A program of research framing and utilizing naturalist theatre as a second-order cybernetic/cybersemiotic laboratory holds much promise in addressing both matters and lending credence to Ross Ashby's assertion that " the discovery that two fields are related leads to each branch helping in the development of the other. At the same time, the field of theatre studies finds itself at an impasse between post-structuralist semioticians and embodied cognitivists regarding key onto-epistemological issues.
The field of cybernetics continues to remain academically marginalized for, among other things, its alleged lack of experimental rigor.As a result, rich opportunities for the two fields to draw mutual benefit and break new ground through both theoretical and empirical investigations of these underpinnings have, thus far, gone untapped. The thoroughly second-order cybernetic underpinnings of naturalist theatre have gone almost entirely unremarked in the literature of both theatre studies and cybernetics itself.Thus, Ranulph Glanville reserved a unique place for himself that, at the same time, turned out to be magic for his explorations and very difficult to grasp for his intellectual environment.
This framework was transcendental in nature and focused on the conditions of the possibility for observation, for communication, for language, for knowledge or for learning to emerge at all. It will become my central thesis in this article that Ranulph Glanville's special role and function was to provide a meta-approach to all the available research programs in radical constructivism. In this short essay I will undertake a systematic attempt to make this work more easily accessible for others, including myself, and to provide a special location for Ranulph Glanville within the research program of second-order cybernetics in particular and within the research tradition of radical constructivism in general. His contributions to second-order cybernetics and to areas like design, philosophy, conversation theory, methodology or games, with the tools and perspectives of his version of second-order cybernetics were collected under the title The Black B∞x in three volumes in edition echoraum (Glanville, 2009, 2012, 2014) and were ordered and arranged by Ranulph Glanville himself so that they allow a general and systematic overview on this very large, diverse, and impressive corpus.
Ranulph Glanville was a prolific writer, a magic designer, an avant-garde musician, a cybernetician of the first-and of the second-order, a philosopher in disguise, to name only a few roles.
0 kommentar(er)
