Upshot: Operational concepts underpinning a proposed cybersemiotic theatrical laboratory are further refined while questions regarding its experimental orientation remain.

Context: The thoroughly second-order cybernetic underpinnings of naturalist theatre have gone almost entirely unremarked in the literature of both theatre studies and cybernetics itself. 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. Problem: The field of cybernetics continues to remain academically marginalized for, among other things, its alleged lack of experimental rigor. 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. 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.” Method: After establishing the nature of the onto-epistemological deadlock within theatre studies, this article examines the application of cybernetic heuristics within naturalistic theatre, leading to a second-order cybernetic analysis of its processes of production and reception and the outline of an experimental program for exploring these processes further. Results: Foundations for a model of naturalist theatre as a cybersemiotic laboratory grounded in a novel operationalization of Gordon Pask’s conversation theory. Implications: The proposed laboratory could result in the generation of quantitative and qualitative research pertaining to several dimensions of second-order cybernetics; particularly cybersemiotics, which, as a result, may end up better positioned to help dissolve onto-epistemological deadlocks between constructivists and realists of all stripes across the academy and beyond. Constructivist content: I argue that an analysis of naturalistic theatre’s processes of meaning-making filtered through the constructivist ontological agnosticism of second-order cybernetics offers a productive middle way forward for those on both sides of the social constructivist/embodied cognitive realist divide, within and beyond theatre studies. The article draws upon the works of Gregory Bateson, Søren Brier, Ranulph Glanville, Heinz von Foerster, and Niklas Luhmann. (shrink)

Druzhinin’s insistence that the behaviour portrayed in fictional films can be considered a “reliable source of evidence for […] experiential analysis” of the cognitive use of ….

Open peer commentary on the article “Design Research as a Variety of Second-Order Cybernetic Practice” by Ben Sweeting. Upshot: This commentary adds environmental architect Lawrence Halprin to Sweeting’s list of examples of design research as second-order cybernetic practice.

Open peer commentary on the article “Designing Academic Conferences in the Light of Second-Order Cybernetics” by Laurence D. Richards. Upshot: Building upon Richards’s notions of “design by constraint” and the usefulness of assigning collaborative tasks to conference participants, this commentary suggests a basic application of Pask’s conversation theory as a potential aide to fruitful knowledge construction in a conference setting.