2 The Patching Zone Volume

People

Real Real

for

Projects Projects Real Real Real Projects Realfor Projects forReal Real People People The Patching Zone

Volume 2 Table of Contents

Colophon 4 ICOZ: an Open-Ended Approach The Product Machine, a serious to Video 65 game 127 Inge Ploum Inge Ploum, Ralph Boeije Preface 7 Anne Nigten The importance of moving 73 Teaching as research 131 Loes Bogers, Berit Janssen with Berit Janssen Words of thanks 9 contributions by Nicolet Sudibyo Anne Nigten Digital Art Lab polls: The Girl Geek 93 Collaborations 136 Colophon Innovation in Leisure Arts 11 Berit Janssen with contributions by Editor: Anne Nigten Ton Sandfort members of the Patching Zone team Digital Art Lab, New media, Copy editing: Lyndsey Housden and the Design Team new competences? 139 Translations Dutch – English: Annejoke Smids Graphic Design: Bosenco.nl and Madi Kolpa Project brief Digital Art Lab 23 ArijJan Verboon, Anke Asselman Interview with the Break it Down Credits General information on Zoetermeer team 99 Expanding the Community 151 All chapters of this book; on the theory and practice, were informed by our teams of talent- 29 Anne Nigten and Break it Down Jaap Bugter ed people, the commissioners, funding bodies, and mentors, The Patching Zone supervisory Tattoo 33 team board and the jury committees. We would like to thank all of them for the trust in these Ingrid Rekers Concluding conversation with early years of The Patching Zone adventure. We thank all contributors for their texts, visual mate- rial, pictures, input and ideas and all non-writers for making this possible. Goodwill 105 Ton Sandfort 157 Camp CKC 35 Kristina Andersen Anne Nigten © The Patching Zone, 2012, Creative Commons Attribution-NonCommercial-ShareAlike Anne Nigten 3.0 Unported License. Magic Moments 111 Biographies 162 Digital Art Lab polls: Loes Bogers All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, Relevance of digital technology Bibliography 167 recording or otherwise, without the prior written permission of the publisher. and Education 43 The Non expert 115 Emöke Bada ISBN: 978-90-817051-0-3 Lifelong Kindergarten 47 Berit Janssen Social innovation and Product www.patchingzone.net Machine 121 Where are we 53 Anne Nigten with contributions by Loes Bogers Ralph Boeije 4 5 Preface Anne Nigten PrefaceDirector The Patching Zone

A year and a half after Real Projects for Real innovation, education and corporate innova- People Volume 1, The Patching Zone proudly tion. presents Real Projects for Real People Volume 2. This publication differs slightly from the Current developments in the amateur art sec- previous one; this edition is entirely devoted tor, the complexity of integral innovation tra- to the Digital Art Lab, a comprehensive inno- jectories and the results of the project were vation project The Patching Zone carried out, the motivation behind this monograph. But commissioned by and in close collaboration don’t worry, this publication exceeds the level with the Centrum voor Kunst en Cultuur, CKC of a project report by far. I am convinced that (Centre for Art and Culture) in Zoetermeer in everyone who intends to work with product the period from September 2010 to Decem- innovation, educational innovation or corpo- ber 2011. In the Digital Art Lab we worked rate innovation will glean ideas and inspira- with the CKC on an innovation trajectory for tion from Real Projects for Real People Vol- amateur art in the field of training, product ume 2. You will read, for example, how the 6 7 original, substantial ambitions, written in project will stick and will flow through to the very formal language, were given shape in sector. the workplace. The Digital Art Lab literally worked according to the creativity and in- Real Projects for Real People Volume 2 offers novation slogan: ‘Think big, start small, move a look into the Digital Art Lab kitchen from fast’. In Real Projects for Real People Volume very different viewpoints and perspectives, 2 you can read how the people directly in- which also reflect the richness of the project. volved immersed themselves in new matter The cultural and professional diversity of our and resurfaced with new insights. You will be team of young professionals keeps surprising involved in various collaboration forms and us with its amazing and personal viewpoints. see how this results in new formats and con- We expect quite an acrobatic attitude from Word of thanks cepts for amateur art education. This book you as a reader; we will take you on a journey will illustrate which mountains were moved from the meta-level to the personal, and from Anne Nigten by the Patching Zone team and their peers, a distant perspective to detail-level and back. Word of thanks the CKC teachers. How we worked on embed- This publication reflects as it were the way ding the innovation trajectory is something an innovation project works: dynamic and you will read about throughout the whole unexpected. Moreover, this book invites the book. This will be illustrated with quotes and reader to participate actively. For additional reactions from the teachers that are spread information please visit our website for the randomly over the book. I hope that you as online project documentation. Enjoy! a reader will be inspired by the open and hands-on way of working, and by the poetry and energy reflected by the whole project. www.patchingzone.net A substantial corporate innovation project such as the Digital Art Lab is a custom-made http://digitalartlab.patchingzone.net We would like to thank everyone who ple who subsidised the project in good faith: project and therefore would not be possible contributed to Real Projects for Real Peo- the Ministry of OC&W, European Cultural without the commitment and the involve- [email protected] ple Volume 2, especially The Patching Zone Foundation, Fund 1818, SNS Reaal Fund, VSB ment of the client. This involvement does not team members of Digital Art Lab, the interns, Fund, and the Municipality of Zoetermeer. only become clear from the contribution of graduates and supervisors and everyone who Real Projects for Real People Volume 2 by Ton worked behind the scenes! Our special thanks And last but not least, of course, we would Sandfort (director of the CKC), but also in the for the great collaboration in the Digital Art like to thank the teachers and all their col- concluding conversation I had with him. Kunst- Lab project goes to Ton Sandfort, director of leagues of the CKC. factor (Art Factor), the branch organisation the CKC, also the person who commissioned for amateur art, kept an eye on proceedings the assignment, to Audrey Samson, former from a distance the whole time, and assessed manager of The Digital Art Lab, Ralph Boe- the findings of the teachers for relevance and ije of Alares and ArijJan Verboon and Anke interpreted the usable parts for the sector. Asselman of Kunstfactor (Art Factor) and This way the knowledge we gained in the STEIM. We would also like to thank the peo- 8 9 Innovation Innovationin leisure in leisurearts/art arts/ education artTon Sandforteducation Director CKC

Just like many local organisations for art is attended by 5,000 students, the average education, CKC Centrum voor Kunst en Cul- student attends lessons for 30 hours a year, tuur (Centre for Arts and Culture) is a not for the art educational programs brought out profit organisation in the municipality Zoeter- in the schools are attended by 10,000 chil- meer, running a leisure art school and pro- dren/young people. CKC employs a hundred ducing art educational programs for schools. people, eighty of whom are artists and teach- CKC offers multi-year courses as well as one ers, most of them graduated in music, dance, off workshops in the areas of music, dance, theater or visual arts. They work part-time for theater and visual arts. The leisure art school, CKC next to other artistic occupations or stay 10 11 home to take care of their family. Earnings and merge it with the present knowledge of into that of a ‘designer and conductor of of learning and experiencing. There is a place are forty percent of the turnover (3.5 million all our arts and education, so the idea of the learning processes’? Either way, learning is for art amidst carting, the climbing hall, the a year) and subsidies by local government to- Digital Art Lab was born. changing and teaching will diminish, never sport school, canoeing, paintball, snowboard- tal sixty percent. However, by doing this exercise we grasped the less CKC’s purpose is facilitate learning, ing… In short, people expect the arts to bring that digitization was only one of more far so it must design quite new propositions. them experiences with an impact, similar to CKC’s core process definition: developing, reaching interrelated shifts in consumer be- many other leisure activities, which have the programming, marketing, selling and accom- havior and preferences with respect to lei- Learning and producing effect of releasing participants from everyday plishing art education activity. Four closely sure time, the arts and learning. We foresaw Dutch leisure art schools have focused on cooperating units, the leisure art school, pri- that the traditional multi-year courses would learning where the production, presentation mary schools, facilities and marketing, sales & shrink gradually. Although those courses and sharing of the work produced is given communication execute this process, togeth- should remain at the center of our leisure art over to the realm of amateur art clubs and ‘People expect er with the finance & personnel manager, the school, we believed (and still do) that the in- associations, amongst which include orches- experiences director, and the CKC management team. terest in these courses would become so small tras, choirs, pop, rock and jazz bands, groups with an impact’ that CKC could lose an important reason for for theater, musicals, operetta and clubs for Nearly lost into its existence. drawing, painting, photography, many of the romanticism members of these local clubs and associations restraints, to lead them into new dimensions In 2008 discomfort, aroused by the con- Teaching free learning are educated by the leisure art schools. The and other worlds. Isn’t it marvelous that more sciousness of the contrast between the purely The traditional transfer of knowledge and sharp distinction between learning and pro- and more people believe that the arts are physical practices of the leisure art school skills from teacher to student is gradually los- ducing in leisure arts was carved by national exciting? Why should we hesitate to accept and the steadily growing digital reality of ing its prominent position. However, it seems government in the seventies and inherited by this invitation? When we, the centers for art young peoples’ everyday life, lead to serious as though leisure art schools still assume local government after decentralization. Am- education do not jump in, eager commercial discussions within our management team. Ini- the learning process is only apparent when ateur art was scarcely subsidised, leisure art leisure firms certainly will. What’s our impedi- tially we played with the idea that CKC should the teacher and students are together in the schools however were generously subsidized, ment? We lack the skills for strategic market- stick to the physical world, as a stronghold same room. In its annual report to local the but the distinction is not so obvious. When we ing and product development, and some peo- government CKC still quantifies its output by ignore the funding matter and look through ple still fear the age-old idea that by doing so, the number of student-teacher contact hours. the perspective of a local community, an inte- would sell the soul to the devil. ‘The idea of Partially due to the Internet many alternative gral approach of amateur art and leisure art informal learning models are flourishing. The education would be much more productive. Not only in the ‘high art’ – ‘low art’ is there the Digital Art Lab most exciting is gaming. Moreover, the tra- CKC must reconsider its core business: leisure prejudice, but also in the flexibility around was born’ ditional learning model of teaching appears art education or just art in leisure time. Art notions of production, distribution and en- to be relatively expensive. When there are in leisure time includes education as well as gagement, these become serious hurdles. It is alternative ways of learning, the costs of edu- production. How will CKC connect both ends? fairly recent, that our organisation began to of purity and authenticity, but hat romantic cation at traditional leisure art schools may How will digitization affect this blend? programme all learning activities through a notion did not continue for long. We became chase people away from applying. Therefore week long schedule, which could be repeated aware that ‘all things without a digital plug CKC’s leisure art school must rethink its role Experiences every week for an entire year. This system and to the online world’ would become obsolete. with respect to learning. How many people The demand for multiyear courses is diminish- its procedures are simple but stiff; this is the As an art center it is our task to connect in- will want to pay for expensive teachers? Do ing in favor of relatively short programs and wrong kind of efficiency. When we want to herited cultural values with present society. we need teachers at all? Or do we need less even one-day courses. So there is not only a sell more leisure activities, we must be capa- So we should bring new technology into CKC teachers? Will the teaching profession evolve bipolarity of learning and production but also ble of giving quick but reliable responses. CKC 12 13 is investing the development of a software that cannot bear a 10% subsidy cut without that would allow resources to be permanently making radical choices. available for all kinds of activity, and employ- ees are learning that ad hoc will no longer be From now on entrepreneurship in art educa- a violation but rather be the standard. tion should no longer stay within the subsi- dized area. CKC and other art centers should The triangle of hurry to complete their set of capabilities in enterprise order to be equipped to enterprise wherever. Developments as sketched above are accel- We must go on raising our skills for develop- erating. In 2008 we could not foresee the ing and selling new programs within the tri- extent to which the funding structure for angle of learning, production and experience. arts and art education would be damaged Different market segments can be served as a consequence of the economic downfall. from this triangle: individual consumers in At that time we still expected that a collec- their leisure time, schools, businesses and tive (government) funding of arts and culture public organizations. Art centers should de- would give evidence of future Europe as a fine their market segments within the triangle and develop new propositions.

‘CKC and other The scale of change learning, these were the encounters that Research Agency) (Broek van den, A. 2010). art centers should Didn’t we develop new things before? Of needed to be developed, and there could be It was obvious that it was impossible to ac- course we did. Just like many other art cent- no development without research. These ef- quire new technology and skills as well as to hurry in order to ers. We absorbed street dance, hip hop, DJ, forts could bring us at an even greater dis- develop new competences in such a broad be equipped’ musical, tai chi, capoeira, tango and devel- tance from the day to day operation than we area in so little time, on our own. We asked oped great courses for the very young in our had ever dared to go. for help at KIZ, Kenniseconomie en Innovatie ‘Spelenderwijs’ product line (within this con- Zoetermeer (Knowledge Economy and Inno- non Anglo-Saxon, civilized society. Now in text Spelenderwijs should be read as: learning The big lab plan vation Zoetermeer), a municipality agency. 2011 we know better. Not only local govern- by playing). But we have become aware that We placed digital technology in the center of KIZ delegated Ralph Boeije of Alares and ments must reduce spending. All people must in face those courses had produced more of all our demands for innovation and decided Ralph introduced Anne Nigten of The Patch- do so during the immediate years. The weight the same. We did not leave the existing for- that we had to initiate a digital art lab. With- ing Zone. Together we scaled up the project of currency in consumer decision-making is mats of workshops and courses. Until then, in the lab we wanted to merge traditional art into a ‘half million euro project’. According to rising and at the same time the attractiveness change had been incremental. Our manage- practices with digital technology into new our plan the concept of the lab was a research of inferior quality, alternative propositions. ment team soon recognized that incremen- forms of learning, producing and experienc- and development center, where CKC’s artist At the end of the project ‘Realisation of the tal change could never meet the speed and ing. December 2008 we drew up the first teachers together with their students and Digital Art Lab’, ultimo 2011, local govern- scale required by the upcoming shifts, which concise plan for the establishment of the lab. other visitors would search for the answers on ment wants to cut 10% of annual CKC sub- together could be considered as a true para- Later, in June 2010, we could see how much the conglomerate of shifts and develop new sidy while the number of clients/participants digm shift within leisure arts. the digital art lab’s objectives reflected the propositions. Merging traditional arts and started to fall at a circa 10% rate. Only the shifts, predicted within a forward study on technology within an organisation of leisure so-called short courses maintain their posi- It was not change we were looking for, but the amateur arts, published by the Sociaal and arts should be the uniqueness of the CKC tion. CKC is a rather stringent organisation rather innovation through new concepts for en Cultureel Planbureau (Social and Cultural lab amidst the existing ‘fablabs’. Furthermore 14 15 the goals of the lab would not only cover digi- management team, which is lead by the man- rewarded. We have been developing this way a shepherd leading his flock to new, rough tization of amateur arts. Digitization would aging director. Finance and human resources of working since we were founded in 2001. pastures. So CKC management invited all art- serve as a steppingstone to the much larger are combined in one staff unit, represented ist teachers to enlist for the design team of range of challenges the CKC leisure art school in the management team by the controller. Involvement on the soil the project. Thirty-four out of eighty applied. is facing. The organisational structure of CKC reflects of profession After different impediments, such as other the main process of strategic marketing, pro- Organizations of professionals are generally obligations, too little time left, being occu- Together we elaborated the plan and went duction (merging artistic and educational believed to foster inevitably, inflexibility and pied on the regular weekly assembly time, on tour to look for funding. Fonds 1818, SNS knowledge with facilities), communication inefficiency. This misconception is closely re- the number of applicants had reduced leav- Reaal Fonds, VSB Fonds, and KIZ stepped in. and sales. Innovation (or development of lated to the idea, that a professional drive ing only a few to be disappointed. A group At the end we acquired a major innovation new propositions) is done within projects, and business goals must be opposite. That of nine artist teachers were left to form the subsidy of the Dutch government department which are under the supervision of the four appears to be true when management and design team. Although the lab manager was of Onderwijs, Cultuur en Wetenschap (Educa- line managers. The CKC organization is lean staff on one side and professionals on the attracted from outside, she is an artist too. tion, Culture and Science). and mean and at the same time an exception other side do not respect each other’s con- The artist teachers surely were unaware of in the art education industry, where profes- tribution to the value and survival of the their impact. They were to walk way ahead Looking back it is evident that the scale of sional hierarchies usually predominate. organisation. When professionals are consid- of the entire CKC organization, management the project as a first break through within ered as ‘the workers who are only capable of included, which later on could only follow the Dutch field of arts and leisure has been a The balance of doing their thing’ and are believed not to be critical factor for its success. initiative committed to the organization’s goals, they As a consequence of this structure initiatives indeed can turn into a paralyzing burden. We ‘Respect each Flat and well structured of all CKC workers are fostered and not suf- believe that management is responsible for other’s contribution We had a plan, funding, new knowledge and focated. CKC artist teachers have taken pos- the involvement of professionals. And they educational competences, as well as project session of the playground, which has become may not demand the professionals’ contribu- to the value and management experience, it was all in place. free for all after the abolishment of profes- tion to be similar to theirs. Just in contrast, survival’ Only one crucial element was still unmen- sional middle management during the first management should cultivate involvement tioned: the initial state off the CKC organiza- few years of CKC’s existence. They have taken on the grounds of the profession, and it must tion. Was it capable to conceive and foster all up responsibility for the educational and ar- actively keep their own initiatives in balance the choices, the design team should make by these new assets? tistic values and processes. They join hands with professionals’ initiatives. The balance their intuition and taste. to watch over the integral, transdiscipline should be secured by means of procedure and The Patching Zone team and its leader, would Compared to industry criteria, the CKC or- curriculum and its elaboration into the differ- planning. Nowadays such a managerial task feed the design team with her election of ganizational structure is extremely flat. There ent sections. They also design new courses, is called ‘social innovation’. Social innovation digital techniques. The outcome of the con- are no layers between the management team coordinate clusters of courses and study to- projects are even subsidized by government. frontation of digital technique and the artis- and workplace. For instance, all eighty, art- gether in order to gather new knowledge of tic profession could not be predicted. That ist teachers of the leisure art school (of which learning processes or new product design. It The artists take the was up to the artist teachers. And that is how most are employed and ten are free agents) is considered to be a management task not lead it ought to be, because those who own the report to one manager. The school as a unit only to evoke initiatives but rather to rec- At the start of the project the lab as a facility specific knowledge make the best decisions. is placed at the same organizational layer as ognize those, to sponsor them and to keep had to be set up and a design team had to the other units: primary schools, facilities and them aligned with the overall goals. All de- be installed. Beyond research and marketing, sales & communication. Each of velopment tasks, projects and teams are for- It is evident that CKC does not start a new experiment the four unit managers is a member of the malised on a temporary basis and separately venture as a military campaign but rather like After two or three design cycles, the design 16 17 team members were completely under the schools lack a proper market-oriented prod- spell of the digital techniques they got to uct design process. Why? know. With red cheeks they spent all the time they had left in the lab. Months later, looking Public or private, leisure art centers since the back it was clear to me that this enthusiasm beginning have been regarded as the execut- really had become the fuel of the project. The ers of a local government function: teaching match between the freshness and spirit of arts in a kind of optional primary schools. As The Patching Zone team and the eagerness of such the leisure art schools are rooted in the the CKC artist teachers had been miraculous notion of a static society, which will not stop and beyond any rational explanation, and asking for one never changing form of art they would go on inventing until a planned education: the multiyear courses. Those still big event would bring the project to a close. are the core of the leisure art schools’ pro- En passant they would easily meet all the gram, however, they won’t be for long. Many quantitative targets of the project plan, but managers acknowledge the need for strategic it was not clear whether and how we would achieve our main goal: the establishment of the lab as an ongoing vehicle. What would ‘Dutch leisure art remain of the lab when the project is over? ‘Will the lab take position within CKC as de- schools lack termined?’ and ‘What do we invent in the lab a proper market- and for whom?’. The lab was not only created oriented product for research and experiment, but also for new product development. I could see a lot of dis- design process’ covery and experiment but did not see any tangible product come into existence. marketing development and real new product An idea is not equal to design. Many of them must still transform a new product their organizations, which still are ‘immobile, A misconception, a familiarity with the leisure professional hierarchies’, just capable of the art school industry seemed to have sneaked annual production process, but missing the into the project, or perhaps it is the pitfall of wheels of up to date, integral research, de- conceptually minded people, especially art- velopment, marketing, communication and ists: believing that a successful experiment or sales. CKC too will have to make its last steps an idea is equal to a new product. Most artist to reach that milestone. teachers still believe they only have to throw an idea over the fence of the marketing de- No red smoke partment, which only should advertise to at- It was not only the ongoing divergent process tract queues of interested consumers. That is that worried me. The lab team’s first experi- an energy-gorging mistake. Dutch leisure art ments during the first few months were be- 18 19 sides small specific groups of CKC students sions and digital techniques. And they had opportunities, but at the same time closely several exercises, covering the product devel- mainly done with groups and individuals from become very enthusiastic about all new op- perceive research and experimentation in opment process. One of those, concerning outside CKC. The open lab experiments, the portunities that came in sight. But it was not the lab. After all, new demand indeed rises the successful elaboration of the ‘empower- Digital Hang Outs, meant to put in motion meant that they would go on collecting op- outside the organization, opportunities can ment one minute’, may be seen as a piece of a stream of individual participants, were not portunities, without elaborating any of those show up within as well as outside. It is up to evidence that we really are making progress successful. What is more, part of CKC employ- into a real product. The project screamed for the marketing unit to define a new product’s in the collaborative design process . We suc- ees, The Patching Zone team and lab man- a strong convergent move towards new prod- attributes specification list. The unit also ceeded to develop a two-day empowerment uct creation. judges whether a new product design meets workshop for superfluous employees of big these specifications, whether a design should organisations, based on the one-minute ‘New demand indeed Both Audrey, the lab manager, and I did not be tested or is ready to launch. However, the video concept. Several big firms and public see how a big event should lift up the Digital marketing unit should leave design to the art- organisations have showed their interest. It rises outside the Art Lab to its place within the CKC organisa- ist teachers and/or the facilities unit. Since looks like the digital art lab as well as the new organisation’ tion. Moreover, a big event should give rise new product development requires specific collaborative product development process to unwished future expectations. Together knowledge, and sometimes external persons will generate the new earnings we need so we urged the cancellation of the event in or organizations to participate in the process. desperately to offset imminent local govern- ager did not mix up. In the eyes of that group the steering committee and plead for devel- Next to their engineering role, artist teachers ment subsidy squeeze! Isn’t that a tangible of CKC employees The Patching Zone team opment of the lab’s product design process. and the facilities unit both fulfill a second achievement? and lab manager were a group of English Both of us acknowledged that research and function within the product development pro- speaking strangers. Subsequently for them experiment is idle in case the organization cess: they are ‘production’ and therefore most We are conscious that having a digital art lab the lab was an odd thing that did not look in lacks a proper product development process. capable to judge operational aspects of new is not the only point. The digital art lab has no one single detail like a CKC activity. They did The steering committee made an excellent designs. chance without an alert marketing and sales not grasp the meaning of the project. Some decision, which would not only contribute to process. But even having both organisational employees expected the lab to become a the continuation of the lab’s existence, but at But it’s not about units is not sufficient. At the end their col- third ‘production department’ of CKC, next to the same time would push CKC’s organisa- departments and laborative process is decisive. We have just the leisure art school and the primary school tional development significantly. functions, it’s all started to learn and develop that process. The units and did not imagine an R&D function about collaborative Digital Art Lab will not only go on renewing within the organization. Anyway, part of CKC An organizational up- processes! our programs, but will also lead us in arrang- employees did not see coming out of the pro- grade We did not wait for the release of the splendid ing our innovation and product development ject what they were waiting for. Since they Successful product development depends on ‘serious product development game’, which processes. had been waiting for red smoke coming out of the collaboration of several organizational will facilitate and teach us in the product the lab, they could not see the blue smoke. At disciplines, and the game cannot be played development process as described. During least they were right not to be persuaded only when all actors neither understand the game the project’s last few months the marketing by their colleague’s enthusiasm. The project nor respect each other’s role. Whether and for unit and the lab’s design team accomplished should convince them with more real tangible whom a new product should be developed results. is a strategic marketing issue. In case of the CKC organization this decision ought to be The great move made in the management team and prepared Reference: The design team definitely succeeded in cre- by the marketing unit. This unit should not Broek van den, A. – 2010. Toekomstverkenning Kunstbeoefening (Leisure and Arts Fore sight) Sociaal en Cultureel Planbu- ating matches between their various profes- only scout (the) market(s) and identify new reau (Social and Cultural Research Agency), Den Haag, NL. 20 21 Digital Art DigitalLab Art LabShort project brief

