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  • Tiffany von Emmel 2:25 pm on August 15, 2010 Permalink  

    At HOME – an invitation 

    What is Home? When are we at Home? Where is Home?

    Dietmar and I are starting a participatory art project over three months, called “At HOME with Tiffany and Dietmar”.  I invite you to join us. This may or not surprise you, depending on which context you know us from. So, here is  the backstory and a meta-story [but not meta-data] about participatory design thinking

    Why At HOME

    Dietmar and I met in 1998. We met as change agents who had both come to work and learn with Anna Halprin, a pioneer in collaboration methodology and community choreographer for social change. Anna and Lawrence Halprin, environmental architect, are known as leading social design thinkers across disciplines in design, health, psychology, and systems sciences. Anna had developed her work as part of her recovery from colon cancer.  I related to Anna’s path, as my journey with Ulcerative Colitis over fifteen years has focused my work similarly on creating resilient processes of organizing networks in unpredictable environments.  In this shared ground of participatory design thinking, Dietmar and I began our life and work together as collaborators. We started up Improvisation Labs, developing transformative learning groups in East Berlin.  We led tranformative inquiry labs for change agents and communities. We then founded Dreamfish in 2006.

    Meanwhile in the background, what has enabled us to take these risks to innovate for a decade was a wonderful physical home in San Francisco. How we have this home is a story unto itself about participatory design thinking…

    I had arrived in San Francisco in Fall, 1997. I was in midst of a series of surgeries at Cedar Sinai Hospital to stabilize my health after years of learning to live every moment in the unknown. Now, I wanted to start fresh in San Francisco.  I came to San Francisco with little but I knew a few extraordinary people.  And, it was the Dot com goldrush days of 80 people standing in line for one vacant apartment.  But, finding a home in these conditions felt doable. I had become comfortable working with the ambiguity of the unknown, a positive outcome of uncertain health.

    Here was my process for finding a home – in design terms, here is the”Score”…

    I didn’t look in the paper for listings (starting with data and information), then fill out an application (more data, information), and end up with a transactional contract (more data). Nor did I “solve a problem” and fix it.  Instead, I started with connection. I connected to my own wonderment. I then connected with someone who knows me and whose way of Hominess I appreciated.  I asked Doug Paxton. Doug said, “Check out Noe Valley.  Its sunny, peaceful, and close to the Castro. My intuition is that you will like it.” I listened and paid attention. Then, I connected with the place, walking the neighborhood. Increasing the participatory pattern, I then connected with more people and had more conversations.

    I talked with elderly people, because they were the most connected. They knew the place and people (They had relational knowledge).  Within a few hours, I had a new friend, Angie, who then introduced me to Mel, her neighbor.  Mel was in his 80′s and hadn’t rented his second story of his building for years. We became  friends. I renovated the flat. Mel rented the flat to me for a very low rate. My friend, Urusa Fahim, joined me and the home enabled us to focus on our doctoral studies.   Then, Dietmar and I met, and we all became family to each other.

    For 12 years, Mel, Dietmar and I have shared household resources, shopped for groceries, gone out to dinner and to the doctor’s office. We have cared for each other as human beings. In the process, we have together reduced our environmental footprints and our costs. We have learned together. With his Depression era frugality, Mel helped us become more resource-conscious, inspiring our Clothesline Laundry behaviors.  Mel now uses a cordless phone.  This “landlord-tenant” interaction has been a practice of Home (practical knowledge). It is also an example of how the property rental business can be Human Work.  We traveled, lived sometimes in Berlin, but always came home to Mel.

    This every day know-how of Home has nurtured greater capacity from which we do our work to enable social impact (ie. Responsive knowledge). We owe much gratitude to our Home.

    Now, Mel has moved to a nursing home in Washington, and the family is selling our house. We are sad about parting from Mel and our home. But, rather than seeing this transition as a problem to solve, we’re looking at this as an opportunity to connect with what matters and start a new life.

    Oy! Where will we live? you might ask. We’re not there yet. We’ll start with connection.  We’ll start with gratitude and honoring of Home. We’ll reach out to connect with you. This practice of increasing participation will gives rise to knowing what our new home will be. How?  Here is our Score for we will emerge in a new home (Axiom: Improvisation requires Agile planning.) …

    How At HOME: the Score

    The Score has four phases:

    1. Honor Home – Appreciate our experience of home. Invite participation in the appreciation

    2. Go Home! – Digitally increase participation.

    3. Discover Home – Explore new spaces to inhabit and call home.

    4. Inhabit Home – We inhabit a new home.

    Timeline

    August 28th: Honor Home
    Aug 28 – Sept 30: Go Home!
    October 1 – December 31: Discover Home
    January, 2011: Inhabit Home

    Roles/People

    Go Home!
    • Tweet at: #AtHome
    Discover Home
    • Home
    Inhabit Home
    • TBD!

