Lauren Tucker
MA in Choreography and Professional Practices
Practice as Research
Word count: 3805
Student Number: 00708062
Our Secret Garden: conceiving a phygital choreographic worlds to foster creativity and connectedness with nature.
Abstract
The Secret Garden: As a way of knowing nature.’
This practice as research carries out a multi-disciplinary Practice as Research project to deepen thoughts, feelings, emotions, creativity and connectedness with nature.
Introduction
An investigation to explore how artists can play a role in the natural and digital ecosystem through creating an experience that aligns human, nature, and technology to reflect this Practice as Research process.
The term ‘Phygital’ is an emerging and growing phenomenon of the intersection between physical and digital. This will be further explained in the latter sections.
Barrett and Bolt (2010) highlight that
“The innovative and critical potential of practice-based research lies in its capacity to generate personally situated knowledge and new ways of modelling and externalising such knowledge while at the same time, revealing philosophical, social and cultural contexts for the critical intervention and application of knowledge outcomes.” (Barrett, and Bolt (2010) p.2)
This study embraces the notion articulated by Barrett and Bolt and employs a methodology to interrogate how artists can align with nature and artificial intelligence to foster creativity and devise a ‘phygital’ experience situated outdoors. The outcome aims to explore the phenomenon of metamorphosis in alignment with the whole, systemic, relational, interconnected links between artificial intelligence, nature and humanity through phenomenology, and hermeneutics. This study aims to consolidate some of the learning from previous modules, to present a performative hybrid experience, and to shape a ‘phygital’ outcome with open-ended digital orientation that focuses on deepening connectedness with nature. This project has enabled the researcher to cultivate a deeper connection with nature and to interpret the times we find ourselves in as a metaphor for metamorphosis.
Since 2020, the research practitioner has percolated a self-inquiry, grounded in phenomenology and created a number of works both live and on film to explore the theme of ‘connection’. The data collection and analysis are linked to these prior investigations, with a desire to triangulate research findings, develop creative practice as research, deepen subjective understanding of the social and ecological processes, and make future recommendations for further research concerning ecological webs and social fabric. The researcher chose the park as a site based on the context of this investigation. “COVID-19 has justified the loss of the last bit of privacy we had left, namely, our health data and who we meet in the park.” (Anderson, et al, (2021)
Seeking to foster deeper connections with nature, it aims to articulate hermeneutic perspectives to animate a ‘Secret Garden’ world to stimulate environmental imagination, playful, restorative and creative ways to transcend experiences.
The term ‘Phygital’ is an emerging and growing phenomenon of the intersection between physical and digital. ‘Phygital’ is defined as “physical events enriched by using digital technology that enables the creation of immersive and engaging experiences for users.” (Piccioni (2023)
This methodology involves integrating artistic practice and research to generate new knowledge and insights. It allows for the exploration of embodied experiences and the understanding of artistic processes through a mixed-method research lens. The culmination of the research project is a ‘phygital’ experience, that exhibits practical and theoretical underpinning and triangulation of data.
The research set out to align with the premise of this quote:
“Although some current versions of the post-human point toward the anti-human and the apocalyptic, we can craft others that will be conducive to the long-range survival of humans and of the other life-forms, biological and artificial, with whom we share the planet and ourselves.” (Hayles, (1999) p.291)
The research findings reflect phenomenological considerations of patterns in nature including metamorphosis and draw out alternative perspectives of what it means to be post-human.
The research enquiry focussed on this set of research questions:
How do the research participants think, feel and relate to nature?
How does working in outdoor settings cultivate creativity in world-building and meaning-making processes?
What capabilities are required for the research practitioner’s practice moving into natural and digital spheres?
What conditions are required for the environmental imagination to spark, human-centred ideas to flourish and contribute to connectedness to nature and digital ecosystems?
How to advance the implementation of AI within the research practitioner’s own dance practice?
LITERATURE REVIEW
The phenomenological aspects of the research allowed for research practitioner to bring her own lived experiences to the work. “Phenomenology is essentially a philosophical argument for the foundational role that perception plays in understanding and engaging with the world.” (Warburton, (2011) p.65)
Literature concerning phenomenology: Gyollai (2020); Huserl (nd); Heidegger (1971); Kant, (1974); Willis (2001); Manen (2016); Merleau-Ponty (2002); Fraleigh (1987); Rouhiainen (2007); Shutz (1975); Spielberg, (1959); Gadema (2004); Todres (2007); Warburton, (2011); Willis, (2001).