Art and culture are an important source context) at least once a year in the theater or of inspiration, communication and meaning. exhibit his or her work in the exhibition halls. Arts education brings young and old peo- Besides the these presentations, performanc- ple in touch with this source. The Centre for es and concerts (more than one hundred per Arts and Culture (CKC) in Zoetermeer aims year) CKC is organizing for it’s students, com- to generate participation in arts and culture. petitions, festivals and ‘own work’ projects. The CKC is a certified school and leisure po- The drive of young people to share their art dium and develops activities and programs in is growing. dance, music, theater and visual arts for all The character of the CKC and fellow organisa- ages. The activities range from short term to tions in the arts sector is dominated by the long-term courses in craft studies for arts and traditional, physically bound art. That does leisure. The CKC believes that art by defini- not mean that the CKC doesn’t keep up with tion is meant for sharing. Each student acts the times. Breakdance, hip-hop, dj, pop, rock (solo, in groups and/or in a multidisciplinary and musicals are popular activities. They are 22 23 incorporated into the traditional program. No compose on their own computer; others are The Digital Art Lab will address two new audi- The long-term goals of the Digital Art Lab: less than 72% of the students are between experimenting with digital imaging. ‘Photo ences: the age of 0 and 20 years. Shopping’ is now in the dictionary. The mobile • Digital creative young people (those who 1 Increase public acceptance of new In the past decade much has changed in the phone with camera generates a new interest will participate in the creation of new art) audiences to appeal world of young people, their environment re- in photography and video. Under the influ- • Digital active young people (those who a. Learn how the CKC generates new audi- volves around new media: digital communi- ence of ICT and creative activity, the distribu- see the work created online). ences within the Net-generation, and cations, digital creativity and digital activity. tion of its products has become a daily activ- increase its visibility, also attract young The Digital Art Lab (DAL) broadens the CKC ity for a large group of young people. Digital Art Lab also aims to connect with ex- people who may have less affinity with horizon where new formulas will be devel- isting audiences: the CKC. oped alongside existing formulas with an in- Digital future for the • CKC students creased flexibility. This is necessary to remain arts • Secondary schools 2 Development, programming and connected to the changing needs of young New technology is causing changes to such • Primary school implementation of digital artistic people. This project provides CKC an appeal- an extent that we can talk of a landslide. The • Community school production activity ing and innovative example for the entire arts traditional practice of art is losing its physical a. CKC will work with both existing students sector. ground and young people are exploring the Through the Digital Art Lab, the CKC is also and individual young people in the school. world through digital technologies. The CKC co-creating ‘creative digital youth’ with the Creative with digital and other cultural institutions will re estab- existing CKC students, with the aim to de- 3 Teaching innovation technology lish its position next year, choosing to retain crease the distinction between privileged a. To generate more initiative from the stu- New media is not a period that falls after the its compatibility with current and future gen- (VWB cultural) and disadvantaged young dent traditional arts but has evolved and incorpo- erations of young people. The Digital Art Lab people. b. The development and application of other rated the values of the traditional arts and focuses the CKC perspective on a digital art new models compared to placed them in new dimensions. This applies where collaboration, interaction and the crea- Digital Creativity begins when you take pic- The traditional master-apprentice model, to both production and distribution. The com- tive use of new media are central. Connect- tures with your mobile phone and continues such as peer-to-peer teaching, cooperative puter represents the ballet studio or artist ing and mixing traditional art with digital art on from there to make audio and video pro- learning, independent learning and coach- studio. The Internet represents the stage or creates new, cross-media artistic expressions ductions using specific software. Other peo- ing, rather than organic development and the gallery. The physical arts (theatre, dance, resulting in innovative art forms. The CKC is ple can follow performances of their peers on planning of learning activities music, and so on) and the digital arts have convinced that this interaction leads to the the Internet. This too is a form of participa- many parallels and in reality, digital artistic kind of innovation that enables the arts sec- tion in the Digital Art Lab. 4 New, flexible organisation of supply productions are almost always cross-media tor to continue to speak to young people. and demand productions. The introduction of new media The Digital Art Lab is not the next digital a. Participation by users, in the program de- to CKC has questioned and blurred the dis- Digital Art Lab creation, but obliquely placed together with velopment tinction between the amateur and profession- Objectives the existing artistic disciplines. The Digital b. (Working in the lab) individually, directly, al. The so-called Net generation, increasingly The Digital Art Lab seeks to join the CKC with Art Lab places a durable bond between the without notification and a time find that facets of their lives are inextricably the digital world of young people. CKC Digi- traditional art and digital creativity. This may c. Responding directly to the individual cus- linked with ICT, computers and the Internet, tal Art Lab offers a research and development partly integrate existing artistic disciplines, tomer demand young people use their mobile phones to environment for innovative forms of art. The where young (traditional) art practitioners d. New business models record and share their daily lives with many Digital Art Lab offers young people a place discover and incorporate the rich capabilities others via MySpace and YouTube. They play where they can explore their own digital crea- of digital technology. saxophone on the computer. Some begin to tivity, supported by teachers and peers. 24 25 Commissioner: Centre for Art and Culture (CKC), Zoetermeer Center for Art Education in music, dance, theater, visual arts, new media. Educational Institution; 51-200 employees; Performing Arts industry October 2002 – Present (9 years 3 months)

Project Partners: The Patching Zone The Patching Zone is a media laboratory for site, the content of the project, and new busi- innovation where the most relevant young ness models. Plag is the driver of the regular professionals, master, (post-) doc and PhD consultations of the ICT Industry Zoetermeer. students, join forces. Bringing together, an unusual combination of disciplines, creates a Kunstfactor 5 Matching technological innovation They extend to the business model of the whole that is capable of tackling innovative Kunstfactor is the national institute of ama- with traditional values arts. The Digital Art Lab is an ideal tool for and complex issues. This is done in collabora- teur arts sector. They partner for govern- a. ‘Traditional’ teachers and pupils learn to this. The combination of purely executive tion with the client, in this case, the CKC. ments, policy makers, and opinion formers recognize the new possibilities of digital goals with targets for the competence of the The staff of The Patching Zone has made their and stimulate the debate around the ama- technology for their profession organisation ensures the effectiveness CKC. mark in the New Media and Arts and Culture teur. They advise, inform, explore, initiate and b. ‘New’ young people involved in digital Sector, in business, science and education. inspire. They make connections within and productions, initiated from the traditional outside the amateur sector, nationally and subjects City of Zoetermeer Foundation KIZ internationally. They will take an active ad- c. Co-productions of ‘traditional’ students KIZ stands for Knowledge & Innovation Zoe- visory role in relation to the steering commit- with digital creative young people Digital Art Lab - The movie, is a video documentary by termeer and is a continuation of the ICT plat- tee. They will also describe and analyze the The Patching Zone form Zoetermeer. The foundation aims to entire process and will develop the concept These goals for the Digital Art Lab are not promote innovation and knowledge in Zoeter- into a national model. limited to the implementation of digital arts. meer. The Digital Art Lab is an innovative ICT project within the art world and therefore has the full attention of KIZ Foundation.

Web agency PLAG Web agency Plag is a commercial organiza- tion designing, building and managing all manner of Web applications. They advised the Steering Group on the design of the web- 26 27 General Generalinformation informationon onZoetermeer Zoetermeer

Zoetermeer is a city in the western Netherlands, in the county of South Hol- land. The municipality covers an area of 37.06 km (of which 2.15 km is water). A small village until the late 1960s, it had 6,392 inhabitants in 1950.

The name ‘Zoetermeer’ (Dutch for ‘Sweet Lake’) refers to the former fresh lake north of the town (reclaimed in 1614)

28 29 The facts:

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the ‘Dorpstraat’ and ‘Leidsewallen’, just next to the CKC building. The rest of the city is pre- dominantly characterized by 1960s style high-rise architecture and has a large city shopping center: ‘Het Stadshart’.

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Zoetermeer has a modern infrastructure and a lot of schools that offer ICT-related education. Also 20% of the population of Zoetermeer already has an ICT-related job. 30 31 Tattoo TattooIngrid Rekers

How can you engage in a desolate his.

No shelter, the wind takes the track and shoot the grains of sand in my skin pattern and do not hit.

Then drawn in time captured here is a path of fear.

Irritated is what it is that remains a tattoo taunts time as long as possible and cannot be stroked only if it really only feels good...

32 33 Camp CKC CampAnne Nigten CKC

The last year and a half The Patching Zone gredients. After this outline of the Digital Art took up her camp at CKC centre for art and Lab research framework and approach, the culture in Zoetermeer, a city in the province of contributions by our team members, Digital South Holland with a little less than 122.000 Art Lab team supervisor Kristina Andersen inhabitants. We were lucky and proud to have and colleagues from Kunstfactor (Art Factor) gathered, again, a tailored team of outstand- will elaborate on the practical and didactic ing stunt-oriented young professionals and aspects and how the collaboration model students; artists, researchers and engineers was implemented, completed by comments, to work with the CKC teachers on the realisa- quotes and remarks by the CKC art teachers. tion of the innovative Digital Art Lab project. In this chapter we’ll walk you through the Being embedded aspects of this time’s version of the process- This time we pitched our camp at the ground patching approach (Nigten, 2007) and we’ll floor of the CKC centre, a 50 m2 space situat- elaborate on the process’ most important in- ed inside the centre so our team was literately 34 35 embedded in the field of activity. For one year expertise about innovative media and new and a half we were part of the CKC ‘firm’. We trends in genre transcending art forms, while experienced the centres’ work spirit and cul- the design team monitored the connection ture and got to know their way of working of all these new things with their knowledge (and sometimes not) and we learnt about the from specific art disciplines and the tradition- established work ethics, artistic values and al art forms that are taught at CKC. The full interpersonal communication. Although the Digital Art Lab team carefully investigated, often hands-on, the relevant innovation op- portunities for cross-art collaboration and its business opportunities.

Deconstructing the objectives (1) Prior to the project’s start our initial inves- tigation taught us that working through all details of the full objective in an iterative way would probably show us the obstacles and unfold the opportunities. So it was decided (in non-democratic way) to follow a hands-on based on specific popular media techniques bit more on the way this approach was im- approach. In this way we could use the full such as video, audio, tracking in theatre and plemented. Each cycle started with an expert potential of the common ground, that was gaming. These techniques were identified as workshop and was thus based on an artistic shared by The Patching Zone team and the placeholders for suitable genres, in new me- genre rather than a technological achieve- CKC design team: research and exploration dia related, artistic expressions and youth cul- ment. All cycles had a similar structure: It through making. A framework was required ture. The Design Cycle’s framework was based started with an expert workshop for the to support this process step by step in an on the viewpoint that the artistic concept or whole team; the national and internationally embedded lab concept has been crucially im- iterative mode. This resulted in the project’s the experience one wants to establish is the acknowledged experts set the tone for the portant in all Patching Zone projects so far, programme design that supported the pro- catalyst for learning and mastering a certain quality of these intensive trainings. These De- this time it felt different again, as we literate- cess in a cyclic series around four main build- technique. In this model we prioritise the ar- sign Cycles represent a fully integral experi- ly moved into the CKC because the centre’s ing blocks that all, somehow, connected to tistic endeavour above the technical skills, to ment for all of the members. In each cycle the activities and its teachers were at the core of the specialisations that were represented by enrich the omnipresent technical emphasis on first step was focused on training the design the innovation assignment. This notion of be- the design team and CKC’s activity program. media with something one could call artistic team. All of the available art disciplines in the ing embedded turned out be a fundamental These building blocks were at the core of each (or creative) media literacy. This approach team were included in a 3-day ‘all hands on aspect and to achieve a truly bottom up inno- so called ‘Design Cycle’, a step-by-step cycle builds on the strength of the CKC: the artistic deck’ training session to master the specific vation trajectory, our team and the CKC de- that learned from the previous one and that training. genre and consequently a specific technique. sign team worked from the heart (the inside) fed into the next cycle. We carefully selected The results of the first step were evaluated, of the organisation. The Patching Zone team four specialists (teams) whom we invited to The Design Cycle further developed and lead to the next step, and the Design Team were so called partners lead an expert workshop for all team mem- As mentioned earlier we worked with Design a slightly longer trajectory where the first out- in crime by establishing the innovation stand- bers. The chosen themes and genres arose Cycles as the framework for hands-on innova- comes were converted or made to fit the CKC ards; The Patching Zone team brought in their from preliminary investigation and were tion. In this part of the text I’ll elaborate a context. The next steps were iterations that 36 37 ing and participating in art and games, this ‘The flow of knowl- is reflected in the process art making when edge has changed this is based on a rule set, or when one plays a game according to specific rules. With this direction’ focus our collaboration model offers space for engagement between the art teachers and young people who are often familiar with of education are spread more or less equally technology and media from a general social over three categories of graduation among or popular perspective, such as social media the Zoetermeer’s citizens over 18: primary and gaming. Similar to other Patching Zone school and vocational education, grammar projects, I like to refer to this space, as a com- school and alike, higher vocational education mon ground for collaboration where peers and university. (2) 91 % of the Dutch youth from different backgrounds meet. This space (age 16 – 25) is actively engaged with social is the ideal soil for innovative concepts that media, mostly via their smart phone and to a immerse beyond the boundaries of the tradi- lesser extend via the computer. (3) After the tional disciplines and expertise fields. This is initial tests with the CKC students from other where the truly processpatching takes place. courses, our team invited several local voca- (Nigten et al, 2010) Our approach also intro- tional and grammar schools to engage in the brought in two more steps, leading to topics lar way as a tactile material in traditional art duced a layout for future CKC activities with Digital Art Lab as testers in this first pilot year. and content for experimental new education classes. By doing so, we avoided a technology youngsters. After each session our team conducted semi- concepts or new services. The outcome of driven approach that often collides with more structured mini interviews with the students each cycle was taken along to the next cy- traditional art making. Elements of performa- Net-generation to receive their feedback on the workshop cle, so knowledge could grow and could be tive play (Flanagan, 2009) were, in many oc- The above mentioned actor-network theory sessions. The enquiries were conducted with combined according to everyone’s levels and casions, used as a boundary object between brings us to our target group, so far generally individual participants as well as with groups, needs. In a later phase of the innovation pro- our team, the design team and youngsters. referred to as ‘youth’ or the ‘net-generation’ although some constraints on the school’s cess these new education concepts went into On the one hand, performative play includes and so on. In this paragraph I’ll elaborate day-schedule determined the time that was the product-machine. techniques such as improvisation and role- more on the groups that represents the (lo- available for the individual approach, this playing as known from the performing arts cal) youth and net-generation, and what we lead to more group enquiries and some en- To match The Patching Zone’s world with the and gaming. On the other hand, performa- learned about their media skills and knowl- quiries on the fly. The pupils’ response was CKC world we decided to extend our Process- tive play includes critical references to high edge. Let me first present some ethnographic taken into consideration for the relating next patching process, (Nigten, 2006–2007) the culture as represented in art movements data from the city council, as a context for step of the team’s experiments that covered research approach that usually encompasses from the last century such as Surrealism and our target group and their surrounding. In formats, themes and educational models. Be- a range of action research and design re- Fluxus, and today’s popular culture. The ritual contrast to Rotterdam, where several of our sides the engagements with schools our team 2 search principals, with the artistic research dance between art and popular culture is one recent projects were situated, /3th of Zoeter- also engaged with special need groups and approach that is based on knowledge that of the keys to experiment with new forms of meer’s population under the age of 29 is conducted informal field research by video- 1 comes from working with the tactile material art training with young people. (Schuftan, referred to as ‘native’ Dutch and /3th has interviewing youngsters. as advocated by Barbara Bolt. (Barrett and 2007–2012) More over, performative play another ethnic background with a strong rep- Bolt 2007) One could state that in most cases brings forward references to the pro-sumer, resentation of Dutch people from Suriname, Our point of departure and objectives regard- the media was dealt with in a somewhat simi- as it is either used for art and game mak- one of the former Dutch colonies. The levels ing the needs and the interests of the Digital 38 39 Art Lab’s target group still required fine-tun- calls the demands from the augmented land- gaged in the marketing and communication ing when the project commenced. The above- scape where mediated multi-sensorial experi- loop. With the Product Machine we aim for mentioned enquiries provided valuable input ences are rapidly replacing written and spo- the next steps towards demand driven art to understand the nuances for the teacher– ken text. Our motivation to work on this (as in education with a pro-active role for the youth. student patch that we were planning to es- many of our previous projects) covers a large tablish. For the Digital Art Lab project we spectrum ranging from artistic development In other sections of this publication one were especially interested to shine our light towards critical media creation. The Patching can read and look at stunning innovative on the relevant artistic and cultural media Zone and CKC share the opinion that art is art forms, explorations of new genres and literacy aspects, this was in line with the vi- important for somebody’s personal and in- exciting connections between old and new sion of our peers from the Mediacultuur Net terpersonal development and enriches one’s art forms, and popular culture. The Design (Heijnen et al, 2009). Like us they focused on worldview. As outlined by Livingstone (Liv- Cycles also facilitated early inclusion of the media art as tool for media literacy as these ingstone, 2008) and many others, interactive target groups; so that the teacher’s new often seem under exposed in other education media play a crucial role in the adolescence gained knowledge could be matched and related innovation paths. of today’s youth or to be more precise, of 91% tested with junior artists and youngsters. This of the Dutch youth. It is therefore important product-machine lead to a serious game that The art training; the artistic and cultural to counterbalance the prevailing privacy pan- encouraged long-term teamwork, and docu- development of the participants is our focal ic about life on line with attention towards mented the last steps of the cycle through to point. Here again, our approach differs from understanding networked media content, the the marketing of a newly developed service technology driven approaches that tend to interaction codes and meaning of what is sters. This project revealed that artistic media or product. focus on technical skills e.g. to master a spe- communicated along its social-cultural axis. literacy has the potential to become the core cific software programme or so on. We were (Moggridge, 2007) of the future education modules for the net- Future steps motivated to take this route as this was ex- generation. At the moment of writing the details for the pected to be instrumental for establishing By doing so we move away from the repres- roll out of the project are set in motion. CKC the peer-teaching concept, hence we mir- sive control approach that is thought of from Product Machine will launch its Digital Art Lab Facebook com- rored the role-play between our team and the a consumers’ perspective towards an em- In the process all of us experienced an im- munity site in the near future. Through this CKC teachers in the Design Cycle. We aimed powering creative and critical approach that mense boost of new ideas, energy and in- we hope to secure and nurture the communi- for a practical answer on Castells’ enquiry is associated with the creator or pro-sumer spiration and of course, some obstacles. The ty building that arose from the pilot year. This that ‘the education process remains vertical’ perspective. In our workshops the young par- main obstacle of this fully integral, Digital site is planned to be the virtual peer-commu- while ‘roles have been reversed and the flow ticipants used their game skills to design their Art Lab innovation process, manifested itself nity component for the Digital Art Lab, where of knowledge has changed direction to rise own games, build their own electronic circuits halfway through the project; it turned out to the youth and the CKC teachers will be gen- from the younger generation to the older’ for personal tailored sound-machines and be extremely difficult for all involved to leave erating new ideas and propose new aRt&D (Castells et al 2007). In other words it was created mediated performances with con- the path that lead to the known course for- experiments for the Digital Art Lab. our objective to empower youngsters, as early sumer electronics such as the Wii-controller. mats, that could be summarised as art train- technology adaptors, by learning from each Co-creation and experience turned out to ing, which is booked well in advance with a The fined-tuned and CKC-tailored Design other and teach the teachers their skills, the be the keywords for engagement. The posi- fixed pattern (weekly or so) and rolled out Cycle turned out to be a well working instru- trends, what is hot or not, and in return the tive response and enthusiasm that has been over a whole semester or two. This observed ment for injecting innovation in the organi- CKC teachers could guide the youngsters’ received in this Digital Art Lab pilot year obstacle lead to the design of the Product sation. The Design Cycle could work as an exploration of the artistic and cultural path confirms the relevance of artistic and cultural Machine, as an assisting tool for the teach- artistic experience, where the journey (the through the mixed reality world. The latter skills in the realm of media literacy for young- ers to become more informed about and en- innovation process) is as important as the 40 41 final destination (the research outcomes). In currently investigate the opportunities for this way we secured the Digital Art Lab as rolling out our embedded innovation process a continuous aRt&D (research and develop- in other art centres as well as in those parts ment in the arts) (Brouwer, Mulder, Nigten of the industry where bottom up creative in- 2007) activity in the DNA of the centre and novation is desired. as a dynamic component in the workflow. The CKC plans to use this approach in the future. Following the success of our approach, we Digital

References: Barrett E., Bolt B. – 2007. Practice as research: approaches to Nigten A. editor – 2010. Real Projects for Real People, Volume 1, DigitalArt Lab: Art creative arts enquiry, Bolt The Magic is in Handling, pp 27-34, Nai and V2_ publishers, NL. I.B.Tauris &Co Ltd, US/UK Schuftan G. – 2007. The Culture Club, ABC BOOKS AU, ISBN Brouwer J., Mulder A., Nigten A. editors – 2005. aRt&D, Research and 9780733315619, Dutch edition: Schuftan G., 2012, De Culture Development in the New Art Practice, NAi and V2_ Publishers, NL Club, Uitgeverij Passage NL Polls Castells M., Fernandez-Ardevol M., Linchuan Qiu J., Sey A. – 2009. Lab: Polls Mobile Communication and Society: A Global Perspective, Chapter 4, The Mobile Youth Culture page 127–169, MIT Press, US Crawford K. – 2008. Handsome devils: Mobile imaginings of youth culture Global Media Journal, Volume 1/1 – 2008. Australian Edition, AU Flanagan M. – 2009. Critical Play, Radical Game Design, MIT press, US. Online resources: Fortunati L. – 2005. Is Body-to-Body Communication Still the Pro- 1. Documentation Digital Art Lab ( accessed January, 3th 2012) totype? In The Information Society, 21: 53–61, Taylor & Francis http://digitalartlab.patchingzone.net Effect measurements Inc., IT 2. Population figures Zoetermeer, accessed January 6th, 2012 Heijnen, E. editor – 2009. Mediacultuur, Kunst als mediacoach http://www.zoetermeer.nl/index.php?mediumid=5&simacti For the Digital Art Lab, a baseline measurement (Dutch only), published by Stichting Amsterdamse Hogeschool on=content&pagid=3563&stukid=24823 was done at the start of the project, this was voor de Kunsten, NL Education of Zoetermeer’s citizens from 18 years onwards, followed by a mid term measurement and measure- Livingstone S. – 2008. Taking risky opportunities in youthful accessed January 6th, 2012 http://www.zoetermeer.nl/ ment at the end of the project. These measurements content creation: teenagers’ use of social networking sites for index.php?mediumid=5&simaction=content&pagid=3563& were done through an online questionnaire for the intimacy, privacy and self-expression, Sage Journals, New Media stukid=24913 & Society June 2008 vol. 10 no. 3 393-411, UK, Online version 3. CBS, Statistics Netherlands, 2011, design team, this is the core group of the CKC http://nms.sagepub.com/cgi/content/abstract/10/3/393 (ac- Dutch: ‘Nederlandse jongeren zeer actief op sociale netwer- teachers who were involved in the Digital Art Lab. cessed December 2011) ken’. http://www.cbs.nl/nl-NL/menu/themas/vrije-tijd- In this publication you will find some of these Moggridge B. – 2007. Designing Interactions, Chapter 5, PLAY cultuur/publicaties/artikelen/archief/2011/2011-3296- measurements’ results. interview with Will Wright page. 363-381, MIT press, US wm.htm Nigten A. – 2006/2007. Processpatching, Defining New Methods English: Dutch youth very active on social networks http:// in aRt&D, PhD thesis, Lulu publishing, UK, online version (2006) www.cbs.nl/en-GB/menu/themas/vrije-tijd-cultuur/ can be found at http://processpatching.net (accessed January publicaties/artikelen/archief/2011/2011-3296-wm. 2012) htm?Languageswitch=on (accessed October 6, 2011) 42 43 Digital Art Lab poll: The relevance of digital technology for leisure art education Digital Art Lab poll: education models

