1200 WORD EVENTS ‘A Summary of the Characteristics of Scores’, The RSVP Cycles: Creative Processes in the Human Environment Lawrence Halprin, 1969 “There i no one method of scoring, Scores symbolize prosesss and ca separated from the proces itself As scoring procese vary and involve ars the soaring techniques; methods, motivations and performance fom them-vill vary Scores are at the heat ofthe proces of crest Since there is no one possible accepted method of scoring (ly so cannot give you 2 manual oa how to score. However, have fond that. exhibit some findamental characteristics that seem to be universal. Hete some of these characteristics: 1, Fora score to function the participant in a score mus exhibit a comm to the idea of scoring and be wiling ‘go with the specific score Scores themselves open up options rather than closing them down, example 2) scores say “tur right’, not ‘do not torn lef by) they say ‘this area shall remain open’ not ‘do not build here ©) they say “I feel put down by that remark’ not ‘you should not made that remark’ Wherever limitations exist they are under Ror Vin the yee The way scores are presented has an enormous influence on the pr itself and on the Performance (P). Nuances in scoring have great img tance ~ often the scorer himself is not completly aware of how he projecting himself and his own biases and preeoneeptions into thes For example, here isa series of verbal scores which focus and define ‘ality an the nature ofthe experience: 4) On trip from San Francisco to Sea Ranch stop afer one hour and o 1b) On trip from San Francisco to Sea Ranch stop after one hou, ite ‘withthe environment «) On trip from San Francisco wo Sea Ranch stop afer one hous 3 cally represent what you see. <8) On trip from San Francisco to Sea Ranch stop after one hour, wai ul some event occu in the environment which affects you. «) On tip from San Francisco to Ses Ranch stop afer one hour, 6) record what you sce. (i)rcord how you feel Each of these variations, though slight, would deaw out marked dif ences inthe Performance () 44. The clement of tite is always present in seores. Scores are not stati extend oer time, LAWRENCE HALPRIN, 201 5. Scores themselves are non-judgmental. That i, they do not moralize oF preconceive what is co happen. (Selectivity when ie occurs is determined under diferent element of dhe RSVP cyles [V] notin scores) Seores tll whar and why, not how 6. Scone are non-ierarchical thats they eet all persons, groups or elements involved inthe activity as having the same importance inthe score. As the proces proceeds that the scores payed the influence’ of diferent inputs may be fle variously and weightings may change as atvgy continues, but the seoreiself does not preweight input. Scores are plurals 7. Scores can he an end in themselves. They donot have to result in the process itself (which sanother parof the RSVP cycles) Scoreshavealifeoftheirown asdistinguished fom the Performance () ofthe score; for example a plan for «building never bull ora poem never read ora fantasy never vedo. 8, Scores relate very closely to natural processes since they ate related to activity over time, are non-judgmental, equalize input, and are ponresul-oriented 9. Though scores themselves have the non-judgmental qualities of natural systems they may be ssed fr a variety of purposes and in many diferent ‘vetexts To understand this configuration thei relationship tothe entire RSVP cycies must be understood clearly. 10.All parts of the score mest be visible and cleat at all simes during the process, There cannot he secrets in scoring. This allows people vo operate ‘witha total view of the situation. Scores prevent ‘hidden agendas’ 11,Scores can energize and describe or control processes It is vital to determine beforehand which ofthese atiudesa score is going to express. Otherwise the participants will be confused about the expectation. In most Scoring (as in most human relations) it isthe confusion between these two attitudes that causes the foeus of tensions and dffculey “energizng Sone ‘ SconE —— 3, ond 4 WEP LN Epa Caper202 WORD EVENTS 12.The question of whether scores energize oF control depend relationship becween scores and the other elements in the Rov pn ‘The elements ofthe cele area follows: RR_Reszutce: inventories resources, etabishes motivations, lenunciates purposes, determines requirements, GF _ Scot describes processes leading to Prformance V)_alzaction: incorporates change based on feedback ond selectivity including decisions P_ Performance: estabishes style’ ofthe accomplishment of the process, ‘There are many interreltionships and weightings of the ecle bu hem configurations areas follows: chese describe the intent of the relation luring performance (0), not during the scoring itself of what has le up the score Reletenstaps dunwg, Closed sere ov = rapes Fae - te, Ss seo 'on yoluelean ei ceoneplth: Missin LAWRENCE HALPRIN, 208 Under I. inthe preceding char che score is simply a vehicle to carry out the program as part of Resource (R), that ithe score and the program ae really identical, There is no feedback, 90 chance desired or allowed, and the score must be as precise as possible ~ there is therefore m0 ieratonal input and no are process involved. This category is similae to the systoms-engineering approach to problem solving, Examples: Moon shot! [Bank of America PERT chart? ‘Bach musical score (differentiate from Bach music) Systems engineering I, No programmatic (as part of Resource [R)) basis for scoring leaves 1 very close