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Critical Reflection: Cassidy Davies

Although I’m a music student, I spend much of my free time creating visual art (video,
sculpture, etc) and I’ve been wanting to combine the two disciplines for a long time,
creating artworks that activate multiple senses simultaneously. SCP Museum Creative
was an opportunity to explore the process of creating a multidisciplinary work before I
transition into the art world, and stretch my creative abilities to make the most out of
my final semester at university. Along the way I was faced with many unanticipated
challenges that pushed me to adapt my artistic processes, and I’ve come away from
the experience with a greatly enhanced understanding of what’s required to bring an
effective multi-sensory installation (eventually named Sensory Conduit) to fruition.

The starkest takeaway from the experience was learning to better integrate non-
linear, intuitive and inspiration-driven thinking brain with linear, logical, planning-
based thinking. Normally, my creative process fits roughly into two phases. The initial
‘idea generation’ phase consists of pure intuition, letting ideas flow effortlessly
without concern for the final product, building up a pool of resources to draw from
(non-linear). The second phase focusses on combining these disconnected pieces into
a unified whole, grouping and altering them, making discriminatory decisions to move
the work towards an imagined final form (linear). Obviously, this is an
oversimplification, as these phases usually bleed together, but the beginning consists
of non-linear thinking, and the end is very linear. For this project however, it was clear
that a different approach was needed.

Because the project was split into multiple distinct aspects (the physical ‘tunnel’, the
looping visuals and the soundscape), each aspect had to be created with the others in
mind, so they could combine in a convincing way. Also, the firm deadline for
completing the piece meant that I had to be much more analytical than normal and
plan out the stages of the project from the beginning. Initially, I found this approach
daunting; I wasn’t sure I’d be able to create compelling work while conforming to a
rigid structure. Indeed, researchers Chen-Bo Zhong and Yeun Joon Kim suggest that
“structure can be a double-edged sword that may reduce creativity” because it
“reduces cognitive flexibility” (Kim, & Zhong, 2017). At the same time however, it
seems clear that some amount of structure does aid the creative process, rather than
restrict it. In a study analysing the various forms of non-linear thinking, they claim
that “creativity often is characterized by unconventional, nontraditional, and
innovative thinking patterns with a balanced integration of rational analytic
processes” (Groves & Vance, 2014). Throughout the semester, the dichotomy of
structure vs freedom, linear vs non-linear was constantly on my mind, and learning to
strike the right balance between the two was essential for the success of the piece,
and my growth as a creative about to begin my career.

To my surprise, organising my ideas and taking notes was the main way I curbed my
overwhelm; completely essential for executing such a complicated project. To plan
out the tunnel construction, I first gathered materials and did some initial testing
(appendix 1). I then did multiple sketches to determine various ways I could approach
the design, with the limited materials I had. Seeing visual representations of the
possibilities helped me massively to determine the smartest design, that would still
meet my requirements. These explorations are outlined in appendix 2.

After visiting the ELCs, explaining our goal and discussing what was available, we
were able to make a list of all our tech requirements. I immediately created a tech
diagram so I could visualise the setup, which was extremely useful, and was updated
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as the project evolved (appendix 3). I was very daunted by the prospect of booking
out the tech, not knowing how much would go wrong, or how long it would take for us
to get the systems working. Initially I wanted to book all the tech twice a week, which
was a gross overestimation of how much was needed; a result of my planning for the
worst. After discussing with Charlie (who was helping with the project) we were able
to draw up a schedule of booking times, and decide the goal of each booking. This
schedule would go through multiple iterations as the semester progressed, but having
a physical representation of the steps of the project made it feel much more
accomplishable (appendix 4).

Using lists, diagrams, and schedules in this way allowed me to create the much-
needed structure for the creative aspects to exist within. I was very surprised with
how much these linear thinking tools bolstered my self-confidence and allowed me to
be more ambitious with my ideas by committing much of the complexity to paper,
effectively extending my mental capacity and letting me focus on the more creative
elements of the project. Going through this process has changed my view of the
linear/non-linear dichotomy within myself, and taught me to better harness my brain’s
abilities. I’m very grateful for this lesson, as I feel much better equipped to attempt
similarly ambitious projects in my post-university life.

This project would not have been possible without the help of Charlie, although the
scope of our collaborative agreement shifted over the course of the project. Initially
we were planning to do the majority of the project together, splitting the work 50/50.
This very quickly proved inefficient, and since it was my idea, we decided that I’d take
on the brunt of the work, and Charlie’s role would be to work on the planning stages
with me, help collect assets, book spaces, help set up the tech for testing, and give
feedback to me as I worked on the AV elements. This system worked much better;
being able to focus on the detailed work of constructing the tunnel, editing the
visuals, and composing the music by myself actually saved time, and Charlie was
there as a second pair of eyes, who could give me guidance when I was unsure. This
lesson is summed up well by Carlos Valdes-Dapena: “Collaboration is costly and time
consuming. Do it only when it creates more value than having competent individuals
do the work”. (Valdes-Dapena, 2019). This project has taught me how much I value
having the freedom to make creative calls, as well as the opportunity to bounce ideas
off someone, and I will seek out such an arrangement when I undertake similar
projects in future.