To amplify participant voices and AI-generated responses, hermeneutic methods were applied to devising material. Hereon defines hermeneutics as :
“The hermeneutic process refers to the way people interpret and make sense of experiences, usually by naming them according to their pre-existing values and ways of seeing the world.” (Heron, (1992) p.14)
“Researchers using a hermeneutical method examine talk or text by empathetically imagining the experiences, motivations and context of the speaker/ author, and then by engaging in a circular analysis that alternates between the data text and the situated scene.” (Schwardt, (2000) in Tracy (2020)
The Garden as a location in the story and what it represents was highlighted by Lelekis. “The garden itself also offers a space where class and gender hierarchies are discarded. It is set apart from the patriarchal world of the Manor. In the garden, Mary is liberated and reawakened.” (Lelekis, (2014) p.7)
The Practice as Research involves examining the embodied and cerebral aspects of the physical phenomena. Key texts concerning dance and the lived body are Borovica, (2019); Kaczmaska, (2023) Fraleigh (2015); Fraleigh (2023); Banes Lepecki (2012); Sleator, (2010); Warburton, (2011); Merleut- Ponte (1962); and Broadhurst and Machon (2006)
Literature on embodied Knowledge: Nelson (2009); Rowland (2019); Warburton (2011); Satama, (2022); (Shusterman (2012) Todres (2007); (2008)
“The site is everything. Buildings, walls, cliff themselves can dance, are always dancing, we are just there to draw people’s attention to it or sculpt the movement in some way or another.” (Rowland (2021)
Nature and Creativity Correlation is discussed in Ratcliffe, Gatersleben, Sowden & Korpela (2021 and Yeh, Hung, Chang, (2022)
“I am not separate in my work, to the self that inhabits any other part of my life. What I find in physical exploration, I find everywhere else. I teach myself through experience, allowing my internal weather to unfold through the layers of my physical, emotional and sensory landscape within this weather filled land. I unfold myself in to and onto the physical land, into woodlands, at the base of cliffs, over pebbles, onto the edge of the ocean, into streams, and between rock pools. I unfold in to the field of the hidden within the physicality of my body and the land.” (Whatley (2015) p.12)
The literature explored concerning creativity includes; Amabile et al (2005); Csikszentmihayli (1996); Dietrich (2015): (Drazin et al (1999); Farrer (2013); Hastrup (2017); Kennett at al (2018); Knight (2002) ; Mumford (2003); Pepperell, (2003); Pope (2005); Runco and Chad (1995); Satama (2022) Stephenson, (2022); Van Rompay and Jol (2016); White and Shah (2006); Williams (2018); Wu et al (2021); Yeh (2022)
“AI creativity is the ability for human and AI to live and create together by playing to each other’s strengths. It is a new philosophy, a new strategy and a new force.” (Beiser, (2023)
Key texts exploring the Artificial Intelligence and Creativity Debate: AI in Dance Creation and Choreography, AI Linguistics, AI in performance, Ethical Considerations and Challenges, exploring the intersection of artificial intelligence and creativity. Texts concerning the intersection of human and artificial creativity: Boden (2014), Broadhurst (2021); Byers (2015); Cropley, Medeiros & Damadzic (2021); Beiser, J. (2023); EL-Zanfaly, Huang, & Dong (2022); Stephenson, (2022)
Wu et al (2021)
“AI is a complement to human intelligence, and it consolidates wisdom from all achievements of mankind, making collaboration across time and space possible.” (Beiser, J. (2023)
“I would rather argue that creativity is always already, and always has been, technologically entangled as well as socially, culturally, and politically/ ideologically.” (Stephenson, (2022)
“To grasp this metamorphosis of the world it is necessary to explore the new beginnings, to focus on what is emerging from the old and seek to grasp future structures and norms in the turmoil of the present.” The author states that ‘climate change is an agent of metamorphosis and shifting geographical boundaries.’ “It is creating an entirely different way of conceptualizing the world and our chances of survival within it.” (Beck, (2016)
METHODOLOGY
A mixed methodology of Practice-led research is a distinctive element of this research project and aims to bring about new knowledge, understanding of the qualitative data, and results in performative and experiential outputs.
“In the field of practice-led research, praxis has a more essential role: making is conceived to be the driving force behind the research and in certain modes of practice the creator of ideas.” (Mukela and Routarnne (2006) p.22)
Six participants who have experience in dance including the research practitioner.
Data Collection Methods: Questionnaires were completed at the beginning and end of the process to gain a phenomenological understanding of participants' self-efficacy in relation to ‘creativity’, to collect data: participant’s positionally, intersectionality of demographics and identity, explore their prior artistic journey from a phenomenological and auto-ethnographic perspective. Modes of description, bracketing, naming the essential themes, inventive and creative experience.
Nature Immersion: Conduct nature-based experiences and discussions where participants engage with natural environments.
Encourage participants to connect with natural surroundings, emphasising sensory and embodied experiences.
Observation of creatives in ‘phygital’ exploration session: to observe how participants sense, feel and think about the phenomena of connection in alignment with human, natural and artificial, technological systems.
Reflective Audio Recordings: Provide participants with reflective prompts to document their experiences, thoughts, and emotions during and after the choreographic investigation sessions. This allows for capturing individual reflections and insight.
Sketches about how the researcher felt and their bodily impressions of the site. Free drawing to record some of the happenings and improvisations.
Fieldwork phase of artist residency in the park.
Photo analysis: “Photographs evoke bodily experiences in readers (Warren (2012)
Interviews: Conduct semi-structured interviews with participants to further explore their experiences, their perception of their connection to nature, and how it influences their creative capacity in dance.
Data Analysis:
Hermeneutic Thematic Analysis: The data from reflective journals and interviews were transcribed and analysed. Themes were identified related to participants' experiences of nature connection and its impact on their creative capacity and experiences. Commonalities and differences were established.
Phenomenological Research: Trip to see 12 outdoor art shows at Stockton International Riverside Festival and reflect on the experiences
.
2 x performances of Sunflowers- to test interactivity in outdoor and nature spaces.
Artistic Exploration:
Collaborative Workshops: Collaborative workshops where participants engaged in dance activities inspired by their experiences in nature. Choreographic elements emerge from their connection to nature and AI.
Documentation: Document the artistic exploration process through video recordings, photographs, or written reflections. Capture the creative ideas, movements, and choreographic concepts that emerge from the participants' nature-inspired dance practices.
Choreographic Laboratories: sensing, feeling and responding to nature solo improvisations
Reflection and Analysis:
Filmed and Audio Recordings of reflective analysis of photos taken during the choreographic process.
Thematic Analysis: The data from reflective journals and interview transcripts.
Facilitate group discussions or individual reflections with participants to discuss and analyse their artistic exploration. Explore how their connection to nature influenced their creative process, expanded their movement vocabulary, and enhanced their overall creative capacity in dance.
Integration of Findings: Analyse the artistic outcomes and compare them with the initial data analysis. Identify connections between participants' experiences, reflections, and artistic exploration to gain deeper insights into the relationship between nature's connection and creativity.
Research Outcomes
Artistic Outputs: Present the artistic outcomes of the research, Presentation of Choreographic ‘Phygital Trail’ which incorporates elements inspired by research participants' connection with nature and artificial intelligence and audio recordings of some of their reflections.
Research Documentation: Produce a written research report that documents the research process, data analysis, artistic exploration, and findings. Include reflective essays, photographs, and video documentation to support the findings documentation/ presentations.
Positionality:
The researcher is a female, neurodivergent, multi-disciplinary dance research practitioner from a working-class background.
The researcher’s personal values are iterative, active and creative processes:
Assumptions and bias
“The phenomenological stance seeks to approach events and activities with an investigative mind deliberately open, consciously trying to ‘bracket out’ assumptions and remain to what is present.” (Willis, (2001) p.1)
Assumptions is that this ‘phygital’ experience reflects the breadth of the research process. It has been shaped by critical reflections from research participants and the research practitioner’s own response to the research investigations and experiences in nature.
