Emergent form︎︎︎
Thinking about projects where the form emerges from the process (like in real-time composition or material-led processes) as opposed to being projected on a process, Susan Sgorbati has developed a system using imrpovisation with dancers.   

Below are the first two samples from Sgorbati’s site on her method of Emergent Improvisation.

Gathering has four simple rules: walking, varying speed, varying direction, and stillness. There are two possible ways to begin spontaneously: one by one, or all at the same time. The ensemble can then divide into smaller groups and remerge at will, but the rule is that an individual cannot go off as a solo. There is no particular leader. Individuals attend to who is nearest them, the small group around them, and the whole space. Like the movement of a flock of birds, patterns begin to form. The simplicity of the structure keeps the focus on the self-organizing nature of the group. The ensemble notices patterns in their collective behavior.

Simple Unison begins when a dancer adds a gesture to their walking or stillness that the others can respond to or mimic. Initiating, assembling, and dissolving group relationships; amplifying (or multiplying) gestures through the space; and creating tableaux are each elements in Simple Unison. It is not about perfect imitation, but rather similarity in shape and timing. Simple variations in direction, level, and speed produce a shifting landscape. Bird migrations, schooling fish, herds of antelope crossing a savanna, and clumps of leaves wafting across a field are simple unisons found in nature.
︎︎︎from Susan Sgorbati

Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...

In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.

The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.

We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.

Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.

︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own

︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.  

︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.

︎︎︎submit your own ideas and tools so we can keep building this site!