Dear Francois
When a dramaturg has to decide how to realise something like "radical uncertainty" in a production of Hamlet, then he/she has to constrain the possible definitions to a set of determinations that will cohere with a range of other decisions, all of which will need to be made concrete as events, on a stage, before an audience. T. S. Eliot points out that the text of Hamlet is so complex that it (as a text) cannot be performed. That is, any and all performances are variations on possible performances, but, more importantly, they either tend towards coherence or they do not. The same is true for service design as soon as one presumes that there is a discernible drama. The complexity/chaos is reduced by such fixed points (attractors) as theme, plot, character, action.
So, in service terms, decisions about opertions/opertors can be based on a unifying understanding that takes its reference within a drama = consequences.
These kinds of decisions can seem inordinately complex to people who are not dramaturgs - or mostly as non-decisions by people who have never seen such decisions being made.
Designers don't generally see such decisions being made just like most people don't see infants school teachers teaching.
hope this helps
cheers
keith
>>> Francois-Xavier Nsenga <[log in to unmask]> 04/13/09 10:04 AM >>>
Dear Keith,
Would you please elaborate further on "dramaturgical observations" that
we need to "help us shift from issues of definitions to determinations
of operations, operators and consequences"?
Thanks!
Francois
Montreal
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