To open up the creative process, judgements were suspended to focus on the analysis of the research investigations and participant’s experiences. The critical reflections and discussions offered the research practitioner differing perspectives concerning the confluence of natural and artificial worlds, and the relational deepening of connection within both areas of practice. Although the post reflections highlighted gaps in results concerning symbiosis within the ‘phygital’ world to offer hybrid digital outputs that reflect the co-existence between digital dancing in nature. The limitations of AI made it harder to translate the full length of improvisations or set material due to the limited AI video time frame.
Delimitations for the study
The ‘phygital’ work includes Artificially Intelligent Video outputs, which offer a distorted response to the physical material cultivated in nature in the research process. They are included within the trail element of the experience, rather than co-existing with the physical material of the performative element. The experience reveals a choice to reveal an AI trail leading to a human performance that reveals the process of metamorphosis.
Limitations
Digital skills and capabilities made it tricky to master Stable Warp Fusion (AI Software) so Runway and Livens were used instead. In comparison, both do not give as accurate, ultra-detailed and high-quality results. The time of produced material was limited to what was possible with the AI outputs. This significantly impacted the outcome of the research and shifted the focus to creating a ‘phygital’ world in response to nature and the environment of the site. The number of research participants was small. The interplay between subject knowledge and the creative methodology allowed for an organic creative process, in correlation with the literature review. Immersion in nature allowed for thoughts to arise in a timely manner, without forcing, surrendering to the responses to nature.
CRITICAL EVALUATION OF RESEARCH METHODS
This research will benefit anyone with an interest in literature, nature, dance practices, and the physical and virtual interface. The critical perspectives of the work reflect my worldview and meaning-making of the world we currently live in. It highlights the brink of the post-human world, the choreographer’s own relationship with nature and the self-produced ‘phygital’ exhibition. *Please see the SWOT analysis of the research in appendices.
ETHICAL CONSIDERATIONS
All participants in the research were informed of what the research would entail and their participation within it.
Consent was given in an explicit agreement.
Choice to participate: Participants were able to withdraw from the research process at any time.
Participants were given consent to digital creative outputs displayed on the website for up to 10 years, but have been informed to contact the researcher to withdraw the outputs at any point in future.
Data has been anonymised to protect participants. No personal information is to be shared with wider networks and audiences.
Confidentiality and GDPR were respected.
Data is stored on a password-protected file on a password-protected computer.
Protecting Researcher/ Participants: Diverse lived experiences and diverse needs to be met.
Working with AI: Unpredictable outcomes (unable to control situations and responses from artists, and minimise risk with trigger warnings.) (Recourte (2019) Distributed authorship issues. (Ascott (2005); Zeilinger (2021)
This research investigation embraces that AI has a diversity challenge.
All participants and researcher expressed their conscious bias and worked with each other to identify any unconscious bias.
The researcher acknowledged multiple modes of listening, linguistic, and sensory.
Sensitive and tender conversations were kept confidential.
The researcher took a positive approach to research.
The hypothesis was not shared with participants to ensure that the research was fair, valid, and open.
The researcher continually questioned the level of risk concerning AI within the research process, to cultivate safer spaces, and to make recommendations for future codes of ethics in relation to the researchers ‘phygital’ choreographic processes in practice and best practice guidance.
FINDINGS
The researcher mapped their learning journey since the pandemic, to identify natural and organic shifts towards the theme of connection and metamorphosis. This project enabled deeper connections in each dimension of the choreographic practice as research. This was the research practitioner's first attempt at an outdoor site-responsive ‘phygital’ experience. Data reveals that “Current forms of AI have limits.” (Marcus and Davis (2019) However it is felt that the researcher deepened AI literacy through this process.
Each research participant demonstrated their own phenomenological interpretation of nature and through the practice of sensing, responding, moving and reflecting they were able to articulate their thinking, feelings and multiplicity of ways to relate to nature.
They each demonstrated their own physical interpretations of metamorphosis in terms of changing physical and imaginary states both physically and by producing an AI output. Each research participant highlighted that they feel more free, present, grounded, regulated and creative working outdoors. They were able to analyse the AI outputs, but each research participant suggested that more time would be required to achieve a symbiotic co-existence between physical and artificial forms as this was not achieved.
The symbiosis felt ambitious but the process has developed the research practitioner's capabilities in exploring dance and aerial practices as a response to nature and in developing skills in working with dance and artificial intelligence. It was felt for more successful world-building to take place. This could be a collaborative research process that brings together digital and dance research participants to foster creativity in ‘hybrid’ world-building. It was agreed that the research process cultivated the conditions required for connectedness to nature, resulting in flow states and improved focus, presence and clarity of thought.
Audio reflections in the appendices highlight some of the key considerations that emerged from the research process including the rich stimuli that nature provides. Key themes include shifting states, textures, terrain, noticing, sensing and responding, feeling elements and weather, relaxed state, presence, regulated nervous system, calming, spacious, thinking, similarities with technology and human life, opening up what is possible and the feeling of freedom. It also enabled ‘a map of your learning journey’ (Brockbank and McGil (2006) p.282)
“First artists themselves have the capacity to explore and explain complex theoretical issues that have significance across a broad area of knowledge. In most cases, this process is clarified in retrospect as issues and ideas are revealed through the process of reflexive and reflective enquiry.” (Smith and Dean (2009) p.42)
The digital hub allows for open-ended retrospective reflections and digital outputs to allow opportunities for audiences as active participants to connect to nature through a range of tasks, and prompts to stimulate embodiment and play and to document processes to diversify the engagement with this practice as research project and allow for more creativity. The research practitioner presents real-world politics, philosophical and ethical questions concerning the theme of connectedness within a ‘phygital' experience. The digital hub displays writings inspired by nature produced by chat GPT: “GPT3 transformers can produce poetry, philosophical musings, and even self critical essays.” (Thunstrom, 2022) Data suggests that the ‘phygital’ experience can advance connectedness to nature, and stimulate creativity concerning two key themes ‘connection’ and ‘metamorphosis.’
RECOMMENDATIONS
Firstly, Allow the performance to live in multiple sites to overcome the limitation of one specific geographic area and to reach a larger sample of participants. This will also enable broader perspectives of the key themes of the work connectedness to nature, AI, metamorphosis in nature, human life and digital processes.
Secondly, To continue to develop capabilities to engage with AI and nature to find creative ways to explore the complexity of the symbiosis of dance, digital and natural systems in a deeper, relational and nuanced way. The idea of connecting with nature to gain perspective opens up some thoughts about working in collaboration with a digital research artist to observe and enter the world through different technological mediums and broaden research perspectives. The open-ended orientation that calls for digital responses to the work, could enable the reach of a more diverse range of people to participate in the research.
