the residency. the GMO debate seemed to be the hottest in the state of Paranà. So they went to Curitiba and performed in the prestigious Curitiba Oscar Niemeyer Museum. In order to enhance the dialogue between artists and scientists. we started to climb along the walls. The Institute for Integrative Biology in Switzerland inspired them to make a one-month long installation. traditional stilt house. The project is still underway and people can fill in the online questionnaire and instantly 64 .. Through the food. they created an artificial plant of plastic tubes within a matrix made of strings. they developed a performative installation. they organised art-cafés during the scientists’ coffee breaks or after the performances. We felt that these were like cells forming a bigger entity. In the artists’ own words: “We sucked yellow and red colours through the transparent tubes and let the GMO plant grow into the courtyard. an installation that was built and changed through five performances. they were engaged in the creation of a virtual Eden. in Switzerland. where the scientists are studying in their small rooms. Since we wanted to use the full space within this giant cell structure. science and art. they travelled to Brazil following their initial plan. we used another terminology and invited everybody for an art-science discussion dinner. People liked how we crossed the line between artificial and natural and combined installation and performances. including two climbing performances and one on the fragile glass roof simulating the whole life cycle of a GMO plant and trying to give reflections on how a GMO plant feels when bombarded with foreign DNA. Brazil and Vietnam.ch.TILLT EUROPE ACTIVITY 1 They placed a lot of emphasis on the communication of their project and created www. In two performances over a period of ten days. They positioned their installation in the Nha San art space. putting up a net structure as a basic matrix for our artificial plant to grow. online questionnaires and feedback tools. In their own words: “It is like a huge brain factory. where a legal battle between the state and federal government has already been going on for years. a very old.
they plan to create a virtual scene from the Garden of Eden. respectively. the experience was both satisfactory and enriching. Through our work. We appreciated having had the unique possibility for freely experimenting inside and outside the lab in our two-person team. the physical efforts and use of material in their performances and installations. With gene-technology. We would welcome another AIL artist again any time. on the one hand. we stated that the public is rather critical regarding the possible GMO risks. as this was a very satisfying experience.” Pablo Ventura + Artificial Intelligence Laboratory of the University of Zürich (2007) The main goal of Artificial Intelligence (AI) is to work out the principles underlying intelligent behaviour. According to the artists. At the beginning and end of the project. But the level of understanding and involvement differ very much between the three countries. as they perceived it through interacting with scientists from all involved disciplines. It was great having had the opportunity to examine the complexity of genetic engineering and to reflect on the manner in which society interacts with nature. We are glad we had the artists at our institute. as can be inferred from their own words: “We learnt a lot about science in different socio-political contexts. In the end. scientific results are rather subjective findings depending on deeperrooted ideology and the motivation of each scientist. to which the entire department was invited and participated in high numbers. The answers from the questionnaire are transformed into an artistic picture or “virtual plant”. with animated plant growth of individual plants. the scientists. Generally. humankind designs new life. The installation was left in the patio for several weeks and thus continued to stimulate discussions among the students and scientists in the building during the duration of the installation. to understand natural forms of intelligence (humans. We understood that even scientists are humans! In the end.TILLT EUROPE ACTIVITY 1 receive their opinion on GE/GMO as an artistic picture of a mutant plant. developing and carrying out a public performance and installation. animals) 65 . We were quite impressed with the amount of work going into the installations. Two articles in the media reported about the project and accompanying events. learnt a great deal about the creative process of conceiving.” According to the lab: “Our collaboration with Hina and Mätti was true to our original aim in that they indeed commented and interpreted science around the themes of risk and safety in gene technology. We would suggest focusing again on a particular project and then looking for an artist who might fit the project. This fact indicates that an artistic interpretation of the GMO controversy responded to a great demand. the artists organised a beginning and end. the residency was a very valuable collaboration. These principles will help. and we. we made so many contacts and even met new friends. In this way.
which gave him a considerable overview of the state of the arts of robotics worldwide. to design and build intelligent systems (computer programmes. entitled “Machine Choreography/Kinetic Spaces”. In 1986. The director awarded 30.000 CHF to the project. Other works have included choreographies for contemporary operas.ventura-dance. film and videos. for which he has to date created 20 choreographies and four dance videos. robots. In 1996. Another important activity during these initial months was becoming familiar with and learning programming. Soon he realized that his proposal for the residency. 12 guests and four students Spanish born Pablo Ventura (http://www. It has 11 post docs. The director of the lab thought that a humanoid dancing robot was a realistic project that could provide both the lab and Pablo with a scientific instrument towards the research of human locomotion. other artefacts) for research and application purposes. 23 doctoral students. music theatre. Process development is described in the artist’s final report. and particularly using the processing software. Pablo Ventura became choreographer in residence at the Palace Theatre in London and in the same year he founded the Ventura Dance Company. which proved to be one of the most valuable learning experiences throughout his residency at the AI lab. on the other. infrastructure.TILLT EUROPE ACTIVITY 1 and. 50 alumni. etc) and with the ongoing research and other projects that had been developed in the past. He then proposed to create a humanoid robot from scratch with the collaboration of scientists in the lab and asked for their feedback. Five choreographies arose from this using the possibilities of modern technology. The works created an area of tension between the traditional means of dance and the expression of computer-created dance. The objective of the residency was to develop the theme of the relationships of humans to machines and technology by contrasting the locomotion of robots to the fragility of human dance movement. This was received with considerable scepticism and only one researcher expressed his wish to engage in such a project if the director of the lab consented to it. equipment. He talked personally to every scientist about his or her projects. he also attended lectures. robots. He began by becoming familiar with the premises (scientists. and could also have in itself an artistic and conceptual value as the central object for an art installation.com/) is a dancer and choreographer. was not feasible because there were no robots or machines at the lab that he could possibly choreograph without large amounts of funding. he started working with the “Life Forms” computer programme. It helped him arrive at the conclusion that the time was ripe to apply artificial life theories to the possibility of programming a computer so that it 66 . They dealt with the relationship between man and machine. He also attended a six-hour per day block course on Artificial Life. During the first few months.
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could generate a choreography entirely on its own and so he worked together with another researcher to achieve the first computer generated choreography. The parallel development of computer-generated choreographies alongside the designing of a real robot dancer eventually gave rise to a project entitled “Choreographic Machine”. The idea consisted in creating an installation with the dancing robot that would interpret choreographies generated entirely by a computer. Some time later, designs of the robot leg were ready to be built using the 3D printer available at the premises. A first robot foot prototype was tested for its locomotion possibilities and, based on corrections made to the foot a second prototype was built with new joint articulation. Parallel to this process, he started working on the second part of his proposal, entitled “Kinetic Spaces”. He suggested to the director of the AI lab to create an installation with robots. The director of the AI lab welcomed his initiative and they combined it with the forthcoming 20th anniversary celebrations of the AI lab. Pablo presented a proposal for the development of the event including the design of the installation, the lighting of the space with a professional lighting designer, realisation of a video and audio design and the establishment of a timeline of events to take place during the presentation/installation. This consisted of a robot head acting as a master of ceremonies to introduce the various speakers that were to participate in the anniversary celebrations. A task force of lab members for the preparation of the robots and the organisation of the equipment needed for the installation was set up. The whole lab was therefore dedicated to the organisation of the event from the month of October until the middle of November. Through this common enterprise, they attained a first-hand experience on how an artistic event and performance is organised and staged. The event was a success in that it displayed the robots at their best and the event attracted a multitude of visitors to the lab. The party atmosphere and the lack of space to be able to view the whole set up from a distance made it difficult for audiences to perceive the installation as a whole, and it eventually became a mere exhibition of robots. The artist assessed the project in the following manner: “Without a doubt, the AIL residency has opened up the possibility for new projects. It has provided contacts and enabled me to get an insight into other fields that would otherwise have been impossible in artistic circles (dancing robot project). It also provided the possibility of learning artificial life developments and applying these to one’s own work, opening up
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new possibilities within my profession (“Choreographic Machine”). Finally, it helped to bridge a gap between scientists and artists by the contact made and particularly through collaboration in a common project (Kinetic Spaces). A follow-up programme once the artist’s residence is over to allow for conceived projects to be fulfilled would be desirable. This follow-up programme would have to have further funding to allow for the independence of the artist in the execution of his art work and to allow for joint collaboration of mutual interest beyond a given time frame.” And according to the lab: “From the scientists’ viewpoint, the project promised to produce valuable insights into principles of selforganisation that can lead to the emergence of universal (natural and cultural) patterns and help in the establishment of bio-mimetic design principles for the creation of natural movements in a humanoid robotic system. The duration and costs of the project clearly exceeded the scope of the AIL programme. Fortunately, the project’s long-term success benefits from the overlapping interests of the participating artist and scientists. Accordingly, the participants are currently applying for additional funding to continue the project. The AIL programme has played a key role in the initiation of this long-term collaboration.”
