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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Table of c<strong>on</strong>tents<br />
Introducti<strong>on</strong>: Resp<strong>on</strong>ses 5<br />
Text Network Visualizati<strong>on</strong> 8<br />
Nik Haffner: Two Thoughts <strong>on</strong> <strong>Feedback</strong> 12<br />
Georg We<strong>in</strong>and: <strong>Feedback</strong> as Identifier 16<br />
Diego Agulló: Three Tyrannies of <strong>Feedback</strong> 20<br />
Yar<strong>on</strong> Maïm: The Paradoxical Effects of <strong>Feedback</strong> 24<br />
Zwoisy Mears-Clarke: <strong>Feedback</strong>Trust(>‘.‘)>Community 26<br />
Mila Pavićević: Reth<strong>in</strong>k<strong>in</strong>g the Positi<strong>on</strong> of the Dramaturge <strong>in</strong> the<br />
<strong>Artistic</strong> Process 30<br />
Kirsten Maar: <strong>Feedback</strong>. A Tool for Aut<strong>on</strong>omy or Co-creati<strong>on</strong>? 34<br />
Jenny Beyer: Install<strong>in</strong>g Audience <strong>Feedback</strong> <strong>in</strong>to an 38<br />
<strong>Artistic</strong> Process: Encounters <strong>in</strong> the OPEN STUDIO<br />
Sophia New: Sometimes we get more than we barga<strong>in</strong>ed for, 42<br />
other times less – the C<strong>on</strong>diti<strong>on</strong>s and Prerequisites of <strong>Feedback</strong><br />
Günther Wilhelm: Listen<strong>in</strong>g to <strong>Feedback</strong> 46<br />
Susanne V<strong>in</strong>cenz: <strong>Feedback</strong> at the Language Border 48<br />
Short Biographies 52
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