Thirdly, To develop material and extend the process to build new creative prototypes and ‘phygital’ processes to depict metamorphosis and explore interconnectedness between human life, social fabric, and artificial and natural ecosystems to address the concluding question of how we can co-exist, deepening the scope articulated through the results and ‘phygital’ outputs.
CONCLUSION
Texts on metamorphosis by Weber (2016); Beck (2016); Latour (2021) have been key in shaping this enquiry and creative process.
This study of dancing outdoors, often immersed in nature have resulted in remarkable insights. The symbiotic relationship between site, embodiment, and human imagination has resulted in the thinking practice, and the realisation of ‘The Secret Garden: As a way of knowing nature.'
The significance of these findings extends to nature, literature, gamification, digital arts, placemaking, dance and choreographic practices. It highlights the need for systems thinking and creative ways to cultivate transformative change to solve pressing issues like climate change and navigate the post-human world.
“We need a new relationship with nature and that starts by tuning in and noticing nature and its beauty. Letting nature manage our emotions. Celebrating its presence and story through cultural events. These are key components of a worthwhile life, a sustainable life – a good life.” (Richardson and Passmore (2020)
The research practitioner supports the argument that connectedness with nature and creativity is enacted through embodied habitual multi-disciplinary interconnected and relational bodily practices. AI has enhanced this research project, in agreement with the following statement by Beiser “Inspiration and exploration that AI brings can go far more than human considerations.” (Beiser, (2023)
“In other words: where humanists saw themselves as distinct beings in an antagonistic relationship with their surroundings, post humans regard their own being as embodies in an extended technological world.” (Pepperell, (2003) p.152)
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MA in Choreography and Professional Practices
Practice as Research
Word count: 3805
Student Number: 00708062
Our Secret Garden: conceiving a phygital choreographic worlds to foster creativity and connectedness with nature.
Abstract
The Secret Garden: As a way of knowing nature.’
This practice as research carries out a multi-disciplinary Practice as Research project to deepen thoughts, feelings, emotions, creativity and connectedness with nature.
Introduction
An investigation to explore how artists can play a role in the natural and digital ecosystem through creating an experience that aligns human, nature, and technology to reflect this Practice as Research process.
The term ‘Phygital’ is an emerging and growing phenomenon of the intersection between physical and digital. This will be further explained in the latter sections.
Barrett and Bolt (2010) highlight that
“The innovative and critical potential of practice-based research lies in its capacity to generate personally situated knowledge and new ways of modelling and externalising such knowledge while at the same time, revealing philosophical, social and cultural contexts for the critical intervention and application of knowledge outcomes.” (Barrett, and Bolt (2010) p.2)
This study embraces the notion articulated by Barrett and Bolt and employs a methodology to interrogate how artists can align with nature and artificial intelligence to foster creativity and devise a ‘phygital’ experience situated outdoors. The outcome aims to explore the phenomenon of metamorphosis in alignment with the whole, systemic, relational, interconnected links between artificial intelligence, nature and humanity through phenomenology, and hermeneutics. This study aims to consolidate some of the learning from previous modules, to present a performative hybrid experience, and to shape a ‘phygital’ outcome with open-ended digital orientation that focuses on deepening connectedness with nature. This project has enabled the researcher to cultivate a deeper connection with nature and to interpret the times we find ourselves in as a metaphor for metamorphosis.
Since 2020, the research practitioner has percolated a self-inquiry, grounded in phenomenology and created a number of works both live and on film to explore the theme of ‘connection’. The data collection and analysis are linked to these prior investigations, with a desire to triangulate research findings, develop creative practice as research, deepen subjective understanding of the social and ecological processes, and make future recommendations for further research concerning ecological webs and social fabric. The researcher chose the park as a site based on the context of this investigation. “COVID-19 has justified the loss of the last bit of privacy we had left, namely, our health data and who we meet in the park.” (Anderson, et al, (2021)
Seeking to foster deeper connections with nature, it aims to articulate hermeneutic perspectives to animate a ‘Secret Garden’ world to stimulate environmental imagination, playful, restorative and creative ways to transcend experiences.
The term ‘Phygital’ is an emerging and growing phenomenon of the intersection between physical and digital. ‘Phygital’ is defined as “physical events enriched by using digital technology that enables the creation of immersive and engaging experiences for users.” (Piccioni (2023)
This methodology involves integrating artistic practice and research to generate new knowledge and insights. It allows for the exploration of embodied experiences and the understanding of artistic processes through a mixed-method research lens. The culmination of the research project is a ‘phygital’ experience, that exhibits practical and theoretical underpinning and triangulation of data.
The research set out to align with the premise of this quote:
“Although some current versions of the post-human point toward the anti-human and the apocalyptic, we can craft others that will be conducive to the long-range survival of humans and of the other life-forms, biological and artificial, with whom we share the planet and ourselves.” (Hayles, (1999) p.291)
The research findings reflect phenomenological considerations of patterns in nature including metamorphosis and draw out alternative perspectives of what it means to be post-human.
The research enquiry focussed on this set of research questions:
How do the research participants think, feel and relate to nature?
How does working in outdoor settings cultivate creativity in world-building and meaning-making processes?
What capabilities are required for the research practitioner’s practice moving into natural and digital spheres?
What conditions are required for the environmental imagination to spark, human-centred ideas to flourish and contribute to connectedness to nature and digital ecosystems?
How to advance the implementation of AI within the research practitioner’s own dance practice?
LITERATURE REVIEW
The phenomenological aspects of the research allowed for research practitioner to bring her own lived experiences to the work. “Phenomenology is essentially a philosophical argument for the foundational role that perception plays in understanding and engaging with the world.” (Warburton, (2011) p.65)
Literature concerning phenomenology: Gyollai (2020); Huserl (nd); Heidegger (1971); Kant, (1974); Willis (2001); Manen (2016); Merleau-Ponty (2002); Fraleigh (1987); Rouhiainen (2007); Shutz (1975); Spielberg, (1959); Gadema (2004); Todres (2007); Warburton, (2011); Willis, (2001).
