En_MOOC - Making a Symposium

Making a Symposium

How to ideate, deploy and survive an international music and visual art residency

Let's go!

What's the plan?

Introduction

Activities Collection

Try this at home

What's a symposium

Step 1 - Location scouting

Collective Writing

A Learning Party

Step 2 - Program Design

Spinning Wheel

Residency Projects

Digital Fabrication

Step 3 - Engage Participants

Geodesic dome

Step 4 - Deploy & Document

3D Kite

A Case study Milano Symposium

Ressources

Mixologies

Experts

Arts Mixology

Concept

Dowloadable

People Mixology

Spatial Design

Sources

Mentors' Quotes

Bonus

Introduction

This guide draws on the experience of the R.E.A.C.H. program (Reimagining Entrepreneurship in Arts, Culture, and Humanities), an initiative funded by the European Union to foster entrepreneurial spirit in the fields of art and culture. Over more than two years, the program brought together partner organizations and beneficiaries from five different regions (Norway, France, Basque Country, Italy, USA) and featured three week-long mobilities called “Symposiums” that united over 40 artists and mentors each. The purpose of this guide is not only to reflect on this incredible experience but also to assist cultural entrepreneurs who wish to replicate a similar endeavor. It aims to raise awareness of the potential challenges you may face, aid in your decision-making process about participating in such experiences, and offer suggestions and tips for facilitators and mentors to effectively prepare for and manage a "Symposium" residency program.

We would encourage you to read this guide as a companion document to the REACH movies by Jean-Baptiste Blanc - Nahita Films

What is a Symposium?

A learning party

What you get: a comprehensive set of competences

The first challenge in organizing a Symposium is probably the heritage of this name. This historical legacy can feel daunting when planning such a happening. You might wonder if it requires the involvement of esteemed philosophers or how it can achieve a lasting impact on global culture and society for millennia.

Although we don't have pictures or videos of these captivating events from the ancient past, nor do we have formal reports or assessments of their outcomes, it is widely accepted that such gatherings played a crucial role in fostering intellectual and cultural development in classical societies. We can also imagine that the convivial atmosphere provided plenty of fun. So, for the purposes of this guide, we can refer to symposia as a kind of party or happening, but with a bit more “philosophical” ambition. What you see is still people having fun together, but what you will gain is so much more: a boost in creativity, portfolio items to share, new competences, an international network, and a valuable experience to rely on.

What you see

people having fun!

Arts Mixology

The methodology employed in the REACH program draws from the extensive experience and practice of project partners, particularly in the fields of music production and design. For example, the practice of the Vectorealism partner is closely linked to the maker subculture, which has emerged over the last 20 years around the concept of "FabLabs." These are small prototyping laboratories designed to produce "almost anything" with minimal equipment, using open-source and often self-produced tools.

While these principles are not immediately related to the arts, the imagination and ethos surrounding FabLabs and the 3D printing utopia have influenced hundreds of thousands of artists and creatives. This cultural mixing also extends to subcultures such as DIY and experimental music. As you can see, finding a common ground between artistic practices is not that difficult, even when there are very diverse starting points, approaches, and languages.

People mixology

Diversity is a key principle these days. This beautiful concept can be developed in different fields and approaches, encompassing gender, culture, and age. Speaking about age diversity in a Symposium, we can definitely say that engaging seniors is another crucial aspect for success. In the REACH project, senior professionals were engaged with a specific and very noble role: mentors. And here come the ancient Greeks again!

Mentors Quotes

Moving away from these rather academic definitions, we now need to transpose this concept to the lively setting of a Symposium. Choosing the right mentors is a crucial factor for the success of this kind of event. The REACH project had a stable board of mentors who were actively involved in the organization process, along with others who were engaged for specific Symposiums. Depending on the program, the presence of an actively engaged senior mentor can significantly boost both the atmosphere and creativity. For instance, the Milano Symposium featured a senior manager and art collector as an guest mentor who perfectly engaged with young artists and participated in the creative process with enthusiasm.

Mentors Quotes

“My aim [..] was to promote creative freedom, expression, and to not over think or chase unattainable perfection. I adapted. My actions were based on what I experienced within the groups themselves at the time. I was there. This included my perceptions of the group dynamics between the artists”

Bobby Wooten Musical Mentor, CDI

It is essential to recognize that the type of mentor we are talking about should operate outside formal institutions or traditional paths. They need to work with creative and talented individuals seeking to grow, not just in knowledge, but in their journey toward self-expression. The mentor should be recognized and, in some way, "chosen" by the mentees without a top-down imposition. Obviously, an outstanding career and personal charisma are great ways to gain recognition from mentees. However, we must consider that a mentoring relationship involves an emotional investment and the construction of an (often idealized) image of the mentor as possessing superior mastery. In the informal model of apprenticeship we are discussing, emotions count much more than achievements and knowledge.

“My approach to guiding, and mentoring the participants was rooted in demystifying paths to personal success and fulfillment in the arts”.

Nicholas Sansano Chair of CDI

Try this at home!

While everyone’s situation is different, you need to think about what you have to do before starting to organize a Symposium. The second part of this guide is intended to facilitate a little bit this organizational process providing some tips and lessons learned during the REACH program.

Step 1 Location scouting

Step 3 Engage Participants

Step 2 Program Design

Step 4 Deploy and Document

Case Study Milano Symposium

Residency projects

Step 1 : Location scouting

During the REACH program, we had the opportunity to approach the critical topic of location in different ways and with various strategies: For the Stavanger Symposium, the hosting partner adopted a strategy that involved choosing many small locations and planning a very tight and detailed schedule to inform participants about where to go and when. This "divide et impera" approach suited a relatively small town like Stavanger, offering the strong advantage of not having to compromise or deal with a single location owner, thereby maintaining more control over the process. However, this approach led to dispersion and limited opportunities for plenary sessions, where different artists could share the same space. For the Milano Symposium, the organizing partner decided to completely change the strategy and opted to host the Symposium in a single, large-scale location. Not surprisingly, the challenge with this approach was managing a reasonable budget, especially considering that hosting an event in the fashion and design capital of the world could easily lead to budget overruns. Nevertheless, the process of building a setup from scratch proved to be extremely inspirational for visual artistic production. Lastly, for the Biarritz Symposium, the partnership with the Atabal venue provided a perfect fit for all the needs. To sum up, if you’re still wondering where to host the perfect Symposium, the answer is simple: wherever you feel at home! It could be your office, an empty space, or an entire city.

Suggested tasks for location scouters

Use pros and cons matrix

Plan your finances

Prioritize sustainability

Check the wether

Engage with local culture

Assesss your technical needs

Consider accessibility

Step 2: Program Design

As mentioned in previous chapters, a Symposium has lofty goals but only a few tangible and measurable objectives to achieve, especially when we don’t have centuries of history to understand the long-term impacts! Nevertheless, having a positive impact on participants is certainly a worthwhile outcome for a Symposium. There are sophisticated analytical tools available, shared by the European Union, to measure this kind of impact. We suggest you explore these sources to understand the value an EU-funded project can offer in terms of competencies that benefit your career and life. For the purposes of this guide, we’ll simplify things a bit and return to our original concept of a Symposium as a “learning party,” designed especially—but not exclusively—for creative people in the fields of music and visual arts. While this might seem like a simplification, it is not. Managing a music and visual art event in the same venue and attempting to find common ground among participants can be extremely challenging. You must consider not only differences in expressive languages but also subcultures and ideologies.