‘My expectations for a future in the Digital Art Lab are that I want to learn All design-team teachers see new The Digital Art Lab had for 89% of the design more, take on more responsibilities and that I want to design new lessons. I also professional perspectives coming from team teachers a significant impact on their want the Digital Art Lab to become known to a wider group of students and the Digital Art Lab professional role at the CKC. teachers.’ Source: midterm poll Digital Art Lab Source: midterm poll Digital Art Lab Hip Hop teacher Timothy Kok, 7 June 2011

44 45 Lifelong LifelongKindergarten KindergartenBerit Janssen

1. The meaning of In most educational programmes, this way Kindergarten: of playful learning is deemed appropriate for The first kindergartens were founded by Frie- young children, while older children are ex- drich Froebel in the early 19th century, pro- pected to approach learning in a much more viding a special form of child daycare directed abstract way. Possibly guided by Piaget’s de- at stimulating children’s cognitive develop- velopmental psychology, according to which ment. Froebel devised a number of objects children acquire cognitive strategies for prob- through which The Froebel Gifts include toys lem solving in several stages throughout their such as balls, building blocks and beads, and development, education also follows certain encourage playful behavior while they also stages in which toys become decreasingly promote self-directed learning about two and important, and the problems to be solved for three dimensional shapes, physical forces and learning become increasingly abstract. problem solving. While it is important to embrace new cogni- 46 47 tive strategies for development and learning culture, gatherings of amateur developers in children and young adults, abstract prob- and ‘stitch & bitch’ handicraft collectives lem solving is often seen as superior to other prove that people of all ages want to make learning strategies and rather than just as things, and make things together. All over the another aspect of human thought, next to world, maker’s fairs and workshops flourish, which other learning strategies can be just as simple and complex mechanisms are devised successful. It is not for nothing we say that we and shared, websites and blogs are dedicated grasp a concept or tackle a problem: the ma- to this fascination with open source, repro- nipulation of real objects remains important ducible devices. One example of such a mak- to the understanding of virtual problems and er’s connection is the London-based group abstract behavior. Technology Will Save Us (http://technology- willsaveus.org/). Their mission is to assume The Lifelong Kindergarten group of the Me- responsibility and ownership of technology, in dia Lab at the Massachussets Institute for order to be the crafter, not the mere consumer Technology (http://llk.media.mit.edu/) was of technology. It seems that the makers’ em- founded as an initiative to approach tech- brace of technology is a reaction to a real- nology as playful experimentation. Inspired ity where the output of a day’s work is often by the kindergarten philosophy, their aim is entirely virtual and depends on a technology to develop modern counterparts of Froebel that is not owned by those who use it. tems they developed together, immediately box’. The direct, touchable approach to prob- Gifts. These take the form of programmable through interaction. As Kristina Andersen lems that are familiar to us from kindergarten building blocks, programmable beads with Yet even if people have taken charge of tech- puts it, ‘it is through the actual making that can be a good way to access this little c crea- blinking lights, and a software programming nology and are developers and makers in their we begin to comprehend the objects we are tivity, as it allows us to change the mode by environment called Scratch, in which process- own right, the kindergarten aspect is another building.’ (Andersen 2007) which we are exploring a problem, which is es and conditions can be put together from empowering concept still missing from many often through an abstract fashion, and mus- programmatic building blocks, among others of these communities. During a workshop I Sometimes, instead of lifelong learning, the ter the knowledge of our body and our touch (Resnick 1998, 2007). taught with Geogios Papadakis and Jonathan term lifewide learning is raised. The implica- to find solutions and ideas that are surprising Reus for STEIM during the NIME conference in tion of lifewide learning is that through learn- and unique (Craft 2002). 2. The meaning of Oslo in 2011, we presented a highly technol- ing basic strategies for problem solving and lifelong and lifewide ogy savvy group of participants with paper, knowledge acquisition, individuals will be 3. The Digital Art Lab Still, many of the examples mentioned above pencils, scissors, tape, and instructed them to able to cope easier with all kinds of problems approach attempts to bring the self-directed, playful build their instruments and to enact them in throughout their lives, and can also adapt That is why in the Digital Art Lab, we de- kindergarten learning to age groups other groups. The high praise we received for this and acquire new knowledge more easily. This veloped workshop concept that embodied than pre-school children, towards teenagers, workshop revealed that the musical experts has been called ‘little c creativity’ in some the kindergarten approach postulated here while the term ‘lifelong’ would imply that also who were programming, building and devel- contexts, a creativity that will not produce in many ways and for many different age adults could profit immensely from playful, oping electronic and digital musical instru- the next masterpiece or scientific revelation, groups. The dance game Break It Down al- hands-on learning, especially to explore digi- ments in their daily life, thoroughly enjoyed but that will allow children, teenagers and lowed everyone interested to learn some basic tal technology. abandoning the abstract work with computer adults alike to approach obstacles and pit- dance steps in a playful way; the Soundma- and circuit board, to work with materials they falls in their development and life planning chines workshops provided participants with The sprouting communities of do-it-yourself could touch and feel the response of the sys- positively and creatively, to ‘think out of the a chance to learn about electronics through 48 49 touch, trial and error (see ‘Teaching as Re- For the ISEA arts festival in Istanbul in Sep- search’), the Virtual Dance Theater gave teen- tember 2011, we took some of these projects age dancers an opportunity to experience the together with the Electric Whistle, a DIY relationship between their movements and sound toy. We ran the Electric Whistle and interactive technology, and the Video for Art- Magic Ink mini-workshops at a local primary ists project allowed adult sculpture students school using picture manuals and showing to show the process of inspiration and the joy movements. Not having a common ground for of making through video, which gave an extra language did not prove to be a problem, since dimension to their exhibition, which normally the children enjoyed seeing and imitating ac- would reveal only the finished sculpture to tions, and were enthusiastic when they could the spectator. get the first sound of their electric whistle, or the first image appeared drawn in magic ink. But next to lifelong and lifewide kindergarten, We also ran the Vibrobert workshop during a worldwide kindergarten is still to be desired, a presentation at ISEA. All these experiences in which technology can be owned and learn- proved that it is feasible to spread knowledge ing can be spread through all communities. and ownership of technology through world- We made a start to spread our ideas outside wide lifelong kindergartens, and we hope of the CKC in our actions for ‘CKC op straat’ that many more projects in this direction will (CKC on the street), for which we set up tables follow. in a shopping area and invited children of dif- ferent ages to join us. They could make small projects in a few minutes, such as Vibrobert, a small robot built from a weighed motor, LED lights from conductive play dough, wearable LED bracelets, and drawings in magic ink.

References: Andersen, K. Developing your own hardware. In: Digital Artists’ Handbook, Folly UK, 2007. http://www.digitalartist- shandbook.org/?q=hardware (accessed February 20th, 2012) Craft, A. – 2002. Creativity and Early Years Education. A lifewide foundationContinuum, UK. Online version: http://oro. open.ac.uk/id/eprint/6527 (accessed February, 20th, 2012) Resnick, M. – 1998. Technologies for Lifelong Kindergarten. Educational Technology Research & Development 46 (4), MIT, US, Online version net.educause.edu/ir/library/pdf/ffp0202s.pdf (accessed February 29, 2012) Resnick, M. – 2007. All I Really Need to Know (About Creative Thinking) I Learned (By Studying How Children Learn) in Kindergarten, ACM Creativity & Cognition conference, Washington DC, US 50 51 Where are Wherewe? are we? Loes Bogers

London, Budapest, only by reputation. But for me and the other Zoetermeer Patching Zone team members, life took a turn By merely looking at the hard facts, Zoeter- and dropped us all in this strange place to meer seems to be a very conveniently locat- start a new adventure. Initially there were ed and well-connected Dutch city, with all four of us, Linda Kronman lived in Rotter- amenities close by. However, despite prom- dam and Berit Janssen in The Hague, which ising efforts and all the details that go into is so close that there was no need for them city marketing and regeneration, Zoetermeer to move, however, Emöke Bada and I both can’t seem to lose its reputation as a rather came from abroad. I moved to Zoetermeer dull, grey and sleepy city. Not quite the city I from London, where I had just finished my would choose to move to as a recent gradu- Master’s degree, whereas Emöke was invited ate, especially after having lived in big cities to join the team as an intern, for which she such as Amsterdam, Sydney and London. Like took a break from her studies in Intermedia most young Dutch people, I knew Zoetermeer Arts in Budapest, Hungary. We were offered 52 53 tives by adhering to an alternative set of rules better moment than doing this when you are and motives that can seem quite strange and still a complete stranger to a town and still seemingly random or artificial. We want to fully conscious of the input. What we found be surprised by the terrain we are traversing was a town with many secret corners, water, and let what is there be an intervention into green and differences in height and archi- the patterns, structures and preconceptions tecture, which made the city interesting in in our brains. For example, a very simple one its own way. All four team members devised could be: their own dérives and started exploring, for example. Repeat [ These dérives took us to the strangest of 1st street left places, far out suburban areas and dead end 2nd street right streets in residential Zoetermeer. We now 2nd street left knew where the Zoetermeerians lived but not ] much else. We went back to the streets to get to know the young people, who we hoped to By following these rules, you are most likely be creating cool things with very soon. We Zoetermeer by night to take a walk that you would have never pur- asked them about their hopes and dreams, posefully made when walking with direction their sources for inspiration, their favorite somewhere. By doing this, attention shifts things and hangouts. We found that kids accommodation in Palenstein, a 40-year old Zoetermeer? to whatever is there in the unexpected situ- and teens in the area are amazingly active, high-rise neighborhood that is up for demoli- In the very first week we started individual ation, resulting in an exploratory experience we met dancers, singers, aspiring models, tion sometime in the near future. dérives, or personal urban drifts. The dérive that finds the urban drifter experiencing the cartoon drawers, creative pranksters, rappers, as a psychogeographical concept is most well city in a very different way. The experience musicians....etc Exploring a place, known as defined by Guy Debord and the defamiliarises the environment: whatever you becoming embedded Situationists. Psychogeography is the study thought you knew or assumed is no longer They were very open to talk to us about them- wwWhere to start? Our crib in Palenstein of the effects that the geographical environ- important or useful. The dérive has no pur- selves, so why not ask some more? There were was on the 11th floor, the top floor and one ment may have on the behavior and emotions pose or use, instead you leave logic behind many things we were curious about. Four of the highest points in the area. On a clear of individuals, the dérive is a tool that can be and just use your senses. So we would drop young media professionals in Zoetermeer day, we could see Delft and The Hague in the used to study this. our usual motives, or rather our prejudice and all geared up to realise a Digital Art Lab in distance, and imagined seeing the lights of In a dérive one or more persons during a stereotypical thinking about the town. How a local centre for arts and culture, this made Rotterdam in the south. But we were in this certain period drop their usual motives for does the city of Zoetermeer affect us if we sense to us, but did our target group even unfamiliar suburban in-between place. A city movement and action, their relations, their really let it in? Techniques such as the dérive understand what this should all mean? Even that felt like a village, but is too big to ac- work and leisure activities, and let them- are no strangers to this team and the previ- most grown ups don’t know the range of what tually be one. We found ourselves in a city selves be drawn by the attractions of the ous Patching Zone teams alike: the project digital art can be, so we set out to get some with everything that a big town should have, terrain and the encounters they find there. in Gouda, Cultuur Lokaal consisted of many answers by means of playful pretend-graffiti but at the same time it was hard to repress (Knabb, 1995) urban interventions to see the city and its in the CKC lobby. the urge to go to The Hague or elsewhere on (personal) histories in a new light (Mauro- the evenings and weekends. What to do in The people doing a dérive may drop these mo- Flude in: Nigten, 2010: pp. 51-63). There’s no We asked large groups of visiting school chil- 54 55 Floorstorm

dren to draw/write up a brainstorm around imagining possibilities for learning and teach- interact more and more with their environ- the words digital, art and lab. They used ing the arts in new ways, and creating local ment socially, and became embedded to a whiteboard markers and... the linoleum floor support for experimenting and testing. More certain extent. But what does it mean for the that we ended up cleaning for hours until we than the field research, getting to know them Digital Art Lab project to become embedded? found a magic sponge that saved us from an- and sharing insights and experiences with the Is it enough for the people involved to find gry facility managers. The words described an teachers embedded The Patching Zone team their place in this situation? Perhaps the pro- extremely wide range of objects, items, ideas into this new situation. ject needed to find a place in this place too. and practices. The foundation was there, our For the lab to become a place to be, or rather, challenge this year would be one of creating But... How well known is the CKC to the world a place to do particular things, we should links between people’s creative imaginary. outside the building? Is it considered the claim some territory outside of the home- We had no doubt that CKC would have all place to be in Zoetermeer? Do people know base. How can one reach people outside by the possible resources and people needed to what it is and what you can do there? Do they staying indoors? make this happen. In the first few weeks, af- even know where it is? We found out that ter the Design Team was created, we teamed many people had heard of it, but might not Tell me why...? I don’t up with our new partners to learn about their know exactly what kind of place it was, and like Mondays specialties: teaching the arts. This process neither where it was to be found (even when About halfway through the pilot year, a very started by participating in some of their class- standing less than 100 metres away from the particular task became a habit within The es, which would continue throughout the pro- building!). ject. The teachers in the Design Team would Becoming embedded is not a one-way street. < Observing a music class (bass guitar) with teacher turn out to be the most important keys into The people involved in the project started to Vincent 56 57 Urban alphabet game with objects

Patching Zone team. We had done all four ex- pert workshops, we were busy experimenting and testing new workshop formats. Things started to roll and new member Inge joined The Patching Zone team. The team got so busy developing teaching formats, that we started to feel the need for some creative space of our own.

Monday afternoons (nobody likes Mondays) became a window for doing whatever, just for us to do something silly and experimental can be performed by anyone. The point of a together for a few hours, to crack our brains Fluxus performance was not the piece itself a little. We made two urban alphabet games, or the content but the act of performing it, one where players have to find letter-shaped doing it, experiencing the act is the crux. objects in the city to make the alphabet, and Unusual ideas are to be expected from anti- another where the players have to persuade artists, for example the scores like the ones people to mimic letters. Or we tried out things collected in the book we used for inspira- more related to the workshops we were devel- tion: the Fluxus Workbook (Friedman, Smith oping, such as exploring the possibilities of & Sawchyn, 2002). Although our methodol- the green screening technique. ogy was never explicitly supported by anti- commercialistic or anti-elitist art sentiments, Urban alphabet game with what we did take from it was the defamiliar- people izing experience of doing something strange. We also did a lot of Fluxus exercises in the city, This approach has in fact been central to the such as singing foreign newspaper articles as project. Whatever new idea, the Design Team a choir. Fluxus is an arts movement that was thought up, be it concept or workshop format, big in the 60s and takes its name from the the first step was always to just do it. Try it, let Latin word for ‘flow’. The movement was very yourself experience it, act it out. To open up anti-’high brow art’, anti-commercialism and to something new and strange is a matter of elevating the mundane. The emphasis was giving in to the idea and instead just doing it, more on the act than the artifact, and the rather than being a bystander who observes do-it-yourself ethic was central among artists and ‘thinks’ it from the sidelines. In any work- associated with Fluxus, examples that illus- trates this, are the well-known ‘event-scores’ or short instructions for performances that Flour power! (Spring promotion) > 58 59 shops developed in the Digital Art Lab pro- do. CKC Op Straat is a series of workshops ject, the goal is never to create art, but – by where young children ages 8 – 14 years old, using arts methodologies – to let participants can make little electronic gadgets such as immerse themselves in playful processes, so vibrobugs, LED bracelets, invisible ink pens, they can experience new ideas, creatively re- or electronic clay circuits. All we needed was act to them and get caught up in the making some colorful blankets, small side tables and of things. This does not mean there is no room some good ideas to get the most overwhelm- for those who do want to create art objects, ing responses. Children and parents were so or aim high on the scales of art and creativity. surprised to see such fun and educational ac- It means that the bar is lowered dramatically tivity happening just like that, unannounced for those who are not sure if they will have and on the street. the ability to make art, or are not sure they will even like it. This makes the creative processes This generated a lot of positive new interest more social and more inclusive. This was defi- in the lab from people who might otherwise nitely the case for the Design Team workshops, not hear about it. The Patching Zone team which in turn visibly trickled into the workshop formats the Design Team created for children and teenagers. ‘This makes the This whatever-time on Monday afternoons creative processes turned out to offer the most valuable inputs for new ideas, not only for workshops and more social and more games but also for strategies to take the lab inclusive’ onto the streets, literally. We came up with all kinds of promotional activities that we could do that did not involve handing out flyers, but instead stenciling promotional texts on the was then invited to ISEA 2011 (International streets with plain flour (100% eco-friendly). Symposium for Electronic Arts) in Istanbul to host our street workshops there and discuss The most sustainable activity developed in our ideas and the outcomes with the media the light of this was CKC Op Straat (literally: arts community. We got in touch with a lo- CKC on the street). During the Spring break, cal primary school in Beyoglu; an area right in the CKC building was closed so the team the center of Istanbul. In a mish-mash of Eng- could not work on any of the current projects. lish and German, we discussed our plans with Around that time, school kids normally are the headmaster who was very excited about either on vacation with their families or they our initiative. The workshops with school kids are out on the streets with nothing much to in Istanbul were possibly even more amazing than the ones in Zoetermeer. Not only was < CKC op Straat it really fun to do more making and playing 60 61 Making invisible ink pens with Turkish school kids with these children, we produced them with a of getting to know each other, making and growing realisation that the concept of small playing with the people and the place, and to street interventions worked across linguistic be visible enough for others to come play at boundaries as well. our place too. Together, the field research and the street in- terventions were key to becoming embedded in Zoetermeer, as people and as a project. It was important as it paved a two-way street “For me, the most remarkable aspect of the Digital Art Lab project is to experience how open and capable the CKC-teachers are with whom we are working. They are all from different disciplinary backgrounds and bring such different things to the project with so much enthusiasm. It is very encouraging to see how eager people actually are to learn new things and creatively weave them into their own work and teaching practice. The biggest challenge is to keep tickling the interests of young people who seem to have a monopoly on coolness and already think they ‘know it all’. But it makes it ever so reward- ing when they come up with new ideas or take pride in what they have created together.” – Loes Bogers, The Patching Zone team member References: Friedman, K. and Smith, O. , Sawchyn, L. editors. – 2002. The Fluxus Performance Workbook, Routledge / Taylor & Francis, Source: The Patching Zone newsletter 04 UK. Available through: http://www.deluxxe.com/beat/fluxusworkbook.pdf (accessed February 29, 2012) Knabb, Ken. editor – 2006. Situationist International Anthology. pp. 50., Berkeley: Bureau of Public Secrets, US Mauro-Flude, N. – 2010. Charming atavisms, new perspectives, page 51-63, in: Real Projects for Real People. Volume 1. Nigten, A. editor, Nai and V2_ publishers, NL 62 63 ICOZ: ICOZ:an Open-Ended an Open-EndedApproach to Video ApproachInge Ploum to Video ‘A wonderful moment in my work in the Digital Art Lab was the ICOZ project, where teen- agers with problems shared very personal and emotional moments with us. They had the guts to show themselves.’

