Artefact 'scripts' and the performer-developer (original) (raw)
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For researchers working at the nexus of the techno-scientific and the artistic, recent ontological theory that redefines the virtual condition is useful. This meta-theory is coupled with Pickering's notion of temporally emergent practice as a "dance of agency", where experimental goals are tuned to accommodate experience. Philosophical groundwork to underpin a hybrid methodology appropriate for practice-based new media research is outlined. It is suggested that the author's own research presents a fractal of this more generic concern.
Revue d’Historiographie du Théâtre 4. Special Issue: Études théâtrales et humanités numériques, 2017
After a critical presentation of the state of the art in scholarly activities at the intersection of theatre and digital humanities, in Canada and elsewhere, this paper suggests how the two disciplines might work together to articulate and facilitate new modalities of knowledge production emerging in each individually. Its aim is to make explicit the values of the inventive knowledge production characteristic of design and performance, and to propose that theatre and digital humanities might best acknowledge and enable inventive knowledge by shifting their emphasis away from production-oriented prototyping and towards experimental prototyping, provotyping, and experience design. Du développement des outils au design expérimental Jusqu'à présent, les chercheurs travaillant à l'intersection des études théâtrales et des humanités numériques ont eu tendance à se lancer dans le développement d'outils électroniques, conçus pour faciliter deux grands modes de création de savoirs: à travers des recherches sur l'histoire du théâtre (y compris la numérisation et l'archivage de textes ou de traces de représentations), ou à travers l'aide à la création théâtrale (à savoir la facilitation et la documentation des processus de création). Dans les deux branches d'activité, l'accent a été mis sur le développement d'outils prêts à l'emploi, ou de prototypes prêts pour la mise en production, susceptibles d'être disséminés largement et appliqués à des contextes variés par toute sorte d'utilisateurs, avec leurs objectifs spécifiques. Dans d'autres mots, la recherche à l'intersection du théâtre et des humanités numériques a été orientée par la création de produits et de plateformes ; nous avons imité les entreprises commerciales de production de software avec notre ambition de créer des objets numériques qui puissent aider d'autres chercheurs à générer ou à transmettre des savoirs. Quoique les outils qui en ont résulté, ainsi que notre engagement critique avec leurs épistémologiques, ont été une réussite (au Canada, ils se comptent parmi les plus notables dans le champ des humanités numériques), les objectifs et les méthodes qui ont porté ce travail ont eu relativement peu d'impact sur les buts et les méthodes, établis ou émergents, soit des humanités numériques, soit des études théâtrales comme disciplines indépendantes. En me fondant sur les projets que je connais le mieux – principalement des projets canadiens dans les humanités numériques et mon propre Simulated Environment for Theatre (SET)-, je souhaite soutenir ici que les humanités numériques ont à offrir plus aux études théâtrales, et réciproquement. L'idée principale de cet article est que les réussites du projet SET, qui a su répondre aux tendances dominantes dans son domaine, sont moins intéressantes que les possibilités suggérées par ses échecs et ses à côtés, surtout dans le champ de la construction du savoir et des objets d'étude. Le théâtre et les humanités numériques pourraient aller plus loin et tirer plus de profit en mettant moins l'accent sur le prototypage orienté vers la production, et en se consacrant plus à un prototypage expérimental ou au « provotypage », pour faire plus de place, dans un champ dominé par des méthodes de recherche issues des sciences sociales ou des sciences exactes, à des méthodes plus propres aux sciences humaines et susceptibles créer, sans exclusive, des savoirs
Scripting' – Personal narratives in the designing of artefacts
Design Journal, 2004
The social nature of design education provides an interesting forum when investigating characteristics that are embedded in the designing of products. This paper illustrates one aspect of an ongoing research investigation of product design/industrial design students, their educational context, and the artefacts that are designed. A multimethod approach is used with a variety of collection mechanisms (i.e. video taping, photography, sketch book reviewing) documenting an eight week design project. A focus on postmodern ethnographic approaches allows for an exploration that includes, but is not limited to the tradition of investigating explicit design procedures. Insights are gained into the social and cultural forces that influence the 'scripting' of designed products through in-depth involvement in the design studio, which it is envisaged, will provide a more holistic understanding of the design process.
Design in Action: Unpacking the Artists’ Role in Performance-Led Research
Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems, 2021
This paper illustrates design work carried out to develop an interactive theater performance. HCI has started to address the challenges of designing interactive performances, as both audience and performers' experiences are considered, and a variety of professional expertise become involved. Nevertheless, research has overlooked how such design unfolds in practice, and what role artists play in exploring the both the creative opportunities and the challenges associated with digital technologies. A two-day workshop was conducted to tailor the use of an interactive mask within a performance. The analysis highlights the artists' work to make the mask work while framing, exploring and conceptualizing its use. The discussion outlines the artists' skills and design expertise, and how acknowledging them reconfigure the role of HCI in performanceled research.
Situating Creative Artefacts in Art and Design Research
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Incorporating Creative Technologies: A choreography for the ears
In a time of life where the body is often dematerialized, de-centred and fragmented and the material world seems exhausted, the practice discussed in this article investigates the potential of choreography as a strategy for coming together and an attunement to place and time. Practice-led creative research is presented as a series of sonic choreographies that resituate choreography through thresholds of body, place and prosthetic technology. The participatory nature of the choreographies discussed in this article challenge the notion of the spectacle through a recovery of listening and processes of collaborative encounter. The language of the threshold as it meets headphonic sound, language and the body is considered as a theoretical context for thinking through the dispersed, disembodied and accelerated social conditioning of digital infrastructures.
Navigating artistic inquiry in a creativeproduction thesis: the narrative and illustrative potentials of realismo maravilhoso, 2018
Abstract This article considers the concept of artistic research as an approach to knowledge generation and understanding. It begins with a brief consideration of the historical development of artistic inquiry and its relationship with research processes and artefacts. It then discusses a specific artistic PhD research project, “Magical realities – A creative consideration of the narrative and illustrative potentials of realismo maravilhoso”, as a form of a ‘creative-production’. The thesis project, which is formatted as a printed storybook, explores the potentials of polyvocal narration and syncretic illustration when aspects of a narrative can be digitally expanded. In actioning the iterative development of the research, a methodological framework is used that integrates heuristic inquiry and reflexive practice. Enabled through this are three interrelated methods: designer’s journals, iterative assembly, overviewing and testing, and the strategic use of feedback.
FORMakademisk, 2013
Juxtaposing the nature of design and the foundations of research in the traditional science and humanities disciplines puts their differences into sharp relief. The comparison highlights the key characteristics of design – its creative and experiential nature – which any design research must take into account, as well as the theoretical foundations of research. The aim of this article is to develop an understanding of the ontological, epistemological and methodological issues of design research, and to offer a framework that can embrace equally the notions of creativity and experiential knowledge, and of academic rigour. Furthermore,the potential roles of the design process and artefact within research are examined within this theoretical framework, which suggests that design processes and artefacts can – if appropriately framed – play an important partin the research process, facilitating an approach commensurate with the aims ofdesign enquiry. A case study of the Niedderer’s own w...