Architecture of a Symposium

Similar to the approach taken with locations, for the first Symposium in Stavanger, the host organization decided to fragment the activities program into different “tracks,” catering to musicians, visual artists, and mentors. Although the quality of the activities was high, the primary source of dissatisfaction arose from this division into groups. Most musicians did not have the opportunity to interact with visual artists, and vice versa. It is important to consider that songwriting and studio production sessions are inherently intimate activities, both due to the size of the studio and the nature of the work. Design can also be a very intimate, and sometimes even individual activity—consider, for instance, computer-based design session. Nevertheless, the goal of a Symposium should be to encourage group work, making it essential to foster a collective dynamic within the participants. At the very least, you should organize specific activities to host in plenary sessions. We refer to these as “icebreakers,” but don't be misled by the name—they are not necessarily simple socialization games.

Icebreaking activities play a crucial role in a residency by fostering a sense of community and collaboration among participants. These activities help break down social barriers, encourage open communication, and create an environment where individuals feel comfortable sharing ideas and working together. By engaging in icebreakers, participants can build trust, establish connections, and develop a collective dynamic that enhances the overall experience of the residency. This sense of camaraderie not only enriches the creative process but also ensures that everyone feels included and supported, ultimately leading to more innovative and successful outcomes.

Residency Projects

Even if the outputs of a residency are rarely agreed upon or mandatory, we can certainly expect creative people in a creative environment to... create something! So, the next step in Symposium design is to allocate necessary time in the program for project works. This step requires substantial coordination between the location manager and facilitators. Depending on your budget, you can provide basic space and materials, or a studio with advanced equipment. In the Stavanger and Biarritz Symposiums, fully equipped rehearsal studios were available for music producers. In Milano, a FabLab with 3D printers, laser cutters, and a variety of prototyping materials, such as wood, plastics, and textiles, was provided for participant artists. Sharing a theme to inspire Symposium participants can be incredibly useful. During the first Symposium, we encountered difficulties with themes that were related to politics, such as Minorized Cultures. While this topic was useful for discussions, it proved challenging to use as a basis for creative production and resulted unliked with the context of Stavanger city. For the Milano Symposium, the hosting partner decided to fully leverage Milano's brand and reputation. Consequently, themes were mainly presented as suggestions and cultural references. This approach provided a solid foundation for creativity and offered valuable hints for the overall artistic direction of the event. For Biarritz Symposium, a very broad theme was shared in advance within the participants: "the Wind." This theme indeed inspired the production of artistic outputs in both the musical and visual arts workshops.

Aperitivo wrap-up

Informal time spent together is just as important as scheduled activities. We found that an "aperitivo" at the end of the day is the perfect time to discuss the progress made during the day in an informal setting. At the Biarritz Symposium, this time was preceded each day by a plenary discussion session. “All groups got together at the end of the day’s work for a debrief”, says Mike Errico from CDI, “which was an in-the-round group conversation about the state of the project, and more widely, the state of the arts at this fraught moment in time. We stressed the importance of defining slippery terms like “success” and “failure;” navigation of niche markets, (pop music sung in Basque, for instance); touring at home and abroad; arts funding; protecting copyright; AI and the future; etc. I found these meetings to be the most profound moments of the trip, and the most helpful to all involved.

A learning party

Milano case study

Activities collection

Try this at home!

design

icebreakers

workshops

engage

geodesic dome

deploy

3d kite

Aperitivo wrap-up

Informal time spent together is just as important as scheduled activities. We found that an "aperitivo" at the end of the day is the perfect time to discuss the progress made during the day in an informal setting. At the Biarritz Symposium, this time was preceded each day by a plenary discussion session.

“All groups got together at the end of the day’s work for a debrief, which was an in-the-round group conversation about the state of the project, and more widely, the state of the arts at this fraught moment in time. We stressed the importance of defining slippery terms like “success” and “failure;” navigation of niche markets, (pop music sung in Basque, for instance); touring at home and abroad; arts funding; protecting copyright; AI and the future; etc. I found these meetings to be the most profound moments of the trip, and the most helpful to all involved."

Mike Errico Musical Mentor, CDI

Step 3: engage participants

After finding a location and developing an initial idea of the program, you can start the process of engaging participants. When you're organizing your first event, with no references to similar events and no established local brand, this can be quite challenging. That's why the next step, documenting the process, is really important for continuing to organize Symposiums! Communication is always welcome and can really set the general tone for the entire event. If you don’t have, or don’t want to use, photos from events, graphical artwork can also work and generate sufficient curiosity around your event. For the Milano Symposium, an original artwork created by Marco Bocola was used to announce the event and to publish a public call for participants. The task to create an invitation, or even a teaser, could be the first challenge for a visual artist specializing in graphic design. Social media could also help, but take care that creating social content could also be a real time-consuming task that will lead you to defocus from the real goal: making your Symposium live. An online project management tool like Basecamp can be more effective for sharing information and participant profiles. In the REACH experience, this tool proved its value by keeping all participants informed about essential details. If you’re planning a smaller Symposium, a group chat could also work in a more straightforward way.

Practical CardReception of the participants

Artists presentations and portfolios

When it comes to public presentations, it's essential to keep in mind that things can become emotional. Not everyone has the same public speaking skills, career experiences, or portfolios. However, in a Symposium, it is crucial to both value valuable artistic work and provide opportunities for younger or emerging creatives to feel fully engaged and included in the creative process in the most inclusive way possible. During the REACH project, we managed this process, though not without a few hiccups. Our suggestion is to consider that a Symposium should provide people with the opportunity to build or enrich their portfolios, not just share an existing one. That’s the spirit of a residency that we recommend incorporating into your event.

Step 4: deploy and document

Now that you’ve secured a detailed plan of logistics and activities and have an engaged crew of participants, the next challenge will be handling the unexpected. Unforeseen events can happen without warning. For example, during the Milano Symposium, we experienced two electric blackouts over the week, with the last one occurring just an hour before the DJ set was about to begin. Preparing for these kinds of events is nearly impossible, but maintaining a positive attitude and a flexible mindset can certainly help in overcoming unexpected changes to the plan.

Document the process

We have to admit it: for creative people, documenting is not the most exciting task. Even though new technologies have greatly facilitated the process of making logs, photos, stop-motions, and videos of every single moment of our lives, the idea of starting to record something that may not be in its final form can be very stressful for artists. Sometimes, it feels like creating a permanent memory of an error. Our suggestion to overcome this process is to adopt a positive mindset and think about this: what if this experience ends up being a huge success, and you don’t have any pictures? This is the real horror scenario! Documenting with pictures, notes, and plans can also be useful for keeping track of activities, reporting, and delegating tasks efficiently. This may not be the most “ancient Greek-style” method, but believe me: don’t underestimate the power of an evocative image!

The aftermath

Depending on your circumstances, you may return to work soon after arriving home or decide to take an extended break. Whether you are returning to your previous job or seeking new employment, it is important to consider how you can best translate your artistic experience to help your current (or prospective) employer and colleagues better understand what you’ve been doing. When it is time to rejoin the workforce, remember that your employer and colleagues may not fully grasp your role or experiences in a Symposium. Think about how you can effectively communicate the skills and insights you gained during the event. During the Biarritz Symposium, we discussed the feelings that can arise after a performance or an exciting moment. We all agreed that this is inevitable, even—or especially—when you’re a famous rockstar! Understanding and addressing these emotions can help you transition more smoothly back into your routine.

Symposium Milan June 2024

Symposium Stavanger June 2023

Meet the REACH ErasmusDays - Oct 2023

Symposium Basque country Oct 2024 - Jan 2025

Milano Symposium

A case study

The Milano Symposium took place in June 2024, and it focused on visual arts and design—areas that Milan is internationally recognized for. Artists were invited to explore and experiment with the specific practices of hosting partner, Vectorealism studio, which emphasize the use of personal fabrication technologies aimed at fostering design-oriented thinking.