Sculpture teacher Inge Reekers ,7 June 2011 Introduction search), a special kind of lab has emerged: Research and Development environments so called ‘aRt&D’ labs. (Brouwer et al., 2005) and media labs are in most cases character- These artistic Research and Development ised by their diversity, and interdisciplinary labs (hence the abbreviation aRt&D) have a and innovational processes. They are unique process-oriented approach to narrowing the places of creativity where people explore space between research, technological devel- topic of their interest. Apart from the more opment and (electronic) art. The aim is not commercially (e.g. product development) and on the development of long-lasting techno- theoretically oriented labs (e.g. scientific re- logical products, but on artistic research that 64 65 reflects on the potential ways and meanings ing’ approach – developed by Anne Nigten ‘Impressive, moving and personal for human-machine interaction. The Digi- (Nigten, 2006) was used to guide and ensure short films of troubled teenagers’ tal Art Lab is a physical aRt&D place, with educational innovation. This approach binds fifteen workstations where digital creativity techniques, methods, and knowledge of dif- and traditional arts (e.g. fine arts, ceramics, ferent disciplines. It combines various digital will live or die by using rapidly designed pro- electronic components), the projects all ex- etc) merge together and imagination flows media to rapidly create functional workshop totypes. This means that initial workshop plored the meaning and use of technology. freely. The lab is a place that embodies an models that can be tested, used, and evalu- ideas start out as incomplete working mod- To demonstrate the power of this open-ended arts-based participatory research, with the ated in real life situations. Creating iterative els that still need to be tested on audiences. approach, we will look at the ICOZ workshop intention to arouse the senses. workshop mock-ups rapidly, not only stimu- They are used as triggers for development ‘Parts of Me’ as case study. The ICOZ work- lated play and creativity, it also improved the and demand. It is this particular aspect that shop was developed in collaboration with The Digital Art Lab’s focus was to construct communication between teachers and stu- allows the room to create a play-space for ‘Time Out Zoetermeer:’ an organisation that educational innovation at CKC Zoetermeer dents. Unlike the closed paradigm to innova- educational innovation. The rapid prototypes organises activities for adolescents who tem- (the centre for art and culture where the Digi- tion, the open approach does not require top could be understood as temporary bubbles of porarily dropped out of school. The goal of tal Art Lab was embedded). Participation was down control of workshop ideas but assumes openness wherein ideas evolve. (Jones, et al., the ICOZ workshop was to make a one-minute key to construct these models of innovation, that innovation is community-driven. (Ches- 2007). These levels of openness turned out personal video about why they dropped out where a bottom-up approach facilitated dif- brough, 2003) This approach has helped ac- to be of great importance for Digital Art Lab of school. At the end of the three workshop ferent actors (teacher-student, expert-novice centuate that community participation in and because they set the artistic use of (media) sessions (one session took three hours), each and so on) share ideas, collaborate, and co- outside the CKC is not only necessary for the technology in motion. participant would have made a storyboard, create. Together they created new teaching development, but also for the lifespan of the filmed and edited his/her personal story and workshop formats that were inspired by Digital Art Lab. A large number of artistic workshop proto- into a coherent short film. The workshop the digital arts. Educational innovation was types were developed and tested at the Digi- closed with a viewing of all the films on the thus socially constructed and arts-based; ICOZ: Real Stories for tal Art Lab in its first year. From Virtual Thea- big screen in class. The result: impressive, teaching formats were designed and built Real People tre (participants explore the possibilities of moving and personal short films of troubled out of collective artistic experiences. This The open-ended approach of the Digital Art live video manipulation for theatre) to Sound teenagers. The videos told stories about bul- however does not mean that anyone can Lab employs a social process of selection. Machines (participants explore how to make lying, problems with Jeugdzorg (youth care do anything. The so-called ‘processpatch- Collaborators choose which workshop idea sound using only batteries, wires and simple organisation), experiences with violence, and 66 67 making a new start. Every film was unique, Opening Up enabling indistinct voices to be heard. This is Key to participation in the ICOZ workshop also what pop-feminist author Patricia Leavy was to make yourself vulnerable. Vulnerable (2009) has located as one of the strengths in the sense that the participants were given of performative and arts-based research, the the task to make a one minute video about potential to create immediacy and emotional the participant’s personal life and personal- relations, that is to say, the possibility to em- ity. Which story was going to be told all de- ploy video as therapeutic tool. pended on the participant’s experience and creativity. The idea for this particular workshop emerged out of a combination of external Every workshop began with an introduction and internal ideas. The video training session to film techniques, the explanation of cam- (The Patching Zone and CKC design team got era functionality and making storyboards. In expert training in four digital media video/ one-to-one sessions facilitators would discuss He was no longer the intimidated victim or a asked two of her friends to help her. Despite sound/tracking/gaming. These training ses- the participant’s idea and give creative input weaker person, but the controller, a stronger the occasional convulsions of laughter while sions formed the starting blocks from which on how they could get their ideas across. The person unaffected by any form of unwanted shooting, they were openly sharing ideas and innovative workshop and teaching models participant’s were challenged to conceptu- behavior. accepting each other’s feedback, positive as were created and was the root of the internal ally work out the essence of their idea and well as negative. They had fun while inspiring how it could be simplified. Facilitators on Sharing Ideas and helping each other. the other hand, were challenged to motivate Co-creation and openness were two essential ‘A sense of belonging voluntary participation and create an open aspects of the ICOZ workshop. Participants Not only were the participants asked to make through the sharing atmosphere. The facilitator’s role was sig- were required to invite others in the film- their films together, but also to publish their of personal stories’ nificant for this workshop because it revealed ing process. In small teams they worked to- final film online so that sharing was not re- the real stories behind each participant. gether on the shooting, acting and directing stricted to the classroom and the participants These stories not only benefited the partici- of their films. Inviting others to participate working together. This idea of the online pub- idea for the ICOZ workshop. The external idea pants personally (the video could be seen as in the process requires a sense of openness lication was a sensitive point due to privacy came from Time Out Zoetermeer, who wanted source of self-identity) but also contributed and sharing. The team members were usually and psychological issues. Participants needed to explore the collaborative possibilities of to the sense of belonging through the shar- self-selected, which reduced and eliminated to be psychologically prepared in case they the Digital Art Lab. These ideas were then ing of personal stories between participants, barriers of openness and creativity. By letting might lose face in public. This turned out to mixed and rapidly turned into a prototype which stimulated tolerance and compassion. the participants select their own team, they be quite hard for this particular target group, workshop format. In one of the workshops for example, a twelve were more comfortable to share and receive because of their turbulent personal histories. year-old boy made a film about bullying. Be- ideas. This was however only the case when Some of the participants, for instance, were After having tried this workshop format ing a victim of bullying himself, he made a there was some kind of guarantee of accept- victims of domestic violence living in refuge. twice, its strength came to the fore: open- short film about the senselessness and dam- ance: a code of conduct free from prejudice. To protect them from potential future vio- ness. Openness in three ways: opening up, aging effects of bullying. He demonstrated The degree to which a team was receptive to lence, their videos were not published online. sharing ideas, and opening one’s eyes. This is that even the smallest harassment, from un- ideas seemed to affect the focus and enjoy- The other participants choose whether or where its therapeutic potential lies. pleasant remarks to physical violence hurts. ment of the task. In the first workshop, for not they wanted their videos online. Most of By making himself vulnerable and sharing instance, a thirteen year-old girl wanted to them were well aware of the consequences of his experiences, this boy took back control. make a film about becoming a reporter. She uploading ‘yourself’ on YouTube, especially 68 69 Open-ended Workshops as well as the development of innovative The ICOZ workshop demonstrates how open- workshop models. The Digital Art Lab has ness engages and motivates participants. In embraced this openness as hallmark for edu- other words, how an architecture of partici- cational innovation and continues to treasure pation can be created using innovative work- this powerful mechanism in future develop- shop formats. The ICOZ workshop format ments. provided an educational play-space for par- ticipants as well as facilitators. Participants organised their own teams, directed their pro- ject, and built their movies from scratch. Facil- itators on the other hand, encouraged co-cre- Online movies: ation, blended ideas and taught how to use Blanco (Blanc) – Arun the necessary tools. Both were challenged to http://www.youtube.com/watch?v=p_Ob- match their skills with the required outcome JcwZsxk (making a one minute video). The process- oriented approach provided the means to cre- Mijn Gouden Tand (My Golden Tooth) when it involved publishing such a personal This particular part of the workshop showed ate a knowledge-sharing environment where – Branka video. The choice whether or not they wanted the diversity of how these youngsters handled (video) technology was used creatively. http://www.youtube.com/ to upload their video depended mostly on their situation. Some looked at the future in watch?v=OWGeoiFqj4A pride. They were either proud of what they order to change things, while others looked The challenge and enjoyment of a workshop had accomplished and wanted to show the back in order to learn from it. Although some seems to lie in its openness: in its ability to Ik ben Arjo (I am Arjo) – Arjo world, or embarrassed and didn’t want to participants found it harder than others to stimulate sharing and co-creation. It is this http://www.youtube.com/watch?v=XlfKvINi show their softer side in public. This second express themselves, they all stayed close to quality that stimulates personal exploration C0E&feature=related group was more concerned with how personal home for inspiration. The films were so genu- videos on the Internet could harm their image ine they not only opened the eyes of the par- now and in the (near) future. ticipants, but also of tutors/family/friends References: attending the viewing. Both groups became Brouwer J., Faucounier S., Mulder A., Nigten A., editors – 2005. aRt&D, Research and Development in the New Art Practice, Open Your Eyes even more aware of the situation they were NAi and V2_ Publishers, NL After three days of filming and editing, the in. To demonstrate, a mother was in tears af- Chesbrough, W. H. – 2003. Open Innovation: The New Imperative for Creating and Profiting from Technology, p. 43-63. participants had to present their work. Each ter having seen her son’s film about making Boston: Harvard Business School Press, US participant told a little bit about the story be- a new start in a new home. She was touched Retrieved from: http://books.google.nl/books?hl=nl&lr=&id=4hTRWStFhVgC&oi=fnd&pg=PR9&dq=open+ended+close d+comparison+innovation&ots=XrSzYNt2vH&sig=7mKI9yBOCVDtIoaRszm0Uk-6SzA#v=onepage&q=patchwork&f=false hind his/her film and explained the choices by the positive outlook of her son and proud Jones, M.C., Floyd, I.R., Twidale, M.B. – 2007. Patchwork Prototyping with Open Source Software, chapter 6 in Handbook he/she had made. All the videos were shown that he made it all on his own. She did not of Research on Open Source Software: Technological, Economic, and Social Perspectives, St.Amant, K., Stll, B., eds, Ch.6. on the big screen and open to the public expect him to cope with the situation the way London: Information Science Reference, UK (mostly family and friends). Each film had a he did. His film was an unspoken dialogue Retrieved from: http://mirror.paramadina.ac.id/pub/linux/doc/book/Global.Handbook.of.Research.on.Open.Source. title, the necessary video/sound effects and between him and his mother, which opened Software.Technological.Economic.and.Social.Perspectives.Apr.2007.pdf#page=165 Leavy, P. – 2009. Method meets Art: Arts-based Research Practice, New York: The Guilford Press, US. credits: creating one-minute short movies her eyes, an unexpected result of a three-day Nigten A. – 2006/2007. Processpatching, Defining New Methods in aRt&D, PhD thesis, Lulu publishing , UK, online ver- that resembled music videos. video workshop. sion (2006) can be found at http://processpatching.net (accessed January 2012) The ICOZ workshop was inspired by the One Minutes project: http://www.theoneminutes.org/ 70 71 The Theimportance importance ofof moving moving Loes Bogers, Berit Janssen With contributions by Nicolet Sudibyo

Two Patching Zone members embarked on for Mac OS X, such as JunXion or OSCulator. dance and technology collaboration with Berit used this software to route the motion members of the Design Team. Berit Janssen data transmitted by the Wii mote to the mu- and contemporary & jazz dance teacher Mel- sic software SuperCollider, where the move- anie Sloot explored the creative potential of ments of the dancers were mapped to musical WiiMotes for dance. The WiiMote is a control- parameters. Together with Melanie and her ler for the Wii game console and is basically teenage jazz dance group (age 16-21), she a three-dimensional accelerometer combined developed a piece for the end of year dance with buttons, which is used for active games performance with the theme of ‘Fashion’. such as Wii Tennis, Just Dance, Mario Cart and many others (Nintendo Wii) games. The Loes Bogers also developed a dance perfor- Wii mote captures movement data and sends mance for the same dance performance but it back to the console via Bluetooth. The data together with classical ballet teacher Nicolet can be read by different software available Sudibyo and her advanced class (16-24 years 72 73 old). This production was a try-out of a work- Day’s Art Festival in The Hague, where the was one of many sources of inspiration that shop format called Digital Dance Theater, teams went to see Cinematique, an interac- were gathered and drawn from. The teachers which was also tested in a 4-day format and tive dance piece by Adrien Mondot. Nicolet strongly believed in the potential of the tech- a 1-day format with local high school kids. mentions about this: ‘when I started with the nique, but would soon find out that actualis- Nicolet and Loes used tracking technologies Digital Art Lab, I had no idea whatsoever how ing its potential can be a struggle. and Processing. Processing is an open source, to make a combination between digital and object-oriented programming language and dance. The piece by Adrien Mondot was a real Overcoming obstacles, IDE (Integrated Development Environment), eye opener for me.’ creating obstructions especially designed for artists and designers Manipulating videos with movement data in Isadora Together with artist and Processing expert (i.e. amateurs, not trained programmers). The This performance included a variety of tech- Dave Young, Nicolet and Loes developed a extensive libraries and active user community niques, ranging from simplest live video number of ‘sketches’ – little pieces of soft- make it easy for beginners to pick up the fun- feed to complex animated matrices and re- ware that used strong graphical interfaces. damentals for programming in a visual con- sponsive text blobs, back projected onto a The starting point was to create some mate- text. semi-transparent canvas. The live video feed rial that the dancers could experiment with, continuously recurred as a reminder to keep and the sketches would be modified along Of course the first question is: why would things simple: Mondot put a performer on the way as their wishes, demands and desires you want to unite technology and dance? For stage with a small box between his legs. The many dancers, dance is first and foremost a other dancer is center stage she is standing practice of the body and any gimmicks and within a projection of large rocks surrounded ‘The technical part special effects could be seen as restrictive by water. The dancer jumps from one rock to of an interactive and distracting. However, current software another, whilst the projected image of water has made it possible to capture movement reacts to the theatrical impact of the move- dance or theater data in very simple ways, creating potential ment, and it starts to flow across the stage. piece is challenging’ to make links in time (digital inputs and out- After a minute or two, the audience realises puts can be delayed or sped up) and space, Using tracking software Isadora that there is a correlation between the man between movement of bodies and movement with the box and the girl in the water: every developed in the process. Some of these ideas of digital objects (on screen or projection), time the man moves the box, the water starts became video sketches: sketches that use the text, sound, light. This relational movement flowing. When he reaches into the box to imagery of a simple web cam as an input (the (two forces moving in relation to each other, move stuff around, a big hand appears on the easiest way to generate human shapes) that not as individuals or leading-following but stage floor that moves around the ‘big rocks’ could then be modified in various ways. Other seemingly in dialogue with each other) can that the girl is standing on. A box with peb- sketches incorporated variables that were have great theatrical impact when it is de- bles and water, watched by a web cam and captured with ‘tracking’ techniques. Track- signed well. This chapter will show the chal- a real-time projection on the stage creates ing is a technique where a computer ‘follows’ lenges and successes of working between an unreal image: the pebble in the man’s box certain variables of an input source. It can for dance and technology in the Digital Art Lab. equals the big rock that the other performer is example ‘read’ a video image for speed, direc- standing on. The audience oscillates between tion, colour, luminosity and the changes that The dance teachers were already convinced the box and the pebbles, through an imagi- occur. The software Isadora provides easy of the theatrical potential of digital tech- nary yet real movement-relation that is car- tools for ‘tracking’ that requires no program- niques, especially by a field trip to Two ried by the live video feed. This performance ming. It is a visual, node-based environment 74 75 with pre-set tools, parameters, filters and ef- visuals, strategies that we could work with, the process was to use props in order to get We soon realised that we had to make time fects that only have to be linked together in but which were also translatable for teen- stable movement data, in other words: prac- for this because how can you teach Chinese the desired order. This makes it easy to use age dancers. We used the method of creat- tice to ‘control’ the input side. By this time to kids if you don’t speak and practice it your- but less flexible in terms of designing visuals, ing obstructions or creative challenges for the we had arranged permission from parents to self?’ this the reason why we chose to communicate task. An obstruction is at once a challenge experiment with the interactive technologies the tracking data into Processing via the OSC that needs to be overcome and a framework, in class and we could do some exercises to- Mapping movement onto protocol. The data becomes variables that a structure. It provides a framework for think- gether with the group of ballet dancers. This music change in correspondence with movement ing about the possibilities by avoiding total was quite a new strategy for Nicolet, as she Berit: ‘The thought of translating movement as seen by the camera; the data is the input brain chaos.’ explains: ‘Loes and I were really enthusiastic into music appealed to both myself, as a com- for the computer-generated visuals projected about trying this out in my ballet class, which poser and musician, and Melanie, as a dancer onto the stage area. For example, we did a few try-outs just to get helped the students handle the new situa- and dance teacher. The Wiimotes were the used to dancing with ‘props’. Tracking is easi- tion, and they were used to copy and paste tool of choice since they can detect motion Loes: ‘The technical part of an interactive est with very bright, colourful or otherwise the steps I showed them. This was a com- in three planes, whereas tracking with cam- dance or theater piece is of course challeng- discernible objects, so we had to find strate- pletely different way of working, they had to eras often is restricted to one plane. We chose ing the first time, which is why Nicolet and gies to incorporate them. With Nicolet’s bal- show initiative and develop steps and move- to adopt an iterative development process, I decided to create some handles to experi- let class we experimented with color tracking ment together.’ where different mappings of motion to sound ment with, in collaboration with expert Dave. by using big colored sheets, ranging from 1 were tried out by different groups. In three expert sessions we created about square meter to huge sheets of 5x4 meters. Dancing with props 8 ‘sketches’ with various behaviors that we The first exercise for the girls was to develop Similarly, in the other try-outs with the high The original idea was to reverse the paradigm could experiment with. We could imagine a dance vocabulary using these sheets. The school children as well as young dancers we that dancing normally follows music, to a sce- how beautiful they would be in combination second step was to use the sheets in such a had to devise circumscribed assignments. We nario where music would be created through with moving bodies, but taking the first con- way as to control the computer’s output. The moved more towards integrating the com- the dance itself. To achieve this, I developed crete steps to realise them was a struggle, output in this case was the volume of music puter ‘output’. In most cases this was through patches that would enable Wiimotes to be which we would face every time. Where do samples, controlled by the size of the colored interactive visuals with the dancers ‘on the played similar to drumsticks, where a short, you start? Do you start with the technology surface that the web cam could ‘see’ from the stage’. This part of the process was a difficult fast movement would trigger a short sound or do you start with a story/emotion/theme? ceiling. By unfolding the sheets and holding step for me and Nicolet, we were working so sample. With this, rhythmic patterns could What is the first step? We had to come up them in such a way that the camera could see hard on creating the visuals that we almost be created through arm movements, or other with strategies for imagining relationships it, the dancers could change the sounds and forgot to try it out ourselves and find out body parts to which the Wiimote could be at- between the dancer(s) and the interactive even mix the samples together. One part of what it’s like to interact with it as a dancer. tached. 76 77 However, the restraints of the Wiimote as a an the fashion themed performance for the precise controller soon became an issue, ac- end of term dance event: mannequins which celerometers do not measure the movement come to life from plastic and then join the itself, but acceleration, which is not always dance, along to Lady Gaga’s ‘Bad Romance’ intuitive. Moreover, we realized that interest- and Destiny’s Child’s ‘Emotions’. With this ing movements would not necessarily create concept, the dancer’s movements in this in- interesting music and when interesting mu- troduction were envisioned as short sequenc- sic was created, it might require the dancers es with crude, jumpy motions, in which the to make static, recurring movements, which manipulated, strange music would support would not be aesthetically satisfying. the idea of an alternate reality of the syn- thetic, and plastic would be transformed to Therefore, I made a number of patches which something real and fluid. manipulated music samples: for instance, a dancer could change the timbre of the music After the project was outlined in this way, as (for instance, low arm position = low, muf- a short piece that greeted the challenge and fled sound, high arm position = high, bright uniqueness of the music influenced by move- ment, it only required three sessions to devel- op and rehearse the choreography, which was Nicolet and Charlotte experimenting. performed in June 2012 in the Stadstheater ‘Find out what it’s in Zoetermeer. like to interact ally following her body movements with the They created some beautiful moments of with it as a dancer’ Doing it together mouse, because calibrating the technology interaction during this experimentation day. Loes: ‘Nicolet started teaming up with other for every sketch would take so much time. These pivotal points, little magic moments colleagues from the dance department to The effects however were exactly the same: were all we were looking for. A performance brainstorm and experiment with her peers, to Charlotte just needed enough responsive- does not have to be all about the visuals and sound), the playback speed (which often led get to know the materials she had been creat- ness, automated by a computer or done by a the technology, not at all. But it can be a very to comic effects, especially when vocals are ing with Dave and I. We organised an experi- human, in order to suspend her disbelief and strong addition to storytelling, and if we can played so fast that they sound like cartoon mentation day where she and Charlotte had start imagining and really interacting with it. accept a dance performance to have a nar- voices), or the audio granulation (the music an entire afternoon to play with the sketch- Nicolet on the other hand probably just need- rative or theme, then also dance narratives is chopped off in small parts and reorganized es and created little sequences with some ed a familiar person, a peer and also a dancer need certain plot points to jump out and get according to the dancer’s movements). of them. At first Charlotte had a hard time to let loose and try some things in a ‘safe’ you to the edge of your seat.’ The following tryout, dance students clearly grasping the concept, but after we turned on environment: ‘It was so nice to experiment enjoyed experimenting around with these the equipment and she took the stage, her with the technique and with Charlotte. Not Berit: ‘Coming from different backgrounds, manipulations of sound but the result was attitude changed completely. As she sensed having to worry whether the students would communicating about music and dance is too little musical: how to organize a choreog- that the shapes and objects were responsive, participate in this new ‘teaching model’. We an art in itself. I saw that I often confused raphy around music that would shift in speed, following her movements, she could start really got into it that day and we came up Melanie when I tried to explain my ideas for timbre and rhythm so extremely? interacting with them, imagining dialogues with new ideas, which we later used for sev- musical manipulation, while Melanie’s knowl- All these challenges and questions came to- between body and image. Funny thing is that eral workshops, like the digital dance theater edge of movement and ability to build a well- gether when Melanie explained her idea for we ‘faked’ all these interactions. I was actu- and virtueel theater.’ balanced choreography was something I was 78 79 in awe of. After the first conversations and to life, as it gave a purpose for our experi- music and a way of manipulating it that they mance of the choreography, in which each tryouts, there where a lot of thoughts pass- mentation. Choosing snippets from the songs liked, and had some time to experience the dancer would perform their movement se- ing between us that were hard not to be on which the choreography of the full piece influence of their movement on the sound. quence in succession. This performance al- lost in translation, but we soon developed a was going to be performed made the musical ready had much of the form of the eventual common ground of understanding for each material much more concrete and related to During krokusvakantie, a weeklong break performance at the Stadstheater in June. Two other’s ideas. The multidisciplinary collabo- the dancer’s normal practice. These passages from school in February, the class came in for more rehearsals, for which notes and the ration was realised in such a way that I pre- were chosen so as to be very recognisable, for a full day workshop. The first half of the day dancer’s own body memory served to repro- pared some patches demonstrating different instance the ‘Rarara’ from ‘Bad Romance’, or was committed to finding the right positions duce the developed sequences, were all that manipulations of music and sound through the refrain of ‘Emotions’. I spoke to Melanie of the Wiimotes. Since it was quite easy to was required to bring the project to a success- movement, and Melanie tried them out with about different possible manipulations of change the accelerometer axes used for music ful end at the dance event. different dance classes, giving feedback and these musical excerpts, and prepared a num- manipulation, a Wiimote’s behavior could be developing methodologies to work with and ber of patches to manipulate different pieces adjusted on the fly, for instance from react- Intermezzo: a dancer’s think about the Wiimote as a technological of music with different musical parameters. ing mostly to rolling movements around the guide to moving extension of the body. x-axis to up and down movements around the Walking is the constraint. When you walk, you The iterative development cycle was some- The dance class came into the Digital Art y-axis, or whether for moving the Wiimote up keep one foot on the ground, always. Two feet times frustrating, as I would come up with Lab during their normal lesson time and ex- would produce a high value or a low value. off the ground and you’re jumping. With one patches that were rejected in practice, or perimented with the patches, using Wiimotes. During the second half of the workshop, foot on the ground, you can move in three Melanie and her students would develop Melanie encouraged them to try different po- Melanie developed choreography with each directions: forward, backward, sideways. If choreographies that would just not ‘sound sitions, and attaching the Wiimotes to differ- student, guided by the aesthetic of sound as you move sideways in the ‘wrong’ direction, good’. The turning point was Melanie’s idea ent body parts, such as feet, legs, arms, torso much as by the aesthetic of the movement. you move across. That’s walking: one foot at for an intro themed on mannequins coming and head. The dancers all chose a piece of The day was concluded with a mini perfor- a time. Now take a sidewalk and add walk- 80 81 as structure, a starting point that allows for compare it to the difference between meter imagining other ways and improvising in non- and rhythm in music. Meter is the structur- chaotic ways. The point is not that all move- ing element, while rhythm follows it yet var- ment stems from walking, why not flying, ies and is hardly ever predictable, but without crawling or floating? Through accepting it as meter, rhythm would be chaotic. In a confron- an organising principle this can help you im- tation between moving dancers and moving provise and imagine movement in new ways. images, what should be the structuring ele- ment? This is where the creative obstruction Moreover, the example of walking stresses comes back into the picture. In order for the that a moving body is never found in a vacu- dance teachers to imagine something and um but always exists and moves in relation to escape the brain chaos they had to decide other objects, people, pathways, movements. on a structuring principle. There is no one Avoiding people on the sidewalk however is right principle; it is just a matter of accepting something we are hardly conscious of; we do one possibility (out of the many) as a start- it automatically, habitually. Until we are sud- ing point. For the dance teachers, very useful denly confronted with another body that did structuring principles were dichotomies, such not move with ours, but against it: you bump as: lead/follow, question/answer, support/ Two students playing with a sketch with the principle of throwing/being hit into someone. Now what happens when the body is confronted with digital technology? We try to program it in ways so that it can ‘What happens ing: you are moving quickly, trying to get and practice other forms of moving. It’s a pas- move with us, not against us. But as with all when human bodies through the crowd to catch the bus. You have sage in a book that argues for a new philoso- technology, tracking technology and sensors are confronted two blocks to navigate, and the crowd makes phy of movement: one that sees movement as fail, signals are blocked, glitches occur. When it difficult. You weave through the people, a constantly oscillating interrelation between we finally do get it in sync with the move- with digital media taking bigger and smaller steps, looking for the senses, thought, habit and other ‘bodies’ ments our bodies, we are confronted with the technologies’ holes and then filling them, inhabiting them and objects in the world. It is no coincidence fact that we do not just want the other actor momentarily before they close. Hopefully that her book Relationscapes provides many to merely imitate our movements, but are in- no child, friend, or lover is lagging behind: insights to understand and illustrate the col- stead looking for a dialogue. Moving-in-rela- be supported, chasing/being chased, throw- sidewalk holes are rarely big enough for two laboration processes discussed here. Apart tion-to something or someone is not just cop- ing/caught. Just picking one of these could people. And yet walking ‘alone’ does not ex- from real ‘body’-centered relations in move- ying, repetition, the bodies involved (a body be a starting point to think about a possible ist. Walking in/with the world: the only kind ment, such as tango dance (an improvisa- in this sense can be a flesh body, an image, or relationship and start moving. of walking. [...] Relational movement means tional partner dance), she also discusses what even light patterns or objects) have to speak moving the relation. [It] is always improvisa- happens when human bodies are confronted the same language but it is not interesting if With a structuring principle, the improvisa- tional. For sustained improvisation, constraint with digital media technologies. For example, they only copy each other’s sentences. Man- tional part of moving with the technology is essential. Without the rules of walking, we walking as a fundamental movement mode: ning explains: ‘movement always begins with could be accommodated while avoiding com- could invent infinitely, but this infinity would without it you could invent endless ways of a certain degree of open improvisation mixed plete chaos and confusion. The missing ele- likely be chaotic (Manning, 2009: pp. 29-31). moving but it would be chaos. A basic con- with a certain degree of habit’ ((Manning, ment now is ‘a certain degree of habit’. From Erin Manning uses the example of walking as cept of walking, one foot in front of the other, 2009; pp. 19)). It is never completely predict- the part of the teachers, a straightforward the basic element that is needed to imagine with always one foot on the ground – acts able. A useful way to think about this is to way to turn this new movement practice into 82 83 Dance teachers Nicolet and Timothy sharing their skills with peers

step with these groups was to start off by cre- ating a small movement vocabulary. During the four-day workshop we would start every day in the dance studio with a dance warm up in three different styles (ballet, hip hop Mel doing an exercise First steps: beginners building up their movement and Latin) and after the warm-up they were very creative and motivated dance profes- vocabulary. asked to make a short choreography of 2 x sionals to develop a project with digital 8 counts. This is a super short sequence, but a habit was to just repeat it regularly. Part of technology was a piece of cake... compared enough to instantly let them get used to cre- the training for Nicolet was to get comfort- to how difficult it was to get teenagers ex- or overarching theme of the piece was new ating something, by making small variations able by exercising with the technology. We cited the first time. The teenagers we worked to them and took some getting used to. The on what they know. We were taking away the organised multiple workshops with teenagers with in the first workshops were mostly girls teachers found out that the majority regard- ‘scary’ by easing the young dancers into the in various formats (big/small groups, known between the ages of 16-24 that had little to ed it as a very interesting experience and deep end. students/new students, students with/with- very extensive dance experience and they would like to do it again. As an unintended out dance experience) and of different length: all shared an interest in dance. What we did consequence, the teachers also opened up to This made the transition to improvising a 10-week course as well as a 4-day project not foresee was that they were not instantly their student’s input in their regular classes with the technology slightly easier. After and even a 1-day workshop. After the pilot enthusiastic about the idea of incorporating (all classes give a performance at the end of the warm-up we would go to the lab to ex- year, she was so confident about her skills digital technologies in a dance theater per- the year). periment with the sketches, asking them to as a teacher in digital (dance) theater that formance. They were not in a ballet class to imagine a relationship with a certain sketch she taught a workshop to other professional fiddle with computers; they were there to Loes: ‘Another challenge that needed tackling and then acting it out. Again the simple di- theater teachers. dance! Upon seeing some example videos of was the fact that the Digital Dance Theater chotomies were very easy, familiar principles inspiring performances, they would be more workshops required the participants to im- to activate reluctant participants. The body is not always easily convinced. But still, most of them are provise. This is not often part of a regular a comfortable place or: not used to contributing to the development dance class, in which the teacher shows what Berit: ‘The dance students involved in the Wii getting teenagers to of the theatrical aspects of a performance. to do and the students imitate. Improvising, Dance project were clearly attracted by the move Instead they would just learn a routine and especially for the participants with no dance idea to control music with Wiimotes. How- First steps are never easy, but getting two perform it. Thinking about the dance ‘story’ experience was the scariest thing of all. A first ever, the first tryouts were confusing and 84 85 frustrating, as the detailed control of musi- cal parameters that we envisioned originally was simply not possible. The transition from a fixed choreography in sequences of eight- beat sections, which the dance students were used to from their previous classes, to an open-ended experimental approach to danc- ing was not easy, not for the students but also not for Melanie, who had to improvise ways to facilitate experimentation. She came up with a series of mini exercises quickly, which would give students a feel for the different move- ments they could do holding the Wiimotes, or attaching them to different body parts.