    1. Honor Home

    Transformation of space into a container for unfolding HOME
    • Hang clothes lines within reach across room
    • People pin the paper-cut HOME icons to the lines with clothes pins
    • People create paper-cut home icons with visual art materials.
    • People enter space to unfold an inquiry into HOME

    Want to get involved?

    Please participate here on this blog and…
    • Tweet about what is HOME at: #AtHome
    • Share photos of HOME at Flickr Group: #AtHome

    What is Home to you? When are you at Home? Where is Home? How did you discover your home?

     
    • Lisa 1:52 pm on August 19, 2010 Permalink | Reply

      I am a home body, no question about it. Home is definitely my physical house in Oakland. Being a practitioner of yoga, I sometimes worry about my attachment to the stability and safety it provides — our home is blocks from the Hayward fault. But mostly I am just grateful for the pleasures of cooking in my kitchen, puttering in my vegetable garden, hanging the wash on my clothesline, chatting with neighbors, and settling in on the couch for a movie night with my husband and dog. To me, home means simple pleasures.

    • Jill 9:29 am on August 20, 2010 Permalink | Reply

      Home is where I am. Home is inhabiting reality and the present moment completely. Home is embodying self and having space to connect, create, + contemplate.

    • Paul 10:15 am on August 26, 2010 Permalink | Reply

      safety, ease, dropping of “public personae,” intimacy, eros, foolishness, awkwardness, deep recuperation, trust, familiarity, reliability, creative opportunity, productivity, reflection, expression, hosting, cleaning, organizing, decorating, maintaining, …..

    • Larry 4:26 pm on August 28, 2010 Permalink | Reply

      too many rules…

    • Nnenna 3:30 pm on August 31, 2010 Permalink | Reply

      I have five homes and building one right now.

      I come from a quaint little village in the eastern part of Nigeria in West Africa. We had a family tragedy when my father was assassinated at ‘home’ . This triggered a wave of traumatic reactions in the family. So we packed my mom and siblings and just left home. So all three houses are empty.

      We rented a small place in the nearest town. We did not want my mother to lose the attachment but we needed everyone safe. The new place is smaller and space is not really there. But it is home. Because that is where the family members feel safe.

      My partner and I have a place in Accra, Ghana. Nice neighborhood in the chic part of town. There is a huge mango tree there and whenever it fruits, the whole neighbors get a real feast! The house has got a large sitting court and we have enjoyed gallons freshly-made fruit juice there. This place represents calm and quietness for us

      My partner also has another house in the western part of Ghana – Takoradi, actually it is called Esipong hill. The house is behind a stadium and overlooks the Atlantic ocean! Beautiful place. We are gently moving from Accra to Esipong now. Lots of fixing to do. Lots of future plans too.

      I am doing this reply from Abidjan in another apartment. It is pure white – pillars, rooms, floor, walls everything. A friend of mine had the place but refused to let it go. We both decided to make it a home. A peaceful place. To an extent that has been a success. It has become a kind of refuge to many people. They actually come just to ‘feel’ the peace and ‘be at home’.

      A new house is being built now. We call it ‘Lot 17′. It is a different experience. We have been building it from literally ‘ground 0′. The structure is up, the tiles are now being laid. I have a special attachment to Lot 17. Like raising a child! So many heartaches but far more joys!

      So here are to all the homes where we have memories, find safety, find calm, dream of the future, seek refuge, and construct our dreams.

  • Tiffany von Emmel 2:38 am on July 13, 2008 Permalink
    Tags: open culture, use of self,   

    To breathe life open 

    Breathing in, I am mountain. Breathing out, I am solid. Thich Nhat Hahn

    Openess is fundamental to Life. Human, biological, ecological, organizational process depend on feedback to learn, and enable resilience and adoptation.

    This may seem obvious, if you are immersed in an Open Source or Open Space community or Organizational Improvisation. However, Openness is so radical within an organizational context, that a culture of openess needs to be continually fed and nurtured by everyone. People do tweaky things when stressed or anxious.  Muscles go into lockdown and breath shortens. Doors are shut. Groups closed. Communication slows. After awhile, patterns of fragmentation and discontinuity emerge in a system. When recognizing this, as a facilitator, it is time to  open the window, increase honest exchanges in the system to strengthen connection where silos had mushroomed, and amp up curiosity and playfulness.