relationship between scoring and Performance (P). The Performance (P) evolves diretl from the process which has been energized by the score. Theres no selectivity except during Peformance (P) by the persons involved and some selectv ty established by the score itself. Such relationship is exhibited by Happenings Now Music Driftwood Village event? Ecological scores Note: Where only Performance {P) exists, without any score, what emerges is improvisation IL, Where program as Resource ‘R) predates score and the two have sequential and equal weightings the Performance (P) elects some selec- tivity and somecontrol, Thescoreasstartd froma basisestablishedhy the program and continues it ina creative way to energize proceses. However, ‘uring Performance (P) very litte a no Valuaction (V) occurs to influence the Performance (P)orthe core as redback-Sucha score would be: Sport ear rally Football score Architectural scores IN, The ideal relationships in complex sitations exists when Valuaction| (V) becomes part of the entite procedural pattern and isused asa feedback. ing Performance (P) Valuaction (V) is here meant as an obseraion of process as well as mechanism to encourage growth and change d Sec Hagin, 196, op 4504 WORD EVENTS judgment and oriented selectivity This relationship should ideally oy as the basi for: Community planning Theatre and other proces-oriented arts Community interaction Personal interactions This idealized relationship can be diagrammed this way R A The del procera easonships daring performance ina mlk-iiphinary rica eis, of course, possible ro bypass the ‘score’ and proceed directly f Resource (R) to Performance (P) (with or without Valuaction [V). Sad a procedure leaves out the essential characteristics of the art process ‘omits creativity asa consciously onganized process Need tor a Meet tuning ANY no art process Food an OS ting i.e, score (art process) or Need for Bi Shelter > House CO no art process Shelter > House as R architecture V7 Cy score NCE HALPRIN. 205 In some wars this ithe obverse ofthe pure Performance () situation wich leees out RSV andi simply chen a mater of impreneanon, The fist aves ou creativity asa conscioasyontanzed proces whi npn iation (though creative) also omit the conscioulyorganiaed pres aspect of the creative act. ” 15, Scores (particularly open scores) alow for great personal leeway. They call for and encourage che highest creativity from all participants since performance a sve act emerges a the result of scores. For that reason each person involved in scoring will have very high demands placed on him, involving se-impesed discipline, craftsmanship, and in te scoring process ~ all acknowledgment of his relationship to as an extension of his own creativity 14. Dreams are like scores for an existential lfescript. They are the most important and revealing kindof score for the psychologist to understand Life itself i the Performance (P) of this existential sore (Fritz Pein) 15.1n addition to the applications indicated in the book, the RSVP eycles have potential in the following situations: Inverpersonal behaviour Group workshops Organizational chares for esablishing new processes and methods of procedares1206 WORD EVENTS Learning process inal phases of education and all age Structuring any group or organization a well a arin endeavors For example, iis presently in use by the Dancers? Workshop The asa gid sercturng a group chat i living, working, organizing. teaching, and performing together. The importance of pointing ou he difference berween Scores and ag isbasic ro the idea ofthis hook [The RSVP Cycles). A system is a lone defined body with a beginning and an end. A system has a goal, and iy to achieve the goal establishes a specific way or technique of operat system is logical and sequential it requires inputs but nor feedback. implies onder and regulariey A system relates things. A system stares preordained mission. There are systems to accomplish thins; when have gotten into good working order with everything functioning in a de vay they are called systems. Scores have some characteristics of systems, but they differ pi Scores are telated to processes. Scores describe oF initiate or cn processes Scores incu, in fact stimulate, elements of chance. Scores ‘porate emotional states, include irational elements. Scores ruiz fee as part of process, Scores ae che essential ingredient of the creative pr Scores are not necessarily orderly, nor do they attempt to make “function well”. Scores are exploratory and not finite, Scores are open closed, Scores help establish aims and motivation during scoring as, process. Systems, often, preamble scores. They can help factualiz, inventor, resulks of previous experience, store and evaluate knowledge. Scores, tusing the results of systems and including other inputs, guide the crea process ‘Spstems organize, scores guide. There may he ‘a particular syscem® accomplishing a specific end or product. But let us not view any part Score as the only and ultimate solution in the creative process, Scones 4 means of revealing alernatives, of disclosing latent possibilities and potential for releasing total human resources. They are a way of inv the unexpected; of expanding consciousness, encouraging spontaneity interaction; inshore the score isa way of allowing che creative proces 10 “natural Tom Johnson The Big Rumble and the Tiny Blip, from Private Pieces (1976) On Private Pieces: Piano Music for Self-Entertainment 90 Tom Jobson, The Big Ramble and che Tiny Bip (1976). Oveleah