New emerging properties of the Vc system provided newly defined boundaries or constraints from within which Rhizomes 'work' was channeled. The 'work' of creating the art product reflects back upon the technical product and cyclically incites more 'work' on the technical product, which in turn creates another set of constraints from which the artistic 'work' is created... This 'work' cycle is a characteristic of autonomous agents (as complex systems) (Kaufmann, 2000).
Each scene created in the evolving-developing Rhizomes system (such as the Schizo Phrase or Entangled Interquirk) I would view separately and decide whether they 'worked' were successful and continued to craft these scenes until I 'resonated' with them as a viewer-choreographer. To 'resonate' in retrospect, I believe suggests that the viewing of a scene engrossed me, immersed me, and I would suggest created a framework of constraints to my feelings and thoughts funnelling them towards clear directions (this does not necessarily mean conscious directions see Claxton, (1997)). Curson and I had also to craft a greater structure for the piece, within which these scenes were placed, connected and given relationships to each other. Ideally, the constraints within a scene would channel energy or a flow of creative information into the other scenes' constraints and thus craft a whole greater than the sum of the parts (emergence). However, Rhizomes III was created from a series of very different creative seeds (see Introduction to Rhizomes): the 3D models were quite different from each other; the physical movement was created from a range of seed ideas; the music was selected from a range of different composers (see Programmes); also, the dancers were quite different from each other. We were looking for emergence of a greater whole from combining all of these disparate bits, with linking transitions and relationships that could funnel energy flow in the system in a coherent manner through the whole of the 'work'. I believe that we were not wholly successful. Rhizomes III as a single work-of-art did not resonate with me. As a consequence I now feel that more is needed to create a 'whole out of bits' than simply coalescing the 'bits' together. There is an added ingredient, which makes the difference between how powerful any emergent properties are.
Kaufmann (2000) noted that researchers when looking for continual evolution of increasing complexity in a computerised reproducing algorithm system, found that there were only ever three levels of increasing organisation evolved. Kaufmann notes that researchers are not sure of why this occurs. But, he suggests that it may have to do with the initial boundary constraints on the system. Price (2004) also notes that some Complexity researchers believe that it is important for rules to be encoded into the 'schemata' of any complex system in order for emergence of clear new properties. This may be the answer to why I also found that a coherent complexity arose in Rhizomes II & Rhizomes III only to a point and beyond which the system appeared to edge over toward chaos.
Rhizomes III may have needed a clearer vision for a fourth-order structure. First-order simple direct Vc-Pc relationships readily evolved; we had worked on this in Phase I. Second-order relationships of integrity of scenes readily occurred; we also intensely worked on this in Phase I. Third-order relationships of cutting between scenes, and of transitions between scenes, in Rhizomes III, I felt were 'working' as independent links between a small group of scenes. This was explored, although not thoroughly in phases II and III. But the fourth-order relationship of finding all of the cutting and transitions emerging into a newly defined whole was not explored prior to creating Rhizomes III. I believe that our vision and intention for Rhizomes III was not clear enough to provide coherent constraints to channel work allowing a fourth-order to evolve. I also feel that we need to conduct more research to generate more options of level three-order relationships, and to further understand the hierarchical-complexity or stratified rhizomic web involved in creating our work.