Italian Design Culture and Context

The process of designing the Symposium began by recognizing how the city of Milano and the practices of the host organization could serve as shared inspiration for a group of people from diverse cultures and disciplines. Italian design culture, renowned worldwide for its creativity, innovation, and craftsmanship, perfectly suited this aim. Rooted in a rich history of art and architecture, Italian design has always emphasized aesthetics, functionality, and attention to detail. Influential design movements such as the Radical Design movement of the 1960s have left a lasting impact on the global design scene, serving as a shared reference and common ground for the REACH global design team.

Concept

The guiding idea behind the Symposium's organization was to design an experience that could blend a contemporary art residency with a festival. In the months leading up to the event, a small team from the hosting partner, led by Marco Bocola, developed this concept and established a subtle but effective artistic research direction and curation. This approach was designed to keep the door open to creative contributions from diverse artistic languages and styles while also attracting the curiosity of a public interested in the world and business of artistic residencies. During initial research, we consistently referred to experiences like Italian "Terraforma: sustainable and experimental music festival" as a benchmark for artistic quality and success. It's important to note that the REACH project did not feature an official artistic direction, and the Symposium was not intended to include a public performance. At the time we started developing the event concept, the artists guestlist was not yet defined. The goal was simply to set a mood and create an underlying atmosphere for all the activities using designers' tools, primarily graphic, product, and spatial design. The location itself, with its semi-abandoned status, quickly became a significant source of inspiration for the entire concept. We soon realized that the need for a “home” was the core idea of the Symposium, as well as an emotionally resonant theme for the entire creative community in Milan and other major global metropolises. The visual art exhibition for the Symposium was codenamed "Home at Last," inspired by a quote from Andrei Tarkovsky's cult movie, Stalker.

The imagery of "third landscapes" places became a dominant aesthetic reference. reflecting the themes of abandonment, reclamation, and transformation. The semi-abandoned status of the venue, along with the creative reimagining of the space by the participants, resonates with the idea of turning neglected areas into vibrant, meaningful places.

Spatial design for location

At the time we decided to organize the Symposium, the “Fabbrica” was an empty warehouse situated in front of the Vectorealism studio. This venue offered numerous logistical advantages and an intriguing ex-industrial aesthetic that perfectly aligned with various musical subcultures, including techno and festival scenes. However, as said before, the choice of an empty space also presented significant challenges in terms of providing the necessary facilities for workshops and meals.

Thanks to the long-term availability of the space and its empty status, we decided to use the "Fabbrica" as a blank canvas to experiment with the space setup, design, and craft of large furniture elements. Most of the furniture and scenography elements were designed and built from scratch prior to the event, resulting in a mix of functionality and an art / design exhibition for the beneficiaries. The outcome of this process included a fully equipped temporary bar named "Bar Paesaggio" (Landscape bar) (Giacomo Grippa, Chiara Biraghi), a 6-meter wide cinetic lamp (Fabrizio De Gaetano), a large tapchan made with concrete and wood (Giacomo Grippa, Chiara Biraghi, Marco Bocola), and a fully equipped camp kitchen area.

Each item came to represent both the unique creative and artistic contribution of the participant and a solution to a real challenge in designing the space, in line with the classic Italian design approach. For example, to address water management, we decided to avoid the use of plastic bottles for both ecological and practical reasons related to managing waste. Instead, we built a 3d printed tripod for large office water bottles that matched the overall industrial aesthetic of the place. Additionally, we provided each participant with a customized glass, laser etched with their name, and requested that they clean and reuse it throughout the week.

Home at last

After these initial spatial interventions, the space began to feel more inviting. Drawing from the initial inspirations, two invited visual artists decided to create their specific exhibition space in the form of a temporary bar, named “Bar Paesaggio.” This setup represented the final transformation of the space into a “Home,” where artists could showcase some of their works and special pieces from private collections. The venue also functioned as a real cocktail bar during the party.

The residency week culminated in a party, following two days of intensive collective preparation. With the mandate to contribute to this event with either a physical object or a music performance, each artist worked diligently to produce an output. Thanks to the rapid prototyping machines available at Vectorealism FabLab, it was possible to create numerous scenography elements, including a large “REACH” sign made of plastic, various gadgets, and an enormous sculpture hung in the center of the hall, made with scrap materials. Some wanted to 'honor' and summarize the experience of the three days of the symposium, some wanted to create props for their video and merchandising, while others, working in groups, created a sound installation. Italian design team ventured on the building of a huge geodesic dome to serve as “portable home”. From this moment, the idea of improvising a show with all the participating musicians during the final evening of the symposium was born. Under the guidance of mentors, the group self-organized a setlist for live exhibitions and dj sets and designed a flyer.

To further engage the local community, a roundtable discussion with invited panelists was organized for the fourth day of the Symposium. Project partner Marco Bocola facilitated the talk, which featured a panel of Italian music entrepreneurs. They shared their experiences in various fields of music and creative business, including merchandising, editorial content, event and festival organizing, and music production. The selected experiences for this talk were particularly relevant for beneficiaries, offering insights into various approaches and entrepreneurial spirits, even considering age differences. During the discussion, common struggles emerged, highlighting the challenge of finding ways to stay in business while balancing the need to remain marketable with maintaining an artistic project. The “DIY” topic emerged as a common ground for visual artists, designers, musicians, and entrepreneurs to explore, providing a platform for addressing these shared challenges.

The graphical artwork chosen for the Symposium embodies all these evocations with a collage of technical drawings of house antennas, using a minimalistic color palette. The artwork draws inspiration from technical and CAD drawings, landscape architecture, and suburban settings. Each antenna symbolizes the artist's dual role of capturing and broadcast signals. The designs were sourced from original instruction manuals from a renowned Italian telecommunication manufacturer and were reassembled to create a cohesive mix of aesthetics on a uniform canvas.

Roundtable with local music entrepreneurs

Digital Fabrication Party

Milano Symposium Artwork

A learning party

Milano case study

Activities collection

Try this at home!

design

icebreakers

workshops

engage

geodesic dome

deploy

3d kite

Activities collection

Collective Writing

Digital Fabrication Sprint

Spinning Wheel

Geodosic Dome

3D kite

Collective writing game

2. Setup: Provide each group with a marker attached to wires and sheets of paper. Explain that each group must work together to write each letter of a chosen word on paper using the marker attached to the wires.

1. Divide Participants: Divide participants into two smaller groups. Facilitators should provide an introduction about the game goal and the importance of cooperation and creativity.

4. Discussion and Debriefing: After completing the writing task, gather all participants for a brief discussion. Ask each group to share their experience, highlighting challenges faced and strategies used to overcome them. You can also discuss how this activity relates to the broader topics of cooperation, group work, and creativity.

3. Coordination and Execution: Participants must coordinate with each other to use the wires to hold and move the marker, writing legible letters. Encourage participants to communicate effectively and support each other throughout the process.

A perfect warm-up or icebreaker.

One hour

Activate the participants' creativity and curiosity

We tested during REACH Stavanger Symposium. Participants were divided by facilitator in two smaller groups and get an introduction about the game goal. The two groups had to write each letter of the word "REACH" on paper using a marker attached to wires. The participants had to coordinate with each other to use the wires to hold and to move the marker and write a legible letter. The warm-up game helped to create a positive and relaxed setting while introducing some of the topics to discuss such as cooperation, group work and creativity.