Ping Qiu + EAWAG, Swiss Federal Institute of Aquatic science and technology, Dübendorf (2008) EAWAG is the Swiss Federal Institute of Aquatic science and technology, Dübendorf (Switzerland) http://www.eawag.ch/index_EN EAWAG’s mission as the national research centre for water pollution control is to ensure that concepts and technologies pertaining to the use of natural waters are continuously improved and that ecological, economic and social water interests are brought into line. Multidisciplinary teams of specialists in the fields of environmental engineering, natural and social sciences jointly develop solutions to environmental problems. Water is at the focus of all research, as it is the primary source of life and key to development and prosperity. The main focuses of EAWAG’s water research can be summarised thus: “Water as habitat and resource” (Aquatic Ecosystems), “Water in urban areas” (Urban Water Management) and “Pollutants in the water” (Chemicals and Effects). Four hundred and twelve staff are employed by EAWAG in Dübendorf and Kastanienbaum. Around two-thirds are scientists, 30% are technical and administrative staff and 26 employees are trainees. About 49% of the employees are women. Ping Qiu is a Chinese artist married to a Swiss artist. After studying at the Zhijiang Academy of Fine Arts in Hangzhou and a sojourn in Shanghai, she was invited to make here Masters the Hochschule der Kunste
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in Berlin. Here she transformed everyday objects (balls of “wool” made of metal, forks) and the bodily (repeated castings of hands) which are the defining elements of Ping Qiu’s (kinetic) sculptures and room installations. Her interior, water and open-space installations in particular are imbued with a sense of poetic transformation. The objective of the AIL residency was to learn about water and eco-systems in the developing world based on an immersion in the science lab, then using this inspiration to construct a set of two installations and one performance. The first concept was to build a public fountain about the eco-potentials of bathwater in different countries, the second was about how water changes the shape and form of our human organs and affects our health and the third project dealt with how humans interfere with nature. During the residency, she worked with three labs at EAWAG, which offered her the opportunity to learn about science. The three labs cooperated closely with one another to provide a lot of valuable information. She worked with a microscope in the labs of Environmental Toxicology and Aquatic Ecology. She also attended more than 15 lectures and was sent by the lab to Dakar, Senegal, to see how they work with public sanitation. Two days after she returned, she accompanied an aquatic ecology research group to Macun in the Swiss National park at the top of the Alps. From these experiences, she came up with ideas for six projects. These included three installations and three short films. Two were sculptures based on her perceptions of humans and toilets. EAWAG has developed a no-mix toilet and Ping was rather fascinated by the potential of such a device for human health and environmental sustainability. One project developed from learning from the microscope about micro-organisms, macro-organisms and, in particular, the eggs from these organisms. Here, she developed a sculpture on her perception of invertebrate eggs, attaching the system to an air pump to vitalise the sculpture. Ping developed three videos based on her activities in each lab. All documented how she perceived science and each was set to some form of music. She extended her residency in order to complete all her projects. One toilet sculpture was on display in the terrace area of EAWAG for two months. Ping had a formal showing of some of her results to the staff and public at EAWAG on 1 December 2008. The media were also invited to this event. Impressions from the experience can be found in Ping’s words: “In comparing artists and scientists, people think that artists have no structure, no discipline. But good artists are disciplined. People think that scientists are strict, that they cannot think freely and have no fantasy. This is wrong. Scientists have great fantasy. There is no big difference between artists and scientists. There are only differences between
TILLT EUROPE ACTIVITY 1 good artists and bad artists. is the newest department of the Faculty of Biology and Medicine at the University of Lausanne (UNIL). I never produced so much art as I did during this year. “Luxflabilis”. perhaps because EAWAG is a productive institute and the scientists gave me the energy. University of Lausanne (http://www.sylviahostettler. EPFL). Sylvia Hostettler developed the first chapter. I believe that all people who interacted with Ping during this period gained a growing awareness of how people (e. The members of the lab work on the plant Arabidopsis thaliana.” Silvia Hostettler + Centre for Integrative Genomics CIG. In the lab. It will be a good exercise for both to get imagination to find the key to being creative. (…) Ping learned a great deal and the others also learned from interacting with Ping. We will see how scientists make art. but many work processes and methods of thinking are perhaps similar. Fankhauser that hosted the artist investigates the molecular processes by which light modulates plant growth and development in order to optimise their growth depending on environmental conditions. scientists asked me to start a programme with art workshops for scientists. They wanted to learn from artists. Artists will learn structure and discipline and scientists will learn freethinking. especially new perspectives and viewpoints on their research both in the lab and in the field. During a journey in 2005. Société”. University of Lausanne (2007) The Centre for Integrative Genomics (CIG). 70 . which aimed to develop the life sciences as well as the humanities and social sciences in the Lémanic region. the development of an outstanding teaching programme and the development and support of core facilities offering cutting-edge technologies to the Lémanic research community and beyond. (…) I benefited greatly from the lab.unil. “ In terms of what the labs though: “Ping was highly interactive with the researchers and their students during her stay. She has participated in various exhibitions at home and abroad and has received many awards. Now artists come and want to learn from scientists. the public) likely perceive their science. good scientists and bad scientists. also known as “arabette des dames” in French. I think it was an overall positive experience. The laboratory of Professor C. CIG has three main missions: the pursuit of a first-rate research programme in the biological sciences. of the project series entitled “Landschaften” (Landscapes) while on a discovery tour of the forests of the Lower Engadine Valley in Switzerland. a tri-institutional programme linking the Universities of Geneva and Lausanne and the Federal Institute of Technology in Lausanne (Ecole polytechnique fédérale de Lausanne. Vie.ch/cig). We work with different images. Its establishment was made possible as a result of the programme “Sciences.g. Sylvia Hostettler (http://www.ch/) resides and works in Bern. Both artists and scientists have the same aims of creativity.
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The aim of the residence was to work on a new set of three-dimensional objects that magnify the microlevel of nature and interpret the behaviour of light on plant growth. Using light boxes and various light sources, an installation was to be built in relation to photosynthesis. The results were to be shown in an installation in the foyer of the lab itself, with the hope of generating discussions about light with the visiting public. This was going to be for a chapter entitled “Light reaction – Dimensions of Apparent Invisibility” in her “Landschaften” project series. As described by the artist in the project’s final report, the process comprised: (1) an assimilation period: the manager of the laboratory and the scientist who worked beside her tried during the first 4 months to explain molecular biology to her and how they worked on the Arabidopsis thaliana. From this, she understood that the essential hardware was: Petri dishes to cultivate the in vitro cells; confocal microscope, which shows a protein appearing in the plant; Genevestigator programme and a stereomicroscope linked to a computer, and a numerical camera where she spent endless hours observing, and (2) conception and realisation (as described by artist): “I imagine building a window with Petri dishes painted at the back to show what I observed through the con-focal microscope. All these paintings put together would show huge stomata, the place in the plant where gas exchanges take place; it would result in a big box where one can go in and out, full of transparent plastic objects giving light. The result would be a big installation that would stand in the hall of CIG.” As a result, Sylvia Hostettler developed a project that was truly in keeping with the scientific universe. She finally built a big black box in which the visitor can enter and where diverse objects were displayed. The main source of light was a window made of recycled Petri dishes, painted on the back to represent giant stomata (see below). Shiny plastic objects representing undifferentiated plant tissues were positioned throughout the room. The outside of the box was used to display pictures that were inspired by Sylvia’s work with the microscope and her observations of galls. The overall project took into account different scientific topics that are embedded onto one another. It covered the gene expression field by using the visuals of a specialised programme called Genevestigator and by creating quite astonishing homemade micro-arrays. It symbolised the exchange between the outside and the inside (both literally and figuratively) by the use of a special plant structure: the stomata, which is involved in respirationphotosynthesis. It focused on the growth and development of plant tissues and their possible mutations by creating plastic shapes that refer to calli (types of plant tumours). It enhanced the importance of light for plant survival by playing with the light sources in the black box. It referred to the darkroom where experiments are performed under controlled light conditions. It showed Sylvia’s own experimental manipulations, for which she worked extensively under the microscope by doing
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small collages with parts of the plant used at the lab and parts of herself. While she was in CIG, Sylvia started to create her Petri window, collecting the used experimental dishes, washing them and painting them. She also tried different materials to do the undifferentiated calli and worked in the microscopy facility. Both artist and lab were satisfied with the process. According to a lab representative: “People were freely invited to visit her in her office as often as they wanted. Scientists were pleased about this new ‘colleague’, with whom they could experience a new universe. They were very curious about what would come out of the interaction between art and science and were absolutely enthusiastic about her project.” According to the artist: “The time I spent in the lab was tremendously fruitful and will help me in future work.” Some lessons were also learnt: “I could see in the artistic approach of Sylvia some parallels with the scientific approach, such as the enthusiasm and perseverance she put into creating her project. She didn’t stop if the project’s creation became tough and if the idea was good, she just went for it, no matter if it took a long time and perhaps became a little bit boring to achieve. We worked in the same manner. Another analogy could be that one idea brings on another and so the project moves forward step by step. Finally, she also worked by using trials and improvements, as we do. “ And even some recommendations were made for the programme from the lab's side concerning the difficulties they encountered in the process: “The time of the residence was long enough for Sylvia to develop her project. But to accomplish it takes a lot more time and from this point of view, she didn’t have enough time to finish her project during her residence. For the future, it would be good to have more clear and rapid information from the staff of the AIL programme about reports to write, presentations to make, etc, as sometimes we felt a little bit lost about their expectations. More frequent interaction with the staff would also be a plus, to check if everything is working fine, if the participants are pleased or if something can be improved. When the residence began, we had very few contacts. Could it be perhaps possible to have grants for some expensive projects that could not be financed by the host institute? It would also be a great help if we could get some advice on searching for funds, as this is a task we are not specialised in.” Finally the public presentation of her artwork was presented in March 2009, funded by the Science Lab itself in corporation with the AIL organizers.