The self-cautious way dancers would listen and perform at the same time, exerting some control on the sound, but also having to give Experimenting with Wiimote A student doesn’t know what to do with a certain sketch up some of the control to the power and shortcomings of technology, was fascinating to witness. critical moment, with only a few minutes to to get out of a state of immobility. Auto-ac- In an unfamiliar confrontation with technol- The final performance had no alternative the performance. I have to admit that I did tivation, or snapping out of a lethargic posi- ogy, how can we get people to take that next back up, if the Wiimotes, the computer, or not tell the dancers and Melanie at that mo- tion yourself is something most people can step, to get moving? Especially teenagers, the software had failed, the piece would have ment how bad the technology had failed so do (again is it possible that this is harder for who can be burdened by peer pressure, awk- as not to worry anyone. The rebooting could teens?) However, although we kick ourselves wardness about their bodies and a reluctance still be performed in time and the dress re- into shape and get up there’s always the ne- to express themselves, they may need an ex- ‘Detailed control of hearsal went well, and I was much the hap- cessity of another force, a motivation, or an ternal activating force to get going. All the pier that this unprecedented technical failure immediacy of relation. For example, we get up workshops have repetition in-built, in order musical parameters happened then, and not before any of the to go to work, or because laundry is piling up, to bring about familiarity and perhaps even was simply not pos- two performances in the evening. because we are getting chubby or because habit. They also build on the things learnt sible’ we don’t want to be criticized or scolded. before so that nothing feels completely new Undoing inertia There’s always something that incites us to and strange but there is always a benchmark, All bodies – and perhaps especially teenage take the next step, a force that we can relate for example: gone terribly wrong. Strangely enough, this bodies – tend toward a certain degree of in- to. In most cases, we don’t even think about – Learn new moves in warm-up > mix them worried Melanie much more than the dance ertia: ‘it is not uncommon to find ourselves it because it has become a habit, it does not up into a new choreography > do this eve- students. They were very confident that the dazed by a television screen, [...] find it dif- need to be explicated by someone else: it is ry day for 4 days. technology would work. I was confident too, ficult to ‘snap out’ of a daydream or get out embedded in habits of movement (Manning, – Open a sketch > imagine a relationship but just before the dress rehearsal, the com- of bed in the morning’ (Manning, 2009: pp. 2009: pp. 51). between dancer and image > act it out puter froze and had to be restarted at a very 51). Inertia is the inability to activate oneself, 86 87 Creating clear assignments and exercises, or the virtueel theater workshop for high school one get off your butts and move to the next obstructions and repeating them has proven kids (13-15 year olds). station!’ This approach rules out any room for to be one of the most successful strategies over thinking and emphasizes moving your for moving with the technology, a completely The instruction was to create a scene with an body and just doing it. If movement is a mat- strange actor on the stage. They work as acti- assignment card and create interaction be- ter of perception, then you cannot just think vating forces and can structure improvisation. tween the two stages; a physical stage, and a a movement-relation: you have to experience- To the same end, the teachers sometimes virtual stage recorded by video camera. think it by re-routing the focus from the worked with the concept of workstations. This strange technology towards more the famil- idea was borrowed from a parallel workshop: Some of the participants didn’t really dare iar, habitual ‘handles’ and concrete activating Virtual Theater, the theater version of Digital participate in the roles on the physical stage exercises, we could finally get off our butts Dance Theater. and were happy to be able to ‘hide’ behind and start creating: allowing our bodies sur- the camera on the virtual stage. The major- trying out with the technique and creating prise our brains! In the former, groups of participants are re- ity was very enthusiastic about the workshop. interaction. They had so much imagination, quired to alternate between stations where Once we were accidentally scheduled with developing long interesting scenes we had they have to do different assignments such a class with primary school students age 11 not experienced before, plus they definitely as: brainstorm a concept for a scene, ‘write’ years, we didn’t know what to expect, would had a great time.’ the scene, practice them without props and they able to understand the assignments we technology, practice them on stage with the made for the older students? Could they cre- Every 10 minutes they have to change to technology and repeat. Nicolet’s experience ate interaction, or would we have to we lead the next station. This time restriction almost has shown that it then becomes really easy the students more? It turned out be one of the structures the production process like a game for participants to improvise: ‘We developed nicest workshops. The students really got into and has an instant-activator built in: ‘every- 88 89 All the workshops resulted in a performance:

Wii Dance: the Display window At the Arcade Krokusvakantie The mannequins in the display window came The ongoing course with Nicolet’s own stu- Participants: students from CKC dance class- to life. dents, performed at Stadstheater Zoetermeer es and interested participants not associated ‘At the Arcade’. with CKC Gamers at the arcade are so caught up in 1 day workshop during Krokusvakantie (open their games that it becomes all too real.... to all) ‘The Eraser’ – contemporary dance meets hiphop

“I love the combination of creative work, organizing workshops and Erasmus projectweek – Double Bill leading them. Since my background is musicology, I'm mostly involved Participants: girls from a local high school (Er- with workshops connected to music and sound, which are excellent asmus College). experiences. Originally I didn't want to get involved with any visual arts, 4 days during Project Week since there are team members who are way more talented at this, but ‘We Gonna Win’ – hiphop/ballet battle then I found that video editing for documentation, or Processing for ‘I’m Good’ – hiphop performance data visualization is not that hard to learn and a very handy experience to have. So in those past six months I've already picked up many new skills, and I've been able to make creative use of my knowledge about music and programming. I have been tremendously enjoying working in the Digital Art Lab and with my great colleagues.” – Berit Janssen, The Patching Zone team member

References Source: The Patching Zone newsletter 04 Manning, E. – 2009. Relationscapes: Movement, Art, Philosophy, 272 pp., Leonardo, MIT Press, Cambridge, MA, and London, UK 90 91 The Girl Geek Berit Janssen TheWith contributions Girl by members of The Patching ZoneGeek team and the Design Team

The Patching Zone girl and in different integrated development envi- geeks ronments such as Processing, Adriano, Max/ When Emöke, Linda, Loes, Berit and Inge ar- MSP and Supercollider. The stereotypical do- rived at the CKC in Zoetermeer for the first minion of geek Dom through bespectacled, time, they were surprised to find that they socially awkward boys seemed to be broken were an all girl team. That was unexpected, right there in one of the most unlikely places since a laboratory for digital arts sounds as of the Netherlands. if it would attract geeks, read programmers and hardware engineers, most of which are Of course, we were joined by male team mem- male. But there they were four young female bers who undertook internships with The professionals with different skills and ex- Patching Zone, Lennar, Peter and Serge. All periences, including video editing, graphic report that it was very special to have a girl design, animation, web design, electronics, geek team to collaborate with. Especially for programming both with low level languages Peter, it was a great moment of pride (and 92 93 ‘Good workshop concepts would draw male and female alike, were fearless when compliments just approaching technology. Without flinching, they went along on the Arduino and Process- as frequently as ing workshop, even though programming and new clothes and electronics was new to most of them, and ex- hairstyles’ pressed interest in learning more. The brain- storm after this workshop brought up many ideas, such as Romke’s idea to build control- maybe also embarrassment) to have a group lers to give feedback to her cello students for of girls cheer for him at the ceremony when their practice at home, or Heike and Ingrid’s he received his diploma for his work on Break idea (both sculpture teachers,) to build inter- It Down, in a male-only computer sciences active installations controlled by Arduinos. study. All these ideas showed that male and female teachers alike did not feel any misplaced awe Lennart: ‘I did notice that technology was ap- for the technology, even if they found the proached in a different way by this team than coding and circuit building of the workshop what I’m used to. In male-only teams, the dia- challenging, they were driven by a confi- logue is often about technical details, while dence that, given time, they would channel here I sensed a more artistic, conceptual ap- into mastering the skills they needed to make ‘It was enlightening to experience proach to all projects.’ their ideas come true. the teaching styles of the design team

The Design Team girl geeks as well as the De- Collaboration of the teachers’ sign Team consisted of many people who were girl geeks only too happy to nurse their inner geek dur- Berit: ‘I had some misgivings for sure. My dination. At the same time, all The Patching cult girly whingeing. And to certain extent this ing the Digital Art Lab project. Dance teacher prejudice was that female teams were less Zone team members became skilled at pro- occurred in the lab, because everything could Nicolet baffled us all when she revealed that supportive of each other, more prone to nasty cesses they had not had much experience be discussed there. We had our chats about ever since the first personal computers were arguments, but it was a wonderful year. Of with before, learning together from work- boys, careers, fashion and flirting and natu- available, she had been programming. For course there were conflicts, but they were shops, teaching each other, and collaborating rally we also all had our grumpy moments her, the Virtual Dance Theater project to- quickly resolved. There was no ill will in the on creative mini projects on Monday after- and interpersonal challenges. They are not gether with Loes was the ideal way to bring team.’ noons. fun, but what made it so easy was that they together her identity as a ballet dancer or did not linger. Everything could and would be teacher, and her geeky alter ego, which she Projects were often distributed according Emöke: ‘What I really appreciated was that discussed openly and often immediately. The usually did not live out during dance classes. to the team’s prior experiences. There were whenever I couldn’t finish something, or had great thing was that we were all so clear on Even though it was she who urged the CKC no competitive aspirations to be better at a to do something else, our team was very well the common goal – the project and the people to buy a good video camera so she could specific aspect of technology than somebody organized for somebody to take over. The pro- involved – that we would almost instantly fill film the dance performances and distribute else, on the contrary, expertise, good work- ject would end up just as fine, as though I had in for each other or allow the other that bit of them on DVD, even before the Digital Art Lab shop concepts and well-made documentation finished myself. It was easy to ask for help.’ wallowing. In such a mutually supportive en- would provide a forum for such activities. would draw compliments just as frequently as vironment it was always possible to cut each But also the other design team members, new clothes, hairstyles or good colour coor- Loes: ‘Like Berit I also expected a lot of diffi- other some slack. Having a bad day was com- 94 95 Loes: ‘I wish they had showed us in school how ing this project nobody was an actual expert. you can use physics to create natural seem- At best it would be a case of the one-eyed be- ing movements, or interesting shapes, as we ing kings/queens in the kingdom of the blind. do now with Processing. If I had known what This works in really motivating ways because I could do with this knowledge then – how to you start learning from each other rather than apply it within my own fields of interest – I looking to an authority figure to tell you what would have found the study of it less dull.’ to do and how it is done. Without any experts around you can get over the hurdle of ‘doing Next to a good motivation, also an experi- it right’ and learn to dabble and experiment mental way of teaching might be important. without high expectations: which makes it fun Probably as much caused by different art dis- and interesting.’ ciplines as by gender, different members of our geek team approached teaching technol- As to the question how more girls can be ogy in different ways. interested in learning programming and electronics, it may be that many workshops Heike: ‘I often asked myself why I teach the using this technology are directed at build- Sound Machines workshop, even though Vin- ing robots, synthesizers and other machines. cent or Kim as music teachers have much While many boys grow up with robot toys and pletely acceptable, as long as you could stand cilitated the workshops and brainstorms was more affinity with the subject and the tech- robot wallpapers, girls may simply feel less at- a bit of friendly teasing from the other team motivating and nurturing. nology. But recently I realized why: they have tracted to this outcome. Researchers from the members. Personally, I have difficulties get- Is the girl geek different from the boy geek? a very technical vantage point, which may Lifelong Kindergarten project report that in ting through the dark winter months and can We noticed that for all the workshops heavy not always be easy for students. Some work- their workshops with crickets, programmable get quite grumpy and unmotivated. However on coding and electronics, we would attract a shop participants are motivated by the po- building blocks, just as many teenage girls as I never felt like my team mates thought less of mostly (and sometimes exclusively) male au- tential to take a finished product home, while boys participated, with as diverse projects as me or let me down in any way.’ dience. It is hard to explain this phenomenon, for me, the point of this kind of workshop is a speedometer for roller-skates, or a nail pol- because it is not clear whether the difference much more through experimenting and trying ishing and buffing machine (Resnick 2007). Collaboration with the design team geeks of interest comes through acculturation, or things out.’ Moreover, it seems that not only machines, was stimulated through attendance of their through some natural tendency of the differ- but also interactive art pieces without any classes. Linda attended dance classes, Berit ent genders to learn and approach things in Loes: ‘I suppose an important factor in learn- specific purpose could be a fascinating entry a sculpturing class, Loes a band lesson, and different way. But the following quotes seem ing geeky stuff is to just spend time tinkering point to learning technology for geeks of all Emöke a textile class. It was enlightening to to indicate, that for engaging the new geek with it. Although in the beginning of the pro- age and gender. experience the teaching styles and expertise generation, it is important that the possibili- ject I could say that I had working knowledge of the design team teachers first hand. Along ties come first and then the technology. of things like Processing, Arduino and video with the enthusiastic pull of the many chal- editing, I never felt like it was enough to do lenging workshops, we happily volunteered Melanie: ‘Programming is definitely also inter- something with it, let alone teach others. Dur- to teach using try-outs, a method that could esting for teenagers, boys and girls alike. But not fail but to put The Patching Zone team it is very important that they see first what References: in awe; at same time, the appreciation the they can do with the technology to motivate Resnick, M. – 2007. All I Really Need to Know (About Creative Thinking) I Learned (By Studying How Children Learn) in design team showed for their ‘ladies’ who fa- them to get into it.’ Kindergarten, ACM Creativity & Cognition conference, Washington DC, US 96 97 Break it Down Breakgame it Down gamedevelopment Anne Nigten interviews the developmentteam

Break it Down correctly the dance moves that are shown on Alongside the predefined aims of the Digital the screen by the instructor. To monitor the Art Lab the creation of the Break it Down movement of the players the game uses two Game by the members of The Patching Zone Wii-motes that players attach to their arms. team and the Design team was an extremely The better a player performs, the higher level valuable additional success. In an extremely they will reach. There are two scenarios in the short amount of time, merely three months, game: practice and play. In the practice mode the game development team made some- the players familiarise themselves with the thing out of nothing. The goal was to make moves by practicing to perfection. They can a game based on the performing arts that is then utilize this knowledge in play mode. The taught in the CKC. It had to be fun and enjoy- game facilitates one player at the time and able for both the players and observers. The multiple user scenarios are only facilitated in end result was a hip-hop dance instruction the synchronous mode. game. The objective of the player is to copy The game was launched at the Open Day of 98 99 CKC Zoetermeer on May 21th 2011. It was Motivation very popular at the Open Day, where many people played it. They hung around at the I always played games and this was a good Lab to break the latest high score or danced opportunity to see how a game is being de- along with the other players while waiting for veloped. their turn. It was a wonderful learning experi- Timothy Andrews , CKC hip-hop dance teacher ence for everyone involved and is a great ex- ample for the spirit of collaborative creation All team members had their own motives to that reigned in the Digital Art Lab. work on Break It Down. Of course all team members love playing games and some of Who did what in the them were interested to find out more about Break it Down team? the game development process. Break it Down was Peter Bogman’s graduation project. In his Kristina Andersen dry way of expressing himself Peter states that lead game design (The Patching Zone) while he investigated the options for a gradu- ation assignment this project sounded a lot Timothy Andrews more interesting than a standard website pro- hip-hop dance expertise and game design (CKC ject. While from Kim Wijsbeek’s perspective Design team) Break it Down offered the opportunity to col- the market these days, how does this dance ‘Mastering the dance lect ideas and experience for his planned CKC instruction game distinct itself from (com- moves becomes more Emöke Bada computer game course. In the Break it Down mercially available) dance training or dance communication and game design (The Patching team Kim assisted Peter, who brought in his instruction games? According to Peter, break important than Zone) trained skills as a programmer. Kim engaged it Down differs from standard dance training beating the score’ himself especially with the musical score of games in that it is a game with immediate Peter Bogman the game, a task that suits him well due to his feedback, and short levels. This motivates the game development and programming (The music background. For Kristina Andersen the player because they can see their progress im- a regular (Apple) computer instead of a game Patching Zone) game represented a chance to engage both mediately. From an instruction point of view it computer, according to their perception this the obvious artistic and performative talent differs from existing dance games in that it’s also contributes to Break it Down’s unique Annelies de Graaf of the Digital Art Lab and Peter’s program- a lot more about learning actual moves then character. Inge mentions that she was curi- Wii sleeves (CKC Design team) ming ability and enthusiasm. She states that getting high scores or quick game play. Inge ous to find out more about the creative devel- physical games are very hard to do well, all Ploum who states that the play fullness of the opment process of the game within the CKC Inge Ploum too often there is game design that comes game lies in learning new dance moves, not in Digital Art Lab context. Does Break it Down continuity manager (The Patching Zone) from an exclusive technical or visual point of winning the game, confirms this. Even though represent a typical dance game for an art cen- view. For her Break it Down was an opportu- the player wins points and reaches higher tre like CKC? Peter has the impression that is Kim Wijsbeek nity to work on a game where the view of the levels, the player has an infinite amount of no typical game yet for centres like CKC. In technical advisor, musical expertise and game dancer was fundamental to the entire design. lives (i.e. they cannot ‘die’). Mastering the Peter’s opinion this game idea is more suit- design (CKC Design team) dance moves becomes more important than able than the commercial games as it focuses Dance games beating the score of another player. Timothy on training and less on the competition. He is There are many dance instruction games on Andrews and Kim add that the game runs on convinced that, with some polishing up, one 100 101 and Kristina mention that the game design sense from the numbers that the Wii-motes is sober and does not cater to the many easy produced, whilst trying to recognise dance clichés about street dance. Instead the focus moves from that data. This was solved (sort lies in the tightness of the moves and the cho- of) by checking the timing of peaks in the reographical potential in the game flow. numbers on a specific axis. This system can recognise the peaks at a steady interval. The Testing characteristics of the hip-hop moves really After Peter’s technical test runs (Does the sys- help the system to overcome some of its rec- tem do what it is expected to do?), the other ognition obstacles, as it is less about fluent team members all tested different moves fol- moves. lowed by the first testers from outside: Timo- As in many creative software applications thy’s students. He elaborates: There were Break it Down also demanded some donkey two rounds. In the first round the hip-hop work, Kim’s most challenging task in the pro- student’s figured that ‘it was too difficult’. In ject was the synchronisation of the movies the second round the students had more fun (counting of the beats) with the code gener- because it was easier. The game debut on the ated music. Timothy enjoyed the process of open day showed us that Break it Down is, developing the game the most; it was exciting like most dance games, a social activity, hav- to see an idea turn into a product. While Inge ing fun while looking each other dance and enjoyed playing the game with participants dancing together, as in the hip-hop social most, that included witnessing how partici- dancing tradition. Emöke states that the life pants overcame the struggle to get their arms size projection also contributed to the lively and feet moving simultaneously and in the stage at the open day, as this attracted even right rhythm. more people to the lab. The constant flow of All team members seem to be happy about ‘players to watchers’ and ‘watchers to play- their collaboration with the other team mem- ers’ made the game social indeed. At times bers. They could rely on each other, there was can make this an excellent practice motiva- Is the background of the team members re- people danced in groups, while just a single an open atmosphere and everyone worked tor. Kim brings forward that the iconographic flected in the concept or design of the game? person wore the Wii-motes, the competitive hard to make this game a success. picture that represents Tim, the CKC hip-hop Peter states clearly that there is absolutely aspect among players seemed less important, teacher, refers to the real studio situation at no hip-hop in his background but that the though the individual score did matter espe- CKC, which makes it more familiar for their team did have a hip-hop dance teacher that cially for the young male testers. The respons- students. For Tim, Break it Down reflects his students took classes with. Hip-hop is an es were mostly positive. The game is an inter- CKC’s newly planned activity programme outspoken urban style, the visual designers esting tool for promotion and engagement, where dance is combined with gaming. (mainly Emöke) suited the graphic style us- however, for a commercial version another ing graffiti style fonts for the typography and iteration is required. Hip-hop similar urban-inspired elements, the instruc- Gaming is not about computers and devices - tor’s animation was modelled after Tim. Inge Challenges and joy it is about people. Keep it simple, keep it true. adds that the choice of words and the overall Peter’s true challenge was to make a sim- Kristina Andersen, supervisor The Patching Zone look and feel of the game ooze the urban. She ple, tough, flexible system that could make 102 103 Goodwill as GoodwillCurrency as CurrencyKristina Anderson