To amplify participant voices and AI-generated responses, hermeneutic methods were applied to devising material. Hereon defines hermeneutics as :
“The hermeneutic process refers to the way people interpret and make sense of experiences, usually by naming them according to their pre-existing values and ways of seeing the world.” (Heron, (1992) p.14)
“Researchers using a hermeneutical method examine talk or text by empathetically imagining the experiences, motivations and context of the speaker/ author, and then by engaging in a circular analysis that alternates between the data text and the situated scene.” (Schwardt, (2000) in Tracy (2020)
The Garden as a location in the story and what it represents was highlighted by Lelekis. “The garden itself also offers a space where class and gender hierarchies are discarded. It is set apart from the patriarchal world of the Manor. In the garden, Mary is liberated and reawakened.” (Lelekis, (2014) p.7)
The Practice as Research involves examining the embodied and cerebral aspects of the physical phenomena. Key texts concerning dance and the lived body are Borovica, (2019); Kaczmaska, (2023) Fraleigh (2015); Fraleigh (2023); Banes Lepecki (2012); Sleator, (2010); Warburton, (2011); Merleut- Ponte (1962); and Broadhurst and Machon (2006)
Literature on embodied Knowledge: Nelson (2009); Rowland (2019); Warburton (2011); Satama, (2022); (Shusterman (2012) Todres (2007); (2008)
“The site is everything. Buildings, walls, cliff themselves can dance, are always dancing, we are just there to draw people’s attention to it or sculpt the movement in some way or another.” (Rowland (2021)
Nature and Creativity Correlation is discussed in Ratcliffe, Gatersleben, Sowden & Korpela (2021 and Yeh, Hung, Chang, (2022)
“I am not separate in my work, to the self that inhabits any other part of my life. What I find in physical exploration, I find everywhere else. I teach myself through experience, allowing my internal weather to unfold through the layers of my physical, emotional and sensory landscape within this weather filled land. I unfold myself in to and onto the physical land, into woodlands, at the base of cliffs, over pebbles, onto the edge of the ocean, into streams, and between rock pools. I unfold in to the field of the hidden within the physicality of my body and the land.” (Whatley (2015) p.12)
The literature explored concerning creativity includes; Amabile et al (2005); Csikszentmihayli (1996); Dietrich (2015): (Drazin et al (1999); Farrer (2013); Hastrup (2017); Kennett at al (2018); Knight (2002) ; Mumford (2003); Pepperell, (2003); Pope (2005); Runco and Chad (1995); Satama (2022) Stephenson, (2022); Van Rompay and Jol (2016); White and Shah (2006); Williams (2018); Wu et al (2021); Yeh (2022)
“AI creativity is the ability for human and AI to live and create together by playing to each other’s strengths. It is a new philosophy, a new strategy and a new force.” (Beiser, (2023)
Key texts exploring the Artificial Intelligence and Creativity Debate: AI in Dance Creation and Choreography, AI Linguistics, AI in performance, Ethical Considerations and Challenges, exploring the intersection of artificial intelligence and creativity. Texts concerning the intersection of human and artificial creativity: Boden (2014), Broadhurst (2021); Byers (2015); Cropley, Medeiros & Damadzic (2021); Beiser, J. (2023); EL-Zanfaly, Huang, & Dong (2022); Stephenson, (2022)
Wu et al (2021)
“AI is a complement to human intelligence, and it consolidates wisdom from all achievements of mankind, making collaboration across time and space possible.” (Beiser, J. (2023)
“I would rather argue that creativity is always already, and always has been, technologically entangled as well as socially, culturally, and politically/ ideologically.” (Stephenson, (2022)
“To grasp this metamorphosis of the world it is necessary to explore the new beginnings, to focus on what is emerging from the old and seek to grasp future structures and norms in the turmoil of the present.” The author states that ‘climate change is an agent of metamorphosis and shifting geographical boundaries.’ “It is creating an entirely different way of conceptualizing the world and our chances of survival within it.” (Beck, (2016)
METHODOLOGY
A mixed methodology of Practice-led research is a distinctive element of this research project and aims to bring about new knowledge, understanding of the qualitative data, and results in performative and experiential outputs.
“In the field of practice-led research, praxis has a more essential role: making is conceived to be the driving force behind the research and in certain modes of practice the creator of ideas.” (Mukela and Routarnne (2006) p.22)
Six participants who have experience in dance including the research practitioner.
Data Collection Methods: Questionnaires were completed at the beginning and end of the process to gain a phenomenological understanding of participants' self-efficacy in relation to ‘creativity’, to collect data: participant’s positionally, intersectionality of demographics and identity, explore their prior artistic journey from a phenomenological and auto-ethnographic perspective. Modes of description, bracketing, naming the essential themes, inventive and creative experience.
Nature Immersion: Conduct nature-based experiences and discussions where participants engage with natural environments.
Encourage participants to connect with natural surroundings, emphasising sensory and embodied experiences.
Observation of creatives in ‘phygital’ exploration session: to observe how participants sense, feel and think about the phenomena of connection in alignment with human, natural and artificial, technological systems.
Reflective Audio Recordings: Provide participants with reflective prompts to document their experiences, thoughts, and emotions during and after the choreographic investigation sessions. This allows for capturing individual reflections and insight.
Sketches about how the researcher felt and their bodily impressions of the site. Free drawing to record some of the happenings and improvisations.
Fieldwork phase of artist residency in the park.
Photo analysis: “Photographs evoke bodily experiences in readers (Warren (2012)
Interviews: Conduct semi-structured interviews with participants to further explore their experiences, their perception of their connection to nature, and how it influences their creative capacity in dance.
Data Analysis:
Hermeneutic Thematic Analysis: The data from reflective journals and interviews were transcribed and analysed. Themes were identified related to participants' experiences of nature connection and its impact on their creative capacity and experiences. Commonalities and differences were established.
Phenomenological Research: Trip to see 12 outdoor art shows at Stockton International Riverside Festival and reflect on the experiences
.
2 x performances of Sunflowers- to test interactivity in outdoor and nature spaces.
Artistic Exploration:
Collaborative Workshops: Collaborative workshops where participants engaged in dance activities inspired by their experiences in nature. Choreographic elements emerge from their connection to nature and AI.
Documentation: Document the artistic exploration process through video recordings, photographs, or written reflections. Capture the creative ideas, movements, and choreographic concepts that emerge from the participants' nature-inspired dance practices.