Spinning wheel brainstorming

The facilitator used a digital spinning wheel (Mentimeter) to select words randomly from a list that was generated by an artificial intelligence tool. The tool suggested 100 words that were relevant and diverse based on the topic of “creative method”, and the facilitator chose 25 words from the pool. The words were: meaningfulness, business opportunities, bohemian life, clichés, data, collaboration, replicability, privileges, space, deadlines, planning, social media, public, scene, mentors, market, commitment, relationships, mental health, studies, milieu, trends, research, inspiration, innovation.

The facilitator spun the wheel and selected a word from the list. The participants had one minute to write or draw on a post-it the first idea that came to their mind related to the word and the topic of "creative method". The facilitator asked each participant to share their post-it with the rest of the group and explain their reasoning. The facilitator encouraged the participants to ask questions and give feedback to each other. The facilitator repeated this process until all the words were covered or the time was up.

Guided brainstorming

Two hours

The guided brainstorming helped the participants to generate diverse and original ideas and to learn from each other's perspectives. The discussion of results lasted for one hour and aimed to communicate the participants' ideas and insights to the rest of the group. The facilitator asked the participants to take a break and then return to the group. The facilitator presented a board containing all the post-its around each word that was covered in the previous session. The facilitator asked the participants to discuss the results and to share their opinions and reflections on the words and the topic of "creative method". The facilitator also asked the participants to give feedback and ask questions to each other. The discussion of results helped the participants to deepen their understanding and to communicate them effectively.

Deepen the participants' understanding of the words and their connections to the topic of "creative method"

Generate a list of 100 relevant and diverse words related to a general topic, for eample "creative method". AI tools could be great help in this task. Select 25 words from this pool to be used during the session.

PREPARATION

Utilize a spinning wheel to randomly select words from the list. You can find a functional in websites like Mentimeter

Give participants one minute to write or draw their first idea related to the selected word on a post-it note.

Ask participants to share their post-its with the group and explain their reasoning.

Conducting the Session

Encourage participants to ask questions and provide feedback to each other.

Continue the process until all words are covered or time is up.

Take a break after the brainstorming session, then reconvene the group.

Present a board with all the post-its arranged around the words covered in the previous session.

Discussion of results

Facilitate a one-hour discussion where participants share their insights and opinions on the words and the topic of "creative method."

Encourage participants to give feedback and ask questions to each other.

Digital Fabrication Sprint Workshops

The format of "sprint workshops" stems from the extensive experience of FabLabs in providing educational sessions dedicated to technologies like 3D printing, which offer a fun and accessible way to design and produce products. Thanks to the availability of various machines, at the Milano Symposium, we extended this format to include laser cutters and plotters for sticker making. During the Symposium we led the participants into the Fablab and showed them the possibilities of these technologies, and then guided each of them to create a small project, providing support throughout.Digital Fabrication technologies and related practices are essential tools in every creative's toolbox, not only due to the widespread availability of technologies like 3D printing and laser cutting in accessible workshops, but also because it enables a radical transformation in both the design process workflow and the participant mindset. These brief workshops were not intended to teach design principles such as technical drawing but to demonstrate how to achieve quick results using open-source tools and online configurators. This speed workshop format quickly equips participants with basic technical and practical knowledge for approaching projects involving 3D printing or laser cutting. Getting a first look at t hese technologies, which many participants have never interacted with before, can provide new inspiration that will be useful for future projects.

2. Ideas Collection Objective: Gather and brainstorm ideas for projects.

3. Facilitate the Design Process with Constant Review Objective: Guide participants through the design process, providing feedback and support.

1. Machines Presentation Objective: Introduce participants to the available digital fabrication machines.

5. Finalize Objective: Complete the projects and prepare for presentation.

4. Helping with the Machines Objective: Assist participants in using the digital fabrication machines to realize their designs.

Bridges go round… Geodesic dome workshop

This activity drew inspiration from a widely used architectural structure embraced by creative communities since the 1960s: the geodesic dome. Frequently utilized at festivals and open-air campuses, this type of structure involves a relatively simple yet time-consuming assembly process, making it ideal for collective workshops.During the assembly process, facilitators engaged participants in exploring the geometric concepts that contribute to the dome's resilience, with a focus on the interconnected triangles that distribute stress evenly. As the structure took shape, the importance of teamwork and coordination became evident. Participants observed firsthand how each piece contributed to the dome's stability, offering clear evidence of the multiple metaphors evoked by the shape and the process.The activity also delved into the selection of different materials and technical details, such as the number of elements required for the structure. These design-related aspects engaged participants in complex design and aesthetic decisions. To align with our goal of producing every element within the FabLab, laser cutting was chosen to fabricate the components, and transparent PETG was selected as the material due to its scenographic impact and cost-effectiveness. Throughout the workshop, participants engaged in discussions, shared ideas, and solved challenges together. The process fostered a strong sense of community and collaboration. By the end of the workshop, the group successfully constructed more than half of a geodesic dome, gaining valuable knowledge and experience in the process. The workshop not only resulted in the creation of a scenographic element but also left attendees with a deep understanding of sustainable building practices and geometric principles.

All what you need to build the Geodesic dome

The workshop can be divided into modules to span multiple days. It can start with a brief history of this type of dome and a demonstration of the mathematical principles behind these ingenious structures. Then, everyone can proceed together to produce the necessary materials, such as cutting the panels and 3D printing the connectors. All these phases can be optional or prepared in advance at the facilitator's discretion, but without forgetting the most fundamental and fun part: the construction! By the end of the workshop, participants will have a deeper understanding of geodesic domes, practical experience in fabrication, and a sense of accomplishment from creating something with their own hands. This activity not only enriches their skill set but also fosters a collaborative and inclusive environment. Please consider that this activity is quite complex, so before listing the actual steps for the workshop, we want to provide some important notions for the facilitators. This way, they can evaluate in advance which path to choose and have a more comprehensive view of the project's possibilities before tackling it with the participants.

Info

A learning party

Milano case study

Activities collection

Try this at home!

design

icebreakers

workshops

engage

geodesic dome

deploy

3d kite

The idea behind a geodesic dome is to take a perfect (half) sphere and tessellate, or give flat faces to it. The more faces, the smoother it is like the sphere. Geodesic domes, known for their strength, efficiency, and unique aesthetic, have a fascinating history. The concept was popularized by Richard Buckminster Fuller, an American architect, inventor, and visionary. Although Fuller did not invent the geodesic dome, he refined and promoted its design, making it widely recognized. The idea of geodesic domes dates back to the early 20th century, with German engineer Walther Bauersfeld designing a planetarium dome in 1926. However, it was Fuller who saw the potential of these structures to revolutionize building techniques. Fuller coined the term "geodesic" and dedicated his career to developing efficient, sustainable housing solutions. During the 1950s and 1960s, geodesic domes gained traction in various fields, from military applications to experimental housing. The counterculture movement of the 1960s and 70s embraced geodesic domes as symbols of ecological harmony and alternative living. Today, geodesic domes are experiencing a resurgence in popularity due to their sustainability and versatility. They are used for eco-friendly homes, exhibition spaces, emergency shelters, and even futuristic architectural designs.

Building a geodesic dome with digital fabrication

Step 2: Choose the right material

Step 1: Choose the right dome

Step 8: Assembly

Step 3: 3D print Connectors

Step 7: Folding:

Step 4: Design triangles with Dome calculator

Step 5: Make a scale model

Step 6: Make triangles

Info

Objects began to detach… 3d Kite workshop

This activity was deployed during Biarritz Symposium in response to the primary inspiration of the residency: the wind. In alignment with Vectorealism's practice and imagination, a 3D version of a kite was created using digital fabrication technologies and professional materials. The concept of geometric kites is widely explored in the art field, notably by Thomas Saraceno, and is also popular within the makers and crafters community. Numerous tutorials, videos, and examples on constructing a tetrahedral kites using simple materials are available online. Even NASA provides a tutorial on this activity for STEM classes, highlighting its ability to engage participants while teaching important principles of geometry and basic engineering.

