Building a collective is about listening to the other, about trying to understand the other’s world, and try to find a ground for building a new common world. We usually do this through words. This is smart when we talk with people that we are already agreeing with. But what about those with whom we disagree? Preaching to the choir always gives the best results, right?
It’s a very adult way of doing things. Talking. Using words. When you think back to the time where you went to school, you might agree with me that we had other ways of connecting with other people.
When I was in school, officially the point was about us learning stuff. There was a teacher talking about something seemingly relevant to us. But actually most of the activities I engaged in had to do with building a collective with the other classmates. And how did we do that? Did we sit around and talk and discuss and debate? Well, to some extent. But most of the time we where playing around with meaning, playing around with sounds, we were playing around with nonsense, we interacted through our movements. We didn’t only talk. We didn’t only use this one channel. We had a lot more channels to draw upon, when building our collective.
A lot of people say:
“I am not musical. I don’t know how to play an instrument. I can’t sing. It sounds terrible.”
My answer to these people is: We are all musical! We are using sound ALL the time as a means of expression. We are doing it at a very high level. Everyone. All the time. Most people simply don’t see it. They understand working with sound at a high level as something only musicians can do.
I am saying: we are all musicians. In our everyday life, when speaking, we are expressing ourselves in very intricate patterns in sound. We are able to perceive what is going on in another person through the sounds he or she is making. Not only through the words, he or she is using – sometimes people use words that are different from, or even opposite to what they actually feel, whether conscient or not. How can we know what’s going on in another person, when the words don’t match? We listen to sounds! We are listening to all the intricate changes in the tone of the voice, the intensity, the timbre. From these little clues, we can build an understanding of what is going on in the other person.
When we are trying to create new ways of producing, consuming goods, and making decisions, we use new innovative tools and methods. If we want to build cultural sustainability, we need tools and methods as well. Indeed there are many new technological innovations that we can use. There are tons of apps, and online tools for people to be create new expressions, and recycle old expressions. However, few of these innovations give the users the ability to be creative as a collective.
So which tools and methods will help us be part, as a collective, of the creative moment itself?
Let’s start singing and dancing, right?! Well. Most people are not very fond of using their bodies and voices in unfamiliar ways. We learn that it’s wrong to stick out, and we think we are going to make a fool out of ourselves. Most of us. Then you have those who are good at it, and they will shine, and we will be ending up with the good old consumer-expert duality.
Focusing on performance, on excellence and on what we call talent is a residue from the good old industrial society. The thing is, that the way we use our bodies and voices, – our gestures and intonations – are embedded cultural patterns, that have a very strong effect on our collectives. They can sustain ways of doing and being that are excluding new people, new thoughts, new possibilities. A simple example is the handshake. Or looking people into the eyes. In some cultures people don’t shake hands. And looking into other people’s eyes is impolite. Good luck with the job interview in a Western company!!
We need tools and methods for building sound collectives, and for them to have an effect, they should be
- intuitive – building on existing ways of doing things, on known technologies, on everyday life.
- sufficiently challenging, but not too much. People will back off. Or just start fooling purposelessly around.
- open design. Participants must be able to influence the design in real time.
- rhythmical. No learning without repetition, we must find ways of repeating the processes, keep them going, sustaining them
Read more about methods and workshops here.