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Emergent Strategy Response

Q: How would you define emergence? What is its opposite?

A: “The movement from low-level rules to higher-level sophistication is what we call emergence.”  I think emergence is mainly about a process of a collection or a complex system, but not the individual members. For example, how individual items (e.g. ants) combine to make a super-organism that ‘has a mind of its own’, and how in our human lives such a thing as a city emerges as the product less of planning than of dynamic interaction.

As for its opposite, I believe emergence is quite a subjective topic, the property of emergence often not related to its individual items. So divergent or declined might be the opposite side of emergence.

 

Q: Do you find any of these principles more difficult to achieve than others in your own creative practice? How?

A: I think the most difficult principle to achieve is “There is always enough time for the right work.” in my practice. It reminds me of the process I spend on my work, if it is not good enough I may always protect my ego with the excuse of limited time. After finishing the project/practice, I would rather spend my time on other different things than reviewing or completing the previous work. The principle inspired me to spend my time appropriately on the right work, the fixed deadlines never account for all the unexpected things that always happen on every project.

Borders: Salt

Possible Points:

(Read through the “Salt” article from Wikipedia to get basic ideas around “borders”.)

  • essential for life
  • food seasoning
  • salting – food preservation
  • civilization
    • the first city in Europe was a salt mine
    • around 6000BC, saltworks in Rome & China
    • different food resources of nomads and agriculturalists lead to different needs for salt
  • an important article of trade
    • salt roads
    • barter
      • the obsidian trade in Anatolia in the Neolithic Era
      • about 2800 BC, the Egyptians began exporting salt fish to the Phoenicians in return for Lebanon cedar, glass, and the dye Tyrian purple
      • the Phoenicians traded Egyptian salted fish and salt from North Africa throughout their Mediterranean trade empire.
    • in Africa, as currency
  • cities along the river Salzach related to salt
  • wars & tax
    • Venice won a war with Genoa (? & relations with the American Revolution
    • Cities on overland trade routes levied duties
    • governments imposed salt taxes on people
      • The voyages of Christopher Columbus – were financed by salt production in southern Spain
      • the oppressive salt tax – the causes of the French Revolution
      • tax, pay for Napoleon’s foreign wars
      • Salt March in India
  • Religion

Upsides:

  • food seasoning & food preservation
  • promote civilization
  • promote business
  • cities related to salt flourished
  • government got tax

Downsides:

  • cause wars
  • salt tax increases the burden on the people

Cultural differences:

(Mainly related to religion… Or I can focus on the differences between salt in Chinese and other cultural histories

 

Research on cosmetics of the skin topic

People’s lives are often inseparable from cosmetics. As a decorative material that directly touches the skin, it has both advantages and disadvantages.

 

Advantages
First of all, the modification of the skin cannot be denied. Cosmetics can increase self-confidence and cover up health flaws to make people look healthier. For certain jobs, cosmetics can also play a role in disguising.

 

Shortcomings
However, the damage of cosmetics to the skin also exists objectively.
Liquid foundations can make the pores of the face airtight. While the eyeliner may irritate the eye. Besides, heavy metal elements such as lead and mercury in lipstick will lead to a fiasco in the long-term use of lip color, which further aggravates the dependence on lipstick and falls into a vicious circle.

 

Questions

闪 眼影 的图像结果
Cosmetics have severe problems in the production chain. The glitter used in the eyeshadow is made from mica flakes. Many of these mica is mined by child labor in India. 60% of the high-quality mica used in the cosmetic industry comes from India. There are now about 22,000 child laborers in such mica mines in India. The particles that children constantly inhale can lead to respiratory diseases such as asthma, silicosis, and tuberculosis. Even more frightening is that these mines may collapse without warning and children will be buried underneath.

 

Research areas I am interested in, which may not be relevant to my topic
Example: https://www.vice.com/en/article/3dpxmk/electronic-skin-future

Topic: Skin as material, medium, and metaphor as manifest in contemporary art practice
Touch is a general term for mechanical stimuli such as touch, sliding, and pressure. The tactile devices of most animals are all over the body, like human skin, which is located on the surface of the human body and spreads all over the body. There are many kinds of tactile devices, some feel hot and cold, some feel itchy, and some feel smooth or rough, different. Different parts of the skin feel different to different things because the number and types of different receptors are different. The human face, lips, fingers, and other parts have many kinds of receptors, so the feeling of these parts is very sensitive.
The perception of human skin is qualitative but not quantitative. The tactile sensor can imitate human skin, and what is even more amazing is that it can also express the feelings of temperature, humidity, force, and other feelings in a quantitative way, and even help the disabled to obtain the lost perception ability. For example, a new type of hairy electronic skin can enable robots to quickly distinguish slight air fluctuations caused by breathing or weak heartbeat vibrations. The sensor is even more sensitive than human skin and could be widely used in prosthetics, heart rate monitors, and robotics.

I hope to use this technology to design a lizard that can experience the emotions of the audience and express them through the state of the electronic skin, so as to complete the emotional interaction with the audience.