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Chapter 6: The Case of INTERACT
INTERACT- Artist in Industry, is a programme launched in 2006 by Arts Council England, offering residencies to establish artists in research and industry contexts to inspire challenging and innovative work (http://www.interact.mmu.ac.uk/) Unlike TILLT or DISONANCIAS Arts Council is a national development agency for the Arts, this means it is a policy support structure at a national level. Their mission, much wider but no so different from TILLT’s, is to work to get great art to everyone by championing, developing and investing in artistic experiences that enrich people’s lives. They therefore support a range of artistic activities from theatre to music, literature to dance, photography to digital art, and carnival to crafts. Arts Council England’s main activities have to do with: (1) funding different subject of the arts: combined arts, dance, education and learning, interdisciplinary arts, literature, music, research, theatre, touring, visual arts (activities and programmes: grants for the arts, sustain, regular funding for organisations, cultural leadership programme, own art, managed funds, urban cultural programme) (2) Defining, developing and implementing corporate policy and strategic initiatives for each subject. Illustrating the first point, how arts are funded, we reproduce what Arts Council England’ s website to give idea of the difference of dimension and scope that Arts Council England has in comparison to our primary cases TILLT and DISONANCIAS. According to this website (http://www.artscouncil.org.uk/) Arts Council England provides:
Grants for the arts: fund arts activities that benefit people in England, or that help artists and arts organisations. If you have an idea for something you want to do with the arts, find out more about Grants for the arts, our main open application funding programme.
Sustain is a £40 million, open application fund which provides extra support for organisations under pressure as a result of recession. This is not a fund for failing organisations, but a way to sustain artistic excellence in the context of the economic downturn.
Regular funding for organisations: around 880 arts organisations on a three-year basis, investing £350million per annum by 2010/11. Support helps bring high quality work to a wide range of people - as both audience and participants.
who. the key objective of the INTERACT programme is to identify good practice from multiple perspectives – those of the agents involved: host industrial partner. etc. the aims of this organisation concerning the programme 74 . were introduced in Arts Council England. artist selected by each placement and project managers of each project. from the end of 2005 to the end of 2007. Thailand) ranging from 3 months to 18 months of length. 29 artists were place at 16 host organizations mainly in England but also abroad (India. As complementary activities. it also: (1) conducts research programmes and communicates its results internally and externally. guidance on a range of subjects. download photos and resources and find background information. • Own Art: this interest-free loan scheme is designed to make it easy and affordable for people to buy contemporary works of art. The programme has not provided new placements since 2008 when major changes affecting everything from structure to policy. while project managers were appointed from each placement to perform the role of mediators. and (4) lists links to relevance of organisations as a source of funding. answer questions. take new initiatives. These funds are not normally open to application. • Managed funds: allow to identify new opportunities for the arts. were members of cultural agencies specialising in managing similar initiatives. Creative Partnerships publications and resources. The general aim of the INTERACT programme is to enable exchange of valuable knowledge and skills between people and over the long term between different sectors of society. details about its events and news from across the country. establish new partnerships and address particular ambitions for growth. examples of projects it has supported. conduct research on it and disseminate results. In contrast TILLT and DISONANCIAS perform both roles at the same time: network organisation (to a lesser extent) and mediation. Within Interact.TILLT EUROPE ACTIVITY 1 • Cultural leadership programme: launched in May 2006 to promote excellence in management and leadership. in most of the cases. including application forms and guidance notes for its Grants for the arts. As stated in the three-part agreement template (reference can be found in the Appendix 3 of this document) developed by Arts Council England. In relation to processes. interest. Arts Council England’s role was to support and fund the whole process. (2) publicises information about funding. (3) runs a virtual press office: designed for journalists to find press releases.
especially in terms of knowledge transfer and knowledge exchange to be achieved by: monitoring the progress of placements. intermediary arts organisation that facilitated the placement between Hewlett Packard and artist Hazel Grain. host recruitment was carried out differently within each placement. length. which focuses more on suitability to organisation’s needs. There was a short listing process and then interviews with the host. as some were international and others local. from interaction with other international artists. the announcement of the call for applicants was done by Arts Council England through their website and networks. already had a history of collaboration with the HP research lab. merits and interest in the proposed placement. payment. INTERACT method Without time constrains for round organisation. and the experiences of both artists and host in relation to knowledge transfer and knowledge exchange. (4) to enhance the evidence base about artists working in research contexts. the benefit to the applicant at this time in his or her career. whose conditions (placement definition. enabling groundbreaking placements. for example. paying close attention to the needs and expectation of artists. Example: Watershed. and often dig on opportunities that presented themselves ready to go. etc. 75 . (3) to develop a new understanding of skills gaps and research needs of artists who wish to work in innovative contexts within industry. making recommendations for future action. the extent to which working in the host is consistent with the applicant’s artistic vision and would contribute to his or her growth. access to host resources. An artist selection process is conducted from the applications received. Similar to DISONANCIAS case. etc) had been already described in advance. the extent of the applicant's ability to meet the challenges of practice-based research in relation to artistic ethos and cultural contexts of the host. AIRIS or DISONANCIAS. publishing the findings of this ongoing review. Selection criteria has to do with the artistic excellence of the applicant's work. The required application form asked artists for their background. through the brokering and leverage of new partnerships. as actually occurs with AIRIS and DISONANCIAS.TILLT EUROPE ACTIVITY 1 are: (1) to position Arts Council England as a pro-active agency. lean more towards artist growth and career than to the case of. contributing to ongoing debate surrounding policy development in this area. in general. managing intermediary and Arts Council. and (5) to establish a network of artists and host agencies for the future. (2) to influence the policy agenda with respect to the needs and roles of artists within the context of the Creative Industries. This selection criteria.
To prevent this. and the organization of some events such as Diffraction Conference (04 .uk/). place and tools for working and other in-kind support. The aim of the day was to share knowledge and build skills in relation the placements. e-publishing evaluation reports. Host contributes with open access. A sum of £10. providing a detailed schedule of key dates and tasks to all parties at least 6 months in advance of the placement. recruitment. INTERACT dissemination and communication strategy Although embedded to a certain extent in Arts Council general communication strategy. mentoring and documentation.mmu. included providing overall coordination of the placement from selection of the artist to completion and evaluation of the placement.05 April 2006) and the Art Plus Industry Event (14 May 2008) 76 . each project consisted of placing an artist into the host organisation for a variable period of time and was. the programme followed its owns specific dissemination policy. raise challenges and problems and develop tools for others.000 was allocated to each placement with additional funds available for advertising. managed by a mediator from a cultural organisation. project management. The event was a chance to work together to share ideas.ac. a template of previous agreement between the parties included a specific point about copyright on produced works that would belong to the artist. The mediator’s role. which resulted in the creation of a website for all project related documentation (http://www. Among those who attended this mentoring day were artists who have already commenced their placements. with the same intention of those Seminars from TILLT or Methodology sessions from DISONANCIAS. others who were about to begin. in most cases. as stated in the agreement template. A Mentoring day was also organised.interact.TILLT EUROPE ACTIVITY 1 As mentioned earlier. Artists were sometimes afraid that the benefits arising from these collaborations would be realised in a monetary manner from which they would be excluded. maintaining contact with the artist during their placement and ensuring that the Arts Council lead officer is kept updated. as well as hosts and people with experience of running such programmes here and abroad. ensuring that artists payments are released at least four weeks in advance of the commencement of the placement.
all of them consistent with results from AIRIS. In these research works. by Arts Council England. Employing a journalist in order to promote the programme to the media whose role should be to mediate the project to a broader audience. Emphasizing the importance of a professional presentation of results. It also addresses the question of how such interdisciplinary collaborations can be evaluated in the absence of established criteria of assessment and formal measurements. where the boundaries are and how the institution works. Similar to AIRIS’ anchoring phase. As primary evaluation output on the programme. It is also indicated some of the outputs and effects generated by the placements. and project managers of the placement who were members of cultural agencies specialized in managing similar initiatives. INTERACT outputs are described as: (1) artworks (tangible).mmu. that is: artists selected for each placement. These works investigate the backgrounds and practices of the actors of the programme and in fact allowed the possibility of common ground between actors of the artistic and industrial sectors. Signing a contract before the starting of the collaboration. Making a “guided tour” of a placement’s facilities early in the process to the artist. and they also open more doors for artists to resources and provide a sense to all participants that they can “get on with things” – and the cons: 77 . a final evaluation report and “Building on Uncommon Grounds” essay were produced by Dr.uk) The evaluation took into account the views and experience of the main actors involved in each placement. It analyses some of the factors and processes encouraged during the placements to effectively enact collaboration. as in has been stated in AIRIS.ac. research findings emphasised the need for: An interpreter between the artists and hosts whose role should be that of a facilitator and manager. (Full copy of these documents in http://www. and (3) relationships (intangible). DISONANCIAS or AIL. (2) new understandings (intangible). As recommendations for the programme. Samuelle Carlson. due to the need for orientation. especially when one of the partners involved is a company.interact. to learn the rules. including the pros: legal frameworks often proved useful regarding this necessary process of explanation – contracts relieve anxieties. Similar to AIRIS’ process manager. DISONANCIAS and AIL. and in fact is still a work in progress.TILLT EUROPE ACTIVITY 1 INTERACT evaluation Evaluation of projects was carried out. given the familiarity with both milieus. in order to talk the same language (concerning not only the jargon that people speak but also the modes of communication they use). their host industrial partners.