The assembly process of the kite involved both the design team and venue technicians. It also posed a challenge for photographers, who captured striking images outside the residency's venue, reflecting on the poetry of the kite and its relationship with the possibility of flight—an almost utopic adventure that challenges our connection with nature and the creators' hubris in striving for seemingly impossible goals.

The activity in Biarritz culminated in an exhibit displayed at the entrance of the Atabal venue, bearing an evocative title. This exhibit highlighted the designers' vision of the object, not merely as an aesthetic sculpture, but as a performative piece in constant dialogue with human vulnerabilities, failures, and fears.

All what you need to build the 3D Kite

REACH Experts

Flo Gil de Muro Combustible

Jean-Louis Puyo Combustible

Jacques Chabrillat Combustible

Indiana Debacq Combustible

Carine Puyo Combustible

Marco Bocola Vectorealism

Eleonora Ricca Vectorealism

Marc Plotkin Clive Davis Institute

Jeff Peretz Clive Davis Institute

Errol Koloskine Clive Davis Institute

JD Samson Clive Davis Institute

Brianne Hayes Clive Davis Institute

Nick Sansano Clive Davis Institute

Bobby Wooten Clive Davis Institute

Alan Billi Usopop

Areta Senosiain Musika Bulegoa

Arkaitz Villar Musika Bulegoa

Mike Errico Clive Davis Institute

Downloadable

All the materials included in this presentation are freely available for download and use. We kindly ask that you credit the REACH project when using them. Enjoy!

Card Files - Practice!

Design Files - Make!

All Geodesic Dome Files

Meetings between international artists Organize the reception of participants

All 3D kite Files

Meetings between international artists Music creation workshop

Multinlingual REACH Lexique

Usefull Links

REACH MOOCs

Cultural & Creative Entrepreneurship in the Digital and Globalization Era This MOOC offers a learning pathway for those developing an artistic or cultural project—often operating outside traditional models—who are seeking to forge their own path as cultural entrepreneurs.

Governance and Mentorship for Young Creative and Cultural Entrepreneurs This MOOC is dedicated to those who provide support: mentors, educators, youth workers, project officers, and coordinators. It offers an in-depth reflection on the role of the mentor within non-linear cultural paths—often shaped by precarity, self-directed learning, the need for recognition, or connections to minoritized cultures.

Websites

Video

REACH Project

How can a concert venue contribute to the ecological transition? François Maton, director of the SMAC Atabal in Biarritz, explains how sustainability issues influence artistic choices, audience engagement, partnerships, and daily internal practices.

Combustible

Musika Bulegoa

Clive Davis Institute

Vectorealism

Use a hard ruler to fold each flap up along the engraved line.

In classical culture, a "Symposium" was indeed a formal gathering or banquet where participants engaged in intellectual discussions, typically accompanied by music, poetry, and other forms of entertainment. Originating in ancient Greece, the symposium was a key social institution. It provided a platform for philosophical debates, the exchange of ideas, and the enjoyment of cultural performances. The term "symposium" itself comes from the Greek word "symposion," meaning "to drink together," reflecting the convivial and communal nature of these events.

For example: meaningfulness, business opportunities, bohemian life, clichés, data, collaboration, replicability, privileges, space, deadlines, planning, social media, public, scene, mentors, market, commitment, relationships, mental health, studies, milieu, trends, research, inspiration, innovation.

JD Samson

Since the early 2000s as a member of the feminist electro-pop band Le Tigre, Samson has gone on to work in almost every medium. A formidable songwriter, producer, visual artist and internationally renowned DJ, Samson has amassed a body of work that not only spans a variety of fields—everything from pop music and fine art to curatorial work, political activism, and fashion—but has also helped galvanize NYC’s LGBT community. She has been photographed and featured everywhere from Interview to Vogue Homme and has written for the likes of the Huffington Post and Creative Review. A valiant supporter of LGBT issues, Samson has provided a glowing example for the lesbian and gender-queer communities.

Samson also began writing and producing for other artists, including Christina Aguilera, Cobra Starship and Pussy Riot, co-writing the song "Don't Cry Genocide" for their appearance on House of Cards. For Samson, who is equally at home writing music for major label artists and playing music at a queer house party in a Bushwick basement, the ability to follow her artistic impulses has proven to be a recipe for both success and a happy life. In addition to her own creative endeavors, Samson co-founded and co-runs Atlas Chair, a record label aimed at serving as an incubator for emerging artists helping to develop the burgeoning careers of artists such as Baby Alpaca, Claude Violante and Avan Lava.

Mentoring in Europe has existed indeed as early as Ancient Greek times. The word’s origin comes from Mentor, son of Alcimus in Homer’s Odyssey. When Odysseus left for the Trojan War, he placed Mentor in charge of his son Telemachus and of Odysseus’ palace. If we stop the story here, it makes sense that, nowadays, the role of a mentor is associated, in many cultures, with wisdom and guidance. The Cambridge Dictionary defines “mentoring” as “the act of helping and giving advice to a younger or less experienced person, especially in a job or at school”.

Arkaitz Villar

Since 2019, Arkaitz has been working as a Project Manager at the Euskal Herriko Musika Bulego Elkartea association. His responsibilities include promoting Basque music at various international professional fairs, managing the communications team, and organizing and hosting key events such as Kluster and DA! Pro. Arkaitz is also deeply involved in supporting young Basque artists in the music sector by providing them with essential tools and resources to develop their projects and gain access to relevant professional platforms. In parallel, he coordinates the activities of BASQUE. MUSIC., an initiative dedicated to the promotion of Basque music. Arkaitz’s expertise in the Basque music industry stems from his experience as a radio host for EITB, where he ran a program until 2020 focusing on the professional music sector in the Basque Country, covering all aspects of the industry—from musicians to festivals.

Indiana Debacq

Indiana, with a background in Economics and a Master’s in International Negotiation focused on the Arab world, has worked several years on EU-funded projects promoting microenterprise and cultural development in Cairo, Egypt. An experienced translator for international organizations, she joined Combustible in April 2022, bringing her expertise in economic and cultural initiatives.

The term "third landscape" is derived from the concept developed by the French landscape architect and writer, Gilles Clément. In his book "Manifeste du Tiers Paysage" (Manifesto of the Third Landscape), Clément defines third landscapes as those spaces that are neglected, abandoned, or left to nature's own devices. These are areas that do not fit within the conventional categories of urban or rural landscapes, often found on the fringes of cities or in post-industrial settings. Third landscapes are characterized by their untamed, wild appearance, where nature reclaims spaces once occupied by human activity. Clément's concept emphasizes the ecological and cultural significance of these spaces, as they represent a form of resistance to the homogenizing forces of urban development and industrial agriculture.

Draw the triangles, remembering to add a 'hem' with a scoring line, which will then be folded to assemble the triangles together with the connectors. Include holes for the connectors on each edge, always in the same position.Follow the construction list to make the right number of triangles. If you are using cardboard, note the usually corrugated cardboard has two different sides. Put the glossy side of the cardboard down, trace on the dull side.