Emergent Strategy Response

“I often feel I am trapped inside someone else’s imagination, and I must engage my own imagination in order to break free” (18)

  • Q: Have you felt trapped inside of someone else’s imagination? How have you broken free?

 

Design is just a creative discipline that blends art and poetry, which is based on imagination.

Art + Poetry + Design, the most intuitive symptom is buying something out of impulse. When we buy something, in many cases, we are not paying for the function, but for”love at first sight” for that thing, even without any explainable reasons. Because “the beauty of things” touches me, surprises me, delights me, and resonates with me. The moment I see it, a germ called Poetry infects me, allowing me to develop an emotional connection to the object for a short period of time, being trapped in the poetic world the designer depicts. This is a feeling that transcends functions, being an indescribable fate.

This is also the meaning of carrying art and poetry into industrial design.
Using an item that can be bought and owned as a carrier, redefine the surrounding space, let us briefly transcend our daily life, and pull us into a dimension full of imagination and beauty. At that moment, we shortly came into contact with the essence of human nature, looked at ourselves from the inside, made ourselves higher than the level of material existence, and achieved spiritual fulfillment.

 

With the help of design products,  it is a blessing to indulge in the beauty of the designer’s imagination, without any reasons or necessities to escape.

Emergent Strategy Response

“I often feel I am trapped inside someone else’s imagination, and I must engage my own imagination in order to break free” (18)

  • Q: Have you felt trapped inside of someone else’s imagination? How have you broken free?

I think in responding to this, I have to consider if I actually have broken free. At the macro level, I think it’s safe to say that I have not. I feel very trapped inside the imagination of a capitalistic, materialistic, progress-for-progress’s sake culture. Despite lofty goals, I find it hard to break from the worn-in paths defined above. But if I have taken anything from this reading, it is that a macro-level reading of experience might not be the most fruitful place to start, so let’s look for some bright spots, shall we?

Being an artist, maker, and designer is a break from some imaginations. Growing up, I knew that I was vocationally called to making things, but it was not clear how that would translate into a career path. It is probably a similar story for many such artists and designers (and peers in this program!), but the imagined state of “starving artist” is pervasive. I was lucky to have a network of support that trusted me as I learned to trust myself, fumbling forward through art, craftspersonship, and several other threads to my current home in the world of design.

Other examples might be found in moments of change — moving to new cities, leaving jobs, leaving boyfriends. Deciding that something different is out there, and that “different” looked promising. I do want to spend more energy imagining futures that I want to see, for myself and for the world around me.

 

  • Small is good, small is all.
  • Change is constant. (Be like water.)
  • There is always enough time for the right work.
  • There is a conversation in the room that only these people at this moment can have. Find it.
  • Never a failure, always a lesson.
  • Trust the people. (If you trust the people, they become trustworthy.)
  • Move at the speed of trust. Focus on critical connections more than on critical mass — build the resilience by building the relationships.
  • Less prep, more presence.
  • What you pay attention to grows.

Q: Do you find any of these principles more difficult to achieve than others in your own creative practice? How?

I am heartened by the idea that “small is good, small is all.” I hesitate to call what I do a “creative practice,” even though I think that empirically that’s what it is. But the work that I do is sporadic, scattered, and simple. The things that I do feel small. Embracing “small” makes me feel as though I can do work that would fit into something I would call a practice. That it doesn’t have to be daunting, it doesn’t have to be complex, it just has to be, and hopefully be intentional. I am excited to focus on setting intention in order to catalyze small works.

Kinship: Colonial Organisms

Diving into the world of colonial organisms, one is hit with a myriad of scientific jargon straightaway: zooid, bryozoans, siphonophores, polymorphism and the list goes on and on! But what are they?

Colonial organisms (i.e. colonial animals, colonial-forming animals,  superorganisms) are animals that are made up of many individual organisms, of the same species, that are attached together to form a colony. The individual organisms are called zooids, and they are not able to live on their own, outside of the colony structure. The rely each other for survival.

There are some species where all of the zooids within the organism are identical clones of each other. There are other species where each zooids fulfills a different need for the organism as a whole: each category of zooid works together to make sure that the organism is protected, fed, is able to navigate, etc. Siphonophores, one type of colonial organism, have zooids that have evolved to catch food, other zooids work to protect the organism, and others still handle navigation and swimming so that the organism can move around. This idea of a species having different types or forms is referred to as polymorphism.

I found this paradigm particularly linked to the excerpts from adrienne maree brown’s Emergent Strategy. Several times brown brings up biomimicry, which is the “imitation of the models, systems, and elements of nature for the purpose of solving complex human problems.” She even uses the example of ant societies as one of the principles of emergent strategy where individuals act collectively to survive. While ants don’t fit the definition that of colonial organisms, in that they aren’t attached, they are certainly organisms that live in a colony and act for mutual benefit of their society.

