ABSTRACT

This paper focuses on how opera rehearsal participants use depictions to accomplish proposals; they use a locally created scene, comprised of concrete embodiments to represent another physically or temporally distant scene. Whereas earlier work investigating depictions in interaction has mainly focused on demonstrations in pedagogical scenarios, this paper will discuss how depictions serve the ongoing creation, and aesthetic negotiation, of a yet-to-be-artistic product. In simultaneously creating and referencing iterations of this artwork, participants’ depictions are both self-referential, in introversive semiosis, as well as externally referencing prototypes of mundane behaviour, in extroversive semiosis. We argue that the negotiations of the extroversive and introversive references through depiction constitute the artistic labour of creating a performance. Furthermore, we suggest that the iterative nature of rehearsing an artistic piece demonstrates analogies between introversive semiosis and interactional techniques for projection and depiction. Opera is accomplished through dynamic collaborative social processes, techniques for which include the depictions described in this paper.

摘要

本文重点讨论歌剧排练参与者如何利用描绘来完成提案；他们使用本地创建的场景，由具体的实施例组成来代表另一个物理上或时间上遥远的场景。虽然早期研究交互中的描绘的工作主要集中在教学场景中的演示，但本文将讨论描绘如何服务于尚未成为艺术产品的持续创作和审美协商。在同时创作和引用这件艺术品的迭代过程中，参与者的描述既是内向符号学中的自我参照，又是外向符号学中的外部参照平凡行为的原型。我们认为，通过描绘来协商外向和内向的参照物构成了创造表演的艺术劳动。此外，我们认为排练艺术作品的迭代性质证明了内向符号学与投影和描绘的交互技术之间的类比。歌剧是通过动态协作的社会过程来完成的，其技术包括本文中描述的描述。