Laboratory on Feedback in Artistic Processes 3
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work? This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work?
This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
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come <strong>in</strong>terested and experienced dur<strong>in</strong>g recent years <strong>in</strong> arrang<strong>in</strong>g<br />
these shar<strong>in</strong>g events. They use a grow<strong>in</strong>g bag of tools, methods<br />
and set-ups for exchang<strong>in</strong>g observati<strong>on</strong>s and op<strong>in</strong>i<strong>on</strong>s. For me, it<br />
helped to map out this basic need for shar<strong>in</strong>g – where and how I<br />
do it. In some c<strong>on</strong>texts such as the artistic field, it is called giv<strong>in</strong>g<br />
feedback – <strong>in</strong> some it has different names, <strong>in</strong> others it is not named<br />
at all.<br />
Rocky Road, tell me what you see.<br />
Tell me <strong>in</strong>side out, tell me upside down.<br />
(from the s<strong>on</strong>g “Rocky Road” by Peter,<br />
Paul and Mary, 1963)<br />
15
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