As mentioned above, some colonial organism zooids produce identical clones of themselves. Corals, bryozoans and other species however create offspring which are genetically similar but not identical. These offspring are recognized by the parent colony as “kin cells” as Lara Beckmann notes in The Fascinating Lives of Colonial Animals. “Only cells with sufficient genetic similarity are accepted – others are not welcomed and will be rejected.” By evolving to combine with other colonies, instead of just reproducing identical zooids, these colonial organism species increase their genetic diversity. This may be why these colonies “grow faster, are more resilient against environmental threats, and that competition with less closely related neighbours is reduced”.

As I continue to explore colonial organisms within the context of kinship, I wonder if kinship that we see in human relationships is another early form of biomimicry, or is it another example of an evolutionary habit that the human species has adopted.

Initial Research on Landfills (Space)

Landfills are basically places where trash or other forms of disposable waste are gathered and buried as a means of storing garbage. It involves a process of digging a hole (really of any size but generally quite large) and once the hole is full of trash it is then covered with soil or other materials such as wood chips or sand. They can also be used for other purposed such as a pile to sort trash into different categories (example trash vs recycling) or for temporary storage before the contents are moved to a more permanent location. 

The type of landfill is usually determined by its contents. Some landfills might be designated for chemical or industrial waste while other might be for nuclear, household, or toxic waste. The waste is typically compacted prior to dumping in the landfill as a means of adding both stability and increasing the amount of waste that can be put into a given landfill hole. 

Landfills tend to be the most common form of large-scale waste disposal since they are efficient (in that you can store a lot of material in a relatively small area through compaction) and allow for a degradation cycle of the garbage contained in the landfill. Certain material may be grouped together to allow bacteria, fungi, and other microbes to process and dissolve the waste contained within the landfill.

Some common issues associated with landfills are: groundwater contamination (particularly with landfills in areas with high rainfall), landfill gases (several types of gas form within landfills and they can be toxic to the surrounding land and air), carbon/methane emissions, spread of diseases (through rats, mice, and other wildlife that may travel to the landfill in search of food), loss of habitat (landfills require a lot of space), odor, noise, destabilization/soil liquefaction (since landfills are compacted trash, they can degrade and destabilize during earthquakes causing the soil to collapse, potentially creating sinkholes and contaminating groundwater).

Landfill regulation changes based on country/region/state. They are rich in materials and energy and are often harvested for those purposes. There are usually taxes and other municipal regulations that determine how much a landfill will cost to build and maintain as well as how they must be managed, contracted, operated, expanded, etc.

Emergent Strategy Response

Q: Do you find any of these principles more difficult to achieve than others in your own creative practice? How?

I really struggle with the “change is constant” one. For me it’s less about the change outside of my project and more that I can always change and improve the thing I’m working on. It’s really hard for me to let go of projects because the idea of “improvement” makes me feel like they are never truly finished. I often find myself going back to old projects, even scrapped ones, just to see what I can change and update.

 

Q: Without overthinking it: which of these elements brown describes most immediately feels evident as part of your creative work, and how? Or, if none of them do, which feels like one you might intentionally integrate, and why?

I would say the one that feels most evident is the element of “Adaptive”. It’s important to be adaptive in the process because the work should evolve as more information/experience is gained. It should also be adaptive to the changes in conditions surrounding the work (example is was supposed to be a physical work that is now digital due to constraints like COVID). Changes will always occur during the creative process and a work needs to adapt to and with those changes. 

Emergent Strategy Response

Answers to Emergent Strategy Responses

Introduction 

“I often feel I am trapped inside someone else’s imagination, and I must engage my own imagination in order to break free” (18)

  • Q: Have you felt trapped inside of someone else’s imagination? How have you broken free?

I didn’t feel much from this line at first – I consider myself an imaginative person, and spend a lot of time in my own head. But as I read the rest of brown’s introduction and her love of science fiction, it occurred to me, that the time I spend thinking is kind of centered around what currently is rather than what could be. I am still working on ways to break free into my own imagination, but do feel that engaging in creativity helps – whether it be my own, or enjoying someone else’s work. Also, sometimes yoga or mediation helps me feel more connected to something greater.

Elements

  • Q: Without overthinking it: which of these elements brown describes most immediately feels evident as part of your creative work, and how? Or, if none of them do, which feels like one you might intentionally integrate, and why?

The element I first felt a connection to was Non-linear and Iterative, specifically focusing on the iterative piece. In my technical work, iteration is key. Everything I do is adding one small piece to my software, making sure I don’t break the other pieces of the system, and slowly building something new. I also identify with this way of thinking in my personal life, and seem to embrace iteration as a mean to problem solve. If there is something in my life that feels difficult or unsettled, I try to make a small change to see if I can feel some sort of improvement, before making bigger, drastic changes. brown’s inclusion of the work “non-linear” in this element also feels very important. I feel strongly that many experiences we have in life fit together in a non-linear fashion. The way we learn, grow, fall in love, etc. However, that non-linearity is sometimes difficult for our logical brains to absorb and follow. Oftentimes, I catch myself feeling unfulfilled, unsatisfied or despondent about changes in my life when I’m not able to plot them linearly. This is definitely something I’d like to work on, and explore more. I wonder if to better understand non-linear concepts, it is helpful to put them in the context of a greater system. Perhaps this is brown’s point