     With sustainable development projects and organizations who support
    sustainability, like Dreamfish, the same is even more true. Openness is required in a big way to create a support system for change agents working for sustainability.
    Resilience and adaption need to built into processes to deal with
    environmental challenges
    . For an organization to support  patterns of
    resilience, the ecosystem of the organization needs to breathe life
    with an open culture.

    So, this is a reminder, to myself, to take a break, relax, increasing blood flow to the blood vessels, soften the breath to increase oxygen, thus to open up.  Because, as we each practice openess, we take a stand for Openess. The practice of openness nurtures Openess.

    On Openness and Sustainability:
    - Jamais C.’s http://openthefuture.com/2007/02/the_resilient_world.html
     

    http://oae.sagepub.com/cgi/content/abstract/9/4/482

    Lenore Newman, Uncertainty, innovation, and dynamic sustainable development, http://ejournal.nbii.org/archives/vol1iss2/0501-001.newman.html

     
  • Tiffany von Emmel 8:23 am on July 7, 2008 Permalink
    Tags: agile development,   

    Product development as improvisation 

    Yesterday, Sunday morning,  a member in the Dreamfish
    community, called me at home to tell me he was in town.  Michael is a
    community builder in Seattle, who works at a local level to facilitate
    groups and neighborhoods to move towards sustainability. Michael was in town for the 20th Annual contact improvisation festival. We had never met in person, but we have exchanged on Dreamfish.

    And in
    the familiar communication pattern that fellow improvisers take on with each other,
    Michael and I didn’t dive into our calendars to schedule a meeting.
    Rather, we established an intentionality to meet soon,
    exchanged our mobile phone numbers as an agreement to be in exchange,
    and communicated about what we were doing where and when…and so, we
    will meet in whatever form our interaction will emerge.

    What serendipity that he called, I thought. I
    was in the midst of planning a session for Dreamfish team to practice
    movement improvisation as a way to support organizing principles for
    sustainability in our organization and web development.  A
    thoughtful emergent design process in collaboration with clients is one
    of Dreamfish’s improvisational practices.  And here, Michael Dobbie, our community member aka
    customer and improviser, comes along just at this moment. I think I will ask him if he wants to participate in our jam ession, called product development…..or maybe while at the  Contact Improvisation festival.

    In this encounter, I am reminded of how many amazing change agents there are in this sustainability network, whom I would like to reconnect and collaborate with as we continue to produce the New Thing of Dreamfish around the corner. I have had less frequent communication with you for awhile as I was building. And, I would like to adjust course and be in closer communication, to support product development as an Agile community jam as we move forward.

    Improvisation is the art of
    facilitation of a system. With a high
    comfort with ambiguity, we produce our collective creativity through
    establishing the container of shared intentionality, balancing the
    frequency of exchanges, and sharing the differences that influence our
    choices. These three things–Container, Exchanges, and Differences
    —are elements, which two of my colleagues,  Ed Olsen and Glenda Eoyang , describe as the organizing principles of  a complex adaptive system. Facilitators of a system practice an art of
    listening in the present moment and responding by tweaking these elements to enable a healthier system. 

    We have some artful change agents in the thousand people within the community of Dreamfish. Let’s jam!

     
  • Tiffany von Emmel 4:05 am on February 4, 2008 Permalink
    Tags: improvisation everywhere, new york,   

    social improvisation video 

    Paul Loper just forward this video. What you see is 207 people performing an improvisation score in Grand Central Station in New York. It is choreographed by the group, Improvisation Everywhere . The improvisers are pedestrian in their look and gestures and the score is very simple: Freeze at the same time for five minutes, and then unfreeze and continue on. You then see the reaction of the people around the performers, as their reality is shaken. What I love about this performance and the way the video depicts it is that it shows a key principle of improvisation in a simple obvious way. In the stillness of practicing presence, we learn to more actively live in the gap between what is habit and what is possibility. The practice of making choices in this open zone, we can learn to develop and change. Likely, some people observing this performance may be inspired to choose to do something a little differently. I am.

