Laboratory on Feedback in Artistic Processes 3

Sometimes we get more than we bargained
for, other times less – the Conditions and Prerequisites
of Feedback
Sophia New
42
One of the first things I realised about feedback, both as an artist
and facilitator, is that you have to say what it is you want to know
when you ask others to come and reflect on your work. This is no
easy feat. Often there is an idea that it is a good thing to get outside
opinions about the work while it is being made but it requires
stepping back from the creative process to ask yourself, “just
what is it that I need to know right now?“
An important step, therefore, is to consider how the feedback is
framed for the people giving it. If this is not considered, it often
defaults to ‚just tell me any impressions or associations you had‘.
This is not to say that impressions and associations are not relevant
but a feedbacker can (and usually wants) to be much more
helpful than this. Simply flattering the maker is good for morale,
but is of limited use and the “just tell me what you think“ approach
often stops at the flattering stage and doesn‘t let the feedbacker
go beyond it. Knowing certain things about the current state
and intended context of the work is vital for the feedbacker. How
long have you worked on the piece? Is it planned for a specific
place or context? Is it part of a series of works? When and where
else might it be shown? After this information has been shared,
the maker should clearly state what they‘d like to know and how
they‘d like that feedback to be made.
As a maker of performance, I have found that getting feedback
is a great opportunity to test ideas and preconceptions one has
about the work. You may imagine that it will produce a certain at-