Choreographic Laboratories: sensing, feeling and responding to nature solo improvisations
- 6x Human and AI Co-existing in a creative space
- 2x days with participants to create work for film to be presented/ distorted in natural and artificial environments, with participant analysis and observation.
- AI Prototypes exhibited on chosen tree.
- Presentation of the performative outcome within the phygital experience with open-ended orientation
- Observations of Practice through note-taking, film and photographs.
Reflection and Analysis:
Filmed and Audio Recordings of reflective analysis of photos taken during the choreographic process.
Thematic Analysis: The data from reflective journals and interview transcripts.
Facilitate group discussions or individual reflections with participants to discuss and analyse their artistic exploration. Explore how their connection to nature influenced their creative process, expanded their movement vocabulary, and enhanced their overall creative capacity in dance.
Integration of Findings: Analyse the artistic outcomes and compare them with the initial data analysis. Identify connections between participants' experiences, reflections, and artistic exploration to gain deeper insights into the relationship between nature's connection and creativity.
Research Outcomes
Artistic Outputs: Present the artistic outcomes of the research, Presentation of Choreographic ‘Phygital Trail’ which incorporates elements inspired by research participants' connection with nature and artificial intelligence and audio recordings of some of their reflections.
Research Documentation: Produce a written research report that documents the research process, data analysis, artistic exploration, and findings. Include reflective essays, photographs, and video documentation to support the findings documentation/ presentations.
Positionality:
The researcher is a female, neurodivergent, multi-disciplinary dance research practitioner from a working-class background.
The researcher’s personal values are iterative, active and creative processes:
- Diversity
- Authenticity
- Curiosity
- Empathy
- Dynamism
- Collaboration
- Kindness
Assumptions and bias
“The phenomenological stance seeks to approach events and activities with an investigative mind deliberately open, consciously trying to ‘bracket out’ assumptions and remain to what is present.” (Willis, (2001) p.1)
Assumptions is that this ‘phygital’ experience reflects the breadth of the research process. It has been shaped by critical reflections from research participants and the research practitioner’s own response to the research investigations and experiences in nature.
To open up the creative process, judgements were suspended to focus on the analysis of the research investigations and participant’s experiences. The critical reflections and discussions offered the research practitioner differing perspectives concerning the confluence of natural and artificial worlds, and the relational deepening of connection within both areas of practice. Although the post reflections highlighted gaps in results concerning symbiosis within the ‘phygital’ world to offer hybrid digital outputs that reflect the co-existence between digital dancing in nature. The limitations of AI made it harder to translate the full length of improvisations or set material due to the limited AI video time frame.
Delimitations for the study
The ‘phygital’ work includes Artificially Intelligent Video outputs, which offer a distorted response to the physical material cultivated in nature in the research process. They are included within the trail element of the experience, rather than co-existing with the physical material of the performative element. The experience reveals a choice to reveal an AI trail leading to a human performance that reveals the process of metamorphosis.
Limitations
Digital skills and capabilities made it tricky to master Stable Warp Fusion (AI Software) so Runway and Livens were used instead. In comparison, both do not give as accurate, ultra-detailed and high-quality results. The time of produced material was limited to what was possible with the AI outputs. This significantly impacted the outcome of the research and shifted the focus to creating a ‘phygital’ world in response to nature and the environment of the site. The number of research participants was small. The interplay between subject knowledge and the creative methodology allowed for an organic creative process, in correlation with the literature review. Immersion in nature allowed for thoughts to arise in a timely manner, without forcing, surrendering to the responses to nature.
CRITICAL EVALUATION OF RESEARCH METHODS
This research will benefit anyone with an interest in literature, nature, dance practices, and the physical and virtual interface. The critical perspectives of the work reflect my worldview and meaning-making of the world we currently live in. It highlights the brink of the post-human world, the choreographer’s own relationship with nature and the self-produced ‘phygital’ exhibition. *Please see the SWOT analysis of the research in appendices.
ETHICAL CONSIDERATIONS
All participants in the research were informed of what the research would entail and their participation within it.
Consent was given in an explicit agreement.
Choice to participate: Participants were able to withdraw from the research process at any time.
Participants were given consent to digital creative outputs displayed on the website for up to 10 years, but have been informed to contact the researcher to withdraw the outputs at any point in future.
Data has been anonymised to protect participants. No personal information is to be shared with wider networks and audiences.
Confidentiality and GDPR were respected.
Data is stored on a password-protected file on a password-protected computer.
Protecting Researcher/ Participants: Diverse lived experiences and diverse needs to be met.
Working with AI: Unpredictable outcomes (unable to control situations and responses from artists, and minimise risk with trigger warnings.) (Recourte (2019) Distributed authorship issues. (Ascott (2005); Zeilinger (2021)
This research investigation embraces that AI has a diversity challenge.
All participants and researcher expressed their conscious bias and worked with each other to identify any unconscious bias.
The researcher acknowledged multiple modes of listening, linguistic, and sensory.
Sensitive and tender conversations were kept confidential.
The researcher took a positive approach to research.
The hypothesis was not shared with participants to ensure that the research was fair, valid, and open.
The researcher continually questioned the level of risk concerning AI within the research process, to cultivate safer spaces, and to make recommendations for future codes of ethics in relation to the researchers ‘phygital’ choreographic processes in practice and best practice guidance.
FINDINGS
The researcher mapped their learning journey since the pandemic, to identify natural and organic shifts towards the theme of connection and metamorphosis. This project enabled deeper connections in each dimension of the choreographic practice as research. This was the research practitioner's first attempt at an outdoor site-responsive ‘phygital’ experience. Data reveals that “Current forms of AI have limits.” (Marcus and Davis (2019) However it is felt that the researcher deepened AI literacy through this process.
Each research participant demonstrated their own phenomenological interpretation of nature and through the practice of sensing, responding, moving and reflecting they were able to articulate their thinking, feelings and multiplicity of ways to relate to nature.
They each demonstrated their own physical interpretations of metamorphosis in terms of changing physical and imaginary states both physically and by producing an AI output. Each research participant highlighted that they feel more free, present, grounded, regulated and creative working outdoors. They were able to analyse the AI outputs, but each research participant suggested that more time would be required to achieve a symbiotic co-existence between physical and artificial forms as this was not achieved.