It is mainly in contracts and IPR agreement focus on outputs that have a negative effect on legal approaches on creativity and collaboration in general.TILLT EUROPE ACTIVITY 1 putting things in writing is an immediate challenge to trust. these reports name among those relating to backgrounds: Artists: openness and adaptability based on the following qualities: interdisciplinary background. If objects are an essential part of all relationships. Industrial partners: members of the host institution with a background in social sciences or education seemed particularly good entry points for artists. legal agreements tend to reduce relationships to objects or claims over them to become the focal point. The underlaying idea being that artists are often inspired by new environments and by exposure to different social and economic contexts. And among those relating to ways of working: Artists: artists interviewed often perceived their hosts more like scientists than industrialists. As ii happens with DISONANCIAS. both need to be constantly challenged in order to create/produce. recurrently asserted the common points between art and science (as it can also been noticed in one of the AIL cases) Artists and industrial partners: common need for unsettlement as a driver of their practice. 78 . flexibility in identities and time organization and interdisciplinary composition of the teams. Their presence even on a temporary basis within industry and research contexts can have an inspirational effect enabling exchange of valuable knowledge and skills between people and over the long term between different sectors of society. new paths or new ideas are developed by artists within industry/society contexts through an artistic process and how effects of these interactions can be noticed in both an artist’s and organisation’s development. INTERACT Projects and experiences The experience selection in this case shows how new perspectives. but more often in the R&D. it can be noticed that in most cases. artists did not interact with whole organizations but specific departments. As key success factors to effectively enact collaboration.
she has been animating and recontextualising found footage collages with an equally witty and dark view of popular culture with a surrealistic edge. both prerecorded and in a live setting. and commercial organisations wanting to share content with the public on the same terms have subsequently joined such as Teachers TV. Discuss clearance with the BBC legal department. She has shown work at. Purcell Room. Museum & Library Archive (MLA). National Film Theatre. Other major national collections. The idea of the Creative Archive-Artist partnership was to demonstrate how an archive could be used by the public in practice. Sonar in Barcelona and Walker Art Center in Minneapolis. The objective was to make their content available for download under the terms of the Creative Archive Licence. a single. for 4 months. They also worked alongside ACE for various Mentoring Days and consulted with Blue Sky Placements evaluators from Cambridge University. Vicki Bennett + BBC Creative Archive Licence Group (2006) The BBC. Channel 4 and Open University were the founder members of the Creative Archive Licence Group in April 2005. and AV multimedia under the name “People Like Us” (http://www. Since 1991 Vicki Bennett has been making CDs. BFI. Ever since.TILLT EUROPE ACTIVITY 1 The experiences presented are summarised from INTERACT documentation that can be found on the programme website. This group has provided two different placements. Tate Modern. amongst others. Make the first two minutes of a film. Sydney Opera House. radio. For that purpose. Pompidou Centre. The aim was to demonstrate how one can unlock a piece of history and pertain it to both the present and the future.org/). The first of them to Vicki Bennett.peoplelikeus. broadcasters. shared user licence scheme for the downloading of moving images. and ITN Source. the BBC’s Creative Archive project provided unprecedented opportunities to work with a wealth of material at the BBC. 79 . Discuss content with the BBC Creative Archive director. ICA. The main stages of the process performed by the artist were: Source and digitalise the film material that she wished to work with. a multimedia artist. audio and stills. making it more like a library.
The residency period. featuring material shot at the Festival Of Britain and other footage portraying optimistic outlooks on post-war Britain. she created a short film entitled “Trying Things Out”. digitise. in the artist’s words: “Lived up to my expectations in finding a goldmine of material in the archive. About intellectual property. IP issues can arise as a byproduct of changes in technology and freedom of access en masse. Twice the amount of time may have been adequate. comprising human beings. so that they can live in an enriched rather than barren culture. which uses imagery collaged from a number of documentaries made between 1951 and 1980. I really was given access to all areas.wysingartscentre. to help bridge the polarity between restrictions resulting from ownership of ideas and freedom of creative expression and interpretation of these ideas.” According to the artist. This often resolves itself once the benefit of change is realised. The artist’s opinion about the host’s side: “The residency served as a very good taster for what can be done with the material and support. she stated: “I believe that part of my position as an artist is. financial institutions and media venue staff. by example.” N55 + Wysing Arts Centre: “Walking house” (2007) Wysing Arts Centre is a research and development centre for artists located in Cambridgeshire: http://www. I received nothing but assistance thorough my residency. and not just the taker. According to its mission. As a result.” On the other hand. view VHS.TILLT EUROPE ACTIVITY 1 - Presentation of work within the walls of the BBC (to other departments) and at Arts Council organised seminars attended by journalists. In that sense. and although it took much longer than I expected for my selected footage to be digitised by another department of the BBC. Wysing supports artists to practically test out 80 .” She also emphasised the importance of working within a physical network too (not only virtual). the archive. a kind of R&D period towards the idea of demonstrating how an archive can be used by the public in practise – making it more like a library. some lessons were learnt: “Four months was by no means a significant amount of time to orientate the BBC search. her work promotes a positive reflection of permitting reference to what has gone on before. rather than being locked away for only exclusive access after it had initially been aired on TV or radio. the communicator. regional councils. make decisions about what to use from it and to make and output as a piece of art. and the artist involved with appropriation be perceived as the giver. beyond profit as having exclusively monetary value.org/.
In its designers’ words. to take creative risks in a supportive environment in which the exploration of process and collaborative ways of working are paramount. but moves on all sorts of terrain A manual for the house was also an output of the residency. during which they researched the lifestyles and legal concerns relating to some of Cambridge’s community of people of traveller origin. It collects energy from its surroundings using solar cells and small windmills. so that the project can be developed by third parties. The design allows the structure to move slowly at the same pace as a human can walk.dk/. There is a system for collecting rainwater and a system for solar heated hot water. Walking House is a modular dwelling system that enables people to live a peaceful nomadic life. alongside visitors. Walking House is part of communities of various sizes. the concept of the Walking House arose from N55’s INTERACTS residency at Wysing in 2007. Walking House has been exhibited at the Wysing Centre.TILLT EUROPE ACTIVITY 1 new ways of thinking in the contemporary visual arts. Most of their writings take the form of manuals. A composting toilet system allows sewage produced by the inhabitants to be disposed of and a small wood-burning stove can be added to provide CO2 neutral heating. Artists working from studios or undertaking international residencies are encouraged. when more units are added together. N55 is a collective of artists based in Denmark who see art as part of everyday life and who are particularly interested in architecture and design: http://www.n55. about 5km an hour in real terms. they subsequently built a fully functioning Walking House. N55 have taken the historic model of the 18th-century Romani horse carriage and re-worked it for the 21st century. relating to housing issues in overcrowded cities or changing climate environments. Their vision of a democratically organised collaborating body of self-reliant individuals is described in their writings and embodied in their designs. Walking House is not dependent on existing infrastructure like roads. moving slowly through the landscape or cityscape with minimal impact on the environment. As it is described on the Wysing Arts website. so they can be developed by third parties. or Walking Villages. 81 . receiving a lot of public and media attention for a message that is beyond the prototype itself. in Massachusetts. to provide a substantial part of the food needed by the inhabitants. A small greenhouse unit can be added to the basic living module. Working closely with specialists at the MIT Institute of Engineering. The house walks using adapted linear actuators. N55 is a non-commercial platform that documents its works and interventions in the form of manuals.
resembles somehow the DISONANCIAS Lanik+ Recetas Urbanas project presented at pages 36-37 . performing “guerrilla” style street theatre all over the world. delivering breakthrough technologies and technology advancements that provide a competitive advantage for HP. commercial and community sectors. The objective for HP Labs on the six-month residence was to get a new perspective on mobile video and to explore whether the placement’s freedom would have some effect on their researcher’s approach. self construction and so on. Hazel has also worked as an actress for the Natural Theatre Company of Bath. Since 1999. Hazel Grain + Hewlett-Packard Labs Bristol + Wathersed (2006) HP Labs Bristol (http://www.com/bristol/) is the exploratory and advanced research group in HP.hp. HP Labs also tackles complex challenges facing its customers and society over the next decade.co.hpl. Opened in 1982. innovation and inclusion from cultural. a type of relationship more close to the traditional concept of residency. including viral marketing and music promos. Hazel.uk/) is Britain’s first media centre and Bristol’s main arts cinema.TILLT EUROPE ACTIVITY 1 In the words of one of the artists: “It is meant to be a suggestion for how people can live in a more mobile way. Watershed promotes creativity. soil property. on the other hand wanted to collaborate with Labs’ researchers around video on mobile devices. and to create business opportunities that go beyond HP’s current strategies. Watershed (http://www. 82 . Watershed/HP Labs began a partnership and were the founding members of the Bristol Creative Technology Network. In the present case. forging innovative partnerships to advance creativity in new technologies. in some way. I live on a boat in Denmark and it is a privilege to be mobile. She also has an MA in Visual Culture from Bath Spa University College and has been a visiting lecturer at UWE for several years. the interaction happened with a company that could eventually start seeing a business opportunity in sharing the artist’s views on habitation. With an established brand and strong demand. where artists’ profile and philosophy were quite similar. HP Labs’ aim is to invent for the company's future. As Hewlett-Packard’s central research organisation. while pushing the frontiers of basic science.” This project. Hazel Grain is a filmmaker who has in the last six years concentrated on very short content for web and mobile consumption.watershed. however. whereas in the DISONANCIAS project. interaction is with a community through a cultural facility. It acts as a facilitator and catalyst within the creative industries.
