Baars’ diagram of Global Workspace Theory (Baars 2007:957) is used imaginatively to create a workshop-installation in which the participants are invited to take part in a rule-based game and contribute to the hands-on creation of a multi-authorial artwork.
By reflecting on the above work which draws from and explores the notion of embodiment, affordances and the ‘socially collaborative, culturally and materially grounded nature of the human mind’ (Sinha 2005: 1538) I am attempting to answer the question: How might cognitive theory contribute further to understanding the workings of dynamic scenographic /performance systems within the current landscape of hybrid, ‘immersive’, interactive performance and live-art?
work space I: a scenographic workshop on consciousness
stage@leeds, May 2014.