Response to the Metamaterial Turn: Performative Digital Methodologies for Creative Practice and Analytical Documentation in the Arts

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Notes

1. Oscar Gross Brockett, Margaret Mitchel, and Linda Hardberger, Making the Scene: A History of Stage Design and Technology in Europe and the United States (San Antonio: Tobin Theatre Arts Fund, 2010), 197–8.

2. Christopher Baugh, Theatre, Performance and Technology: The Development of Scenography in the Twentieth Century (Basingstoke, New York: Palgrave Macmillan, 2005), 82–3.

3. Steve Dixon, Digital Performance: A History of New Media in Theater, Dance, Performance Art and Installation (Cambridge, MA: MIT, 2007), 384.

4. Gavin Carver and Christine White, Computer Visualization for the Theatre: 3D Modelling for Designers (Burlington, MA: Focal Press, 2003), 2.

5. M. Adrien and B. Clare, ‘Hanakaï’, http://www.am-cb.net/projets/hakanai (accessed February 8, 2018).

6. Epidemic, ‘Robert Lepage/Ex Machina. Projects’, http://www.epidemic.net/en/art/lepage/index.html (accessed February 8, 2018).

7. Tom Chandler et al., ‘A New Model of Angkor Wat: Simulated Reconstruction as a Methodology for Analysis and Public Engagement’, Australian and New Zealand Journal of Art 17, no. 2 (2017): 195.

8. Peter Eckersall, Helena Grehan, and Edward Scheer, New Media Dramaturgy: Performance, Media and New Materialism (London: Palgrave Macmillan, 2017), 4.

9. Vectorworks, ‘Vectorworks Spotlight’, http://www.vectorworks.net/spotlight (accessed February 8, 2018).

10. Ortelia – Interactive Spaces, ‘Ortelia Set Designer’, http://ortelia.com/products/set-designer/ (accessed February 8, 2018).

11. Anthea Gunn, ‘What Could Have Bean: Using Digital Art History to Revisit Australia's First World War Official War Art’, Australian and New Zealand Journal of Art 17, no. 2 (2017): 182.

12. Paula Dredge et al., ‘Unmasking Sidney Nolan's Ned Kelly: X-ray Fluorescence Conservation Imaging, Art Historical Interpretation and Virtual Reality Visualisation’, Australian and New Zealand Journal of Art 17, no. 2 (2017): 162.

13. Carver and White, Computer Visualization for the Theatre, 9.

14. Ibid., 66.

15. Ibid., 3.

16. Adolphe Appia, Music and the Art of Theatre (Coral Gables: University of Miami Press, 1962), 74.

17. Baugh, Theatre, Performance and Technology, 106.

18. Baugh, Theatre, Performance and Technology, 74.

19. Brockett, Mitchel and Hardberger, Making the Scene, 233–83.

20. Ibid., 219.

21. Ibid., 209.

22. Ibid., 219.

23. Ibid., 291.

24. Rob Halliday, ‘The Woman in White’, Lighting and Sound International Nov (2004): 68–71.

25. Brockett, Mitchel and Hardberger, Making the Scene, 336.

26. Ibid., Making the Scene, 291.

27. Baugh, Theatre, Performance and Technology, 85.

28. The University Theatre of the University of Kansas, ‘The Adding Machine: A Virtual Reality Project’, http://www2.ku.edu/∼ievr/machine/ (accessed February 8, 2018).

29. Dixon, Digital Performance, 385.

30. Sarah F. Alaoui, Cyrille Henry and Christian Jacquemin, ‘Physical Modelling for Interactive Installations and the Performing Arts’, International Journal of Performance Arts and Digital Media 10, no. 2 (2014): 159–78.

31. Adrien and Clare, ‘Hanakaï’.

32. Akademie der Bildenden Künste Wien, ‘Intraspace: Die Reformulierung Architektonischen Raums als Dialogische Ästhetik’, https://www.akbild.ac.at/Portal/kunst-forschung/projekte/laufend/intra-space-die-reformulierung-architektonischen-raums-als-dialogische-aesthetik?set_language=deandcl=de (accessed February 8, 2018).