html. (3) collaborating with people from the University of West England Graduate Placement Scheme for technical help for the project’s development. According to the artist: “It is a narrative that is followed online and in order to get through to the next bit of the story you have to crack very difficult puzzles and find embedded clues. An overview of the game can be found at http://licorice-media. The experience has also taught valuable lessons for all the parties involved: − Access to cutting-edge research around emerging technologies. as can be inferred from their own statements. The companies involved have their own websites”. MeiGeist was nominated for a Media Innovation Award in 2008 and profiled in Creative Britain. and (6) securing additional funding to enable the game to move into production after the completion of the placement. analysing HP Labs: moving through HP Labs. an eight-week ARG created from the research undertaken as part of the residency (six months in 2006). technology and social sciences has given us an opportunity to explore how emerging and online and mobile communication technologies can be used to create engaging new experiences with the technologies outside their original purpose. (6) production: shooting and editing of video footage for the ARG. Watershed and other funders. With extra support from HP Labs. 83 . (5) exploring HP Labs’ technologies and research projects being developed in other departments to incorporate into her project.” Kenton O’Hara. contact with researchers for potential collaboration on future projects and promotion and exposure as part of a larger scheme (for artist). which lasted eight weeks. The work has been inspirational and thought-provoking for us and its influence will extend further than the current project. which was much more complex than she had originally foreseen.” From HP Lab’s viewpoint: “Bringing together the arts. Satisfaction levels were high for both the artist and company. The characters have their own websites and blogs. researching. (4) developing a detailed eight-episode story structure for the ARG. (2) setting up the project around the alternate reality game (ARG) concept. Thirty thousand people around the world took part in the game.com/Meigeist.TILLT EUROPE ACTIVITY 1 ending up focusing on alternative reality games that use interactive narrative across many different platforms to tell a story. including video and webcam. HP Labs. Main stages of the six-month process included: (1) settling into the work space allocated for her placement. According to the artist: “Working with new technology and new means of distribution is essential for most practitioners. the Government’s white paper on the Creative Industries. which ended up not being feasible. in January 2007 Hazel moved into Watershed and launched MeiGeist.
promotion and dissemination. to keep the channels of communication open and to enable new ideas/directions to be considered and exploited. (3) Funding for a “blue skies” placement should be flexible and contain contingency as open. The success and learning around Hazel’s placement has been a key in the development of the iShed proposition (a new venture to initiate. (2) During the Placement Collaborating partners should be prepared to embrace and exploit unexpected results.ished. and an opportunity to explore and further refine its research into models and processes of collaboration (for Watershed). − − And it has contributed to understanding better how to develop the role of mediation. It is vital to stage regular meetings with all partners. taking into account key factors such as: (1) Before the placement: Manage expectations: partners need to be aware of all of the desired outcomes for the collaboration and responsibilities and expectations should be made clear from the outset. (5) The involvement of a nationally recognised institution such as Arts Council as a key to the success of this and future placements: The profile and position of Arts Council offers legitimacy when making initial contact with potential industry hosts and recruiting the artist. enable and support cross-sector collaborations and creative technology projects: http://www. Knowledge networks and new contacts are as vital to the health of the collaboration as cash funding and a valuable resource for knowledge transfer. Questions surrounding intellectual property rights should be agreed upon at the beginning of the partnership Credit the role played by the each of the collaborators in the end product should also be addressed from the beginning. New knowledge and capability around mobile media and gaming. 84 .net/). (4) Evaluating placements of this nature is tricky.TILLT EUROPE ACTIVITY 1 − Opportunity to explore potential uses for its technologies outside their original purpose and explore how someone from a different viewpoint might apply research and technological solutions (for HP Labs). Need of an internal point of contact/advocate to broker trust. new ways of thinking were engendered and it is likely the placement will continue to have significant impact on all parties long after the official project period. collaborative projects will inevitably grow. Whilst active collaboration around mobile media did not in this case occur. familiarise the artists with the setting and culture of the organisation and to make sure they fit in.
She has received several major commissions and in 2001 was invited to produce work for the Span2 international performance art residency in London.TILLT EUROPE ACTIVITY 1 Its infrastructure afforded PR. located in one of the laboratories where she was given a refresher in basic cell culture cultivation. advertising opportunities. Further practical experiments by lecturers and doctors from different fields. 85 . The objective of the placement for the artist was to pursue and extend her research into using technologies of tissue culture and tissue engineering as art material and to investigate some of the questions and thoughts she had about “the body”/her body/other bodies and life within the context of contemporary bioscience. and has also performed in China. which otherwise would not have been available. in relation to the materials the artists was experimenting with. One of them was Kira O'Reilly. a performance artist based in the UK. A series of conversations with researches: moving between the Medical School. an association of 20 major research-led universities with a commitment to maintaining the highest standards of research. Short practical investigations helped by lecturers and doctors. She has participated in a number of performance art festivals throughout the UK and Europe. Her field of work is interdisplinary: it employs performance. education and knowledge transfer. the School of Dentistry and very briefly Chemical Engineering and around the Bioscience School. Kira O'Reilly + University of Birmingham (School of Bioscience) The University of Birmingham attracts £85 million of funding per year and belongs to the Russell Group. biotechnical practices and writings with which to consider the body as material and site. a bio-art project based in the Department of Human Anatomy at the University of Western Australia. A distinct trajectory of activity by ideas and conversation clarification. A brief summary of the main stages of the process included: Embedment within the culture and activities of the school. advocacy and support. she undertook a residency with SymbioticA. In 2003 and 2004. The School of Biosciences and the School of Physics and Astronomy at the University of Birmingham have played host to three artists. These explorations began at SymbioticA.
also the issue of cell mobility – would the cells dismantle and alter the integrity of a web they were cultured onto? Would it be possible to encourage a web to be made in situ (in vitro) and then use it for tissue culturing purposes?” Collaboration with two doctors who became interested in the idea and helped her by making significant contributions both to her thinking and towards solving the practical difficulties she was having. from both material scientific and metaphorical points of view. craft. The primary outcome of the process was a publication with the collaboration of some of the experts involved.. containing the transdisciplinary nature of emergent laboratory practices and their subsequent dialogues.) The spider silk tissue culture idea is an intriguing one.TILLT EUROPE ACTIVITY 1 Project development process (as she already had the idea from her previous research fellowship at SymbioticA). A series of experiments were made with varying results.. These interdisciplinary conversations were clearly as much a part of the work as the actual material processes. species. cell types. art and technology. In the artist’s own words: “The idea was posited to tissue culture onto spiders’ webs (. 86 . many of them generating compelling and intriguing dialogues across and between their respective disciplines. An array of associations and nascent possibilities emerge when considering combining biological materials: silks. an unruly book that wanders around the borders between the fields of knowledge of science.
Paradoxically. independently developing their own methods and with their own experiences. DISONANCIAS. have been used very often in this report to describe the same phenomena. The four of them have not only arisen in different European countries and thus respond to different cultural. let us draw in a line four objectives that all the programmes share to a certain extent. and the case of DISONANCIAS. except for the case of INTERACT (wholly public). and INTERACT. socioeconomic and political contexts. To illustrate this point. a programme developed by a public arts funding institution. from the smallest possible unit of AIL to the superstructure behind INTERACTS. a non-profit organisation linked to a private corporate group. describe consistently similar results in terms of added value that is generated. AIL. diverse mediatory platforms. which receives mainly innovation funds. this makes a lot of sense in this case and helps to reinforce the main conclusions obtained from this comparative analysis. promoted by a research institution linked to a university.TILLT EUROPE ACTIVITY 1 Chapter 7: Some conclusions The adjectives “diverse” and “similar”. But what may strike us more is the diversity shown in the prioritisation of the strategic objectives of each of them (implicit and explicit). which can be summarised in just one sentence: in an attempt to experiment new connections between art and other spheres. a non-profit public policy support structure. identify analogous key success factors and face kindred challenges for the future. locating at one extreme the goals more related to organisations and at the other the ones more related to artists: Co-research DISONANCIAS TILLT Innovation Collaboration INTERACTS AIL Artists’ career & conditions Placements Residencies Organizational change Creation &Art work 87 . despite being opposite. Their funding is a variable mix of private and public money. Diversity rules among our selected platforms. but they are also initiatives promoted by relatively diverse agents from the cultural arena: TILLT. coming mainly from cultural policies. The organisational structures and resources of the platforms vary greatly.