The idea of using tetrahedral structures to build heavy-lifting kites was first explored by Alexander Graham Bell in his famous experiments in the early 1900s. Since then, it has inspired and amazed thousands of scientists and artists. Our revision of the 3D kite is based on original materials from Bell's 1903 article in National Geographic magazine but has been updated with professional materials and 3D-printed connectors. This represents an innovative contribution to this type of project and adds a challenging aspect to the activity, even for expert designers and architects.

Marco Bocola

Marco embarked on his career in Milan’s creative industry in his early twenties, with a strong inclination towards copywriting and digital content creation. Driven by his innate curiosity and a genuine desire to explore diverse fields, he actively sought opportunities to contribute to various creative business ventures. This included his involvement in a software startup in the Republic of Moldova and his participation in a sociological research project investigating the history of made in Italy design. He holds a Master's Degree in Organizational Studies and Management from the Catholic University of Milan, providing him with a strong foundation in business and organizational dynamics.

A geodesic dome can be described as 1V, 2V, 3V, and so on, based on its frequency. Frequency refers to the number of times the triangular grid repeats on the surface of the sphere.• 1V (one frequency): The triangular grid repeats once on the surface of the sphere. • 2V (two frequencies): The triangular grid repeats twice on the surface of the sphere. • 3V (three frequencies): The triangular grid repeats three times on the surface of the sphere. These different frequencies influence the shape and structure of the geodesic dome, with higher frequencies generally leading to more complex and detailed structures, resulting in domes that are more spherical.

Nicholas Sansano

Nick began his professional career in earnest at Greene Street Recording in NYC, recording and mixing for a variety of seminal Hip Hop and Alternative Music artists - including Public Enemy, Ice Cube, Rob Base, and Run DMC. His work in early Hip Hop attracted the attention of Sonic Youth, with whom he would co-produce and record the albums "Daydream Nation" and "Goo," two critically acclaimed and historic alternative music releases.

Sonic Youth's "Daydream Nation" and Public Enemy’s "It Takes a Nation of Millions" and "Fear of Black Planet" were selected for inclusion in the US Library of Congress Archive of Culturally Significant American Recordings. Nick's genre-crossing work has taken him around the world, producing music in Australia, New Zealand, and all throughout Europe. In France, he found success producing multi-platinum recordings for the groups IAM, Zebda and Noir Desir – blending French pop genres with musicians from North Africa, Spain, and the Middle East. His francophone work has earned three Victoire De La Music Awards from the French Recording Academy.In all, Nick has been awarded over 17 Gold, Platinum, and Diamond Record awards worldwide. Despite the commercial success, it is his work outside the mainstream with artists such as Le Tigre, Galactic, Peter Mulvey, The Grassy Knoll, Jon Spencer Blues Explosion, The Pop Group, and Mbongeni Ngema that defines who he is as a musician, recordist, and producer. He remains an active performer with his experimental group, The Bronze Fondue.

For managing all the logistics and practical issues, a designated location manager could be highly beneficial. The typical duties of this role include coordinating the setup and breakdown of the event space, managing the schedule to ensure all activities run smoothly, liaising with vendors and suppliers for equipment and services, ensuring all health and safety regulations are followed, handling any on-site issues or emergencies that may arise, overseeing transportation and accommodation arrangements for participants, providing support and assistance to facilitators and participants as needed, and keeping track of expenses and managing the event budget.

For Milano Symposium we decided to host a very intense speculative design session on the first day with all the participants. This "TURFU" activity created a positive setting and provided enough methodological support to guide all participants into the first creativity session, dedicated to imagining the future of the industrial area we were inhabiting. This session covered broad and diverse aspects of the project, such as sustainability and the environment, inclusion, and cultural differences. It offered an opportunity to briefly discuss expectations and the need for deeper discussions on these topics.

Eleonora Ricca

Bachelor's degree in Industrial Design. Co-founded Vectorealism in 2009, driven by a deep passion for creating and making things real, with the goal of providing everyone the opportunity to make things and access cutting-edge technologies. Currently, she teaches laser cutting at SIAM and Innovation in Materials and Technology at Domus Academy. When her head is not immersed in the laser cuter her other hyperfixation is dogs and looking at peculiar animals and memes on the internet.

Instructions

Begin with a brief overview of each machine, including 3D printers, laser cutters, and plotters. Demonstrate how each machine works, highlighting key features and safety guidelines. Allow participants to ask questions and interact with the machines to build familiarity.

Vectorealism - Milan

Vectorealism is a design and prototyping studio specializing in digital fabrication, and a pioneer of the Makers movement in Italy. Our work focuses on digital fabrication services, research, and training, with three main areas of activity: a FabLab in Milan, an online digital fabrication service, and a creative studio offering design consulting.

François Maton, director of the SMAC Atabal in Biarritz, introduces himself and explains what a SMAC – Scène de Musiques Actuelles (Contemporary Music Venue) is.What role do these structures play in the French musical ecosystem? Why are they essential for the development of both artists and local territories?

How can a concert venue contribute to the ecological transition? François Maton, director of the SMAC Atabal in Biarritz, explains how sustainability issues influence artistic choices, audience engagement, partnerships, and daily internal practices.

The REACH Project

The cultural and creative industries have been radically transformed by digital technology, reshaping production and distribution models. In contemporary music, traditional structures—producers, distributors, and specialized media—have been replaced by digital platforms, algorithms, and influencers, fostering an economy driven by attention rather than creation. Independent artists and those from minority cultures must now develop entrepreneurial skills, navigate globalized environments, and craft new governance strategies. Despite these challenges, they remain key players in cultural innovation.

The REACH project addresses these challenges by: ✔ Supporting specialized mentors to guide young creators. ✔ Developing an international network to support cultural entrepreneurship. ✔ Organizing symposiums and a conference to share expertise and strengthen collaborations. ✔ Producing accessible resources to ensure the long-term impact of the project. The goal is to provide young cultural entrepreneurs with tailored tools to navigate this new ecosystem and foster inclusive and sustainable creativity.

Carine Puyo

Carine, co-founder and manager of the association Combustible since 2005, is an expert in structuring participatory projects in the cultural and social economy sectors, providing support to entrepreneurs in art, socio-cultural, digital, and sports initiatives. With a strong background in cultural project development and sociology, she also works as a consultant and brings two decades of experience as a musician in the DIY music scene, offering deep insights into contemporary music and live performance.

The “make almost everything utopia” concept can transcend the maker movement and be adapted to various creative fields. What happened in design—an increase in tool accessibility due to technological development—is also occurring in different artistic disciplines, for example, thanks to AI. In the music industry, advancements in technology and AI have democratized music production, enabling artists to create high-quality tracks from home studios. Platforms like SoundCloud and Bandcamp have allowed independent musicians to distribute their work globally, bypassing traditional gatekeepers. Moreover, AI-powered tools like Amper Music and AIVA help musicians compose and produce music, further lowering the barriers to entry.

History of geodesic domes

The idea behind a geodesic dome is to take a perfect (half) sphere and tessellate, or give flat faces to it. The more faces, the smoother it is like the sphere. Geodesic domes, known for their strength, efficiency, and unique aesthetic, have a fascinating history. The concept was popularized by Richard Buckminster Fuller, an American architect, inventor, and visionary. Although Fuller did not invent the geodesic dome, he refined and promoted its design, making it widely recognized. The idea of geodesic domes dates back to the early 20th century, with German engineer Walther Bauersfeld designing a planetarium dome in 1926. However, it was Fuller who saw the potential of these structures to revolutionize building techniques. Fuller coined the term "geodesic" and dedicated his career to developing efficient, sustainable housing solutions. During the 1950s and 1960s, geodesic domes gained traction in various fields, from military applications to experimental housing. The counterculture movement of the 1960s and 70s embraced geodesic domes as symbols of ecological harmony and alternative living. Today, geodesic domes are experiencing a resurgence in popularity due to their sustainability and versatility. They are used for eco-friendly homes, exhibition spaces, emergency shelters, and even futuristic architectural designs.