Allow me to set the We must in other words create an effective scene: hardworking trans-disciplinary group, within A handful of Dutch and international artists, which each member will be constantly asked engineers and researchers arrive in the small to take chances and reach beyond both ex- town of Zoetermeer, to start a digital art lab pectations and habit. In addition to this we within the confines of a music and art school. must leverage both the core competencies of The job is huge and hard to pin down. The each group member and support their aspira- Patching Zone team must move rapidly from tions and development. Nothing short of this awareness of the locale and its challenges would work. and consideration of the state of art as we know it, to engagement with both the organi- This text is an attempt to unpack one of the sational structure we are embedded in, and underlying reasons for why it DID work. The taking on an active role of community build- project can largely be considered a success ing and generating new concepts and ideas. and each Patching Zone team member has 104 105 moved on to new and exciting opportunities. “For me, the most remarkable aspect of the Digital Art Lab project is to experience how I am certain they would all agree that we open and capable the CKC-teachers are with whom we are working. They are all from learned a lot. So what happened? different disciplinary backgrounds and bring such different things to the project with so much enthusiasm. It is very encouraging to see how eager people actually are to learn As we started the project we quickly estab- new things and creatively weave them into their own work and teaching practice.” lished a lunch routine that survived and pros- – Loes Bogers, The Patching Zone team member pered throughout the duration of the project. Every day there would be bread and an as- Source: The Patching Zone newsletter 04 sortment of spreads that carefully catered to the tastes and habits of the eaters. This was not centrally structured or arranged, each ideas and notions in between jokes and “pass bolster the giver’s social standing and repu- member would simply bring the food they me the cheese”, an open and lively atmos- tation. A traditional gift economy is based thought was needed for that day’s lunch. The phere can occur. Then conversation flies and on “the obligation to give, the obligation to sharing of cost was done though a simple bubbles and ideas are exchanged and evalu- accept, and the obligation to reciprocate,” honour system where a jam jar allowed every ated in such a way that the group as a whole (Hyde, 1983, p.15) and there is little reason participant to donate or withdraw whatever barometer of the engagement of the team develops an understanding of not only what to think that the exchange of intangible so- amount of money they felt was just. but maybe even its source. everyone is concerned with, but also how cial goods is very different. Indeed the econo- any individuals are doing. Offers of support mist Duran Bell (1991, p.155-167) postulates I would like to postulate here that the lunch Now, there are strong social conventions or inspiration become an integral part of the that exchanges in a gift economy are mainly table was a key component in maintaining about how one conducts oneself at a dining social exchange of the group. used to build social relationships between in- the social cohesion and openness in the group table. We are all trained to share the food, dividuals or groups and allow the people to throughout the challenges of the project. pass the plates, and engage in light and play- It is worth noting at this point that Lewis engage with each other and work together. The lunch jar was never out of change and ful conversation punctuated by moments of Hyde (1983, p.9) locates the origin of gift necessary silence as we chew. This porous economies in the sharing of food, citing the While the generosity of a social gift improves structure is ideal for a non-hierarchical ex- Trobriand Islander protocol of referring to a your prestige and social standing, any acts ‘In a sympathetic change. The talking time is shared and al- gift as “some food we could not eat,” even perceived to be selfish or sneaky undermines group environment, lows for ebbs and flows of chatter, jokes and though the gift is not actually food. In our not only the individuals social position but concerns. In a sense, it can be said that we case the gift was often a moment of atten- does real lasting damage to the ability of the knowledge seems to allowed the established format of the shared tion, a demonstration of interpersonal inter- group to continue within a gift structure. A flow with particular meal to extend to our entire collaboration. est, or an offer of support. desire to accumulate opportunity and credit ease’ for yourself at the expense of the group is not Once you are engaged in a sympathetic Social currency can be defined as the record only seen as a sign of personal weakness but group environment, knowledge seems to flow of our underlying social assets, like reputation will effectively close your access to the com- the lunch table was never empty. In a similar with particular ease. For this exchange to and trust. These assets fluctuate and change munal exchange. This can only be remedied fashion the group never disintegrated: a gen- happen we must be in close proximity with through our interactions with others and like by adhering to a home-brewed version of erous and friendly spirit prevailed throughout each other and share informal social spaces. any other currency, social currency can be giv- taarof, the Iranian system of politeness that the most stressful and challenging moments. A shared table becomes a venue for casual en as a gift or exchanged in the form of kind- compels you to protest compliments and at- I would like to propose that we can not only knowledge exchange. Since there will be very ness, a joke, an act of recognition or concern. tempt to appear vulnerable in public. In ad- look at the unspoken lunch agreement as a little perceived risk in sharing half formed A good gift can delight the receiver but also herence to taarof, any offer (even a welcomed 106 107 scribes this demarcation of an experience in In Real Projects for Real People 1 (2010) the general stream of experiences as: “A piece we state that “a constant challenge for any of work is finished in a way that is satisfac- Patching Zone project is to pay careful atten- tory; a problem receives its solution; a game tion to the process itself as we move across is played through; a situation, whether that methodologies and situations.” The phrase of eating a meal, playing a game of chess, “to pay attention” gives an insight into itself: carrying on a conversation, writing a book, the attention must be “paid”, it is a resource or taking part in a political campaign, is so spent and used. This is not lightly done, it re- rounded out that its close is a consummation quires a sober commitment, in Judith Butler’s and not a cessation.” It is of crucial impor- words to: “risk ourselves precisely at moments tance that a project does not just cease to of unknowingness, when what forms us di- be but rather is brought around to a sense of verges from what lies before us, when our closure. Only then does it become integrated willingness to become undone in relation to within, in such a way that we can look back others constitutes our chance of becoming at it as a whole. Closure, while fraught with human. (2005, p.136)” anxiety and surprise, potentially offers the most opportunity for growth and reflection At the end of the this project we are in the regardless of the outcome of the project itself. unusual and fortunate situation that we can one) must be initially declined until not only day effectively taken over the running of the close the Patching Zone Digital Art Lab expe- the giver’s insistence becomes greater and lab itself. Like any other complex transforma- The Patching Zone Digital Art Lab project rience by celebrating our good work together the surrounding social network agrees that tion such a change required trust and cour- presents itself back to us now as a whole and and move from being past mentoring partners the offer must be accepted (Wikipedia). As age from the members of the Design team, I feel that it offers an additional valuable les- and colleagues to future friends and peers. with all fragile structures, social networks which in turn had to be met with encourage- son: If we pay careful attention to the social The goodwill and respect from our shared and interpersonal goodwill are very hard to ment and generosity from The Patching Zone economy of trust and care in our projects, lunch table carries over into the future. build up and so very easy to loose. team. Eventually the success of an event was each participant will not only reach beyond directly related to how far the PZ team could their own potential to build results that ex- I feel the entire trans-disciplinary collabora- retreat into the background and let the De- ceed our expectations, but they will also tion in the lab was conducted as exactly such sign team do the work. Such a change in ego- leave more confident and strong at the end of a fragile social economy. As is described else- state and authorship requires a solid sense of the project. And so will we. where in this book, the work was executed as solidarity and a common goal, and it is my a collaboration between The Patching Zone belief that this sense was build out of every team, who would provide inspiration and instance of knowledge, support and curiosity guidance and eventually retreat to a role that the two teams consistently throughout References: of support, and the Design team, who were the project offered each other as gifts. Bell, D. – 1991. Modes of exchange: Gift and commodity, The Journal of Socio-Economics, Volume 20, Number 2, pages learning new tricks but bringing their exten- 155-167, JAI Press Inc., US sive knowledge and experiences as both edu- In order for an experience to distinguish itself Butler, J. – 2005. Giving an Account of Oneself , Fordham University Press, New York, US Dewey, J. – 1934. Art as Experience, Penguin, New York , US in the never ending flow of events and chang- cators and artists. The goal of The Patching Hyde, L. – 1983. The Gift: Imagination and the Erotic Life of Property, Vintage Books, UK Zone work was to scaffold the process of the es it must come to some kind of conclusion Nigten A. editor – 2010, Real Projects for Real People, Volume 1, Nai and V2_ publishers, NL. Design team to the point where they have to- or fulfilment. John Dewey (1934, p.37) de- Taarof (Iranian Politeness), Wikipedia. (online) Available at: http://en.wikipedia.org/wiki/Taarof (Accessed 8. September 2011). 108 109 Magic MagicMoments Moments Loes Bogers

Snapshots of magic and pivotal ahaa! moments, snaps of people in a (creative) flow etc. And short explanation of what happened there and why it was a magic moment. The Magic Moments can be one chapter, themed intermezzos or loose elements throughout the book. This is free for the editors and designers to decide. I placed them in an order that somewhat reflects the processes of the pro- ject. E.g.: turning off the lights for a presentation, young kids doing peer teaching, genuine expres- sions of any participants.

110 111 112 113 The TheNon-Expert Non-Expert Emöke Bada

The core of the Digital Art Lab in the CKC, with the title of expert and I doubt that my Zoetermeer was composed of The Patching colleagues in the project fully identify with Zone’s specifically selected young, interna- the term. tional media professionals, they were chosen It would follow that a non-expert is the oppo- by The Patching Zone mentors who were in- site of the phrase mentioned above, however tegral to the project. Coming from various that is not quite true. I would classify myself professional backgrounds countries, each as a non-expert, if need be I am someone member of The Patching Zone team brought who has some knowledge of specific fields. something different and unique to the pro- Although it is far less than an expert has, ject. They were the experts called in to facili- it is still more than that of the average lay- tate the development of the Lab in its pilot man. I think the difference between experts year. An expert is a person who has special and non-experts is less than the difference skill or knowledge in some particular field, between non-experts and amateurs. An ama- although I for one do not feel comfortable teur is a person who is inexperienced or un- 114 115 skilled in a particular activity. They often are learning. This I did gladly and I always felt unsure of themselves, questioning and check- particularly accomplished when the results at ing every step they take, seeking advice and the end of a workshop came out really well. acknowledgment along their path. An expert usually knows what they want to do and how I have to put an emphasis on knowledge that they will go about getting it done. Finally the participants needed. My task during a then, non-expert can be found in between, workshop was to make sure the attendants knowing what they want to achieve, with an successfully attained their goals. This was outline of how to get there, sometimes intui- done from the very beginning when brain- tively finding the solution. storming about ideas that they would then carry out. The first thing I would do was to That said, I think expert is in the eye of the listen to them, find out what they wanted to beholder. Thus to those I worked with during achieve. When this was clear and their ideas my stay in the Netherlands I was considered were formed, I then could help them achieve as an expert. I however thought of myself as a their aims. This was made possible by allow- non-expert. Why? One reason is that I am well ing them to elaborate and give form to their aware that there are a lot of other people that ideas and then through managing their ex- are far more competent than I am in the vari- pectations. ous disciplines that I was chosen to take part As the expert in this given situation I had to show the participants how they could realise ‘Expert is in the their plans. Through teaching the basics of eye of the beholder’ a program, I offered a vocabulary through which they could begin to create their own projects. When this was not enough I stepped in at the Digital Art Lab. Living up to the title in with additional knowledge. Managing ex- of expert was a challenge although I learned pectations was incredibly important, as I had quite a lot from it. to steer workshop participants to viable solu- What did this particular non-expert do while tions, to bring their ideas into life. I had to working in the Digital Art Lab? Like the oth- make sure that these solutions were ones that ers, I shared the knowledge I had with those were executable within the level of knowl- who had come to learn from us. Everyone edge that I owned. For this I had to know my who came into the lab was at different levels own limits extremely well to be able to help of knowledge. However my knowledge at a others surpass their own. This awareness of given workshop was usually more than those my own limits was the reason that I felt like who came to participate. The participants’ a non-expert. expected that I would give them the knowl- edge they needed to accomplish a task and I never kept the limits of my knowledge se- I would accompany them along their path of cret, it just never became apparent or impor- 116 117 things. For example, using the same tool in put together working scenarios in their heads. I knew I was a non-expert from the very begin- different ways may lead to new solutions. I For the rest of us, that is not quite the case. ning. My task was to transfer the knowledge also think that power of being a non-expert Therefore when the opportunity arrives, one I had and thus start others on their own jour- mainly comes from knowing where to turn must try to make things as real as possible as ney to becoming a non-expert. The result was for help if needed. When leading a workshop, soon as possible. Testing gives valuable infor- that we created more and more non-experts participants would ask me for help and an- mation that can be used to fix and finalise a who were going to take our place once we swers. When I needed help, I usually ended up current project or inspire a different one. left. I hope that we left a large group of peo- asking someone more competent than myself when was such a person available. If not, I For this to happen, my most crucial task was turned to the Internet. When in doubt, do not to make the people who came in feel com- ‘Knowing what you be afraid to admit it and ask for help. fortable enough to experiment, to ask for can do, often limits help and to make mistakes. This was achieved Lack of knowledge is often perceived as a se- by always being available to help, taking what you can do’ rious disadvantage, I do not agree with this the students behind the scenes and letting statement. Knowing what you can do, often them know that I too am fallible. Gaining ple at the CKC who will fill our shoes as non- limits what you can do. By not being aware of their trust, alleviating their fear of mistakes experts and transfer their knowledge and ex- precise boundaries, one is more likely to come and assuring them they are doing well, was perience to many more students who follow. up with unusual things. Creative misuses of- essential. Emphasis was placed on teamwork I found particular fulfillment when I saw the ‘Living up to the ten yield more, compared to proceeding by as learning together created more opportuni- members of the Design team reaching that title of expert was the book. Experimenting is an integral part of ties. Exploring the unknown, or in other cases the exact same status of the non-expert that our work process and we aimed to gain valu- the semi-unknown with others is much more I already was at. Watching them re-evaluate a challenge’ able accidents and lucky breaks. The lateral exciting than doing it alone, all by yourself. and re-negotiate our positions in the Digital move, stepping sideways to attack a problem Co-creation is a powerful phenomenon and Art Lab was great to experience. I personally tant as long I was operating within my set from a different angle is also an important sharing success is extremely rewarding. think that this is crucial to the success and of skills. I found it fascinating how I became way of working. Instead of stepping back, or continued success and survival of the Digi- mystified and seemingly omnipotent because pushing harder, simply standing aside and Sharing responsibility and credit in the right tal Art Lab in general. It is fairly easy to be I was the one deemed and also doomed to changing are just a few elements can result way is also necessary. As a leader of various a non-expert. Take something you are good know everything in the case of a crisis. This at in a bountiful harvest. workshops it was my place to take responsi- at, teach it to somebody else, show him or her times empowered me to a certain extent and bility for the workshop process. I had to cre- how to share the knowledge, encourage him pushed me to prove myself on a regular basis, The most important thing to do I think how- ate a safe haven for the participants to work or her to experiment and develop these skills thus forcing me to take up the role of expert ever, is to demo or die. That is, do not sit on and express themselves. However the respon- by themselves. You can be a non-expert too, and make it real. Other times simply my pres- your ideas but go out there and try them sibility and credit for the produced content you probably are one already. ence was enough to reassure workshop lead- out. By not testing, you may have doomed belonged fully to the participants. Letting ers of competent backup. your project. It is by trial and error that the them claim ownership of their project often non-expert learns and is able to share knowl- gave them the extra push to make something As a non-expert, knowing exactly just enough edge. Nourishing their ideas in their minds spectacular. Assisting and escorting them to to get the job done is more than enough. only works for those who are ‘real experts’, grand finish line of the Digital Art Lab, made However application of your knowledge in because they have so much knowledge, ex- every effort worthwhile. different ways is the key to accomplishing pertise and experience, that they actually can 118 119 Social SocialInnovation Innova - tionand and Product Prod- Machine uctAnne MachineNigten with contributions by Ralph Boeije

When we use a fashionable term such as and labour relations in public and private or- social innovation, it seems relevant to inform ganisations’ (Pot, 2008). In earlier Patching you about our interpretation and motiva- Zone projects we referred to the Scandina- tion for this. There are several definitions vian workplace innovation as an interesting of social innovation around, the most strik- participatory model for co-creation. (Nigten, ing differences refer to the ground it covers. 2006/2007, Fuller 2010). In the Digital Art We use the definition of ‘Pot and Vaas’ from Lab social innovation was implemented as a The Netherlands Centre for Social Innova- suitable approach for bottom-up innovation tion (NCSI): as a starting point. They use the at the work floor and at the business side of concept of social innovation for innovation of the organization. As it is reflected in many work, organisation, competence development social innovation approaches we agreed that

120 121 ‘Those directly involved in the organisation play a crucial role in the innovation process’

tion, responsibility and teamwork. Ton Sand- of the Design Cycle (Camp CKC Anne Nigten) fort states about the EPG: ‘They have taken and the open experimental hands-on work up responsibility for the educational and ar- environment also contributed to practical as- tistic values and processes.’ This EPG practice pects of social innovation. However, as was fits the social innovation paradigm, since it mentioned earlier, halfway the project we puts responsibility for content with the artist- faced some obstacles: the known course for- teachers themselves. Moreover, since the EPG mats seemed to block out new concepts and is a cross-disciplinary group of professionals, the market thinking or entrepreneurial spirit the interaction between the art-disciplines needed an additional push. and the alignment of their didactic models is facilitated well. Although the EPG is well Product Machine on its way, most CKC artist-teachers are still After a number of initial experiments it was not entrepreneurs in their work for CKC, this decided (early 2011) to pay specific attention might be a last remainder of the lean-back to the cultural entrepreneurship for the CKC governmental attitude. The focus of the EPG Digital Art Lab team. Time was freed up in is mainly on the content and didactic mod- the planning by dropping the (optional) large els. Innovation was not a core theme until the multi-media production. These experiments Digital Art Lab started. Ton Sandfort stated: led to the beginning of the Product Machine. ‘Dutch leisure art schools lack a proper mar- The Product Machine comprises the innova- ket-oriented product design process.’ The tion process in the Digital Art Lab in which, Overview of the Digital Art Lab innovation process transformation from a supply-driven produc- based on new ideas and via new concepts, tion and service model towards a demand- ultimately new products and services are de- technical innovation shouldn’t be the driving (semi) government officials with correspond- driven approach was included as one of the veloped. The process from idea to product force for the innovation at the work floor, it ing labour rights and leanback mentality. As objectives in our Digital Art Lab assignment consists of three steps: should always be led by social and thematic Ton Sandfort, managing director of the CKC, for CKC. The realisation of the Digital Art Lab motivation. The CKC professionals would be described earlier, the CKC is a flat organiza- thus aimed at starting a movement of entre- 1 Developing ideas leading the innovation route for future edu- tion. In that sense it does not fit the typical preneurship and bottom-up innovation led cation models, based on the centre’s vision. leisure art schools type of organisation. The by the CKC artist-teachers assisted by their 2 Processing ideas into a concept Our initial investigation taught us that leisure CKC line managers have a customer/market Patching Zone peers. This empowerment of a. Setting up a format for the concept art schools are mostly traditional, profession- focus and the curricula of the courses are de- the teachers was encoded in the Digital Art b. Describing a Unique Selling Point for al and somewhat bureaucratic organisations veloped by a group of teachers, the EPG (Edu- Lab’s DNA. As other contributions in this the concept that are usually organised per art discipline cation Project Group). The managing director book illustrate; the peer-teaching concept c. Working out a profit model for the instead of per market. We were also informed facilitates their group process by providing took multiple directions (Loes Bogers, Berit concept that most amateur art centre’s employees are them with a trainer and a coach for collabora- Janssen), the teachers were quickly in charge 122 123 3 Developing the concept into a prod- worked on filling in the ‘canvas’ forms, under to be present (physically) at the same time this last organisation made the mutual devel- uct and market this supervision of Ralph Boeije. The first step was while work continued on the various phases. opment of a serious game in which the objec- then completed with the lab manager. The Moreover it proved to be difficult to com- tives of all parties were realised, impossible. The Digital Art Lab as a consistent driving second and third step were carried out in col- pare the outcomes of all new products and Therefore Serge Juchko, The Patching Zone’s force for aRt&D (research & development in laboration with the MSC department of the services and learn from this. In a more gen- second graduate of the gaming department the arts) is the breeding ground for the Prod- CKC. During the whole process, from idea to eral sense this paper version will lead to a of the Haagse Hogeschool, together with uct Machine. During the pilot phase of the product, the collaboration between depart- few difficulties concerning national or inter- Inge Ploum, Loes Bogers, Ralph Boeije, Anne Digital Art Lab the ideas for step 1 originated ments was closely monitored the whole time. national rollouts. The possibility of a rollout Nigten and the CKC teachers, developed this from the Design Cycle. The responsibility In the last quarter of the pilot period the CKC was an issue, which was brought up in the game. The steps in the process: concept, idea, for this step lies with the lab manager. New team went through the whole process, while first phase. Discussions with colleagues from USP, profit model, and finally, the marketing concepts and activities of the Digital Art Lab Ralph Boeije and Anne Nigten gave a few the cultural sector and representatives of plan were guidelines for the various levels may originate in both the physical lab and on pointers here and there. After a few changes Kennisland (Knowledge Land) showed that in the game. The interaction in the game is the CKC Digital Art lab online social media were made to the canvas questionnaire which there was a great deal of interest for our ap- especially aimed at stimulating collaboration community platform, and may thus be stimu- were used for every phase, a closer collabo- proach. For this reason, and in the spirit of during the product innovation process. The lated by the teachers, the lab manager and ration between the various departments was the Digital Art Lab, work started on the seri- game has been tested extensively and was the community. realised and slowly knowledge started to flow ous game, an online game in which members given feedback by the CKC teachers. For a between the departments, and a number of of a team work together on the three phases national rollout of the game it will be scaled teachers turned themselves into cultural en- of the Product Machine. We started up the to a more general version, which can be used ‘Concept, idea, USP, trepreneurs. Recent developments in the art development phase after extensive discus- as a supporting tool for innovative corporate profit model and and culture sector had the effect that the tim- sions with people from Kennisland. For this processes in and outside the cultural sector in ing of this training and the development of we were able to make use of the experience the beginning of 2012. marketing plan’ the Product Machine connected seamlessly. they gained from the Bmice (Business Model This certainly contributed to the teachers’ Innovation Cultureel Erfgoed – Business enthusiasm. Various teaching models, which Model Cultural Heritage) they developed in were developed in the Digital Art Lab in re- collaboration with TNO. Personnel changes in Alexander Osterwalder’s business model cent years, are currently going through the canvas was used as a basis for the Product final step of the Product Machine. Machine. The Product Machine uses the, by now relatively standardised, business model www.productmachine.nl References: canvas in combination with social corpo- Pot, F. – 2011. Social innovation of work and employment in the Innovation Union, S&D Public Debate on Innovation Union, Euro- rate innovation, which is to say that those The first description of the Product Machine pean Parliament, BE www.socialistsanddemocrats.eu/gpes/media3/documents/3590_EN_Frank%20Pot-%20European%20Parlia- ment%20hearing130111.pdf (accessed February 27, 2012) directly involved in the organisation play a as described above was worked out com- Nigten A. – 2006/2007. Processpatching, Defining New Methods in aRt&D, PhD thesis, Lulu publishing , UK, online version (2006) can crucial role in the product or service innova- pletely on paper. For this large sheets of pa- be found at http://processpatching.net (accessed January 2012) tion process. In workshops mixed CKC teams per were stuck to the walls on which every- Fuller, M. Thinking in the Middle of Things (in Real Projects for Real People vol. 1 – 2010. pp 41-46), Nai, V2_ publishers, NL of teachers, management representatives one in the project wrote their contributions. Brouwer J., Mulder A., Nigten A., editors, 2005, aRt&D, Research and Development in the New Art Practice, NAi and V2_ Publishers, NL and colleagues of the department Market- The disadvantages of this were, among oth- Osterwalder, A. – 2008. Business Model Canvas, http://www.slideshare.net/Alex.Osterwalder/business-model-innovation-matter (ac- cessed February 27, 2012) ing, Sales and Communication (MSC) work ers, the supervision of the process between Kennisland (Knowledge Land) http://www.kennisland.nl/en (accessed February 27, 2012) together on the three phases of the innova- the various steps and the documentation of Business Model Innovatie Cultureel Erfgoed , http://www.bmice.nl/ (Dutch version) and Business Model Cultural Heritage http://www. tion process described before. First the team the process, plus the necessity for everyone bmice.nl/?p=514 (English version) (accessed February 29th, 2012) 124 125 The Product TheMachine, Product a Machine,serious a gameseri- ousInge gamePloum, Ralph Boeije

