Worldmaking through the virtual model

Brejzek, T; Wallen, L

Worldmaking through the virtual model

Brejzek, T

Wallen, L

Permalink

Publisher:: Informa UK Limited
Publication Type:: Journal Article
Citation:: Theatre and Performance Design, 2021, 7, (1-2), pp. 116-133
Issue Date:: 2021-01-01

Closed Access

	Filename	Description	Size
	23322551.2021 (1).pdf	Published version	3.45 MB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Brejzek, T https://orcid.org/0000-0002-4985-7289
dc.contributor.author	Wallen, L https://orcid.org/0000-0003-4856-9864
dc.date.accessioned	2021-12-05T20:25:26Z
dc.date.available	2021-12-05T20:25:26Z
dc.date.issued	2021-01-01
dc.identifier.citation	Theatre and Performance Design, 2021, 7, (1-2), pp. 116-133
dc.identifier.issn	2332-2551
dc.identifier.issn	2332-2578
dc.identifier.uri	http://hdl.handle.net/10453/152096
dc.description.abstract	This article forms part of a larger research project that examines the distinct genealogies and unique properties of the theatre and architecture model. The current research builds on the authors’ earlier consideration of the physical model and shifts its focus of observation to the virtual model and the resultant virtual worlds. In The Model as Performance (Bloomsbury, 2018), we identify the model’s performative and epistemic qualities and argue for the unique capacity of the physical model to enable and provoke acts of cosmopoiesis or ‘worldmaking’ and ‘worldmodelling’. With its focus on the virtual model, this current project aims to develop two interrelated and hypothetical strands of inquiry. The first one ascertains the virtual model’s unique capacity for worldmaking. The other isolates its performative and epistemic qualities. Both require a positioning towards the physical and virtual model to articulate their elements of interconnection and distinction. Equally, both aspects demand the model’s theoretical positioning towards the ‘real’.
dc.language	en
dc.publisher	Informa UK Limited
dc.relation.ispartof	Theatre and Performance Design
dc.relation.isbasedon	10.1080/23322551.2021.1925470
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	1902 Film, Television and Digital Media, 1904 Performing Arts and Creative Writing, 1905 Visual Arts and Crafts
dc.title	Worldmaking through the virtual model
dc.type	Journal Article
utslib.citation.volume	7
utslib.for	1902 Film, Television and Digital Media
utslib.for	1904 Performing Arts and Creative Writing
utslib.for	1905 Visual Arts and Crafts
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access	*
dc.date.updated	2021-12-05T20:25:24Z
pubs.issue	1-2
pubs.publication-status	Published
pubs.volume	7
utslib.citation.issue	1-2

Abstract:

This article forms part of a larger research project that examines the distinct genealogies and unique properties of the theatre and architecture model. The current research builds on the authors’ earlier consideration of the physical model and shifts its focus of observation to the virtual model and the resultant virtual worlds. In The Model as Performance (Bloomsbury, 2018), we identify the model’s performative and epistemic qualities and argue for the unique capacity of the physical model to enable and provoke acts of cosmopoiesis or ‘worldmaking’ and ‘worldmodelling’. With its focus on the virtual model, this current project aims to develop two interrelated and hypothetical strands of inquiry. The first one ascertains the virtual model’s unique capacity for worldmaking. The other isolates its performative and epistemic qualities. Both require a positioning towards the physical and virtual model to articulate their elements of interconnection and distinction. Equally, both aspects demand the model’s theoretical positioning towards the ‘real’.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/152096