Emergent Forms︎︎︎
Group:
Emergent Forms As in the science of complexity, in EI, forms appear when there is enough order in the interaction of components to sustain a recognizable pattern and enough freedom to continuously integrate and adapt to new information. This condition is a delicate balance, defining the lifespan of a form before it dissolves or collapses. In EI, once we identify forms that emerge out of the improvisation, we use them as frameworks for development.
Over time, an ensemble builds the capacity to identify recurring patterns of development. We can then order the structural elements that guide a particular developmental pattern and repeat them. Each of the forms we’ve identified in Emergent Improvisation has its own specific nature. In the description of each form below, we include a sequencing of the various components, building from simple to complex. The sequences clearly indicate the building of complexity within each form and practice helps us to understand its essential elements. The forms can also unfold in more open-ended environments. It is important to note that these forms can be adapted as practices for musicians as well as dancers. We have identified and named four forms, the fourth currently under development.
Complex Unison Form
The Complex Unison form evolves in three stages:
Gathering
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
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.
Complex Unison
In Complex Unison, more complicated phrasing and variations develop within the ensemble, creating reference points as the ensemble explores more diversity while maintaining the coherence of the relationships of the whole group. Solos and small groups, and main events and choruses are possible.
Based on patterns found in nature, Complex Unison reveals the progression from groups of individuals in space, to a unified sharing of material, and finally to the interplay of that material. It is an open-ended process where the ensemble is constantly adapting to new information and integrating new structures that emerge and dissolve over time.
The Simple Unison phase reveals Kauffman’s order for free, as the dancers continuously select for patterns in a zone between chaos and order. The Complex Unison phase reveals an interpretation of Bak’s self-organized criticality where, without an outside director, patterns evolve into a prime state for change, displaying endlessly adaptive and complex behavior. There is a finely tuned balance between the new information of variation and the patterns that are holding the material together. Here also, Edelman’s concept of degeneracy—the ability to develop many different ways to get to a similar outcome—is in evidence. Performers are continually selecting for dynamic interactions among elements that result in a strong collective pattern. The observer can witness a continual assembling, dissolving, and reassembling of patterns.
Emergent Forms As in the science of complexity, in EI, forms appear when there is enough order in the interaction of components to sustain a recognizable pattern and enough freedom to continuously integrate and adapt to new information. This condition is a delicate balance, defining the lifespan of a form before it dissolves or collapses. In EI, once we identify forms that emerge out of the improvisation, we use them as frameworks for development.
Over time, an ensemble builds the capacity to identify recurring patterns of development. We can then order the structural elements that guide a particular developmental pattern and repeat them. Each of the forms we’ve identified in Emergent Improvisation has its own specific nature. In the description of each form below, we include a sequencing of the various components, building from simple to complex. The sequences clearly indicate the building of complexity within each form and practice helps us to understand its essential elements. The forms can also unfold in more open-ended environments. It is important to note that these forms can be adapted as practices for musicians as well as dancers. We have identified and named four forms, the fourth currently under development.
Complex Unison Form
The Complex Unison form evolves in three stages:
Gathering
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
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.
Complex Unison
In Complex Unison, more complicated phrasing and variations develop within the ensemble, creating reference points as the ensemble explores more diversity while maintaining the coherence of the relationships of the whole group. Solos and small groups, and main events and choruses are possible.
Based on patterns found in nature, Complex Unison reveals the progression from groups of individuals in space, to a unified sharing of material, and finally to the interplay of that material. It is an open-ended process where the ensemble is constantly adapting to new information and integrating new structures that emerge and dissolve over time.
The Simple Unison phase reveals Kauffman’s order for free, as the dancers continuously select for patterns in a zone between chaos and order. The Complex Unison phase reveals an interpretation of Bak’s self-organized criticality where, without an outside director, patterns evolve into a prime state for change, displaying endlessly adaptive and complex behavior. There is a finely tuned balance between the new information of variation and the patterns that are holding the material together. Here also, Edelman’s concept of degeneracy—the ability to develop many different ways to get to a similar outcome—is in evidence. Performers are continually selecting for dynamic interactions among elements that result in a strong collective pattern. The observer can witness a continual assembling, dissolving, and reassembling of patterns.
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.
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!
︎︎︎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!