The strong point of the Digital Art Lab is text-based assignments can be made play- the innovation process with which new work- fully in the shape of an interactive computer shops, events and activities are developed. game called ‘Product Machine’. This process is an interactive design cycle in which the lab team (consisting of the CKC The Game teachers involved, the Marketing, Sales and The Product Machine is a competitive web Communication departments of the CKC, and application with an integrated social plat- other involved parties) works on new ideas form. The game contains concrete assign- to develop them into products and services ments and a social assessment system, which which can be marketed. In order to make this rewards users both in the short and the long process more challenging and to reinforce term. Rankings, assignments, likes, badges, the commitment and involvement of the lab and a Hall of Fame stimulate usage and col- team, the design cycle has been made into laboration. With the press of a few buttons a game. Instead of filling in a dull form, now users can share knowledge anywhere and at 126 127 any given moment. Online and offline collab- and (potential) clients lets the idea grow into oration between users is of the greatest im- a concept. Although the lab manager, who is portance in this, because game progression also the administrator of the game supervises depends on the comments and assessments the progress of the innovation process, the of others. This social gaming aspect is aimed whole lab team decides whether to go to the at supporting and smoothing co-creation be- next level or not. tween team members and the various depart- ments of the CKC connected with the Digital The second ‘Concept’ level consists of three Art Lab. parts: X-factor, Growth and Money. In this level a product team is formed. This product In addition to this social-competitive element team (consisting of the teacher(s) concerned, the game also allows users to organise their MSC and the financial department of the work. Users can experiment, make presenta- CKC) allows the concept to grow into a prod- tions, plan meetings and the game also gives uct. Work on the concept continues both of- them insight into the ongoing progress of fline and online. their own development process. The concrete assignments and the clear level structure con- When these two levels have been passed tribute to the pattern of expectations of the through successfully the concept will official- users. Because of this they know where they ly be presented as a product for the first time. are in their own development process, so they The idea has then reached the last level of the can anticipate in this. game: the Presentation. A presentation ses- sion can be planned and prepared within the process. However, in the Digital Art Lab pro- only project focussing on market-driven prod- In the third place the Product Machine sup- game. On the day of the presentation both ject and its innovation process, input of and uct development within the CKC. If the game ports the involvement of clients in the inno- the lab team and the product team decide co-creation with clients (target groups) is key. has proven its success, we aim to embed the vation process. This is to say, the audience’s whether or not to actually market the prod- The next upgrade of the game will improve Product Machine in all CKC product innova- requirements and needs in the development uct. If this is the case, marketing can start at the support for this co-creation process with tion processes. In this way the CKC organisa- process are integrated based on the assign- once. In other words: the last level transforms clients and experts for a wider user group tion will be able to continuously innovate its ments. This bottom-up approach to innova- the idea into a marketable product. The game such as other art centres and creative com- product portfolio, even without the support tion is a focal point in the Digital Art Lab. ranks the finalized products in a Hall of Fame. panies. Integrating social media profiles from and stimulation by the Patching Zone team. This ranking stimulates all users to develop Facebook and Linkedin allows for easier ac- Levels their idea into a product and to collaborate cess by external users. The members of a spe- The game consists of three levels: Idea, Con- on their colleagues’ ideas. cific Facebook community are then invited to cept and Presentation. The Idea level compris- collaborate in the innovation process. es the following tasks: working on the idea, Future of the game http://productmachine.nl organising/giving feedback about the ideas In its current form, the game is mainly aimed Future at the CKC Product Machine development of fellow-gamers, conducting experiments, at supporting internal collaboration and The Product Machine game is primarily devel- Product Machine promo mapping the requirements/needs of the cli- knowledge sharing. In the lab team CKC oped to support the Digital Art Lab innova- ent and making an audio-visual pitch for the teachers, MSC, and other CKC colleagues tion process. As CKC director Ton Sandfort idea. In this level, co-creation with colleagues work together in this product development stated earlier, the Digital Art Lab is not the 128 129 Teaching as TeachingResearch as ResearchBerit Janssen

Co-creative learning environments enable 1. Teaching paradigms students and teachers to learn alike through The term teaching usually implies a classroom experimentation and peer teaching. Through situation, in which students are grouped a teaching, facilitating or co-creation situ- around a teacher who provides them with ation, new knowledge can be unravelled, rules and instructions. The knowledge passes which can be considered research. This no- from teacher to student, but rarely the other tion will be investigated using a case study: way around. In this situation, teaching would the Soundmachines workshop developed not seem very related to research, other than at the Digital Art Lab, which was attended a process of learning, the researcher learns, by eleven boys aged 11-12. In four days, the the teacher does not, as s/he is the author- participants learned how to build an ampli- ity, the expert from whom the students derive fier, a synthesizer, and a light organ based on their own skills and wisdom. the Arduino board that reacted to music and sounds. In an environment that encourages peer

130 131 Example from the manual chines workshop was through step-by-step nel version of their amplifier. For this, they where a set of limitations, e.g. that endless manuals to make an amplifier, a synthesizer, had to borrow speakers from other groups, loops in the code would lead to freezing of and small light programs for the Arduino, a which already created some dialogue about the program, or that a short circuit would lead teaching and co-creation, however, this clas- programmable microprocessor. The partici- their plans. Having achieved the output from to malfunction and heating of components. sical paradigm is subverted. The learning pro- pants at their own respective speed could fol- multiple speakers, they noticed that addi- Within these boundaries, possibilities are ex- cess is no longer centred on the teacher as low these manuals, in groups of two. tional speakers led to a reduced loudness on plored in a way that gives space for random the motor, but instead the participants them- the individual speakers, and that they could results and lucky accidents, an iterative pro- selves drive it. This means that the teacher’s This is essentially learning by making: the achieve interesting effects by different spac- cess of alterations to a design and studying role shifts to a facilitator who is in charge of functionality of electronic parts and pieces of ing of the speakers on the table: hence, they its behaviour. materials, time keeping and assistance, but in code was not overemphasized in the process learned some principles of electronics and many other ways is also part of a community of making, the creation of an object came acoustics (preservation of power and spatiali- In the Soundmachines workshop, this ap- of peer teaching, in which s/he learns from first, which allows for a different, retrospec- sation, respectively) by experimenting and proach was encouraged in the manual by the ongoing creative processes that s/he tive way of analysis and triggered a natural making their own device. ideas to modify and/or hack the designs to seeded. curiosity for the functioning of circuitry and arrive at a unique sound or light emitting de- programs. Making becomes a method for Another approach that can occur is that of vice but the playing of the participants with 2. Co-creative learning both thinking out loud and thinking together’ hacking designs by combining parts from code went way beyond these simple exam- environments (Andersen, Nigten 2010). different examples in a playful way. Playing ples, up to a point where the behaviour of At the centre of such a co-creative environ- does not necessarily imply that a game has the programmed lights was too complex to ment stand the concepts of learning through An example for this in the Soundmachines to be played, (cf. Andersen, Nigten 2010 for reverse engineer without thorough study of making and learning by playing. The way we workshop was the project of one group of par- a more detailed discussion). Experimentation the code. stimulated this environment in the Soundma- ticipants: they wanted to build a multi-chan- can also be considered as learning by playing, 132 133 been developed each day. On the final day, the workshop: knowledge on sound design, a group attending the Digital Dance Theater circuit bending and hacking grew all around. workshop in the same time frame, all girls, This will not only inspire our own approaches came to watch the performance. The situ- to make interactive devices with sound and ation seemed to be awkward for both the light, but also feed right back into our knowl- Soundmachine tinkerers, all boys, since the edge and experience as teachers, since ideas audience was all female, but after the perfor- and approaches developed by this learning mance, one of the spectators said, admiringly, community can be shared with future learn- and you made all this yourselves?’, which ers. filled all tinkerers visibly with pride. Yet it has to be added that they did not only make, but also teach, and research themselves.

These experiences were not only inspiring to the workshop participants, also we as facili- tators marvelled at some ideas. Just as every other learner in the group, we profited from different strategies of playing and making, 3. The learning Research and learning as a community was seeing new approaches, new sounds, new community as a research also stimulated during the Soundmachines light patterns emerge which might not have engine workshop: at regular intervals, the facilitators occurred to us. Learning progressed back to As exemplified in the Soundmachines work- would announce a round of show and tell, us as teachers, as we learned from every- shop, in a co-creative learning environment, where all workshop participants had a chance one’s experimentation just as much as the different strategies of different learners came at each other’s designs of synthesizers and participants learned from our preparation of together. Some learners adapted a bottom-up light organs. Unique ideas such as the multi- approach of a plan with a desired outcome, channel output, a small mixer built by a group others experimented with code in a top-down to mix between the sounds of the synthesizer way, manipulating and analyzing the result. and those from their mp3 player, generated These different strategies are extremely pow- light patterns that quickly spread through- erful if learners exchange them. This is the out the room, soon other groups asked how peer teaching environment for which Etienne to build these ideas into their own soundma- Wenger coined the term community of prac- chines. When a group was stuck and did not tice’ (Wenger, 1998), a mutually supportive know how to take the next step, they were community where the experiences and skills referred on to other groups who had already of other learners or practitioners can be in- advanced beyond the step to help them. strumentalised to further one’s own ability to References: Andersen, K., Nigten, A. – 2010. ‘Making as Research.’ In: Real Projects for Real People Vol. 1, Nai-V2_ publishing, Rotterdam, NL solve problems, overcome hurdles, and arrive Concluding every day with a small perfor- Andersen, K. , Nigten, A. – 2010. ‘Playing as Research.’ In: Real Projects for Real People Vol. 1, Nai-V2_ publishing, Rotterdam, NL at innovative results. mance of the soundmachines additionally Wenger, E. – 1998. Communities of practice: learning, meaning, and identity. Cambridge University Press, US. Online version: htt p:// motivated the learning, as far as they had www.ewenger.com/theory/index.htm (accessed February 29, 2012) 134 135 Digital Art lab poll: Collaboration with other disciplines

The CKC design team expects that new opportunities for collaboration between ‘What I learned in the Digital Art Lab: different disciplines will occur in the Digital Art Lab after it’s initial pilot period. working together with teachers from other art disciplines, setting new peda- Source: End of term poll Digital Art Lab gogic targets, new competences and experiences as a teacher.’

Cello teacher Romke Schram, 7 June 2011

136 137 Digital Art DigitalLab – New Art Lab,media, New newmedia, competences? newArijJan competences? Verboon and Anke Asselman Kunstfactor, (Art Factor) National Institute for Amateur Arts in the Netherlands

This is a summary of the publication Nieuwe tion of Kunstfactor (Art Factor) National In- media, nieuwe competenties?: De impact van stitute for Amateur Arts in the Netherlands. 1 nieuwe media op de competenties van kun- stdocenten (New media, new competences?: Rationale the impact of new media on the competences The digital revolution of the past decennium of art teachers). The publication describes the put the tools firmly into the hands of the results of research done into the skills teach- end user. It has become easier and cheaper ers of the CKC had to develop in order to de- velop teaching material for the CKC’s Digital 1. The full version can be found at http://digitalartlab.kunstfactor- Art Lab and to teach there. This is a publica- digitaal.org/ 138 139 to make your own creations. The question is, skills are necessary to teach new media art however, whether this democratised culture education. We did this in the Digital Art Lab leads directly to better art and whether talent in Zoetermeer (Netherlands). is able to develop itself. This is clearly visible in the quality of uploaded videos on YouTube Method and in posts on social networks. Judging from This analysis consists of a literature study as the final products, the makers hardly possess well as field research. The literature study any creative skills at all 2. Consequently ex- links Henry Jenkins’ theory about participa- tracurricular educational institutions such as tion culture and new media skills to the com- art centres, indicate that: petences as prepared by the HBO-council which art education teachers should pos- • Young people are a target group that is sess (mentioned by Jaap Vinken in the arti- very difficult to reach, especially where cle ‘Competenties formuleren als strategie’ it concerns art disciplines which are not – ‘Describing competences as a strategy’). practiced in groups. Concerning the use Linking these two subjects should lead to young people make of art centres, we see working towards a new set of competences three problems. for teachers who want to integrate new me- • Students are not motivated to create and dia in extracurricular art education and thus learn outside the (online) participation connect to the world of the target group. This teachers kept a video diary. All interviewed researched as well, to check whether com- culture 3. new competence test will be enhanced with teachers also participated in the effect meas- petences surfaced here which had not been • There is hardly any, or no material avail- practical experiences. urements (see poll The relevance of digital mentioned by the teachers. This was done via able for lessons of this kind 4. technology for leisure art education, page 44) workshop formats: brief descriptions of the During field research in the period of Febru- that inform us about the teachers’ opinion workshops. In this research we focus on the lack of les- ary 2011 to February 2012 experiences of about the generic relevance of digital tech- sons on offer, and the lack of material for teachers of the Digital Art Lab in Zoetermeer nology for the leisure art sector. The members New model these lessons. A possible reason for this lack were observed and collected. Most Digital Art of the Patching Zone team and former lab The new model in this paper describes com- may be the absence of skills among teachers Lab teachers gave semi structured in-depth manager Audrey Samson were interviewed petences the art teachers are supposed to and subsequently a lack of lessons on this interviews at two moments during the year. as well. The interviews were held by Loes have according to the researchers of this subject. But to what extent are the teachers These interviews were recorded on video. Bogers, who works at the Patching Zone, the paper, in order to educate artistic creators in deficient in these skills? In order to obtain The teachers were asked about expectations new lab manager of the Digital Art Lab and this democratised mass culture. On the one clarity about whether teachers possess the re- and experiences concerning present, required ArijJan Verboon of Kunstfactor (Art Factor). hand this model continues to build on ideas quired new skills or not, we researched which and lacking skills. In addition a number of In due course the video material was ana- about (artistic) competences for art teachers lysed by Kunstfactor. Fragments were tagged and on the other hand it continues to build on and categorized by themes such as expecta- ideas about new media skills. 2 In this paper artistic skills means insight into how modern art, media and image culture works and the ability to tions, challenges, teaching, developing ma- apply these insights in the artist’s own productions. 3 Kunstfactor conducted research into new media makers in 2010/2011. This revealed that the offer of new media terial for lessons, entry level, reaching your The competences as described by the HBO- activities in art centres is virtually non-existent. (Nieuwe media maken en leren, Kunstfactor 2011 – Making and target group, reactions of people who took council are supplemented by the new media learning new media, Kunstfactor 2011) . the course. In addition to the interviews the skills as described by Jenkins. Jenkins’ model 4 Idem contents of the workshops themselves were continues the 21st Century skills model de- 140 141 ‘Testing the Competences for art theoretical model teachers in practice’ A new competence model for art teachers who want to educate artistic creators in this democratised mass culture, requires artistic cal and professional knowledge and skills in competences on the one hand and new media a methodological way for educational activi- competences on the other. In this first chap- ties. The teacher possesses the ability to cre- ter artistic competences are described accord- ate a safe and stimulating environment for ing to the article ‘Competenties formuleren students and other students. als strategie’ (Describing competences as a Didactical skills: the teacher possesses the strategy) by Jaap Vinken. In this article Jaap didactical skills to initiate, design, teach and Vinken writes that teachers for professional evaluate (art) education from a didactical art education should be trained in a com- perspective aimed at professional art educa- petence directed fashion. According to him tion. this is indicated by: “an integral approach to Ability to give direction: the teacher pos- knowledge, skills and attitude, by self direc- sesses the skills to create and maintain an in- tion and a curriculum which is aimed at stu- spiring and functional educational situation dents”. (Vinken 2004, 39). Vinken names ten for both himself and others. ‘Clarity about culture reflect the current new media be- competences and gives separate definitions • Collaborative skills: the teacher is capable whether teachers haviour of students of all ages. and contents per competence for each art of making independent contributions to a • A teacher who wishes to train artistic new discipline (fine art and design, dance, music collaborative educational product or pro- possess the required media makers has to possess these partici- and theatre). The contents of most descrip- cess. new skills or not’ pation culture skills. tions are similar. If the new media skills are • Reflective skills: the teacher is able to con- compared to Vinken’s general competences, sider, analyse, interpret and assess his own We think this will enable teachers to make the a number of competences show an overlap, (artistic) pedagogical, didactical and artis- veloped by Seymour Papert. Kunstfactor ad- translation to artistic high quality new media which results in the following preliminary set tic actions. vises inclusion of the new media skills in a production. This supposition was tested in of competences. • Potential for growth and renewal: the new competence model. Kunstfactor is aware practice by means of a case study of the Digi- teacher possesses the ability to further that the competences described by the HBO- tal Art Lab. Artistic skills develop and renew his own artistic and council were aimed at teachers, while Jenkins’ Creative abilities: the teacher makes prod- teaching skills. skills are aimed at creators/students, and After compiling the artistic competences and ucts which are the result of adhering to his • Focus on the environment: the teacher that there is a discrepancy here. Based on the new media skills we analyse whether there is own artistic vision and makes the creative possesses the ability to distinguish rel- following considerations we suggest includ- an overlap between artistic and new media process secondary to teaching. evant factors in society and make use of ing these skills into the competence model competences. Based on this we make a com- Artisan skills: the teacher possesses the abil- these for his work as a teacher. for teachers all the same. bined, preliminary model. This model will then ity to make use of a wide range of instrumen- • Communicative skills: the teacher is able be tested in practice with a case study into tal skills and artisanal knowledge in an effi- to connect, present and explain his linked • As yet concrete descriptions of new media the Digital Art Lab Zoetermeer, after which a cient and effective way. artistic, pedagogical and/or didactical vi- competences for (art) teachers do not exist. new competence model will be drawn up for (Artistic) pedagogical skills: the teacher sions in an effective and efficient way. • Jenkins’ theories about the participation art teachers. makes use of (artistic) pedagogical, didacti- 142 143 ‘The teacher possesses the ability to able to develop media productions in plu- teachers of the Digital Art Lab need to possess ral modalities (trans-media) and to follow in particular for teaching and development: initiate, design, teach and evaluate’ these where they exist already (from text • (art) pedagogical skills to film to game and vice versa). • judgement • Negotiation: the teacher is able to travel • ability to collaborate (with in addition through various communities, to distin- collective intelligence, networking and New Media skills content (music, video collages and films) guish differing perspectives and to respect communicative skills) Simulation: the teacher possesses the ability in a meaningful way. these, to understand and follow alterna- • multi- and inter-media skills to construct and simulate dynamic models of • Distributed cognition: the teacher is able tive norms and to mediate between con- • didactical skills reality by means of ICT technology. to use instruments (in a meaningful way) flicting opinions. New media brings groups • creative skills (with artisanal abilities) • Performance: the teacher is able to take on which can complement mental capacities (with conflicting values and assumptions) • potential for growth and renewal alternative, fictional identities by means (video chat, social media, visualisations, into contact with each other online, while • focus on the environment of ICT technology in order to improvise databases, 3D worlds). they would normally never meet. • reflective skills and discover, which allows young people • Judgement: the teacher is able to assess to develop a more comprehensive under- various sources for their reliability and How this preliminary set of competences re- We add to this the (not yet mentioned) com- standing about themselves and their so- credibility. lates to the practice will be discussed in the petences which are necessary for students in cial roles (avatars in 3D worlds). • Collective intelligence: the teacher pos- next chapter. the first place, but which therefore are also • Play: the teacher is capable of experiment- sesses the skills to organise the acquisition required for the teachers. ing with his environment in a playful way. of knowledge and the sharing of knowl- New set of competences • appropriation (remix/sample skills) • Remix: the teacher possesses the ability edge within a network. After testing the theoretical model in prac- • performance to sample and remix existing new media • Trans-media navigation: the teacher is tice it became clear which competences the • play 144 145 The new media skills described by Jenkins, expected to explore the possibilities of an in- networking skills are part of collaborative Potential for growth and innovation simulation, distributed cognition and nego- formal learning environment in this (see also skills. The teacher possesses the skills to further de- tiation, have not been acknowledged in the Digital Art Lab poll, on Education, page 45). velop and innovate his artistry and his teach- professional practice. For now these compe- Inter- and multi-media navigational ing. Part of this is the development of new tences appear to be of lesser importance, Didactical skills skills teaching material and exploring new ways of which is why we have not included them in The teacher possesses the ability to initiate, The teacher possesses the ability to use teaching. Innovation requires time and dedi- the final set. design, teach and evaluate (art) education various media in juxtaposition or to combine cation and a focus on the environment. from a didactical vision which transcends dis- them. Important is that the teacher knows We developed Vinkens’ artistic competences ciplines (see Digital Art Lab poll on Collabo- how different media can reinforce each other Focus on the environment in the following way: ration with other disciplines, page 136). Even and which media suit which purpose best. The teacher possesses the skills to signal • Artisanal skills are supplemented by tech- though every teacher has his own expertise Discipline-transcending thinking is therefore relevant factors in the environment and to nological knowhow. Teachers who have and is expected to use this, it is of great im- important. use these in his work as a teacher, and to be less technological knowhow feel less ca- portance to think in a way which transcends aware of the dynamics in the new media prac- pable. When artisanal skills decline they this and to let new media interrelate with tra- Creative skills will have greater difficulty offering more ditional art forms. Flexibility, out-of-the-box The teacher creates products which are a comprehensive creative knowledge to stu- thinking and multi- and inter-media skills are result of his own artistic vision and he plac- ‘Discipline-tran- dents. A teacher who possesses both skills essential in this. es the creative process in the service of his will be better able to train artistic new me- teaching. The teacher does not necessarily scending thinking is dia makers. Assessment skills have to be a new media expert, but the more important’ • Ability to give direction returns in other The teacher is capable of assessing the cred- extensive his knowhow, the better he will be competences (such as pedagogical and ibility and reliability of various sources, knows able to work and the better his abilities to didactical skills) and therefore does not where he can find information and is able to make the link with artistic goals. Part of his tice. The teacher does not have to be alert to need to be a separate competence. Col- transfer these skills to the students. creative skills should be the ability to remix all new media developments. Ideally outside laborative skills are supplemented by com- (to re-use and combine existing cultural ma- expertise is used as well. municative skills, skills for collective intel- Collaborative skills terial and to develop students’ awareness in ligence and networking. The teacher is capable of making independ- dealing with this.) Reflective skills ent contributions to a communal educational The teacher is able to asses, analyse, interpret This way we arrive at a set of twelve compe- product or process and has to be able to work Artisanal and technical skills and judge his own pedagogical, didactical tences: together with other teachers and internal ex- Artisanal skills remain important, but are com- and artistic actions. (Artistic) pedagogical skills perts. This details the outcome of the Digital plemented by technical knowhow. Technical The teacher uses (artistic) pedagogical, didac- Art lab poll: Collaboration with other disci- knowhow is useful and important, but the Ability to play tic and professional knowledge and skills in a plines on page 136. teacher does not necessarily have to be an ex- The teacher is able to experiment with the methodological way in educational activities. Developing new material for lessons is a pert. Teachers who have less technical know- environment and to use its elements of this The teacher possesses the ability to create specific requirement in this. Communication how tend to feel less skilled. As soon as artisa- in the teaching material in a playful way, as a a safe and stimulating environment for stu- skills are a prerequisite for good collaboration nal skills decline they will have more difficulty form of problem solving, and is able to com- dents/other learners in which the traditional because this enables the teacher to share his in offering comprehensive creative knowledge municate this to the students. teacher-pupil relationship is replaced by, for own expertise in a better way. In his teach- to students. A teacher who possesses both example, collaborative learning, independent ing the teacher should stimulate the students skills will be better able to train new media Performance skills learning and peer teaching. The teacher is to work together. Collective intelligence and makers in a way that ensures high quality. The teacher possesses the ability to give 146 147 workshops in which he works towards a fi- In addition to follow-up research we consider nal product, and to think of creative ways in it important that knowledge and experiences which students can present or perform their in this area be disseminated, in order to make work. He has to be able to create a safe en- art centres and art teachers communicate vironment in which students want to present with each other about the role of new media their work. in the curriculum, to let teachers share expe- riences with each other, to share newly de- Of course not all teachers are the same and veloped material for lessons and to connect each individual will attach different impor- educational art programmes both offline and tance to competences, depending on the way online. One option to stimulate this would be they work, their specialisation and field of the founding of an (online) platform in which interest. The set of competences therefore is teachers connected to art centres, art edu- more of a guideline and an inspiration than a cational institutions and online providers of set of rules. art education, can enter into discussions with each other, where they can find information Conclusion and inspiration and where they can develop a In this paper we explored a new theoreti- shared art educational programme 2.0. cal framework and we developed a new set of competences for art teachers. The set of competences gives guidelines to teachers in order to train artistic creators who create new media art of a high quality in this democra- tised mass culture. We have arrived at a set of twelve competences based on traditional artistic competences, new media skills and References: experiences from the practice of the Digital Austin, K., Pinkard, N., ‘The DYN Affinity Learning Model’, International Journal of Learning and Media, volume 2, issue 4, MIT press, US. online version: http://ijlm.net/node/12971 (accessed December 1, 2011) Art Lab. CBS, Statistics Netherlands – 2011. Dutch: ‘Nederlandse jongeren zeer actief op sociale netwerken’. http://www.cbs. nl/nl-NL/menu/themas/vrije-tijd-cultuur/publicaties/artikelen/archief/2011/2011-3296-wm.htm English: Dutch This new set of competences is an exploration youth very active on social networks http://www.cbs.nl/en-GB/menu/themas/vrije-tijd-cultuur/publicaties/artikelen/ into a new field and should be developed fur- archief/2011/2011-3296-wm.htm?Languageswitch=on (accessed October 6, 2011) ther in the future. Although the set has been Rosen, C. – 2008. The Myth of Multitasking, The New Atlantis, Number 20, pp. 105-110. http://www.thenewatlantis.com/ publications/the-myth-of-multitasking (accessed December 4, 2011) compared to the practice of the Digital Art Jenkins, H. – 2006. ‘Confronting the Challenges of Participatory Culture: Media Education for the 21st Century’, MacArthur Lab, it does require further testing in the fu- Foundation, US http://digitallearning.macfound.org/atf/cf/%7B7E45C7E0-A3E0-4B89-AC9C-E807E1B0AE4E%7D/ ture 5. This will allow the set to become more JENKINS_WHITE_PAPER.PDF (accessed september 19, 2011) specific and possibly to be extended or adapt- Kunstfactor – 2011. Nieuwe media maken en leren (Dutch only) ed. The competences of the new set should Pew Research Center’s Internet & American Life project 2009 Parent-Teen Cell Phone Survey, ‘Trend data for teens’. http:// www.pewinternet.org/Static-Pages/Trend-Data-for-Teens/Online-Activites-Total.aspx. (accessed November 27, 2011) each be tested separately and furthermore Vinken, J. – 2004. Competenties formuleren als strategie, in Cultuur+educatie 11: Beroep: docent kunstvakken Competen- it should be assessed how teachers had best 5 Also for the reason that the Digital Art Lab is currently in its ties en kwalificaties in theorie en praktijk, Cultuurnetwerk Nederland, NL (Dutch Only) http://www.cultuurnetwerk.nl/ develop new competences. pilot phase. producten_en_diensten/publicaties/pdf/cpluse11docent_kunstvakken.pdf (accessed September 19, 2011) 148 149 Digital Art DigitalLab: Art Lab:Expanding Expanding the Community theJaap CommunityBugter