The symbiosis felt ambitious but the process has developed the research practitioner's capabilities in exploring dance and aerial practices as a response to nature and in developing skills in working with dance and artificial intelligence. It was felt for more successful world-building to take place. This could be a collaborative research process that brings together digital and dance research participants to foster creativity in ‘hybrid’ world-building. It was agreed that the research process cultivated the conditions required for connectedness to nature, resulting in flow states and improved focus, presence and clarity of thought.
Audio reflections in the appendices highlight some of the key considerations that emerged from the research process including the rich stimuli that nature provides. Key themes include shifting states, textures, terrain, noticing, sensing and responding, feeling elements and weather, relaxed state, presence, regulated nervous system, calming, spacious, thinking, similarities with technology and human life, opening up what is possible and the feeling of freedom. It also enabled ‘a map of your learning journey’ (Brockbank and McGil (2006) p.282)
“First artists themselves have the capacity to explore and explain complex theoretical issues that have significance across a broad area of knowledge. In most cases, this process is clarified in retrospect as issues and ideas are revealed through the process of reflexive and reflective enquiry.” (Smith and Dean (2009) p.42)
The digital hub allows for open-ended retrospective reflections and digital outputs to allow opportunities for audiences as active participants to connect to nature through a range of tasks, and prompts to stimulate embodiment and play and to document processes to diversify the engagement with this practice as research project and allow for more creativity. The research practitioner presents real-world politics, philosophical and ethical questions concerning the theme of connectedness within a ‘phygital' experience. The digital hub displays writings inspired by nature produced by chat GPT: “GPT3 transformers can produce poetry, philosophical musings, and even self critical essays.” (Thunstrom, 2022) Data suggests that the ‘phygital’ experience can advance connectedness to nature, and stimulate creativity concerning two key themes ‘connection’ and ‘metamorphosis.’
RECOMMENDATIONS
Firstly, Allow the performance to live in multiple sites to overcome the limitation of one specific geographic area and to reach a larger sample of participants. This will also enable broader perspectives of the key themes of the work connectedness to nature, AI, metamorphosis in nature, human life and digital processes.
Secondly, To continue to develop capabilities to engage with AI and nature to find creative ways to explore the complexity of the symbiosis of dance, digital and natural systems in a deeper, relational and nuanced way. The idea of connecting with nature to gain perspective opens up some thoughts about working in collaboration with a digital research artist to observe and enter the world through different technological mediums and broaden research perspectives. The open-ended orientation that calls for digital responses to the work, could enable the reach of a more diverse range of people to participate in the research.
Thirdly, To develop material and extend the process to build new creative prototypes and ‘phygital’ processes to depict metamorphosis and explore interconnectedness between human life, social fabric, and artificial and natural ecosystems to address the concluding question of how we can co-exist, deepening the scope articulated through the results and ‘phygital’ outputs.
CONCLUSION
Texts on metamorphosis by Weber (2016); Beck (2016); Latour (2021) have been key in shaping this enquiry and creative process.
This study of dancing outdoors, often immersed in nature have resulted in remarkable insights. The symbiotic relationship between site, embodiment, and human imagination has resulted in the thinking practice, and the realisation of ‘The Secret Garden: As a way of knowing nature.'
The significance of these findings extends to nature, literature, gamification, digital arts, placemaking, dance and choreographic practices. It highlights the need for systems thinking and creative ways to cultivate transformative change to solve pressing issues like climate change and navigate the post-human world.
“We need a new relationship with nature and that starts by tuning in and noticing nature and its beauty. Letting nature manage our emotions. Celebrating its presence and story through cultural events. These are key components of a worthwhile life, a sustainable life – a good life.” (Richardson and Passmore (2020)
The research practitioner supports the argument that connectedness with nature and creativity is enacted through embodied habitual multi-disciplinary interconnected and relational bodily practices. AI has enhanced this research project, in agreement with the following statement by Beiser “Inspiration and exploration that AI brings can go far more than human considerations.” (Beiser, (2023)
“In other words: where humanists saw themselves as distinct beings in an antagonistic relationship with their surroundings, post humans regard their own being as embodies in an extended technological world.” (Pepperell, (2003) p.152)
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Appendices
Programme Note
"Of course the dualism of the modern mind is reductive and misleading. Of course we are all deeply interconnected and communicate in experiential, subjective ways – with each other and with the non-human world as well." (Weber (2016)
In a sense this work is somewhat auto-biographical as it reflects inner experience, and relationship with the environment. Through exposing our emotional inner world, immersed in nature, presencing and attuning to the surroundings, sensing and responding to the landscapes through embodied, felt inner experiences, I loosen the intellectual ego and move towards feelings of awe and wonder. feelings that transcend time, and nature.
In dancing outside, nature supports my creative flow. I connect to nature on a deeper level, and in noticing the patterns of transformations of natural living systems, I recognise myself. Through dancing and encoding internal experience, depletes the ego, and presents the benefits of being present in nature and interpreting the environment as in constant flux. This phygital experience demonstates a web of infinite/ durational choreographic scores to serve as frameworks to enable a shared felt experience within nature for audiences. The enquiry has resulted in more questions about how we can cultivate experiences that enable attentiveness to nature, corporeal feeling, sensorial experience to lean into feelings of connectedness to nature, and increase awareness of the inseparable networks of ecological functioning.
This work allows for audience members to shape the work through their active participation. The framework of the phygital experience aims to enable subjective embodied experience, sensory and tactile exchange with nature, and to present ideas that our humanity connects us with life. This piece reflects "Poetic Ecology", a term coined by Weber (2016). Close (2022) states that "Ecology looks at how species and individuals relate in order to create new life. Poetic ecology looks at these relations from the perspective of subjectivity and meaning. So it's not about the cause and effect; instead it's about the expressiveness of a living reality whose creative process is constantly bringing forth a multitude of fertile relationships."
Processes of attuning to aliveness in relation with various ecologies to explore feelings and notice synergies between myself as a sentient being and the relational mirroring of nature. The creative process cultivated a deeper understanding that there are synergies between mycorrhizal networks under our feet, our digital ecology of algorithms and our human nervous system or brain networks. Through processes that immerse the researcher in nature, more synergies unfold, embracing the notion "I am because we are." Through exploring the relational nature of diverse systems, boundaries of separateness blur and feelings of connectedness unfold. As an embodied, feeling and sensing sentient being, part of nature, Lauren aims to explore nature as part of a greater whole and find ways to give this phygital experience open- ended orientation that exhibits themes of 'connection'.
