and Edward Gordon Craig, scenography proposes that design practices within performance are considered an equal partner, alongside other elements such as literary texts and performance technique, within the construction and reception of meaning. The practice of scenography is thereby a holistic approach to the composition of performance and can be applied to the design or curation of events within, and outside of, the conventional theatre environment. Or, as Pamela Howard states in her book What is Scenography?: "Scenography is the seamless synthesis of space, text, research, art, actors, directors and spectators that contributes to an original creation." Joslin McKinney and Philip Butterworth expand upon this to suggest that: "Scenography is not simply concerned with creating and presenting images to an audience; it is concerned with audience reception and engagement. It is a sensory as well as an intellectual experience, emotional as well as rational." Scenographic theory While there is no one theory of scenography, Rachel Hann has argued for a distinction between 'scenography' and 'scenographics'. Hann introduces this framework by plotting the usage of key terminologies: "As part of this differentiation, I approach a scenographic trait as orientating and scenography as a crafting. My intention is to map how these evidently related concepts apply to artistic and social scenarios beyond institutional conceptions of theatre. I attempt to dissuade the reader from understanding notions of scenographic as singular and monolithic. My adoption of scenographics stresses the inherent plurality and multiplicities that sustain a scenographic encounter. Consequently, scenographic traits result from a combination of orientating stimuli that exceed strict ontologies of empiricism and complicate the neat separation of theatrical crafts." Scenographics are a collection of place-orienting traits that are often explicit in theatre, yet are also present within other scenographic cultures such as gardening and visual merchandising. These traits draw attention to "orders of world" by employing methods that sculpt or irritate how distinct worlding orientations (whether that of materiality and texture, familiarity and proximity, as well as ideologies of nation and identity) sit together as part of a broader geography. Hann consolidates this position by arguing that to "speak of staging is to speak of how scenographics enact an 'othering' of place". Scenographics are "interventional acts of orientation that complicate, reveal or score processes of worlding". This approach positions scenography as a "crafting of place orientation" and a theatre-making strategy, alongside dramaturgy and choreography. The usage of place orientation as the