The project evolved over the course of the semester (process pics in appendix 5), as
we discovered restrictions, and were given feedback. Initially, the tunnel was only
going to be 3.5m long, but after setting up a prototype, Sarah (our mentor) suggested
it could be 50 percent longer, to increase the sense of envelopment, thus increasing
immersion. Although this meant booking more tech and adding another segment to
the tunnel, we ultimately decided to extend the length. I hadn’t fully thought out the
effect of being inside the tunnel until it was set up, and I realised the importance of
envisioning the space as part of the creative process. Also, Nicole (the sound design
mentor) gave us many useful tips that have added to my understanding of spatial
audio soundscape creation. Some examples of the feedback we received was to add
more bass frequencies, that were unobtrusive and emanated from all speakers, and to
mix while inside the tunnel itself, rather than going back and forth making changes.
This seemed obvious in retrospect but having attempted a multi speaker setup of this
magnitude, I hadn’t thought of it.

The final work (appendix 6) came out better than I expected, but worse than I’d
hoped. I chose to be extremely ambitious with my goal, with the mindset that if I
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pushed myself to create the most elaborate work possible, I would maximise my
growth as an artist, regardless of whether I fully realised my aspiration. At the same
time, it wasn’t until late in the process that I felt confident that the piece would be
effective; I had to suspend my disbelief to keep pushing through every technical glitch
and unexpected hurdle.

As an artwork, the final piece was slightly at odds with the other work being exhibited,
all of which had a deep conceptual basis and were seeking to be thought provoking or
convey a message. Sensory Conduit would be considered by some to be more
entertainment than art; its primary function was to be enjoyable. Rida Chaudhry
describes this perspective “Entertainment is deemed shallow, while art is intelligent.
Entertainment is deemed inconsequential while art is powerful. Entertainment is
deemed pleasurable while art is inspirational.“ (Chaudhry, 2022). I have encountered
this perspective often during my time at university, but the response I observed from
audiences at the Metaflux event affirmed my perspective that ‘entertainment’ is just
another form of art, that prioritises sensory experience, beauty, and joy, rather than
social critique or philosophical questions. Richard Shusterman, the pragmatist
philosopher, talks about the dissolution of the art/entertainment dichotomy, saying
“pleasure and functionality in life...have been used to condemn entertainment for
triviality and narrowness, [but are] central to its value, and to the value of art.”
(Shusterman, 2003). The experience of joy is something that connects all people, and
is thus a deeply accessible basis for an artwork, and this semester’s SCP experience
has firmly established my belief in this truism, a belief that I intend to carry into my
future as a professional artist.

References
Kim, Y. & Zhong, C. (2017). Ideas rise from chaos: Information structure and
creativity. Organizational Behavior and Human Decision Processes, 138(1), 15.
https://doi.org/10.1016/j.obhdp.2016.10.001

Groves, K. & Vance, C. (2014). Linear and Nonlinear Thinking: A Multidimensional Model and
Measure. Journal of Creative Behaviour, 49(2), 111-136. https://doi.org/10.1002/jocb.60

Valdes-Dapena, C. (2019, September 20). To Collaborate Better, Collaborate Less. Carlos

Valdes-Dapena. https://www.carlosvdapena.com/blog/collaborate-better-less

Shusterman, R. (2003). Entertainment: a question for aesthetics. British Journal of

Aesthetics, 43(3), 289-307.

Chaudhry, R. (2022). Arts vs. entertainment: is there a difference?. Queens Journal.

https://www.queensjournal.ca/arts-vs-entertainment-is-there-a-difference/
#:~:text=Entertainment%20is%20deemed%20shallow%2C%20while,and%20what
%20is%20not%20art
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Appendix
1: Tunnel materials and testing

Recycled electrical
conduit Different arch
sizes
Joint for tops of
arches, bent using
heat gun

First archway
test
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2: Sketches, further testing, and construction

3 arches Shower curtains

constructed

Projector
test
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3: Tech Diagrams
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First tech diagram (power

boards and extension cables
not included)
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Final tech diagram

(full system and
audience flow)
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4: Schedules

First booking
schedule (with
edits)

Second booking
schedule (with
edits)
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5: AV testing

First tunnel test with

projectors (one tunnel
segment)

second tunnel test (two

tunnel segments), in-class
feedback session

Matrix panner notes for 8-

channel speakers,
investigating possible
panning schemes
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6: Final Work