The Cybernetic Stance: My Process and Purpose

Ascott, Roy

doi:10.2307/1571947

Cited by 18 publications

(9 citation statements)

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“…4). Both performers and audience performed and were observed at the same time, they all became actants in a magmatic conditional behavioural structure [26]. The experience echoed Kaprow's claim that audience members lose their identity by getting absorbed by the space, time and events of the performances [27].…”

Section: <7> the Landscape May Be A Dead Starmentioning

confidence: 87%

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Polymeneas-Liontiris

Demeglio²

2022

Leonardo

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This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

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Section: <7> the Landscape May Be A Dead Starmentioning

confidence: 87%

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Polymeneas-Liontiris

Demeglio²

2022

Leonardo

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“…British educator, artist and theorist Ascot was one of the first to propose the idea of interaction. In "Performing Art and Cybernetic Vision" (1966)(1967), he advocated the use of cybernetic atmosphere to realize the interaction between works and audiences [29]. He believes that the participation of art, including its form is based on "feedback" as the basic principle, while it is the cycle formed by feedback that makes the triangle of the artist, the work and the observer into a complete whole.…”

Section: Open Narrative Exhibition Service Design Model Diagrammentioning

confidence: 99%

Exploration of Art Museums Using an Open Narrative Technique and Evolution Process

Tang¹,

Lee²,

Pan³

et al. 2023

APJCRI

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Historically, art museums are central places to display the results and information of artworks. However, with the maturity of digital technology, hypertext and non-physical narrative, exhibitions are constantly being promoted. Contemporary art museums present more of the process of artistic creation, even architecture and spatial forms are included in the display. This open narrative breaking space and media brings the museum to a more diverse forthcoming. The main purpose of this study is to explore the evolution of narrative development in art museums by exploring the use of the curatorial approach of "Wonderful Narrative Exhibition" to enhance the audience's interactive experience. This study first expounds the development stage and narrative techniques of structuralist narratology.Then it uses a qualitative research method to elaborate on the narrative style and character relationship of three exhibitions of contemporary multimedia artist Geng Xue, exploring the evolution process of the open narrative. Finally, it synthesizes the results of 21 interviewed visitors of the narrative exhibition obtaining insights about the purpose of the audience's visit. These results lead to a designed planning model of the narrative exhibition, extended by drawing a user journey map. This research found that the narrative of the art museum has gone through four main stages: text narrative, video narrative, space location narrative and cross-media open narrative.Then, users have a strong willingness to visit art exhibitions and hope to use more interactive ways to learn about art. Lastly, curation techniques that improve user experience can be quantified and designed.

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“…A shift of human interest […] from the thing, the object, the product to the process, the system, the event […] (Ascott 1968) What Ascott points out here is the difference to earlier forms of art like painting and sculpting, which are complete and determinate. We can understand these earlier forms as 'object art' in contrast to the "system art" Ascott is concerned with.…”

Section: Game System Building As a Creative-artistic Practicementioning

confidence: 99%

The Paradigm of Game System Building

Koenitz¹,

Eladhari²

2021

ToDIGRA

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In this article, we posit ‘game system building’ as a paradigm for game design. Inspired by earlier perspectives on cybernetic art, and current practices in game development and education, we consider the creation of dynamic game systems as a creativeartistic practice where the consideration of complex and often unpredictable behavior and effects are as foundational as the individual elements (rules, graphics, characters, UI etc.) of a game. The paradigm of ‘game system building’ has important implications for the education of designers and games scholars. In this article, we introduce the paradigm and its lineage, and propose an educational approach that reflects ‘game system building’.

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The Cybernetic Stance: My Process and Purpose

Cited by 18 publications

References 0 publications

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Exploration of Art Museums Using an Open Narrative Technique and Evolution Process

The Paradigm of Game System Building

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