Create Bruis

Bruce Sheridan

...jumping shadows...

 
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It was then that I discovered the poetic abstraction of mathematics... the imagination needed to find answers to questions posed by science, the same imagination that is used in every creative process, whether in science or in art.
— Magdalena Abakanowicz, "Fear & Art"

I started making things at around 3 years old by cooking with my mother and copying what I saw my father doing with wood and metal. I learned to weld before I was in high school because my bike broke and we couldn't afford to take it to a shop, and I absorbed a great deal from farmers I grew up around without realizing at the time that I was being taught. During my early teens my father built a 60' ferro cement yacht (ketch rigged) in the back yard, which I hated because his obsession with the project was a major force in the fracturing of our family.

In my last year of high school, students were asked to select a career counseling session to attend. I checked all the boxes, but was told that I had to pick either sciences or arts, which was a problem because I liked and did well at both. The Deputy Principal called me to his office and told me there was no point studying art when you have ability with science. He then assigned me to the science careers program. I stayed away from school on Careers Day.

The next year I enrolled in sciences at university. Though interested in the concepts, I was not deeply engaged and that extremely patient institution eventually decided it no longer required my services. Over the following decade I became a musician, a songwriter, and a filmmaker - all things I learned the same way I learned cooking, woodwork, gardening etc. It was a slow process, but things stuck and they were customized: I learned - maybe even invented - my own ways of making... of creating. 

This was rewarding, but I craved mentorship. In my 30s, and with much trepidation, I enrolled at a different university as a part time student studying English literature, then switched to philosophy, which it turned out I was very good at - or maybe it was just that I was interested, passionate, and engaged. All my study was accomplished by sneaking away for lectures, first from a full time job, and then from film projects I was either producing or directing. In the period from 1999 to 2001, I was awarded a University of Auckland philosophy prize, won the New Zealand Best Drama Award for a tele-feature called Lawless, and earned my graduate degree in philosophy with 1st class honors. 

Every child is an artist. The problem is to remain an artist once you grow up
— attributed to Pablo Picasso

The 2008 financial collapse had a profound impact on the business of education. At many institutions this resulted in long overdue fiscal reality checks, though often through the implementation of crude tactics pulled from the 90s neoliberal playbook and without acknowledgment of changes in social context or the incorporation of significant recent advances in knowledge about human cognition, creativity, and learning. 

I was already deeply interested in and actively investigating new ways of looking at creativity and how humans learn and develop. It became clear that all higher education (not just in the arts) is predicated on assumptions about creativity and learning derived from incomplete or outdated models of cognition and psychology. If that could be reset the effect would be far more positive and profound than another cycle of unimaginative fiscal austerity masquerading as futuristic thinking…

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My experience in filmmaking, music, higher education leadership, and the study of philosophy converges as a PhD topic: Creativity and imagination in human development, education, art and science from the perspective of 4E cognition theories of mind. 

[4E = Embodied / Embedded / Extended / Enactive]

I have been researching, presenting and publishing on this subject for a while now, and am scheduled to complete the PhD Spring 2019. I continue to produce and direct for the screen, teach aspiring filmmakers as a full professor at Columbia College Chicago, and participate in the University of Auckland Creative Research Initiative. I am Chair of the North American region of CILECT, the world organization of film, television and media schools, and a member of CILECT's governing Executive Council.

Whatever I am doing, my primary interest is to empower creators, especially, though not exclusively, young people.

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The curious are always in some danger. If you are curious you might never come home...
— Jeanette Winterson, "Oranges Are Not The Only Fruit"

I research, write, and give conference presentations on many aspects of both human creativity and screen education. 

You can also find me at ResearchGate and Academia.edu

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To find a form that accommodates the mess, that is the task of the artist now.
— Samuel Beckett from a conversation with Tom Driver

I continued to make films while serving as Chair of Cinema Art + Science at Columbia College Chicago, which was a (mostly) rewarding challenge. The first project I completed after stepping back from the Chair position was Our Blood Is Wine, a feature documentary on winemaking culture in the Republic of Georgia, which was directed by Emily Railsback and selected to the 2018 Berlinale. I now develop projects through my company, Jumping Shadows - the name comes from the idea that our human love for storytelling was born with shadows jumping on cave walls, and then there's the reality that creativity often feels like trying to jump shadows... 

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In Chicago, music refuses to be ignored. If you feel it, you have to do it - play, listen, dance, argue... In other words, be creative.

Some of my earliest memories are of my father reciting poetry and signing to me as I drifted to sleep. My experience of music is best captured in Clarice Lispector's concept of 'is-ness':  "everything has an instant in which it is. I want to grab hold of the is of the thing".

As I've gotten older, the range of music that affects me deeply has broadened, which is unusual and I'm not sure why it's happened. That said, my favorite music is unperfected - at base raw and visceral, though often this quality hides beneath a smooth surface. I hear it in everything from the Buzzcocks to Miles Davis.

On this site I include songwriting sketches as documents of creative process, which is my research focus. 

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