     
  • Tiffany von Emmel 12:16 am on August 13, 2007 Permalink
    Tags: blind, butoh, , paige sorvillo, , research, sight   

    paige starling sorvillo / blindsight: Auditition, class and performance research 

    This is a lovely opportunity to collaborate with Paige Sorvillo…

    AUDITION & CLASS INVITATION.

    project info.
    thirty seven isolated events begins with the normal running temperature of the human body and gradually fabricates a facsimile body. Within the noise of networked society, our intimate distance and distant intimacy induce a virtual, mediated sensibility. We are anesthetized – our breath mechanized – as our human biological system is hybridized with the global system. At thirty-seven degrees celcius, we also have an unprecedented potential to connect, to risk, to make contact inside the noise. …

    paige starling sorvillo / blindsight invites you to participate in…

    performance research – imaging text, moving image.
    with paige starling sorvillo / blindsight and marc bamuthi joseph.

    Audition – Thursday August 30th, 2007 – 7:30 to 10:30pm
    Project & Class Dates – September 14th to November 15th (details below)
    site. Margaret Jenkin’s Dance Lab, #301 8th St, 2nd Floor, Studio 200, San Francisco, CA.
    contact. paigesorvillo@mindspring.com, 510.601.7494.

    ** audition info. Please reserve your place by emailing your bio/cv with a short note by August 28th. Please arrive by 7pm to be dressed/warm by 7:30.
    ** class info. Class is open, no audition required. Participation by arrangement (not drop-in) w/ donation to blindsight. Email to pre-register.

    PLEASE FEEL FREE TO FORWARD AND/OR POST!

    sorvillo / blindsight continues creative work initiated in 2007 at the San Francisco Asian Art Museum, to further explore the intersection of compassion and complicity within the context of both passive and active political violence. Developed in and across the languages of immersive and interactive video, live and techo-manipulated butoh dance, and experimental music/sound installation, sorvillo’s thirty seven is an interactive visual meditation revealing our daily complicity in remote-access war and the socio-economic violence of globalism. This new work seeks to challenge both audience and artist(s) to recognize and respond to the violence of our daily lives.

    From September 14th through November 15th, paige starling sorvillo / blindsight and marc bamuthi joseph invite performers to participate in choreographic research and an image/script development phase for blindsight’s thirty seven. The research will be conducted along two parallel paths, a weekly technique, imagery and improvisation class with paige starling sorvillo and a weekly research/rehearsal period. Both periods are required for project participants (in addition, class will be open to non-project participants). Project participants will present an informal performance of our research at Margaret Jenkins’ Dance Lab, be paid a small honorarium, be recognized for their research contribution in all future presentations and will have the opportunity to be considered as performers for the world premier in Spring 2008.

    PROJECT DATES**

    AUGUST 30TH, 2007
    Audition Thursday – 7:30 to 10:30pm

    SEPTEMBER 14TH TO OCTOBER 7TH, 2007
    Company Class Fridays 6:30 to 9:30pm (Sept. 14, 21, 28; Oct. 5)
    Rehearsal Sundays 4 to 7pm (Sept. 16, 23, 30; Oct. 7)

    OCTOBER 8TH TO NOVEMBER 15TH, 2007
    Company Class Wednesdays 7 7:30 to 10:30pm (Oct. 10, 17, 24)
    Company Class Thursday 7:30 to 10:30pm (Nov. 1)
    Rehearsal Sundays 4 to 7pm (Oct. 14, 21, 28; Nov. 4)
    Performance To be Determined.

    ** All rehearsals and classes are required of project participants.
    ** Company Class open to the community for a small donation, please email me.

    paige starling sorvillo / blindsight is an interdisciplinary performance collaborative sighting the unseen. Devising work in and across the languages of immersive and interactive video, contemporary Butoh dance, and experimental music, blindsight creates sense-saturated performance and live environments that are visceral, immediate, and inevitable for both performer(s) and audience. The company’s collaborative creation methods draw deeply on the talents of extraordinary artists from multiple disciplines to build fully integrated performance and installation works where each discipline’s voice is heard equally and where new dialects emerge across forms. We seek to engage our audiences on both intellectual and emotional levels and are dedicated to artistic engagement as an opening to conversation. sorvillo / blindsight has created and presented work alone and/or in collaboration throughout the SF Bay Area, Seattle, New York, Boston, Germany and the Czech Republic. sorvillo has been deeply influenced by her work with inkBoat, Degenerate Art Ensemble, SO.GO.NO., Yuko Kaseki, Minako Seki, Jess Curtis/Gravity and Ruth Zaporah as well as by her work with recent collaborators Lucy HG, imaginationandmymother, George Cremaschi, Liz Allbee, Ian Winters, Sherwood Chen, Kanoko Nishi and Isak Immanuel.