Literature highlights that Nature fosters creativity and wellbeing. In my own experiences, connecting with and dancing as part of nature, cultivated a greater sense of connectedness with nature and human empathy for living beings, and our ecosystems. The phygital experience seeks to cultivate a holistic approach for studying ecosystems and moving towards 'ecological freedom'.
"The individual can realise itself only if the whole can realise itself. Ecological freedom obeys this form of necessity. The deeper the connections in the system become, the more creative niches it will afford for its individual members." (Weber (2016)
The 'phygital' experience aims to challenge bias of dualistic points of view, embraces embodiment, lived experience, subjective feelings and perception through sensing, feeling and action.
“Or, perhaps more accurately, what really exists is something which grows together with the ways organisms imagine their relationships with the remainder of the world. They are not predetermined by compulsive physical laws of an external environment but rather by their own inner urges to realize themselves as a feeling body, as a center of experience and concern. Every being in this manner becomes a sort of creative epicentre of its own world. It imagines its reality by feeling what is meaningful for it to thrive. An organism interprets any influence – whether through the genes or the environment – in the light of its desire to preserve itself.” (Weber (2016) p.51)
Dancing Choreographer: Lauren Tucker
Music: Alexa Voice using Text to Voice, Unkle- Track 1- Ronin I (instrumentals), Unkle- Out of The Light, Brockley- Totally Enormous Extinct Dinosaurs, Islas Canarias - Totally Enormous Extinct Dinosaurs (This track couldn't be edited through iMovie or Garage Band so for the filmed version of the work has been replaced by A Walking Embrace- Nils Frahm.
Music Edited by Lauren Tucker
Film Footage Captured by Sam Ryley, edited by Lauren Tucker
"Of course the dualism of the modern mind is reductive and misleading. Of course we are all deeply interconnected and communicate in experiential, subjective ways – with each other and with the non-human world as well." (Weber (2016)
In a sense this work is somewhat auto-biographical as it reflects inner experience, and relationship with the environment. Through exposing our emotional inner world, immersed in nature, presencing and attuning to the surroundings, sensing and responding to the landscapes through embodied, felt inner experiences, I loosen the intellectual ego and move towards feelings of awe and wonder. feelings that transcend time, and nature.
In dancing outside, nature supports my creative flow. I connect to nature on a deeper level, and in noticing the patterns of transformations of natural living systems, I recognise myself. Through dancing and encoding internal experience, depletes the ego, and presents the benefits of being present in nature and interpreting the environment as in constant flux. This phygital experience demonstates a web of infinite/ durational choreographic scores to serve as frameworks to enable a shared felt experience within nature for audiences. The enquiry has resulted in more questions about how we can cultivate experiences that enable attentiveness to nature, corporeal feeling, sensorial experience to lean into feelings of connectedness to nature, and increase awareness of the inseparable networks of ecological functioning.
This work allows for audience members to shape the work through their active participation. The framework of the phygital experience aims to enable subjective embodied experience, sensory and tactile exchange with nature, and to present ideas that our humanity connects us with life. This piece reflects "Poetic Ecology", a term coined by Weber (2016). Close (2022) states that "Ecology looks at how species and individuals relate in order to create new life. Poetic ecology looks at these relations from the perspective of subjectivity and meaning. So it's not about the cause and effect; instead it's about the expressiveness of a living reality whose creative process is constantly bringing forth a multitude of fertile relationships."
Processes of attuning to aliveness in relation with various ecologies to explore feelings and notice synergies between myself as a sentient being and the relational mirroring of nature. The creative process cultivated a deeper understanding that there are synergies between mycorrhizal networks under our feet, our digital ecology of algorithms and our human nervous system or brain networks. Through processes that immerse the researcher in nature, more synergies unfold, embracing the notion "I am because we are." Through exploring the relational nature of diverse systems, boundaries of separateness blur and feelings of connectedness unfold. As an embodied, feeling and sensing sentient being, part of nature, Lauren aims to explore nature as part of a greater whole and find ways to give this phygital experience open- ended orientation that exhibits themes of 'connection'.
Literature highlights that Nature fosters creativity and wellbeing. In my own experiences, connecting with and dancing as part of nature, cultivated a greater sense of connectedness with nature and human empathy for living beings, and our ecosystems. The phygital experience seeks to cultivate a holistic approach for studying ecosystems and moving towards 'ecological freedom'.
"The individual can realise itself only if the whole can realise itself. Ecological freedom obeys this form of necessity. The deeper the connections in the system become, the more creative niches it will afford for its individual members." (Weber (2016)
The 'phygital' experience aims to challenge bias of dualistic points of view, embraces embodiment, lived experience, subjective feelings and perception through sensing, feeling and action.
“Or, perhaps more accurately, what really exists is something which grows together with the ways organisms imagine their relationships with the remainder of the world. They are not predetermined by compulsive physical laws of an external environment but rather by their own inner urges to realize themselves as a feeling body, as a center of experience and concern. Every being in this manner becomes a sort of creative epicentre of its own world. It imagines its reality by feeling what is meaningful for it to thrive. An organism interprets any influence – whether through the genes or the environment – in the light of its desire to preserve itself.” (Weber (2016) p.51)
Dancing Choreographer: Lauren Tucker
Music: Alexa Voice using Text to Voice, Unkle- Track 1- Ronin I (instrumentals), Unkle- Out of The Light, Brockley- Totally Enormous Extinct Dinosaurs, Islas Canarias - Totally Enormous Extinct Dinosaurs (This track couldn't be edited through iMovie or Garage Band so for the filmed version of the work has been replaced by A Walking Embrace- Nils Frahm.
Music Edited by Lauren Tucker
Film Footage Captured by Sam Ryley, edited by Lauren Tucker
"Life always has an inside, which is the result of how its matter, its outside is organised." (Weber (2016)
| par_interview_questions_.docx |
| swot_analysis_of_par_.docx |
Tree as a symbol for life and renewal
"Poetic ecology restores the human to its rightful place within “nature” — without sacrificing the otherness, the strangeness and the nobility of other beings. It can be read as a scientific argument that explains why the deep wonder, the romantic connection and the feeling of being at home in nature are legitimate — and how these experiences help us to develop a new view of life as a creative reality that is based on our profound, first-person observations of ecological relations. Poetic ecology allows us to find our place in the grand whole again." (Weber (2016) p.3)