Worldmaking as Techné: Participatory Art, Music, and Architecture
The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking). This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Along with invited panelists, Roy Ascott, Jerome Decock, and Marcos Novak, the panel presented a wide range of perspectives on the topic that covered theory and practice in the areas of art, architecture, and music. While well received the discussion was all too short and only scratched the surface. Thus the inspiration to launch this book project comes from a desire to further explore Worldmaking as Techné in participatory works.
The book, Worldmaking as Techné: Participatory Art, Music, and Architecture will focus on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers.
Questions that will be addressed include:
What is the aesthetic and historical context for the techné of worldmaking in relation to practice in art technology?
What role does a generative and/or cybernetics-inspired approach (as compared to traditional notions of making) play in your own practice/research?
What are the implications of worldmaking practice in the real world?
What are the pitfalls and what role do these pitfalls play in the theoretical and/or practical approach to worldmaking?
What is your interpretation of techné and/or worldmaking and how do you apply that to your practice/research?
Do you see the re-emergence of the concept of techné as integrally related to the emergence of new technology in the 20th and 21st centuries? If so, then how? If not, then why not? And why discuss this now?
In the current technoscientific culture do you see participatory works as being elevated to a higher level of complexity or has yet it to realise its potential?
Schedule and Process: We were pleased to have received a large number of submissions which made for an exciting but difficult review process. There was a blind peer review process and final selections have been made. We are now in the final stages of the compilation of the book. The book is targeted to launch in early 2014.