    Development for thirty seven isolated events has been supported by Zellerbach Family Foundation, Wallace Alexander Gerbode Foundation, Dancers' Group and the San Francisco Asian Art Museum. Commissioned by Oakland's new Noodle Factory Performing Arts Center with the support of the East Bay Community Foundation's Fund for Artists, the new work will be presented in the Noodle Factory's inaugural presenting season and will premier at San Francisco's CounterPULSE as part of the San Francisco International Arts Festival.

    marc bamuthi joseph
    Originally from New York City, Marc Bamuthi Joseph is an arts activist currently living in Oakland, CA. He entered the world of literary performance after working in "traditional" theater, most notably on Broadway in the Tony Award winning The Tap Dance Kid and Stand-Up Tragedy. During that period he choreographed a series of music videos and film segments working with Savion Glover, George Faison and Harold Nicholas, among others. Since beginning a career in performance poetry in 1998, Joseph has been San Francisco's Poetry Grand Slam winner three times. He won the 1999 National Poetry Slam with Team San Francisco, and founded and continues to host Second Sundays, the nation's largest ongoing monthly spoken word gathering. He is a Gallard Fellow, an AmeriCorps fellow, and the 2003 SF Bay Guardian GOLDIE award winner in Spoken Word. This winter he will be an IDA resident artist in Stanford University's Drama Department, teaching Spoken Word and Community Activism. Joseph's first solo evening length work, Word Becomes Flesh, was commissioned by the National Performance Network, La Peña and the New World Theater. Joseph's proudest work, however, has been with Youth Speaks where he mentors 13-19 year old writers, co-facilitates an interdisciplinary workshop with bassist Marcus Shelby and develops the Living Word Festival for Literary Arts.

    photo credit: Ian Winters

    more about Paige Sorvillo

     
  • Tiffany von Emmel 2:56 am on May 25, 2007 Permalink
    Tags: connective aesthetics, , ,   

    When nature grows on you 

    As we are inviting everyone to a blog fest, I better start myself! O.k., … I am sitting at lunch with Sunshine Mugrabi and we are talking about compostable furniture. We then get into deep conversation about the use of green space as transformative intervention for individuals, groups and organizations as away to develop more green awareness and behaviors.

    We are touched and moved and shaped by the water we live in. While public art is supported by rich discourse on how environmental art can transform society, this understanding of the power of “connective aesthetics” (Suzi Gablik, Italian) lives in the world of participatory performance, visual art and architecture. My hope is for more fertile collaborations and cross-pollinations between artists, green architects and organizational theorists and consultants, who are working at the social levels – group, interpersonal and intrapersonal levels. There are evocative connections being made between open source movement and connective aesthetics, and connective aesthetics as embodied social corrective to disembodied times…..…. [click to read more and comment]

    Experience from participatory choreography, group facilitation and inquiry into social improvisation leads me to advocate for creating projects that allow people to make connections between caring for the environment, each other and themselves via experiences that are emotionally and aestheticly rich, appreciative and participatory. The design of space makes a difference. This is because our emotions and senses are intimately coupled to the environment. In designing a transformative experience, I seek to design for simple fun ways for to people to physically jump into an “interactivist” practice — the self practices identifying with the interconnective processes of the senses, practices being hyper-aware of this interconnectivity, and plays with creative choices from this connected place. A pro-active awareness practice of Interactivism creates visceral opportunities for shifts of thinking about how deeply we are connected and builds capacity to step boldy into the unknown of trying out new relational behaviors, even while our new huggy behavior goes against the social norm around us. We can realize that, quoting Joanna Macy, the experience becomes “world as lover, world as self”

    all for now, hugs (my space/ your space/our space), Tiffany

     
  • Tiffany von Emmel 4:48 am on February 22, 2007 Permalink
    Tags: , , ,   

    self organizing for the world 

    Idealist.org is a creative intersection for networking for good. Their open business model is inspiring and innovative. The site connects up people, projects and over 65,000 organizations worldwide that are making a difference. Here, you’ll find their powerful search tool.

    You can start up meetings for a better world somewhere in the world via Idealist. Currently, there is an initiative to create a global network, that you can help grow. In the last month, there have been 300 meetings in 70 countries. In March, there will be a second round of meetings. Check out this lively video clip of the meeting in New York:

    For information on Idealist.org’s initiative…

     
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