• Out of this World: exploring embodiment and space through artistic processes and practice

      Doyle, Denise (Routledge, 2015-02)
      This article considers the artistic exploration of embodiment at the frontiers and edges of space. With a focus on both outer space and virtual space, the article explores the practices employed by artists who have taken on a virtual body as a vehicle to explore the virtual space of virtual worlds and those artists aiming to free their physical bodies of gravity and experience weightlessness in the artistic exploration of outer space. Perhaps the myths and realities of both astronauts (or those who have experienced their bodies in zero gravity) and avatars are one and the same – that of bodies travelling in unknown spaces and time. The article aims to reveal the common threads of experiences of embodiment and space drawing together issues of the weightless, the virtual and the immaterial body.
    • Science, performance and transformation: performance for a ‘scientific’ age?

      Johnson, Paul (Taylor & Francis, 2014-09-30)
      The ‘two cultures’ of science and the arts/humanities are often considered at odds, but digital technology, and the broader implications of digital culture, provides a model for more productive forms of exchange and hybridity. This article applies theories of intercultural theatre practice to performance that works across this cultural divide to explore the types of interaction that take place. Following a historical discussion of the science/art divide, a three-fold model is proposed and explored through case studies including Djerassi and Laszlo's 2003 NO, Eduardo Kac's 1999 Genesis, Reckless Sleepers' 1996/2006 Schrödinger's Box, and John Barrow's 2002 Infinities. It is argued that science operates through the creation of mathematical models of aspects of the physical world, whilst art similarly constructs different kinds of models for understanding the social/cultural and occasionally physical world. Digital technology expands the modelling possibilities both directly, through simulation, virtual reality and integration into ‘live’ activities of augmented and intermedia performance, and through the transformative nature of digital culture.