PROJECT I.2 Organizing Temporary Co-Presence to Induce and Cope with Uncertainty in Creative Processes

这个项目考察了物理共同存在在创作过程中的作用。在车间、工作室或贸易展览会上的实际存在可以促进隐性知识的共享，并提供与创造力和创新相关的不同寻常的互动机会。相反，身体距离与较低的团队合作质量和解决问题的能力有关。然而，长期存在也可能导致趋同思维和路径依赖。因此，暂时的存在和暂时的缺席在创造过程中可能发挥着重要的作用，但迄今为止被低估了。通过对“共同存在”（包括永久、临时和虚拟的互动）更精确的理解，该项目旨在提供一个更完整的“共同存在”（co-presence）的作用以及与之相伴的创造力距离阶段。因此，我们将根据经验追踪创意如何在不同的分析层次上通过不同的存在领域移动，并涉及（或避免）与不同类型的参与者的互动。因此，该项目旨在揭示在创作过程中由于物理距离和距离而产生的各种不确定性。共同存在可以是一种机制，通过允许获得信息或建立信任来应对不确定性，但它也可以诱发或放大不确定性，例如，因为参与者了解他们的竞争对手。基于对八个创意项目的比较，四个来自音乐，四个来自制药，本企业将得出在创意项目过程中出现与缺失之间交替的实践和节奏。这不仅涉及创造性项目如何在时间和空间上跨越分析层次的概念分析，而且还涉及不同种类的不确定性如何在时间上分布于分析层次和参与者，通过组织存在和不存在的实践。总而言之，本研究将有助于构建更具空间敏感性的组织创造力理论。

This project examines the role of physical co-presence in creative processes. Physical copresence in workshops, studios or trade fairs can foster the sharing of tacit knowledge and provides opportunities for unusual interactions, which is associated with creativity andinnovation. Conversely, physical distance has been linked to lower teamwork quality and problem-solving capacity. However, permanent copresence can also potentially lead to convergent thinking and path dependence. Thus, temporary forms of copresence as well as temporary absence may play an important and to date underestimated role in creative processes. Using a more refined understanding of copresence that includes permanent, temporary and virtual interactions, this project aims to provide a more completepicture of the role of co-presence and accompanying phases of distance for creativity. We will hereby empirically trace how creative ideas move through different arenas of copresence at different levels of analysis and involve (or avoid) interactions with different kinds of actors. Thereby, this projects aims to shed light on different kinds ofuncertainty resulting from physical proximity and distance in the course of creative processes. Copresence can be a mechanism to cope with uncertainty by allowing for information to be gained or trust to be built, but it can also induce or amplify uncertainty, e.g. because actors get to know their competitors. Based on a comparison of eightcreative projects, four from music and four from pharma, this enterprise will derive an account of the practices and rhythms of alternating between copresence and absence in the course of creative projects. This will involve not only a conceptual analysis ofhow creative projects temporally and spatially move across levels of analysis, but also of how different kinds of uncertainty are temporally distributed across levels of analysis and actors by practices of organizing copresence and absence. In sum, this enterprise willcontribute to a more spatially sensitive theory of organized creativity.