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dc.contributor.authorJohnson, Paul
dc.date.accessioned2016-12-09T14:01:03Z
dc.date.available2016-12-09T14:01:03Z
dc.date.issued2014-09-30
dc.identifier.citationJohnson, P. (2014). Science, performance and transformation: performance for a ‘scientific’ age?. International Journal of Performance Arts and Digital Media, 10 (2) p. 130-142. doi: 10.1080/14794713.2014.946282
dc.identifier.issn1479-4713
dc.identifier.issn2040-0934
dc.identifier.doi10.1080/14794713.2014.946282
dc.identifier.urihttp://hdl.handle.net/2436/620304
dc.descriptionThis is an accepted manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 30/09/2014, available online: https://www.tandfonline.com/doi/full/10.1080/14794713.2014.946282 The accepted version of the publication may differ from the final published version.
dc.description.abstractThe ‘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.
dc.language.isoen
dc.publisherTaylor & Francis
dc.relation.urlhttp://www.tandfonline.com/doi/abs/10.1080/14794713.2014.946282
dc.subjectscience theatre
dc.subjectintercultural theory
dc.subjectEduardo Kac
dc.subjectReckless Sleepers
dc.subjectJohn Barrow
dc.subjectCarl Djerassi
dc.titleScience, performance and transformation: performance for a ‘scientific’ age?
dc.typeJournal article
dc.identifier.journalInternational Journal of Performance Arts and Digital Media
rioxxterms.licenseref.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.source.volume10
dc.source.issue2
dc.source.beginpage130
dc.source.endpage142
refterms.dateFOA2018-07-18T13:34:43Z
html.description.abstractThe ‘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.


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