Darwin Jingili Water Gardens Day 6-7
The simplicity of services is easily boxed into a dominance-based designated hierarchy, which can be readily demonized by those who feel displaced from control. The essence of trickle-down power is easily seen and used to maintain the status quo of those who control the money, control the product, and ultimately controls the user. In short, the experiences of the user are the output of those who know best. Jingili Water Gardens is a planned space, where you can safely enjoy the outdoors and enjoy a manicured form of nature. I enter Jingili Water Gardens with an understanding of order. Everything is in the right place for the right purpose. My role is to enjoy the experience, knowing that decisions have been made for my enjoyment.
I know that there is a park and gardens hierarchical structure. There are people accountable for my enjoyment and well-being. The structure continually makes decisions and takes action to improve my experience. I don't expect tomorrow's experience will be anything less. The structure is accountable. What I am experiencing as I walk through The Jingili Water Gardens is a creative artifact created by the established hierarchy. I am not consuming each plant by plant or experiencing the walking path in isolation. I am experiencing the whole creative experience as I would a work of art. From each viewing, I gain a deeper insight into the whole.
Whilst the output of a public garden is different from a school, the hierarchy that extends from the Corporate Executive to the classroom teacher is fabricating a creative experience for the student. The hierarchy is purposed to ensure that the education offered meets the needs of students. On a basis that hierarchies that create public gardens are about forming pleasurable user experiences, education hierarchies should be about forming pleasurable user experiences. It is time to emphasize the whole rather than the component. The 20th-century emphasis of the component by component is disruptive of the whole experience. My point is; less subject-based consumption and more about the user experience would beneficial to the hierarchy and the user. This is a continual discussion - the creative artifacts which manners a school needs to be more about the experiences of the young person rather than that of expertise of the hierarchy.
I would expect that there is a hierarchy within the various sectors of the arts industry. In my early artistic career, I was aware that trying to build and sustain a career in the arts is difficult. The emphasis was to demonstrate exceptional artistic skills to attract private gallery support, which may attract national or state gallery support. My earlier experience was based on not knowing just doing. I was able to gain exhibitions but I couldn't gain traction in sales or critical attention. Knowing who have the power and control of the rules must be helpful. The experience of a non-established artist is about satisfying hierarchical needs. Why is the arts industry interface so difficult to maneuver in. The hierarchical network existed but I, as a user based artist, had no knowledge of how to be part of it. Is it possible to build an artistic career based on the quality of work without being part of the system, knowing the gatekeepers, and having access to the keys that open doors? In my mind studio, artists are the service user of the system, and whilst core to the service product has diminished controlling power.
As I reenter the art industry I am now considering whether the hierarchy is based on an informal structure, without visions and values, strategic measurable goals, organizational charts, and optional pathways artists can walk. As an educator, I could gain access to organizational charts, get to know roles and responsibilities, and walk and talk about the strategic goals. Most importantly I was able to step forward within the hierarchical structure. And whilst my career path has had its peaks and troughs I felt there was sufficient transparency to assume a sense of control.
Based on my educational career - nothing is straightforward. Achievement requires a complexity of interactions. If I rely on building a late-career in art via social media through likes and advertising I am presuming that success is a natural flow from my artistic products. This would be the same error I made as an early-career artist - that being 'just do it'. I would be foolish if I did not engage the embedded hierarchy. This is not an imposition on my artistic expression as my consolidated efforts would include both product and people.
Where this line of thought is leading me - is to work within the multifaceted roles of expertise. The gardener may not understand the business of gardens and the needs of all visitors; the teacher may not know the business of the school and needs of all students, and the artist may not know the business of art and the needs of all viewers. It takes a hierarchical understanding and interoperability of controls to afford a creative output. Trickle-down authoritative and informal hierarchies diminish the creative experience. The hierarchical organization must integrate its creative experience to regain sight of its real substance to shift away from a functionalist level disparent from the user. So on day seven, my reflections concern agility within the hierarchy. The user experience is enabled within the hierarchy and the systemic output us a simulation of the hierarchical creative self.
So as a late-career artistic my quest is not just about making quality products, it involves how I can appropriately embed my resources within a hierarchical expression. To return to the arts it is imperative that I start investigating the arts industry hierarchy. I need to understand power patterns, the ranks, and degrees of power. In an abbreviation, I need to have a clear vision of the strategic, management, and operational levels to pathway from within.