Errol Kolosine

Errol Kolosine is a music industry executive, producer, and educator with a career spanning decades in music business, artist management, soundtracks, and new media. He joined Caroline / Astralwerks in New York, where he spent 14 years, rising to General Manager in 1999. Under his leadership, the label became a powerhouse, working with top-selling and Grammy-winning artists such as The Chemical Brothers, Air, Beth Orton, Fatboy Slim, Brian Eno, Sia, Hot Chip, and Royksopp.

Kolosine also made a mark in soundtracks and licensing, serving as Music Supervisor or Executive Producer on films like Being John Malkovich, V for Vendetta, and Rango, as well as video games and TV shows like SSX-3 and Heroes. He received a Grammy nomination as Executive Producer for the Six Feet Under soundtrack.After leaving Astralwerks, he founded Modern Frequencies, a platform for artist advocacy, management, and consulting, working with The Chemical Brothers and various labels, soundtracks, and tech companies.Currently, Kolosine is an Associate Arts Professor and Business Area Head at the NYU Clive Davis Institute of Recorded Music, where he develops innovative courses like "3D Printing & The Music Industry" and "Music, Science & Futurism in the 21st Century", mentoring the next generation of music industry professionals.

Alan Billi

Alan is a multi-instrumentalist known for his work as a musician and producer with the bands Orbel, The Rodeo Idiot Engine and VENIL, as well with his solo project PALECOAL, who just released a first LP, blending alternative Hip-Hop with Industrial and Post-Digital soundscapes. He's also part of the Basque collective Usopop which organizes shows, festivals and releases records for some of the most innovative Basque artists.

Musika Bulegoa is an association that collaborates with public entities to support the Basque music sector.We specialize in organizing training sessions, leading workshops, promoting awareness projects, providing consulting & support for entrepreneurs, advocating for diversity, organizing LGTBIQ+ conferences, supporting internationalization, and more.

Jeff Peretz

Multi-instrumentalist/producer Jeff Peretz is an Associate Arts professor, the Music Director, and the coordinator of the Musicianship & Songwriting area at the Clive Davis Institute of Recorded Music. Jeff has recorded and/or performed with Mark Ronson, Lana Del Ray, Jay-Z, Rock Wilder, Daniel Merriweather, Corrine Baily Rea, Tim Robbins and Stanley Clarke. He is the founder and principle composer for Abu Gara. His books include Zen and the Art of Guitar, Guitar Atlas: Cuba, and Guitar Atlas: The Middle East and he recently contributed the musical analysis to the NYTimes best seller: Dilla Time.

The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm. As “America’s Pop Musicologist, he has written music for television, film and stage and as Michael J Fox's personal guitar coach for the past 12 years, he has prepared, arranged and successfully directed Michael's performances with such artists as The Who, Chris Martin, and the Roots for the MJFox Foundation's annual benefit "A Funny Thing Happened on the Way to the Cure.” He has been a faculty member of the Clive Davis Institute of Recorded Music since 2006 and a full-time faculty member since 2013. Jeff has taught at The New School University, and Marymount Manhattan College. He is also a member of the Board of Directors for the Third Street Music Settlement School in lower Manhattan and a member of the Les Paul Advisory Council

Bobby Wooten

Bobby Wooten III is a composer/producer/instrumentalist raised in Chicago, IL. He credits his family’s gospel Wooten Choral Ensemble as his main influence & inspiration. Bobby has written/produced/recorded with David Byrne, Carly Rae Jepsen, Post Malone, Jennifer Lopez, Mac Miller, Jennifer Hudson, Rick Ross, Machine Gun Kelly, Jake Troth, among others. Commercial production credits include Empire TV series, Google, Adidas, Lebron James, ESPN, among others. Bobby composed & produced the score for the 2023 film "Rare Objects." Broadway credits include Moulin Rouge! & the Grammy/Emmy-nominated & Tony-winning production of David Byrne's American Utopia, the latter filmed by Spike Lee. In 2020, Bobby launched the internet series "America, Learn Your History." In two minute episodes, he retells history as seen through a minority lens –– Revisiting stories that have been misunderstood, misled, or lied upon in American education.

In our experience we have evaluated and tested different materials, each with its advantages and disadvantages, also depending on the size of the dome to be built. PETG sheets are a very cheap plastic that can be cut with good scissors, but they may not be easy to find. They can also be difficult to fold in the correct way to join the triangles: if folded too much they can break. Corrugated cardboard is a common material that can be found everywhere. There are different types, with a different number of layers (waves) and more or less heavy. Since the material is corrugated, it has a “fiber direction”. It can therefore be difficult to fold in the opposite direction to the grain.

Wild spirits warning!

Accessible technologies and a network of creative and enthusiastic people around you could seriously lead to the development of the so-called "wild spirit" of entrepreneurs! As theorized by the famous economist Joseph Schumpeter, the "wild spirit" gives entrepreneurs a restless energy and a desire to innovate, often leading to new business ventures and sometimes disruptive changes in the market. These wild spirits are not content with the status quo; they are constantly seeking new opportunities and ways to revolutionize industries. Schumpeter saw this as a vital force for economic progress and innovation. So yes, this means that you should definitely consider inviting also an economist to your next Symposium!

Tips for program designers

• Think about an “icebreaker” for the beginning of the residency, and a “wrap-up” for the end, both plenary with all the participants • Share a theme capable to evoke creativity; don’t worry if it sounds banal or “deja vu”: participants creativity will help transforming it into their own artistic language • Program some extra activities like visits, but don’t exceed. The schedule should be large enough for people to settle in the residency and produce a creative output

Marc Plotkin

Marc Plotkin is an American Songwriting Award-Winning Artist, a Grammy Shortlisted Producer, a Bloomberg BusinessWeek Top 25 Entrepreneur, and a Professor at New York University's Clive Davis Institute of Recorded Music. As a songwriter, singer, saxophonist, guitarist, producer, and engineer, Marc has had the pleasure of making music both in the studio and onstage with Jon Batiste, Sufjan Stevens, Ra Ra Riot, Panama Wedding, Pete Francis of Dispatch, Hiromi, Peter Himmelman, and many others.

Marc co-founded “DecisionDesk,” the first multimedia-enabled online application for colleges. He next founded “Wifi Music School,” an online marketplace for private music lessons via Skype with some of the top musicians and educators in the world, also acquired by Flint Hills Music.Marc is currently the founder and CEO of Beast Music A.I., a system he developed that completely reimagines traditional music marketing. Marc joined NYU's Clive Davis Institute of Recorded Music in 2016 and teaches courses that blend music creation with entrepreneurship and business. He regularly hosts a conversation series that has brought some of the most influential names in music, technology, and business to his students.

A Tapchan is a piece of furniture typical of Central Asia, where this kind of elevated structure is widely used for relaxing and chilling together. Once you have removed your shoes and placed them under the structure, you can sit on the tapchan cross-legged or semi-reclined for greater relaxation. While the English word “lounge” is almost completely replacing “salotto” in spoken language, especially for public places, it’s important to remember that an Italian salotto is much more than just a space to relax and eat. It’s primarily a social setting, a symbolic place where you’d be invited, for example, for a Symposium. Reflecting on these themes during the collective artistic research that preceded the Symposium, something unique emerged from the interplay of Marco Bocola’s travel memories and the taste of Giacomo Grippa and Chiara Biraghi for mixing raw materials with digital imagery.