until developing models that are essentially similar. In all the programmes presented – in one way or the other. generating confidence and managing expectations. incorporating monitoring and evaluation of results and the ability to generate media impact. little interaction has taken place among them so far. In most cases. and because of this shared vision on the mediator’s role. with more or less intensity in each function – the mediator is in charge of finding and mobilising the participants. supporting all parties in the process. We should no forget that all four cases share a common and very powerful connection: they all play a mediatory role as organisers or facilitators. documenting. despite being developed in different settings and times and by different 88 . which could subsequently lead us to expect that the methods they have created and results they obtain would also be different. although they obviously have subtle differences arising from their own history and identity. we have already stated that this is not the case. the practice has been built and refined over time. on the one hand. because they believe that this sort of collaboration should be made to happen (they see an intrinsic value in this) and would not arise spontaneously. they have ended up creating quite similar methods. evaluating and disseminating the results and generating a collaboration network. Whereas the concept of mediation characterised by these cases. In fact. since he or she is familiar with and usually works in both fields. However. with some or other resources. by facilitating collaborations over long periods of time (over four months) and with cross-fertilisation between projects.TILLT EUROPE ACTIVITY 1 From their own mission statements and the very terminology they use. evolving and incorporating improvements based on a natural learning process and the mechanisms for monitoring and reflection that they each possess. defining or helping them to define the collaboration. However. have the potential to generate a new type of collaboration in which each part can safely act within an intermediate space without concealing anything of their true nature and can communicate through an “interpreter” who helps to bridge the gap between the different “languages” used by the artist and company. with their programmes having developed separately. Although the four platforms have been presented together in this report. most of the interactions between art and other spheres produced around us arise from traditional concepts of patronage and corporate social responsibility. and also from the most alternative context of an interdisciplinary organisational consultancy that has amongst its methods the application of short-term interventions relating to the arts or sport. all the programmes can be placed along this line in very different positions. resolving possible conflicts. The way in which all these functions are carried out and what are considered to be key aspects in each case are surprisingly consistent.
(1) About the participants: − The artists: interdisciplinarity is a shared feature in the background of many of the participants. leaving room for unexpected parameters). that the different organisational levels know about. frequently combining a formal education and trajectory in the arts with other experiences relating to the worlds of business. a public mandate or recognition and a background of intense relationship with the world of culture and business are attributes that. in order to contribute within an organisation and during extended periods of time to maintain their criteria and critical spirit without becoming too immersed in them. − The organisations: The cases show that a wide variety of organisations in all the sectors are susceptible to participating in these types of programmes. from the viewpoint of mediation. academia or science. it can be concluded that any future practice in this field should be built upon. the more intense the processes of mediation have to be in order to guarantee that the artist is suitably welcomed and supported.TILLT EUROPE ACTIVITY 1 agents. assume and become involved in the process and the dissemination and results are expanded throughout the entire organisation. if not essential. a series of premises that are those repeatedly perceived to be decisive in the mediation experiences studied. are very important to be able to generate a practice of this kind. The capacity for leadership and a certain charisma are also interesting characteristics to have. Neither the nature of the organisations (public or private) nor the specific industry in which they belong seem a priori to influence as features that increase or lessen suitability to be able to benefit from the internal processes generated from having an artist in the heart of the organisation. communication and the ability to adapt (without strict ideas about what they want to achieve. In terms of “soft skills”. However. because the bigger the organisation and the broader the desired scope of the interaction with the artist (number of people involved). size is a factor to take into account. Another thing that seems to favour the best development of these processes is if the organisation has already internalised a culture of interdisciplinary collaboration or has a history of a relationship with the arts. teamwork. or to specific social causes. These diverse profiles provide the artists with multiple identities that can be valuable resources when it comes to having to interact in non-artistic contexts. Consequently. and of course refined and improved. − The mediator: As well as basic factors such as being available and having enough resources to lend to the work. 89 . an ability to listen and observe when necessary. most of the programme participants had to show special interest in open collaboration.
measure out results and create a feeling of urgency to promote things at specific times. in nearly all of the projects. direction (some programmes tend to place more importance on the process and others place equal importance on the process and result). On the other hand. funding and background of the mediator. “residency” or “co-research” in certain programmes). it was mentioned that the duration of the collaborations was a factor of concern. it is essential to have a time limit to help organise the work. because it was not long enough and nearly always a posteriori for the participants.TILLT EUROPE ACTIVITY 1 (2) About the duration of the projects: From the beginning of this report. (3) About the supporting work behind the process: In reviewing the cases presented. These key functions have to do with: − Matching artist-organisation: This is a delicate process that is given maximum importance in all cases. a wide variety of viewpoints. the balance between one or another need is set at a duration of not less than nine months to complete the project. certain especially delicate or important functions for the optimum development of the projects stand out within the supporting work behind the process. collaboration concept (reflected in the use of terms such as “placement”. Some of the programmes – those that are organised in yearly editions – have in fact echoed these concerns over the course of their history and have redefined their method to include prolonged collaboration times in relation to the original idea. Objectiveness. In some ways. and as occurs in any other type of project. although in some cases this period of time and the project being developed are considered to be the “seed” or first step of a project on a broader scale. because to a great extent it is from this point that the quality of the results and level of general satisfaction of the parties at the end of the process will depend. For most of these programmes. responding to the differential logic existing between them in terms of focus (some programmes tend to be slightly more focused on the organisations than the artists and others vice versa). Later. but other equally or more important factors 90 . it has been emphasised that the cases selected for analysis presented collaborations of a certain duration (>3 months) with artists in non-artistic. The form in which the different programmes administers these functions varies between one and the other. mediation philosophy (more or less interventionist) or nature. those programmes that have a broader (international) call-for-entries process are able to have more possibilities in finding an ideal combination. experience and great knowledge of the two worlds are shared requirements demanded by those in charge of carrying out this function (juries specifically formed for this purpose in most of the programmes). organisational contexts.
without mentioning those that also incorporate multicultural collaborations. This process of discovery is all the more important so that artists can then start learning the ‘geography of what is possible’ for their project. strong support is needed from the beginning from the highest organs of responsibility. although with differing levels of intensity or development. Executive support.TILLT EUROPE ACTIVITY 1 than number or diversity of applicants for each organisation also exist. is an essential factor for the development of the projects and so that any possible conflicts can be managed in a productive manner. it is essential that both levels know and understand each other and share the project. cultural affinity or previous experience in similar environments. as in any internal process in organisations. which are partly interrelated – is a process in itself. building both things – confidence and a shared language. In terms of the artists. in which the mediator must play the initial role of “translator” by being in contact 91 . The involvement of the work team and its commitment to the project are absolutely essential.” Some projects are especially careful with this point. with their differing philosophies. points out the way ahead. smoothes away any difficulties and makes negotiations simpler. and the early involvement of the number of people who have to collaborate in the project. where the boundaries are and how the institution works. This is how Vicki Bennett got disconcerted by her first weeks at the BBC. − Anchoring the project: This is en essential mutual process of preparation and adjustment mentioned in all the projects. although without any interference. And thus much mediation time and effort is dedicated to this area in the different programmes. Therefore. and quoting INTERACTS’ final evaluation report: “The most difficult phase in a placement is the first one. expecting a strongly visual culture whilst she found an organisation mainly working on and through text”. This example is also repeated in other programme cases. to the point that in many cases the positive impact of the results will be perceived proportionally to the efforts made on behalf of the organisations. such as knowledge of local context. intentions and interests. As expressed in INTERACTS’ final evaluation report: “Apprehension can emerge from not knowing for which expertise and skills people were brought in or what their expectations are. Consequently. it is easily understandable that confidence between the parties. providing the artists with specific training to help them understand the new interaction context proposed to them. In terms of language. beyond that of confidentiality issues or the potential exploitation of results that some organisations can have and that are resolved with contracts. INTERACTS’ final evaluation report states: “Issues of language concern not only the jargon that people speak but also the modes of communication they use. Developing trust and common language: Interdisciplinarity of the collaborations means joint work for agents that in other circumstances would be considered incompatible. when there is a need for orientation.” At the same time. to learn the rules. In terms of the organisation.