33. Dixon, Digital Performance, 383.

34. Carver and White, Computer Visualization for the Theatre, 66.

35. Ibid., 6.

36. Donald Schön, ‘Designing: Rules, Types and Worlds’, Design Studies 9 (1988): 185.

37. Carver and White, Computer Visualization for the Theatre, 5.

38. Marnie Feneley, ‘Reconstructing God: Proposing a New Date for the West Mebon Viṣṇu, Using Digital Reconstruction and Artefactual Analysis’, Australian & New Zealand Journal of Art 17, no. 2 (2017): 221.

39. Autodesk, ‘Media and Entertainment Collection’, https://www.autodesk.com.au/collections/media-entertainment/included-software (accessed February 8, 2018).

40. Dixon, Digital Performance, 384.

41. Sydney Theatre Company, ‘Storm Boy’, https://www.sydneytheatre.com.au/whats-on/productions/2015/storm-boy (accessed February 8, 2018).

42. Michael Scott-Mitchell, personal conversation with the author, March 20, 2017.

43. University of New South Wales, ‘Construction Safety’, iCinema Centre, http://icinema.edu.au/projects/construction-safety/ (accessed February 8, 2018).

44. This research is supported by the Australian Government through the Australian Research Council's Linkage Projects funding scheme (LP170100471), with the investigator team including Prof. Dennis Del Favero (University of New South Wales), Prof. Maurice Pagnucco (UNSW), Dr Caroline Wake (UNSW), Dr Susanne Thurow (UNSW), Prof. Lawrence Wallen (University of Technology Sydney), Prof. Malvina Borgherini (IUAV – University of Venice), Mr Kip Williams (Sydney Theatre Company), and Mr Michael Scott-Mitchell (National Institute of Dramatic Art).

45. University of New South Wales, ‘AVIE’, iCinema Centre, http://www.icinema.unsw.edu.au/technologies/avie/ (accessed February 8, 2018).

46. Sarah Kenderdine, Jeffrey Shaw, John Gollings, Paul Doornbusch, L. Subramaniam and Paprikaas Animation, ’PLACE-HAMPI: Inhabiting the Cultural Imaginary’, http://www.place-hampi.museum (accessed February 8, 2018).

47. Sarah Kenderdine, Leith Chan and Jeffrey Shaw, ‘Pure Land AR’, http://www.jeffreyshawcompendium.com/portfolio/pure-land-ar/ (accessed February 8, 2018).

48. Schön, ‘Designing’, 181–90.

49. Systèmes Hybridlab, ‘Hyve 3D’, http://www.hyve3d.com (accessed February 8, 2018).

50. Tomas Dorta et al., ‘Signs of Collaborative Ideation and the Hybrid Ideation Space’, in Design Creativity 2010 Proceedings, eds Toshiharu Taura and Yukari Nagai (London: Springer, 2010), 199–206.

51. As experimentally verified in iCinema's award-winning iCASTS project, http://icinema.edu.au/projects/icasts/project-overview/ (accessed February 8, 2018).

52. Kyle Knapp et al., ‘Scientific Visualization, 3D Immersive Virtual Reality Environments, and Archaeology in Jordan and the Near East’, Near Eastern Archaeology 77, no. 3 (2014): 228–32.

53. Drawing here on studies presented by Karen Barad, Meeting the Universe Halfway (Durham: Duke University Press, 2007); Neil Brown et al., ‘Performing Digital Aesthetics. The Framework for a Theory of the Formation of Interactive Narratives’, Leonardo 44, no. 3 (2010): 212–19; and Brian Massumi, Semblance and Event (Cambridge, MA: MIT, 2011).

54. Philip Auslander, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art 28, no. 3 (Sept 2006): 1–10.

55. Hal Foster, ‘An Archival Impulse’, October Magazine 110 (Fall 2004): 5.