Jacques Chabrillat

Jacques Chabrillat, Ph.D. graduate in management sciences, is an expert in financial and budgetary engineering who directs pedagogical activities at AGECIF, collaborates with government agencies on training and consultancy, supports Le Moulin in Marseille, and sits on the board of the Eurockéennes festival.

Flo Gil de Muro

Flo Gil de Muro, with a background in gender studies and sociology of health , has been deeply involved in LGBTQIA+ cultural activism, including organizing queer film and music festivals and working in community health for marginalized communities. Since joining Combustible in January 2024, Flo has focused on producing open educational resources and documenting methodologies for international projects, building on extensive experience in advocacy, education, and creative projects like music and podcast production.

Instructions

Provide hands-on assistance and supervision as participants operate the machines.Ensure that all participants follow safety protocols and use the machines correctly. Offer troubleshooting support and guidance to help participants achieve their desired results.

History of geodesic domes

The idea behind a geodesic dome is to take a perfect (half) sphere and tessellate, or give flat faces to it. The more faces, the smoother it is like the sphere. Geodesic domes, known for their strength, efficiency, and unique aesthetic, have a fascinating history. The concept was popularized by Richard Buckminster Fuller, an American architect, inventor, and visionary. Although Fuller did not invent the geodesic dome, he refined and promoted its design, making it widely recognized. The idea of geodesic domes dates back to the early 20th century, with German engineer Walther Bauersfeld designing a planetarium dome in 1926. However, it was Fuller who saw the potential of these structures to revolutionize building techniques. Fuller coined the term "geodesic" and dedicated his career to developing efficient, sustainable housing solutions. During the 1950s and 1960s, geodesic domes gained traction in various fields, from military applications to experimental housing. The counterculture movement of the 1960s and 70s embraced geodesic domes as symbols of ecological harmony and alternative living. Today, geodesic domes are experiencing a resurgence in popularity due to their sustainability and versatility. They are used for eco-friendly homes, exhibition spaces, emergency shelters, and even futuristic architectural designs.

Brianne Hayes

Brianne has been with The Clive Davis Institute since its very early days in 2005. She began her time at CDI as the first Administrative Aide of the department, and as the department expanded, she became the first Administrative Coordinator. Now, in her role as Administrative Director, she is integral to the big picture planning and development for the Institute and oversees all day-to-day administrative activities, including managing the annual budget, advising and assisting students with issues, leading the admissions process, and scheduling courses and hiring faculty, etc. You name it!

Tips for program designers

• Think about an “icebreaker” for the beginning of the residency, and a “wrap-up” for the end, both plenary with all the participants • Share a theme capable to evoke creativity; don’t worry if it sounds banal or “deja vu”: participants creativity will help transforming it into their own artistic language • Program some extra activities like visits, but don’t exceed. The schedule should be large enough for people to settle in the residency and produce a creative output

Areta Senosiain

After completing violin and orchestra studies, she continued exploring new styles and formats, delving into the string quartet and a band with which she currently offers numerous concerts throughout Euskal Herria, called Ibil Bedi. A few years ago she discovered cultural management and after completing a master's degree, she delved into the Musika Bulegoa project, with the hope of continuing to work in the music sector from another point of view.

Clive Davis Institute New York

The Clive Davis Institute is a department of the Tisch School of the Arts at New York University, globally renowned for its excellence in artistic studies. Our mission is to equip students with the necessary skills—entrepreneurial, creative, and intellectual—to foster the emergence of visionary cultural entrepreneurs in the ever-evolving global music industry.

Before carrying out the construction activity it can be useful (and interesting) to build a scale model. This will help to familiarize yourself with the structure. This part can also be done with the participants.For models 50cm or smaller, paper or lightweight cardstock can be used. Making a scale model can be useful to show participants what they will be making, clearly showing the repetition of the sequence.

• Use communication tools to create a captive and shareable graphic design • Publish an official call for artists, requesting portfolio and a motivation letter • Meet people in person, if possible, to define goals and needs • Be careful with artists' presentations: they can be a double-edged sword, potentially making someone feel inadequate or excluded before they even begin. • Prepare a welcoming booklet with all necessary logistic and practical information

Although the Symposium participants were selected before the event and the activities were conducted in a private setting, we wanted the event maximize impact and visibility on digital channels and within Milan’s creative community. The communication package for the event included not only a welcoming booklet for participants but also a dedicated webpage hosted on the Vectorealism website and a press release sent to arts and music journalists to announce the event during the week.

For 3D printed connectors we designed a press stud based on an open source design. Print some prototypes in order to check our 3D printer and material tolerances, in order to be sure to obtain a strong connector. Open source designs for connectors are available on popular models repositories, such as Thingiverse or Printables. Another great solution is to 3D print screws and nuts. On those archives it’s possible are a lot of generators easy to use to design the desired kind of elements and they don’t require any 3D modelling software. It is ok to use PLA or PETG.If you don’t have a 3D printer, zip ties can be used.

To understand the “geodesic” concept we need to refresh some geometry notions: a polygon is a plane figure that has at least three straight sides and angles. A regular polygon is a type of polygon where all the sides are of equal length and symmetrically arranged around a central point. In other words, the polygon is both equiangular and equilateral. Is named polyhedron A solid bounded by polygons. So a dome can be defined as it. A convex polyhedron is non-deformable (as a spatial structure) if its faces, which are flat shapes, are rigid. We know that triangular faces are non-deformable polygons. Triangles, being polygons with the fewest sides, are non-deformable because the length of their sides determines the measure of their angles (a deformation always implies a change in the measure of the angles).

Combustible - Biarritz

Combustible is a laboratory for innovative cultural initiatives, backed by over two decades of experience in live performance, artistic creation, networking, and cultural & digital mediation. We provide consulting & training, as well as co-production and production support for young cultural & creative entrepreneurs, particularly those emerging from underground and D.I.Y. cultures.

Jean-Louis Puyo

Polymorphic artist, Jean-Louis has led the group Bubblies since 1991, conceived award-winning hearing risk prevention projects and pioneered the musical USB key in 2006. As a relay and advisor to numerous artists, he deploys his skills in project management strategy and team management. He is familiar with issues in the phonographic industry as well as those of developing artists.

Assembly the dome according to the chosen construction diagram, keeping the seams on the inside. You can divide into groups, one group to fold the tabs and another to join the triangles together step by step, securing them with connectors.

Mike Errico

New York-based recording artist, writer, and professor Mike Errico has built his name on the strength of critically acclaimed releases and extensive composition for film and TV. He has taught songwriting at universities including Yale, Wesleyan, and the New School, and was nominated for 2019’s David Payne-Carter Award for Excellence in Teaching. He is the author of Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter, which is required reading in arts programs across the country.

There are two main decisions to make as a first step: the complexity level of the dome (i.e., the frequency) and its dimensions. But we must not forget about the chosen material. Material sheets, whether PETG or others, have a specific size, and we want our triangles to fit within this size. If we wish to use a laser cutter to produce the triangles, we must also consider the maximum dimensions of the work area. For this, reverse calculators come in handy, where we can specify the length of a triangle's side and derive the dome's dimensions. We will use those from the Desertdomes website. With this calculator, we can specify the longest side of the triangle and obtain the other dimensions.

3v

2v

General ratios

3v

2v

General ratios

Andrei Tarkovsky's Stalker (frame, 1979)

Instructions

Organize a brainstorming session where participants can share their project ideas. Use tools like sticky notes, whiteboards, or digital platforms to document and visualize ideas, if necessary. Encourage creativity and collaboration among participants, making sure everyone feels heard and included.