institutional and the general public. Under these circumstances. exhibitions. on occasions. etc. problems. on an audience that includes the following communities: artistic. The different programmes have detected the need for the participants to feel part of something that has more scope: a network of people like them (organisations and artists). Depending on the programme. This network. the participants may at times have a certain sensation of isolation in terms of their peers and colleagues. advising the parties involved or redirecting the small crises that may be created within these interactions. open-participation events. more specific conferences and seminars. this seems to be the strategic basis that aims to lead the collaboration stories in first-person to the public forum. but also a real opportunity to widen circles of relationships in an advantageous manner and achieve multiple effects for the project (for example. resources and. publications. monitoring sessions. etc). developed by the mediators through seminars. hopes and fears. Through the websites designed as resource spaces. conferences and other types of similar events and tools. companies that are developing complementary projects. because at risk is his or her reputation. − Monitoring: This function covers the design and beginning of mechanisms that allow the mediator to monitor the process and it has an early warning alarm system in place to detect the need for intervention in non-productive conflicts. these mechanisms may include periodic meetings. complemented by research efforts. legal cover to promote and vitalise the will for understanding on both parts. because the intrinsic value of these processes is not public knowledge or finding general acceptance. through their participants. beyond this. follow-up on formal documents (work plan). who are going through or have gone through the same experiences as them and with whom they can share impressions. and faced with the usual (and at times desirable) difficulties of the process. scientific. which undermines their commitment and interest in the project within a process of long duration. so that public opinion can be formed about the existence and experience of these projects. industrial. − Networking: The decision to take part in a programme of these characteristics is a risky one that. on behalf of both the managers in the organisation and the artists. 92 . in many cases.TILLT EUROPE ACTIVITY 1 and understanding both worlds and as a “guarantor”. other artists providing ideas about the project. not only offers a psychologically beneficial feeling of belonging. doubts. (4) About communication and dissemination: It is important – and the practices of all the programmes support this – to disseminate the processes and results within the organisations (when the project was confined to an area or in a specific group within the organisation) to achieve an impact on a broader social base and. etc. requires a great deal of courage.
does not lead to automatic conclusions on what an overall shared research framework should be like. because of their own nature. 2006): ‘the first questions are about whether these collaborations are productive. As the scheme really is working with emergent technologies and new artistic ideas in new combinations. INTERACTS and DISONANCIAS have so far produced partial reports and are still working on their models.” “As James Leach similarly remarked on a related Art and Science programme of collaborations (see Leonardo volume 39. Pure qualitative research. the scheme is responsible for defining and opening up future areas of potential value. INTEACTS’ final evaluation report states (and the evaluation processes of the other programmes confirm this): “At the same time. Number 5. All four programmes have encountered difficulties in this process and although some of them are more advanced in the process than others. none of them can claim at this point to have this matter resolved. In itself. though. these collaborations offer a challenge to evaluation.’” Quantitative models. representative of each one’s overall experience. then it is a likely consequence that there is no ready-made context available in which to understand the outputs. Comparing the programmes’ evaluation efforts. In their interest to attract new host organisations. the programmes themselves need to be able to offer evidence of generated value. They do not have a simple utility. does not respond easily to the demands of different stakeholders. remaining as a common challenge for the future to provide further and solid common research evidence of the value generated in these collaborations. depending on where one sees value. leaves behind most of the value generated that can not be expressed in quantitative terms. Even if they are established for research purposes. They are. And what all these projects have in common is the underlying perception that mutual value and benefit can 93 . The individual projects described in the aforementioned cases are just a small sample of the accumulation of practices that these four platforms together have been developing over the last few years in Europe (only 16 cases out from a total number of 150 have been reviewed in this report). however. as conducted by AIL.TILLT EUROPE ACTIVITY 1 (5) About the evaluation: There seems to be inherent pressure on these programmes for results. funding bodies required that a minimum of indicators of success be defined for accountability reasons. But that is a complex question in itself. therefore. in the opinion of each programme’s representatives who have selected them for this purpose. such as the one used by TILLT. This is not only because participants value different outcomes depending on their roles but also because they endow multiple/shifting roles along the projects. This is not an easy task.
Seguros Lagun Aro + Josep Maria Martín (p.28-29) − − Experimenting organisational models. for example. as shown in. companies. as provided by artists. 48-49). 52-53) or PAROC + Victoria Brattström (p. some of which are unsuspected and clearly linked to innovation. 81-83) − Discovering new competences of the employees or surfacing of sleeping competences. for example. which all the practices imply and later examples seem to endorse. 32-33) or Strategic Region Management. as shown for example in Teknothern AS + Maria Mebius Schröder (p. Enhancing working climate and even health. developed through the artists’ methodologies) that could lead to innovation as shown in.30-31) − Enhancing network relationships as in the case of Mondragón Faculty of Engineering + Platoniq (p. but susceptible to a certain categorisation. Within the project set linked to each method and programme. but also internal. for example. West Götaland + Christine Falkenland (p. public institutions. as shown is all four AIRIS projects. ways to interact. 81-83) or Pablo Ventura Artificial Intelligence Laboratory of the University of Zürich (p. even though at first these relationships may seem mutually antagonistic. 50-51) 94 . 64 -65). for example PAROC + Victoria Brattström (p. communicate and work together within the organisation.2829) or Astra Zeneca R&D + Anna Persson + Maria Mebius Schröder (p.28-29) or Pablo Ventura + Artificial Intelligence Laboratory of the University of Zürich (p.46-47). − Putting in place new methodologies that can be followed after the project. etc. has to do with: For organisations: − Adding new sources of creativity (external. + BBC Creative Archive Licence Group (p. 33-34) − Finding new concepts and values linked to the organisation’s products or services that could lead to developing new products and services. Projects described have individually revealed themselves to be productive collaborations guiding all those involved forward into new dimensions. as shown in. Lanik + Recetas Urbanas (p.TILLT EUROPE ACTIVITY 1 effectively be produced from a transdisciplinary collaboration between the arts and areas of society such as science. and Vicki Bennett. 48-49) or Hazel Grain + HP Labs (p. 50-51). as in the cases of PAROC + Victoria Brattström (p. Mondragón Faculty of Engineering + Platoniq (p. Lantegi Batuak + Amaste (p. 78-79) and Hazel Grain+ HP labs (p. as shown in. 64 -65) − Fostering empowerment of people within the organisation. the outcomes of the processes of collaboration are – like the projects themselves and like the participants – diverse. Lanik + Recetas Urbanas (p. This value.
Kyra O’Reilly + University of Birmingham (p. artists and sponsors. All these must accept beforehand that the process generates value (in the broadest meaning of the terms) and accept risk that is on occasions linked to personal prestige. This line of work is still open today. always based on shared work and network collaboration: 95 . 84-85) or Hazel Grain + HP labs (81-83) − Development of new competences to bridge the gap between the artistic and organizational languages (all cases) − − − Networking opportunities (all cases) Career visibility (all cases) New sources of income (all cases) Finally. artists and so on (all cases) For artists: − − − Real-life interventions outside of artistic context (all cases) Resource and material availability: a lab for experimentation (all cases) Exploration of new fields of knowledge relating to organisation’s activity. the emphasis that the different programmes place on communication and research makes more sense. providers. dissemination and policy analysis. In this context.30) Enhancing brand visibility (all cases) Enhancing communication and public awareness as evidenced by all AIL projects or Lantegi Batuak + Amaste (p. specially for all AIL projects. Most of those involved consider that to face this challenge. and that the design of the TILLT EUROPE project incorporates activity packages relating to research.TILLT EUROPE ACTIVITY 1 − − − − Enhancing corporate culture and values. almost all the programmes and cases that were reviewed reflect upon the permanence of the collaboration impact over time and specifically from a mediation viewpoint about the possibilities of intervention and support so that the effects can last and multiply in the long-term instead of disappearing and remaining in the field of anecdotes. it is essential. as well as committing themselves to intervening in something as unknown as it is different. The challenge faced by these practices to grow and multiply precisely has to do with the difficulty of transmitting their proposal of value to the participating agents: organisations. 79-80). N55 + Wysing Art Centre (p. 52-53) Piloting collaborative experience than can be replicated with others: clients. as in the case of Astra Zeneca R&D + Anna Persson (p.
TILLT EUROPE ACTIVITY 1 (1) to have a shared research framework that determines questions such as. AIL and INTERACTS and that ends up being the corollary demonstrated by all parts engaged in the collaboration processes. science. capacity to remain over time and suggestions to improve the processes. therefore. for example. covered its intended goals. etc. education of social politics. technological or social – new materials. new ways of acting and new relational dynamics. have diverse technical training and experience. and regardless of their flexible character. can be linked to the fields of industry. (2) to develop a communication and dissemination strategy that reaches interested audiences and that opens and triggers a general debate. new communications channels and new languages. circumstances. But beyond the comparison. And it does so with innovative keys and with a great assumption of risk. DISONANCIAS. organisations and mediators. ideal application conditions (regarding participants. because of the very nature of these processes and through the contributions of all the involved agents (organisations. they have a clear working system and are able to explore new fields of expression – which often intersect with and are linked to the scientific. work in teams and/or stable organisations.. today’s artist is not the bohemian from the mythical literature. with increasingly more criteria of sustainability (linked not only to the efficiency of its processes. the cartography of experiences condensed in this study. as those participating in these programmes.). A value that is the postulate proposed by TILLT. a participant in DISONANCIAS 07-08 likes to recall. artists and mediators) is able to provide a few additional reflections: Fist of all. new scenarios of action. centrally based on culture and justified by the new role that it seems called upon to play in the new economic and social paradigm mentioned in the introduction. showing differences and similarities. perform their role from their knowledge 96 . which is not always valued in social and institutional environments. etc. and create an ideal framework of development for these types of initiatives.. artists. as Ricardo Antón. identifying areas for future shared work and contributing to increasing the visibility of each experience by accumulating testimonies and examples that could credit the overall generated value. possible dimension and nature of results and value. setting the bases for further learning and improvement on methods derived from exchange. those who facilitate the contact between this two worlds. the business world is tremendously dynamic and also systematically observes and adapts to changes as an strategy for survival. Secondly. but also to the efficiency of results) Thirdly. Many of the artists today. The comparative analysis carried out on these cases has at this point. (3) and to have the support of transversal public policies that.
