Sustainability in an Imaginary World: Art and the Question of Agency
- Author: Maggs, David
- Author: Robinson, John
Book
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Contents
- Table of Contents
- Section 1: Realigning the art-sustainability relationship
- Chapter 1 - An Introduction to Sustainability in an Imaginary World
- Section 1 - Realigning the art-sustainability relationship
- Section 2 - Artists of the Floating World
- Section 3 - Sustainability in an Imaginary World
- Summary
- Chapter 2 - Sustainability as a failure of ontology
- What kind of problem is sustainability?
- A problem for Modernism or about Modernism?
- The Subjects of Sustainability: Information Deficit Models and the Modernist Problem of Personhood
- Social Practice
- The objects of sustainability and the rise of complexity
- Methodological or Ontological redress?
- A banishing of science?
- Or Modernity?
- Flattening Ontology
- Procedural Sustainability
- Flipping the Predicate
- Regenerative Sustainability
- The joyful climate crisis?
- Conclusion
- Chapter 3 - Art as the Attention we Pay
- A risky proposition?
- Value-add or Trade-off?
- Transformative vs. Co-optive?
- Two Cautionary Tales
- A descriptive swing and a miss: The Mozart Effect
- A prescriptive swing and a miss: Art and science communication
- Gauging the risk
- Why do we think art has agency and where does this instinct typically lead?
- A theory of art for transdisciplinary work?
- Instauration and the nature of construction
- Beings capable of worrying you?
- George Steiner and the 'Unmastered Thereness'
- Heidegger and the ontological agency of art
- world/earth tensions
- Tools vs. Art
- Indirect, Mediated, and Frustrating
- The agency of the work of art
- Conclusion: Art as the quality of attention we pay
- Chapter 4 - Does It Need to be Good to be Useful? Art, Aesthetic Merit, and Research Design
- In search of the full promise of artistic agency?
- Tackling a 'meta' problem
- Aesthetic Priorities in Transdisciplinary Art Practices
- Leavy's resolution
- Resistance is fertile?
- Aligning descriptive and prescriptive orientations
- Misappropriation of Voice?
- Aesthetic priorities and democracy?
- Amateurs, and aesthetic priorities vs. aesthetic merit.
- Artists?
- Double Entrepreneurship as our Homeric moment?
- Section 2: Artists of the Floating World
- Chapter 5 -Artists of the Floating World: An Art-Sustainability Commissioning Strategy
- Background
- Modifying Modernism? Artists of the Floating World
- Models of/Models for
- A double agent?
- Artist selection
- Commissioning document
- Evaluation
- Interviews
- Artefact analysis
- The risk?
- Chapter 6 - A Bard in the Borderlands: The Poetry of Don McKay
- Introduction
- Poetry in the borderlands
- Science or Sentiment?
- The Double Agent: metaphors to unmap the world
- Earth in our Worlds
- Wilderness
- Poetic Attention
- New works for Artists of the Floating World
- The purgatory of trash
- Thingamajig or Talking to your stick, boots, and chair
- stick
- boots
- rocking chair
- The thing itself
- Engaging Thingamajig's audience
- Written feedback: love as the unclasping of objectivity
- Student blog: 'Thingifying' at home
- The perils of 'listening with language'
- Interview 1
- Interview 2
- Interview 3
- Conclusion
- Chapter 7 - Faith in a World of our Making? The Perils of Interactive Theatre
- Introduction
- Modes of Emergence
- Collaborative creators: The evolution of a devising company
- Where do plays come from?
- Immanence, interactivity, and an early need for structure
- Emergent interactivity
- Freedom and Structure
- Collaborative models and the professional artist
- Imagining the audience: a historical perspective
- Substantive emergence: writing for an audience vs. writing with an audience
- Immersive theatre: when the wall came down...
- Sleep No More: The paragon of the form
- You Are Very Star development process
- Substantive emergence: resolving the inkblot-cougar problem
- Procedural emergence: pushing collaborative creation to new heights
- True experimentation
- The normative advantage of emergent process
- You Are Very Star (brief synopsis)
- Audience response: life beyond the wall
- Narrative and character
- Audience interactivity
- Art of the Floating World?
- Chapter 8 - Interactive Music Making: Radical Aesthetics, Radical Politics?
- Introduction
- A perplexing result
- The rise of Musical Modernism
- The quest for absolute value
- Composer as hero
- The emergence of an industry
- The imagined audience: social or historical?
- The Late Quartets
- The origin of value?
- Rite of Spring: the paradigm case
- The Zero Hour: music post-World War II
- Diverging avant-gardes
- Similar fates
- Our inescapable humanity?
- The abdication of Giorgio Magnanensi
- An encompassing immanence
- Process over product
- Interactivity, individuality, democracy
- Bold experimentation
- Back at the fork in the road
- Commissioned work for the GCC: Teatro Dell'udito CIRS
- Emergent interactivity or grey-green mush?
- Engagement? Interaction? Meaning? Agency?
- Emancipating the audience?
- Pattern seekers
- The right answer to the wrong question?
- Back to the fork in the road, only wiser?
- Chapter 9 - Making Sense of Artists of the Floating World
- Introduction
- Development Process
- Making sense of the results
- Art, Modernism, and Sustainability
- Interactivity as a refutation of Modernism
- A paradox
- A different problem
- Aesthetic Priorities
- Conclusion
- Section 3: Sustainability in the Imaginary World
- Chapter 10 - Sustainability in an Imaginary World: The Initial Ideas
- Design Elements of SIW
- Sustainability as a challenge of ontology
- Art as an agent of ontology
- Scenarios as a compelling partner?
- Digital capacity as an obvious means?
- Philosophical indulgence: Policies, Worlds, Axioms
- A wheel in a wheel?
- A rocket to the moon or worse?
- Summary
- Chapter 11 - Principles of Transdisciplinary Research as a Template for Arts-Based Research?
- Introduction
- Principles of Transdisciplinary Practice
- The SIW development process
- Phase 1: Researchers Alone
- Phase 2: Researchers and Artists
- Phase 3: Artists and Technicians
- Phase 4: Researchers and Audience
- SIW and the principles of Transdisciplinary Practice
- Conclusion
- Chapter 12 - A glimpse into Sustainability in an Imaginary World
- General Project Overview
- 2016 and 2017
- 2017 Script
- What was the point?
- Chapter 13 - Making Art in a Digital World - Thoughts on an Unstable Landscape
- Introduction
- Great Expectations
- Art and Interactivity
- The Paradox of Interactivity
- Ax and the Category of Art
- Walton's Categories of Art
- Prescriptive Possibilities?
- Conclusion
- Chapter 14 - Evaluating Sustainability in an Imaginary World
- At the edge of instrumentalization
- The worst of both worlds?
- Participant Debriefs
- The Results
- Ambiguity and Embodiment
- Mixed reviews
- A blessed failure?
- Layers of Success
- Creating a compelling encounter
- Generating deep reflection
- Multiple fluid perspectives on sustainability
- Inspiring high-quality dialogue
- Interactivity and agency
- But is it the art?
- The problem with our best data
- The Problem with our worst data
- Adjusting SIW evaluation
- Time
- Language
- Inclusion
- Cause or Effect?
- Chapter 15 - Hopeful Monster
- Introduction
- Making sense of hopeful monsters
- Crystallization
- Emergence
- Resonance
- Aligning with a dyadic theory of art
- Abandoning the mission?
- Considering SIW as a hopeful monster
- Conclusion