Saturday the 6th of March was the Million Women Rise march. Scheduled the closest weekend to International Women’s Day, Million Women Rise brings together women from all over the country to march against violence against women – domestic and sexual abuse. For more on my thoughts on why it’s important for women to stand up agains VAW, and why it does require a different approach than violence against men, by men, see here.
This following quote was on a few placards, and really stuck in my mind:
“It has probably become more dangerous to be a woman than to be a soldier in armed conflict”
- Major-General Patrick Cammaert, former Commander of UN Peacekeeping forces in the eastern Congo (Source).
There was a really good turn out. You can see the F Word’s coverage here with links to @CTrouper and @Jester‘s photo sets. Below see an audioboo I recorded just before we got going, a flickr slideshow of my snaps, and a couple of videos of speakers/singers at the rally after the march.
“Following the critically-acclaimed sell-out success of Word:Play 2, Box of Tricks has commissioned six new playwrights to write a fifteen-minute play inspired by a single word; for this cycle, the word “obsession”.
We’ve assembled some of the hottest emerging talent to rise to this unique creative challenge: six playwrights, who between them have already won a clutch of awards and accolades; including the Kings Cross Award, Best New Writing at the Lost Festival, winner of the Off Cut Festival, the Old Vic New Voices’ 24 Hour Plays and US/UK Exchange and the Royal Court Young Writers’ Programme.”
This is just a quick push on a new 15 minute play I have on at Theatre503 as part of Box of Tricks Theatre‘s Word:Play new writing showcase. The evening will be made up of 6 new plays all stemming from the same word: Obsession. The evening will be running from the 30th March-3rd of April and details on how to grab tickets can be found on the Word:Play3 page.
My piece is called Awake, and traces the liminal experience of an MMORPG gamer who passes out whilst gaming. To mention any more is probably giving the game away, but it basically explores being and nothingness in a virtual context. I hope. I mean the fullest expression in the form of a third and final draft will be happening this weekend. I’m sure it’ll be awesome. I’m certain all the other pieces will be (for more info on the other pieces check out the Word:Play3 page again).
For more info on the evening, do follow @bottc and the hashtag #wordplay3 – if you go and see it let us know what you think via the hashtag too. I should hopefully get to some of the rehearsals, so I may even throw together a teaser trail for my piece, who knows.
Last Friday I went to the Digital Design Sensations exhibition at the V&A Museum. The video picks out the pieces that interested me most, and the ones that I thought were the most successful – I’ll let the video do the describing for me, other than that, I just wanted to note main observations I came away with:
1) At what point does tech become art? The answer to that is probably something facetious, like ‘when it’s put in a gallery’, or ‘when an artist is involved in making it’, but I did feel a lot of the beginning pieces (not filmed) felt more like screensavers/music visualisations, than pieces of art. Why can’t a screen saver be a piece of art? No reason, I suppose that’s my own prejudices talking – I’m used to seeing that style of thing as ubiquitous ‘filler’ material, not the focal point. It was, I think, the reasons behind or the data informing the code which did make it art. In the same way paint is just paint until you let information express through it. Something to think on, certainly.
2) Unintuitive interaction is worse than no interaction. A lot of the stuff in that room just didn’t work well enough. Take the rotating singing head (after the rotating words in the video) it was interesting to choose what angle, inside or out, that you viewed a sculpture (very phenomenological) but as a regular touch screen user I was incredibly disappointed when I couldn’t pinch zoom, change the movement with the speed of my gesture, rotate, etc. Likewise there were delays or misses in a lot of the projected interactivity. I’m sure there was an awful lot of clever tech behind it all, but it wasn’t clever enough. Interactivity might just be an all or nothing thing – if something invites me to interact with it live, in a natural space, I will always be disappointed if it doesn’t react in a natural way to my gestures.
3) The best, most intuitive, pleasing and playful pieces were all intimately connected to the natural world; the projected leaves of the tree that fell, and that you could kick around the floor, the dandelion, the little prehistoric sea creatures that grew when you uncovered the a space from the sand, that multiplied, and evolved the longer they were exposed to the air. This goes forwards from the previous point – intuitive is important. We see ourselves, our worlds in art. Art is a way of reflecting on seeing and being, the enthusiasm for the combination of nature and tech, is encouraging for my continuing investigation of the collision of the bodied and the virtual space. It also hooked up with a sentence I read on the coach home:
“Judging by the importance of nature themes in digital installation art, many artists also seek compensation in computer simulations for the disappearance of natural environments. We hope to recapture through technology the pristine world that technological culture took away for us” – Narrative as Virtual Reality by Marie-Laure Ryan.
I struck a deal with my PhD supervisor today. After being told in no uncertain terms that I was never to publish any of my thoughts or work for free on the internet in my induction, I had a small altercation with person running it – because my work is so closely tied to examining open processes and wiki ethics in the arts, and my personal politics are more of the idealistic, free and open for all persuasion – I thought it was important to keep my research open, or otherwise risk horrible hypocrisy.
However, the fact remains is that the university is paying for me to generate original research on their behalf, it’s not useful for me to be a liability, and I do value the opportunity to get paid to do something I love and care about with as many fibres of my being that aren’t already taken up with friends, family, and political activism. So I thought finding a nice, sensible, but still open middle ground was a good idea.
Here’s what we worked out:
- I’m fine to carry on blogging and posting quotes, thoughts, breakthroughs, snippets, points of interest the whole way through.
- I’m also fine to blog large chunks of my first year which is mainly exploratory – and so much not the deep, critical and original thinking of the final 2 years. (I will soon be popping up a blog post of my first 1/3 of this year’s work).
- When it does get to that thicker stage of thinking then it’s useful to release extracts, talking points, struggles and particular sticking points, anything up to about 800 words is fine.
- Then I make the decision of whether I want to play the game of academia (write a book), try and redefine the rules (work on making ebooks and web-published, open stuff just as important as writing a book), or go in an entirely different direction (and just release the material as is and run off into the sunset with my arms flailing)
So that’s where we are. I think that’s pretty fair to the uni, myself, and my principles, and much further on than the ‘say nothing to no one’ approach demanded at my induction. But what do you think? Do you think that’s too much? Too little? Do you even care? Well, you read this far so I imagine you do a bit. Or you’re really bored. Go and do something useful. Or comment.
I am Hannah Nicklin, a brightly coloured theatre maker, tech-enthusiast, blogger and academic. I make interactive and pervasive theatre, as well as talking at events, writing things, and working with people in the spaces between digital technology and the arts. I do other things too. Check out the pages across the top of the site to find out more.