To learn how to look in a different manner. The future cannot be predicted. to question the status quo and to change without fear is essential for personal and collective development. And finally. it is constructed. and initiatives such as those analysed have the willpower to construct it from the here and now. which is complex and chaotic. Specialisation is important if we know how to combine it with broader visions of reality. from the demonstration that it is possible for visual and performing artists. support and surprise each other. to believe in the whole and to contribute from this interaction to the common good. chemists. mathematicians and communicologists to mutually understand.TILLT EUROPE ACTIVITY 1 and participation of both sides. univocal views lead us to impoverishment. biologists. They are hybrids able to build a safe space in the middle where the parts can interact and remain faithful to their own nature and goals. listen to. 97 . musicians and writers and engineers. computer programmers.
1. (2003): Open Innovation. Gómez de la iglesia.M. S (1999) Interaktionsmönster i arbetsgrupper – offensive och defensiva handlingsrutiner. 39-58. J.. (2005): Sobre lo nuevo: Ensayo de una economía cultural.comedia. (1999) Managing Complexity in Product Development – Three Approaches. Adler. No. J. 10. KEA (2006): The Economy of Culture in Europe. T. (2006). The New Imperative for Creating and Profiting from Technology. http://www.uk/resources/BuildingOnUncommonGrounds Chesborough H. ‘Extending Contexts. Groys. La revolución de la nueva economía.TILLT EUROPE ACTIVITY 1 Apendix 1: Bibliography Amabile. CORE WP1996:3 Pine II. J. (1997): Use or Ornament? The Social Impact of Participation in the Arts. Grupo Xabide. R. http://www. New York.H. (1997). Rifkin. B.eu/culture/keydocuments/doc873_en.interact. Motivating creativity in organizations: On doing what you love and loving what you do. R.W. F.eu/culture/keydocuments/doc/study_impact_cult_creativity_06_09. & Gilmore. Hart. 5.europa. http://ec. H. Comedia. Prentice Hall Norrgren.pdf Kylén. (2004): Arte. (1996) Förändringsstrategiers effektivitet. F. 447–451Matarasso. & Ridderstrále. S. A perspective from Arts Council’s INTERACT programme of Art and Industry Collaborations. (2001).pdf. Granica. Boston: Harvard Business School Press Ekvall. J.org. 39. Nordström.. European Journal of Work and Organisational Psychology. California Management Review.(2000): Funky Business: El talento mueve al capital.mmu. (1996) Organisational Climate for Creativity and Innovation. The Rise of the Creative Class. Empresa y Sociedad: más allá del patrocinio de la cultura. Determinants of organizational creativity: A literature review. & Schaller.ac. El trabajo es teatro y cada empresa un escenario. Making Possibilities: An Introduction to Evaluating the Projects’. Leonardo 39.B. (2000) La economía de la experiencia. Pre-Textos. Carlson.Paidós 98 .uk/pages/pdf/downloads/use_or_ornament. La era del acceso.europa. K. Andriopoulos. Management Decision. C. EFL. (2002).pdf KEA (2009): The impact of culture in creativity http://ec. 40. J. Stockholm School of Economics. (2007): Building on uncommon grounds. N.. J. (2000). 834-840. Basic Books. Psykologiska institutionen Göteborgs Universitet & FENIX Forskningsprogram Leach. G.htm#bad_nodepdf_word/economy_cult/executive_summary. 5(1): 105-123 Florida.
wysingartscentre.org. 3.ac. "Bring in the Arts and Get the Creativity for Free.interact. A.uk http://www.ac.ac.com/descargas/DISONANCIAS_Options_for_the_exploitation_of_the_results_mar ch08." Creativity and Innovation Management 17(1): 47-57 Appendix 2: Main Websites used or quoted www.interact.disonancias. Central dilemmas of managing innovation in large firms.disonancias.TILLT EUROPE ACTIVITY 1 Sharma. Styhre.artscouncilengland. and M.uk/resources/InteractEssays DISONANCIAS Catalogues : http://www.com/descargas/catalogo06.org/ Appendix 3: Other references Three way agreement template form INTERACT: http://www. 41.disonancias.mmu.com/descargas/DISONANCIAS_CAT_07_08. A Study of the Artists in Residence Project.se www.pdf 99 . A.disonancias.artistsinlabs.uk/resources/ThreeWayAgreement INTERACT essasy: http://www.ch www.disonancias.uk/ http://www.interact.pdf DISONANCIAS Options for exploitation of results http://www.tillt. Eriksson (2008).com/descargas/DISO_CAT_0809_RULES_eng. California Management Review.mmu. 146-164.pdf http://www.PDF DISONANCIAS Rules & regulations for participants: http://www.com www. (1999).mmu.
4 Staff: .Type of organisation: .Field of activity: .1.1 Main activities: A. postal code.1.Wages& salaries .3. etc.2. .Address (street.1.Financial costs 100 .Artist remuneration . professional background.Volunteers: A. A4.1.1 Organization Chart (drawing) A.2.3. etc. Level: intermediation/support/driving platforms A.4.4.2 Expenditure structure (%). areas of expertise.2.3 Functions and role descriptions (main responsibilities) A.Geographical coverage: .2 Directive organs A.Name and Contact details of a representative: A.5 Annual Budget: A. A3.Name of the organisation: .2 Complementary activities: A.Other sources of income --> explain A.3 Support activities.1 Profile A.Average Self-financing % --> sources of income . .Web page: .TILLT EUROPE ACTIVITY 1 Appendix 4: Questionneire Template A. country) . Organization A. Identification: .1.3.Marketing & Communication . Budget A.1.3. Activities & services A.Legal status.4 Employees’ profile: education.Average Received grants & subsidies % Which organisms grant them? .Supplies Rentals .2 Mission: A. region. Millstones and turning points.3 History.1 Income structure (%) .6 Networks involved with: A2. Explain A.) .1.Salaried employees (full time / part time) .External providers (consultants.
B.6 Data analysis systems.Name and Contact details of the coordinator. Strategic Self – reflection: A.1. .3.Principal evaluation findings and recommendations about the programme. of experiences/particular cases within the programme: B. 5. Profile: B.1.6 Awards or distinctions.2.3.Web Page.2 Collaboration process methodology B.Name.Internal/ external reports: .3.1.1 Collaboration time span B.3.4. Level: Collaboration programmes B.2 First year of activity: B.3 Investment policy: describe: A.2 Types of contents produced for dissemination: 101 .2 Purpose of evaluation: B. Management Tools B.5.5.4 Mediator role: stages & means of intervention B.2.4.2 Agents involved B. techniques & tools (description + samples) B. Dissemination/communication strategy: B.4 Principal indicators: B.1 Three most important challenges (mid term) A.7 Evaluation outputs: .3. .7 Organisation’s contributions.5 Data gathering systems.1.1.4 Target audience profile B.3. Internal evaluation: B.2.1Purpose of the communication policy B.1 Identification: .3.2. B.2 Five year strategic vision: A.8 Self assessment of problems or principal flaws found in the evaluation process: B4.Other expenditure: A. B3. B. .Example of consequences: actions & decisions taken within the programme based on evaluation recommendations B.5 Results exploitation policy & contracts B. 6.2.3. Stages of evaluation: B.3 Phases & activities/ agent B.1.1 External vs.5 General Objectives.TILLT EUROPE ACTIVITY 1 .2. techniques & tools.1.6 Artist remuneration schemes B. B. Evaluation methodology: B.2.4.3 N.3.
TILLT EUROPE ACTIVITY 1 B.3 Process development description C.2.3 Targeted audiences: B.8 Network role in dissemination process B.4 Summing up “Statements” from both sides 102 .22.214.171.124 Impact C.1.1 N.4.4.9 Collaborating agents: B.11 Self assessment on effectiveness of communication policy: B5.4.1 Main stages of the process: activities/ agents involved C.3.Times of the communication: When / how often? B.5.1 Identification of Agents involved: C. Lessons learned within the programme: B.126.96.36.199 Means of communication: B.2 Overall Investment in the project: working hours & money for both sides (apart from fees): C.4 Resourced involved C.5.1 Organizations: − Name: − contact details: − Wesite: − Head quarters at Bilbao − N.2 Main difficulties found by both sides C.1 Key or most sensitive issues in the collaboration processes: B.4. Artists: − Name: − web page: − location: − Background: − Area of working: − Previous experience in this type of collaboration C. Level: Collaboration experiences.5.3 Lessons learned & therefore applied for both sides C.10 Intellectual property policy (on communication contents) B.2 Key or most sensitive issues in the evaluation processes: B.2 Satisfaction level for both sides C.5.7 Dissemination geographical coverage B.4 Overall conclusions: C.2 Objectives of the collaboration C.188.8.131.52.5.6 Types of supports B.3 Key or most sensitive issues in the dissemination processes: B. of people involved C.4. employees: − Sector/ industry: C.4.5.1 Description of results obtained C. Specific sample cases provided for each programme C.