Complexity, Craft and Creativity
Roberta Comunian
Complexity science has emerged in the last decades as a promising and powerful way of understanding a variety of systems, physical, biological, computational. It represents an approach to science which sees that most phenomena or systems in the world cannot be understood without looking at their multiple interactions and interdependencies with other systems across different scales. Complexity theory is not a single unified theory, but constitutes a set of methodological approaches for studying complex systems and its perspectives have recently become a key part of social science research (Byrne 1998). Both in the natural and social sciences complexity has allowed for a more integrated understanding of phenomena and also for interrogating relational dynamics rather than single objects of research. Breaking with traditional reductionist approaches in science, complexity theory focuses on studying how diverse components and systems interact in space and time leading to the creation of new forms of order and organisation.
One of the main perspectives of complexity theory that is key to our research (and to social science in general) is that it accounts for dynamics and changes which are non-linear and affect the system as a whole rather than simply considering the singular linear trajectories of single units such as the individuals or organisations which are part of a given system.
If we apply complexity theory to an understanding of the craft sector and craft makers we can see the sector itself as being a collection of individuals as well as communities and support organisation which all collaborate and come together through dynamic and everchanging networks. Some of these networks are local and face-to-face while others are national or international and involve primarily online connections. All of the agents involved in a given network - craft makers and craft organisations, in our case - are seeing as being moved by both individual and collective interests. Individual interests being, for example, career goals and collective interests being such activities as local place-making, community representation, political ideals, etc. However, as craft activities and project are designed, funded, tested and delivered, we can see that changes take place all along the system from the initial ideas to the actual delivery of the work. Thus, it is possible to say that such changes are intertwined with broader changes, especially social economic changes.
Complexity theory allows us to capture some of these dynamics and understand changes and emerging patterns across the system. Furthermore, we also consider the impact of social network markets in the revival of craft and making (Potts et al., 2008), with particular reference to the importance of social networks in shaping consumption and purchases of original crafts.
Complexity science has emerged in the last decades as a promising and powerful way of understanding a variety of systems, physical, biological, computational. It represents an approach to science which sees that most phenomena or systems in the world cannot be understood without looking at their multiple interactions and interdependencies with other systems across different scales. Complexity theory is not a single unified theory, but constitutes a set of methodological approaches for studying complex systems and its perspectives have recently become a key part of social science research (Byrne 1998). Both in the natural and social sciences complexity has allowed for a more integrated understanding of phenomena and also for interrogating relational dynamics rather than single objects of research. Breaking with traditional reductionist approaches in science, complexity theory focuses on studying how diverse components and systems interact in space and time leading to the creation of new forms of order and organisation.
One of the main perspectives of complexity theory that is key to our research (and to social science in general) is that it accounts for dynamics and changes which are non-linear and affect the system as a whole rather than simply considering the singular linear trajectories of single units such as the individuals or organisations which are part of a given system.
If we apply complexity theory to an understanding of the craft sector and craft makers we can see the sector itself as being a collection of individuals as well as communities and support organisation which all collaborate and come together through dynamic and everchanging networks. Some of these networks are local and face-to-face while others are national or international and involve primarily online connections. All of the agents involved in a given network - craft makers and craft organisations, in our case - are seeing as being moved by both individual and collective interests. Individual interests being, for example, career goals and collective interests being such activities as local place-making, community representation, political ideals, etc. However, as craft activities and project are designed, funded, tested and delivered, we can see that changes take place all along the system from the initial ideas to the actual delivery of the work. Thus, it is possible to say that such changes are intertwined with broader changes, especially social economic changes.
Complexity theory allows us to capture some of these dynamics and understand changes and emerging patterns across the system. Furthermore, we also consider the impact of social network markets in the revival of craft and making (Potts et al., 2008), with particular reference to the importance of social networks in shaping consumption and purchases of original crafts.