The Digital Art Lab project started as an am- methods within art classes. The classical rela- bitious plan in the minds of just a few peo- tion between teacher and student changes ple. This plan was to develop an environment to peer-to-peer teaching. Furthermore, new where people could exchange ideas, collabo- ideas for experiments derive from the fields rate and create new (forms of) art with their of interest of the participants, which means peers by experimenting with digital media. that all activities of the Lab are user-driven. The focus of all experiments is not on the Participants define their own art classes and final results, but on the process of creating. the didactics change from showing and ex- This process gathers new insights on teaching plaining into learning by doing. 150 151 ‘Participants in nently growing community, where everyone digital art and media. Together with the ini- welcome to take art courses. The name CKC is the Lab use the site can join and contribute. tiators of Digital Art Lab, they organised a se- well-known within the local community. From In order for the project to be successful, we ries of workshops and meetings to inform all the start the Digital Art Lab quite literally as a stage to show realized that building such a community the teachers of CKC, thereby creating a ‘buzz’ formed the heart of CKC (The physical space their work’ would not only take time, but we also needed around the project. After this, interested of the lab is centered on the ground floor of to expand the boundaries of the community teachers applied and from these applications the building) and the Lab is meant to keep in three separate steps. The sense of com- a design team was selected. A few months forming the heart of CKC for future develop- munity first needed to grow internally, then later the Lab was used by several teachers of ment of courses and experiments. This made This ongoing process of experimenting forms locally and in the end digitally or online. I will ‘traditional’ art classes to experiment with all it easy for our team members to go out into the core of the activities of the lab, which explain these three steps in the text below. the possibilities Digital Art Lab provided. The the city of Zoetermeer to tell people about means that in order to make Digital Art Lab a teachers felt involved with the Lab and were the new Digital Art Lab, thereby using the success in the long run it was very important Digital Art Lab started as a collaboration be- very interested to use the Lab for future ex- existing brand awareness of CKC. The team from the start that many people would get tween The Patching Zone and CKC (Centre periments. They proudly showed the results of visited secondary schools to tell about the involved with the project. The more people for Arts and Culture) in Zoetermeer. Although their (students) work and commented on the lab and invite scholars for workshops that fit- feel inspired by the activities of the Lab, the the teachers of CKC at that time had already work of others, thereby helping and inspiring ted within the school’s curriculum. Both the more they will contribute in their own way, heard of the plans of the new project, not each other to come up with new ideas. This scholars as well as the Digital Art Lab team thereby creating greater results with each ex- surprisingly they did not have a clear view of meant that the internal sense of community benefitted from these workshops: the schol- periment, this was our original thought. This the possibilities of the Lab, simply because no within CKC was established. ars were excited about the experiments and idea led to an innovative view on the project: experiments had been done yet. The Patching the team gathered useful information about Digital Art Lab should not just be a classroom Zone organised a team of young professionals CKC Zoetermeer is deeply rooted into the city the fields of interest of the participants. They in a physical building; it should be a perma- who each already had a lot of experience with of Zoetermeer as a place where people are used this information to create new experi- 152 153 in the Lab. Not only do we use the medium to communicate with our target group, but par- ticipants of experiments in the Lab can also use the site as a stage to show their work. Everyone who is interested in our activities can comment on the content, ask questions or add interesting topics they have found on the Internet. All members of the community can help each other out with possible prob- lems, thereby changing the classical teaching method into a peer-to-peer teaching method, which fits perfectly with the original goals of the Digital Art Lab. The community site is also a great source of information about the interests of all members, so future experiment will continue to be user-driven and will fit the needs of the community even better.

ments together with the scholars. A primary All activities of Digital Art Lab are based People can now be of great value for the ex- example of this were two boys aged 13 and upon digital media and are primarily tar- periments even if they have never physically 14, who first came to the Lab for a workshop geted towards people between the ages of visited the Lab in Zoetermeer. They don’t even where they built their own synthesizer. After 12 till 24. This target group is used to find- have to be in the same country to be actively talking to these boys, the Lab team discov- ing information wherever and whenever they involved. With the start of this Facebook site, ered that they played a lot with the so-called want. This means a different approach to Digital Art Lab is permanently expanding its Lego Mindstorms. With this toy you can build the classical teaching methods and all com- community. and program your own robot. The team in- munication involved. This age group grew up vited them to give a workshop to explain how with computers and the Internet and uses a this works. Suddenly these boys were teach- variety of digital media to keep in touch with ing our design team how to build a robot! their peers. Therefore it is very important for the Lab not only to be visible online but also These new experiments made the participat- to actively participate in online communi- ing scholars even more enthusiastic, partially cation. The logical next step for the project because they felt part of the design team was to build an online community. Although now. This feeling of pride automatically gen- the Dutch social network site ‘Hyves’ is still erated more attention to the Lab, because popular with our target group, more and more “Designing your own game is cool!” Leroy – participant workshop the scholars started to invite their friends and people start to use Facebook as their primary game-design (10 years old) family to show their work. People who never network. That is why we decided to build our before visited CKC, now set foot in the Lab. community site with Facebook. This site adds Source: The Patching Zone newsletter 04 The local community was growing. value to all the experiments that take place 154 155 Concluding Concludingconversation con- versationwith with Ton Sandfort TonAnne NigtenSandfort

For Ton Sandfort the most important benefit a continuing dialogue has been started up of the Digital Art Lab is that the CKC has em- between the teachers and the departments of bedded a continuous R&D process into the Marketing, Sales and Communication (MSC). organisation. In many aspects the organisa- The CKC lab team underlines the importance tion is now capable of making a distinction of this dialogue about product innovation, between research & development and pro- target oriented development and market- duction. Before the start of the Digital Art ing. Meanwhile the teachers of the CKC Lab the latter was the most frequent collabo- themselves have developed a considerable rative model within the organisation. By now degree of market oriented thinking. Whereas 156 157 formerly market-thinking and target group- longer bound to the course or workshop for- Teaching will become more hybrid; some and together with our client we furnish the thinking was the special domain of the MSC mat. They are able to let go their discipline- teachers will remain teachers in the tradi- working process in such a way that it is con- department, now the teachers are literally specific ways of thinking and working: they tional sense, for example for teaching skills, ducive to the work, but the teams realise the involved in this and often take the initiative are also looking for cross-art or digital media and other teachers will become supervisors interpretation of the work into the profession- for new concepts which are then marketed or even for new educational activities outside (coaches) of learning processes. A few years al practice. They make sure the innovation according to a streamlined Product Machine their own discipline. This has created a deep ago teachers in the CKC started a study process becomes really useful! process, from concept to product. Thanks to awareness about their role as art teacher in group: the Educational Practice Group. They this way of working, we now work not only the teachers. Teachers become supervisors work on a theoretical model for this new kind This refers to another, important and tangible with target groups familiar with the CKC, but and developers of corporate processes. This of learning and today it can be combined outcome: the Design Cycle. While evaluat- also with new target groups. Before it was allows traditional patterns for lessons to be perfectly with the hands-on experience of the ing you might say that the Design Cycle is a assumed that the existing CKC students de- broken. Because the teachers are able to cre- Digital Art Lab and introduced into the prac- very useful underlying model for the future termined which activities were organised, but ate ‘learning situations’, the students can tice as a total package. This is the next step in setup of learning environments. This is a dif- these students already know the CKC and are now work in different ways as well. Students the innovation process. This process has now ferent kind of process from the one the Prod- ‘connected’ to it in a way. Now CKC teachers ask each other for things much more often, been set in motion and cannot be stopped. uct Machine provides. The Product Machine go in search of new activities for new target and this creates a situation where much more The final outcome is still uncertain. The Digi- provides marketable products and services, groups. This continually gives rise to the crea- is exchanged between them. The role and tal Art Lab has been a strong catalyst for this these are the outcomes of the innovation tion of new concepts and ideas. For example, the requirements of the pupil are central and integral innovation process. on the 6th of December there were no less this is a big change compared to traditional ‘This product than twelve concepts in line for the Product educational models. Now it is about ‘learning’ Kunstfactor (Art Factor) has monitored The Machine. and no longer about ‘teaching’. The students Digital Art Lab closely and based on this sug- innovation process have a much more active role, sometimes this gested a new set of competences for amateur and its embeddedness The innovation process, the dialogue and ex- happens very deliberately and it can go quite art teachers in new media. It is very valu- are the greatest change of knowledge which arise between far. For example, the youngsters of the Eras- able and important to reflect on these com- two fields of practice within the CKC is so- mus College who, after they were introduced petences, so they can be honed during the good’ lidified and further embedded by the Product to The Digital Art Lab, did a so-called social coming projects. Although the Digital Art Lab Machine, which was given shape in the serious internship at the CKC. They organized an art- has aimed at new roles for teachers from the process. While the Design Cycle is the foun- game. This product innovation process and Lego-robot competition. CKC teachers and start of the project, these have really come dation of the experiment, the research and its embeddedness in the organisation are, ac- the lab manager supervised them as coaches into being in practice (via the Design Cycle). the development process. In this respect the cording to director Ton Sandfort, the greatest and in February 2012 a professor of Robot- In this respect we did not work according to Design Cycle is an instrument of which you good concerning returns for the CKC, because ics of the Delft University of Technology took a didactical theory, but from a well-informed, use parts. Then things start to develop which this comprises the whole breadth of the Digi- place behind the table as a member of the experimental, hands-on approach. It would reflect part of the direction of the DAL pro- tal Art Lab. What has been realised in The jury. Only a little while ago no one in the CKC probably have been very complicated to give ject. While it is not possible to make an exact Digital Art Lab has given an innovation boost would have thought this was possible! direction based on the new competences as copy of the Design Cycle, it is however a very to the whole CKC organisation. And it also established by Kunstfactor; this is created useful training tool for teachers. The Design had a positive effect on other starting innova- A critical person might wonder whether during the process and it is a ‘gift’ for team Cycle has hardly allowed teachers time for tion processes within the CKC, or, on occasion amateur art teachers have now become re- and client, but you cannot force it into being. passivity. This approach has motivated them even served as an example. The CKC teach- dundant. Sandfort expects that teaching as And this is also an essential part of The Patch- to tread outside the field of their own profes- ers who were trained in the Digital Art Lab we know it, will become less important. Only ing Zone approach; we offer a framework, cre- sional practice; it inspired them to go out and are (thanks to the comprehensive training) no the technical training of skills will continue. ate an inspiring and productive environment explore themselves. In short, it has proven 158 159 ‘The Digital Art Lab in a few words: learning new things, enthusiasm, working together, open, new insights into teaching and giving presentations. I also learned that you do not have to know everything as a teacher, but that you should only smooth the progress of the creative processes.’

Ceramics teacher Heike Rabe, 7 June 2011

petitions or performances, then collaboration traditional, courses and educational pro- between teachers is a well-oiled machine, grammes. these are production processes which were crystallised a long time ago. The great dif- In addition to the direct results the Digital Art ference between these forms of collaboration Lab and also the Product Machine, has result- and the collaborations which come about in ed in a number of spinoffs and new services. the Digital Art Lab is that in the lab it is no The Digital Art Lab made a positive contribu- longer about production, but about discipline tion to the image of the CKC, it gives art edu- transcending development! For this reason cation a new and fresh position in the leisure also we take the liberty to say that a dance area in the city. As a result of the work of the an ideal means of development (for both the (see Digital Art lab poll: collaboration) This teacher and a fine arts teacher will find each Digital Art Lab there is now more collabora- development of concepts and for professional runs alongside the ability to work together as other on a deep level, because the Digital Art tion between urban and rural organisations. development). The huge commitment of The a very important requirement for the amateur Lab lifts them out of their own professional The CKC is increasingly a spider in the web: Patching Zone team has been of the great- art teachers of the future. Although many practice. Teachers make use of their own spe- there are intensive collaborations between est importance. They were the driving force team members have collaborated to a great cific professional knowledge, which was an secondary and higher education in Zoeter- behind the Design Cycle and took the teach- extent and very intensively, often with very important issue in the project plan for The meer and the surrounding regions. There are unexpected outcomes, the outcomes of the Digital Art Lab: connect traditional arts with regular collaborations between institutions Product Machine quite often represent singu- new technology. Only in retrospect do we see for higher professional education and uni- ‘It is about disci- lar disciplines, or are the result of new pos- that the Digital Art Lab revealed the essence versities. But the CKC also works together pline transcending sibilities the teachers see in digital media and of traditional arts. with other cultural institutions much more development’ new technology for their own professional frequently. In other words: communications practice. Although… we also see a remarka- Digital Art Lab spinoff and relations with the environment were en- ble number of duo’s from different disciplines and side-effects hanced because of the Digital Art Lab. The ers along on a flying start. Working with the who supervise students in a field of practice The Digital Art Lab also enriched the curricu- CKC is looking outward and is made stronger Design Cycle helps in letting go of the regular not necessarily their own. Often these are duo lum of courses within the CKC. For example, by unexpected partners and unexpected im- thinking-patterns of teaching methods. matches (two teachers). It may be that col- a course in digital photography has started pulses! laborative connections between more teach- and new media is integrated into the existing In the Processpatching approach of The ers are too complex. This is an enormous step courses much more often. Here new media is Patching Zone collaboration on various levels forward compared to the collaborative forms used to speed up the existing learning pro- is crucial. In the Digital Art Lab everyone has that were realized in the CKC until recently. cess (training), to bring it to a deeper level collaborated with just about everyone else. If, for example, you look at productions, com- or to support it. This enriches existing, more 160 161 The Patching Zone

Biographies Kristina Andersen is mentor at The Patching Zone and researcher and storyteller at STEIM in Amsterdam. She works with electronics Berit is a composer and researcher interested and reclaimed materials to create unusual objects in the ways we perceive, categorize and aestheticise and experiences. She has mentored and taught sound and music. She approaches this question at numerous institutes and designed and hosted through empirical and artistic research, which she countless workshops in strange locations. She also has conducted at STEIM, Amsterdam, and at the maintains her own practice. – www.tinything.com Digital Art Lab. She is currently working as a Ph.D. researcher on the perception of folk song melodies at the Meertens Institute, Amsterdam, and is part Emöke Bada is an artist currently based of the Soundlings collective of international sound in Budapest, who primarily works with still and artists. – www.beritjanssen.com moving images but experiments in other types of expression too. Most of her life she has moved be- tween continents and cultures. Through her work Inge Ploum is creator and researcher of and travels she consistently finds herself in door- contemporary media products. Throughout her ways and on thresholds between, cultures, process- work the focus is on the process and method of es and methods. – emoke.org development, always centering the enquiry on the ‘how’. Inge is currently workshop leader of a col- laborative project for the Hanze University of Ap- Loes Bogers is a concept developer and plied Sciences Groningen, serious game concept communicator. The core of her practice lies in the developer, and freelance video producer. nurturing of ideas. Her work is creative, highly col- – http://www.ingeploum.net/ laborative and shape-shifts between teaching for- mats, choreography and formal design solutions. Loes is currently lab manager of the Digital Art Lab Anne Nigten is the initiator and direc- and teaches at the University of Amsterdam. tor of The Patching Zone, a transdiscplinary media – www.loesbogers.com laboratory and professor Popular culture, Sustain- ability and Innovation at the Minerva Academy, Hanze University of Applied Art in Groningen (NL). Jaap Bugter studied Media Design at Prior to her current position, she was the manager the Willem the Kooning academy in Rotterdam. of V2_Lab, the aRt&D department of V2_, Insti- During this study he specialised in animation and tute for the Unstable Media in Rotterdam and audiovisual design. Since the summer of 2010 he project manager at the Utrecht School of the Arts, also has a bachelor in Communication. Jaap Bugter at the department of Art, Media & Technology in has been responsible for all PR and communication Hilversum and chair of the Dutch Media Art As- of The Patching Zone since April 2010. sociation, in the Netherlands. She is co-author of 162 163 the Digital Art Lab and member of the steering Lennart Boers studies Music Technol- CKC committee. She is the editor of this book and other ogy at the Utrecht School for the Arts (HKU), he publications. joined the Digital Art Lab team as an intern. He Vincent Zaalberg is a musician Romke Schram studied cello at the Royal – http://patchingzone.net shared his experience in programming for creative that has a broad interest in music and music Conservatoire in The Hague and plays in several – http://processpatching.net and artistic music applications with our team. production. After studying pop music at the Con- ensembles. She teaches cello at the CKC in Zoeter- – www.hanze.nl servatory of Amsterdam he is now playing guitar meer and is specialised in teaching young children. – http://www.facebook.com/anne.nigten in several bands and is currently studying at the She has besides a musical interest also a strong – nl.linkedin.com/in/annenigten Serge Juchko is a software engineer Conservatory of Rotterdam to become a music visual interest and combines this in the Digital Art who specializes in games and 3D applications. In teacher. Besides working as a guitar teacher and Lab in Zoetermeer. the Digital Art Lab Serge worked on the serious band coach in the CKC in Zoetermeer he is explor- – http://www.youtube.com/watch?v=mwEoceoMBcY Ralph Boeije is an innovation advi- game as his graduation project for his study at The ing music related digital electronics and processes – http://www.cellolesdenhaag.nl/ sor at Alares. He gives advice to management Hague University of Applied Science in Zoetermeer in the Digital Art Lab. and directors of government organizations and – http://www.myspace.com/vincentzaalberg companies. As an experienced project leader he is Ingrid Rekers studied sculpture at responsible for projects around the themes ‘social the Royal Academy of Art, The Hague. Her work is innovation’, ‘knowledge sharing and collaboration’ Nicolet Sudibyo studied classical a mix of sculpture and photographic-installations, and ‘social media’. In addition he is involved in the ballet at the Royal Conservatoire The Hague and where the boundary between dream and reality realization of various education and innovation danced at the Amsterdam National Ballet and in plays with a certain light. She teaches autonomous labs. He worked in the Digital Art Lab as a process Germany at the Theater & Philharmonie Essen as art and sculpture. The Digital Art Lab brought the manager and as a member of the steering group. a half soloist. She wanted to pass her passion for opportunity to develop her work and that of her As a speaker Ralph is much in demand and he pub- ballet and became a ballet teacher at CKC Zoeter- design team colleagues in a fascinating and spe- lishes about his work regularly. He wrote ‘Kennis meer. At the Digital Art Lab she combines her life- cial way. kapitaliseren’ (Capitalising knowledge) which was long computer hobby with exploring the digital – http://www.ingridrekers.com published by Alares in 2011. with dance and art. – http://www.youtube.com/watch?v=jIC8- – http://www.alares.nl/ – http://nicoletsudibyo.tumblr.com/ QtCD_w&feature=related – http://www.linkedin.com/in/ralphboeije – www://workshopbeeldhouwen.com

Kim Wijsbeek is a guitarist. He studied Peter Bogman is a software engineer. at the Rotterdam Conservatory. Currently he plays Melanie Sloot is a Dance teacher in He graduated in 2011 from the Hague Univer- in three bands; acoustic, all-round and metal. Kim different styles such as Jazz, Modern and Classi- sity of Applied Science in Zoetermeer, where he works as a guitar teacher and band coach at CKC cal ballet. She completed her Dancer Educational received his Bachelor degree of Information and Zoetermeer. In his spare time he likes to make sim- studies at the AHK in Amsterdam in 1993 and Communication Technology (BICT). The Digital Art ple computer games. He teaches a new Digital Art since then has been working with and for amateur Lab’s Break it Down dance game was Peter’s gradu- Lab course: Make Your Own Game. dancers, both in Europe and South America. She ation assignment. He favours a ‘the right tool for –http://www.facebook.com/profile. is currently working at CKC Zoetermeer where she the job’ mentality when choosing a language to php?id=1137556039 is evolving as a teacher and creator in the Digital build his software. – http://www.youtube.com/user/kimwijsbeek Art Lab. – www.demetaalunie.tk – http://melaniesloot.tumblr.com/

164 165 Heike Rabe wanted to become a potter Kunstfactor ever since she touched clay at the age of 16. After (Art Factor) finishing her master degree ceramics in Germany she started her own workshop in Rotterdam. Be- ArijJan Verboon is New Media Ad- sides producing ceramics, teaching ceramics has viser at Kunstfactor (Art Factor, National Institute always been part of the work. The time in the digi- for Amateur Arts in the Netherlands). He designs, tal art lab inspired her to discover a new area of builds and implements hybrid learning experiences creativity at the edge between technology and art. and interactive media applications. – www.heksenvuur.nl – www.kunstfactor.nl

Timothy Kok started at age nineteen by Anke Asselman has been working taking Hip-Hop lessons at Jakes Dance Factory. Af- as a freelancer in new media art education since ter years of intensive training and lessons it was her graduation (Master Art Education and Man- a logical step to start working as a performance agement) in 2010. For Kunstfactor (Art Factor, dancer. Timothy toured, among others, with GIO, National Institute for Amateur Arts in the Nether- danced in various video clips and did the choreog- lands) she contributed to various reports. She also raphy for performances during the TMF Awards. In works for the new media platform SETUP Utrecht, addition to being a performance dancer, he works where she is responsible for the ‘media- tenacity’ Bibliography as a teacher and I have been working as a teacher programme strand. at the CKC since 2008. – http://linkd.in/AAF2X6 Andersen, K., Nigten, A. – 2010. ‘Making as Research’. In: Real Projects for Real People Vol. 1, Barrett E., Bolt B. – 2007. Practice as research: Nai-V2_ publishing, Rotterdam, NL approaches to creative arts enquiry, Bolt The Magic Ton Sandfort is managing director of is in Handling, pp 27-34, I.B.Tauris &Co Ltd. US/UK CKC, initiator of the Digital Art Lab and chairman Andersen, K., Nigten, A. – 2010. ‘Playing as of the steering committee. His actions mainly con- Research.’ In: Real Projects for Real People Vol. 1, Bell, D. – 1991. Modes of exchange: Gift and com- cerned the permanent integration of the lab’s de- Nai-V2_ publishing, Rotterdam, NL modity, The Journal of Socio-Economics, Volume 20, sign process within the existing CKC organisation Number 2, pages 155-167, JAI Press Inc., US and identifying, collecting, preserving and allocat- Andersen, K. – 2007. Developing your own hard- ing the project’s learning results. ware. In: Digital Artists’ Handbook, Folly UK. http:// Broek van den, A. – 2010. Toekomstverkenning – http://www.ckc-zoetermeer.nl/ www.digitalartistshandbook.org/?q=hardware (ac- Kunstbeoefening (Leisure and Arts Fore sight) So- – http://www.linkedin.com/pub/ton-sand- cessed February 20th, 2012) ciaal en Cultureel Planbureau (Social and Cultural fort/13/827/112 Research Agency), Den Haag, NL Austin, K., Pinkard, N., ‘The DYN Affinity Learn- ing Model’, International Journal of Learning and Brouwer J., Mulder A., Nigten A. editors – Media, volume 2, issue 4, MIT press, US. online 2005. aRt&D, Research and Development in the version: http://ijlm.net/node/12971 (accessed New Art Practice, NAi and V2_ Publishers, NL December 1, 2011)

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170 171 Digital Art Lab partners:

Digital Art Lab sponsors:

We received a travel grant from:

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