Hannah Nicklin

Nightwalks

In lieu of a working writing arm, I’m taking to a few different strategies to make sure I can keep working, one of which has been recording my voice. I’ve been using this as a way to keep more fluid notes than I can with dictation, and the same has gone for my creative as well as academic thinking. In some new experimenting with a creative piece that (just today) found a name – Nightwalks – I’ve been taking my normal note-taking-before-forming-full-creative-ideas onto audioboo. At first I was a little frustrated with the fact that I couldn’t shape and edit before the words flew out into the big wide world (as I can on a piece of paper), until I allowed myself to see the meanderings, ums, and corrections as just like papered crossings outs, footnotes and refinement. It feels refreshingly bare to lay out my thinking in such an open way, and very in fitting with how I think tech and art can work together – opening up processes, hopefully in a vaguely interesting ‘DVD extras’ kind of way.

You can catch all of my recorded meanderings on audioboo under the tag ‘nightwalks‘ or play them on the boobase map, below – you can zoom and drag to move as you normally would on googlemaps, and click on the flags to open the option to play the audio. The thoughts and feelings therein will soon be morphing into an idea for recording… so, as they so anachronistically say: stay tuned.

Such Tweet Sorrow, a Blog Post in Two Acts.

image shared on flickr via a creative commons license on by SarahMcGowen

Act One.

Over the past week and for 5 in total, several people in the Twittersphere will be playing a part in one of the greatest love stories in the English language. Such Tweet Sorrow is Romeo and Juliet told in 140 character installments. The piece is 24/7, and includes audioboos, yfrog pics, youtube videos and an awful, awful lot of tweeting.

There are several really interesting aspects to this bold experiment, which is a collaboration between the RSC and a multi-media company called Mudlark. The project is 4ip funded, the basic story line (transposed into a modern setting) is plotted and then the plotted occurrences are handed over to the actors daily, who then improvise their reported actions.

People who follow the characters on Twitter can see the conversations happening in real time, and are often asked to contribute, aid decisions, lend reactions. This interaction is producing some intriguing results, some people playing along, and others determined to break what’s left of the ‘4^th wall’. The project even has its own ‘fanboy’ playing with the story, to which the official @such_tweet account have been alerting people to (and blocked, but that’s a whole other kettle of fish).  The idea of a piece of performance infiltrating your daily feeds is a fascinating one, and the interactive aspect also invites its audience to be performers. When you interact with the characters you are interacting with them as a character yourself – a version of your self, one who pretends that these characters are real.

However despite the interesting questions the work is raising, truth is I’m feeling incredibly let down by the #suchtweet experiment. It is entirely right that it exists, and that people should explore these new forms, but aspects of the characterisation, logistical errors, as well continual formal misconceptions are really beginning to grate. The question is, how and when is it appropriate to raise these criticisms. During? Or after the event has finished?

I disagree with this idea – a film is a finished product, performances grow. A traditional theatrical experience is usually a closed down one, this ongoing project is describe as interactive. Surely this should go for the criticism as well?

Another pertinent question, certainly, is how to deliver criticism. Due to the amount of interaction invited, do you talk directly to the performers, in character? Suggest that the way they’re delivering their information is heavy handed (TMI!) or their characterization offensive (#uploadthatload case in point.). As it is a project largely delivered through Twitter that was my first reaction. I’m not sure it was the right one. It’s hard to phrase ‘I think your characterisation represents unfair assumptions about teenage boys’. Best I managed was “have some respect.” My next reaction was to tweet about my dissatisfaction publicly, engage with (what is ostensibly) other audience members. Some suggested waiting to see how it worked out, though most of my followers that responded (by no means a bunch necessarily representative of the rest of Twitter) shared my concerns. Mixed sample:

However, after a character RT’d some of my ‘in character’ criticisms (attracting attention outside of the context I had given) I feel like I should set out exactly what I think. So here I am, outside of Twitter, long form. Let’s dance.

Continue reading…

“Educate Yourself”

A woman protesting with UAF, who had escaped Nazi Germany as a little girl, sole surviving member of her family, explaining why she thinks it’s important to stand up to the EDL, the BNP, and other far right organisations.

I’m posting (in a more collated manner) the content which I took from the Unite Against Fascism protest against the English Defence League march on the Houses of Parliament in support of the screening of Geert Wilder’s inflammatory and anti-Islam film. The protest clash was this Friday (5th March). You can read more about Geert Wilder’s politics here, and about the EDL here. I went to support UAF in protesting against the EDL, but I would like to say that I would never suggest the EDL shouldn’t have the right to protest. They certainly should get the opportunity to speak their views, so that they can be listened to and tackled. To dismiss a member of the EDL, or any other nationalist organisation as ‘Scum’, completely dehumanises them, and says that we are somehow fundamentally different and unreconcilable. Nor are they working class victims of an education system and cynical right wing tabloid press, they are individuals, who believe what they do because they have come to it by a reasoning process as valid as our own. In the same way as terrorism, race tension and unrest works in the favour of a police and media state, and against us, all of us, justifying stricter laws, guns on the streets, and an infinite loop of press coverage.

“The spectacle of terrorism provides a socially cohesive common enemy, legitimises needs for vigilance, security, and new forms of police repression, and encourages the opinion that even the faultiest of democracies is superieor to the reign of terror.” Gianfranco Sanguinetti in a 1978 text On Terrorism and the State.

50 people arrested according to the BBC, most of them were UAF, as the EDL had only announced their march two days before it went ahead the UAF were unable to officially sanction their counter protest as required by the Serious Organised Crime and Police Act 2005 which states that:

6 days notice must be given to the Metropolitan Commissioner [...] He must then allow the demonstration but may impose conditions upon it. The conditions can be changed without notice on the day by any senior police officer. One of the considerations is ‘disruption to the life of the community’ – a catch-all category that allows the police to stop almost any protest. Loudspeakers are banned except for use by those in various positions of authority. (Read More)

Because the UAF hadn’t had the time to have the counter-protest approved, anyone protesting was effectively breaking the law. I can see why it’s necessary for the police force to be informed about protests in order to provide for the safety of both the protesters and the public, but at the same time think that it was right that the UAF were opposing the EDL. It was necessary for the police to clear the protestors, but necessary isn’t always the same as right. Though the police, for the most part, were just doing a very difficult job, they were also, at times, poor at communicating what was happening, some people though people were being arrested when they were just being moved, kettles were set up to split the UAF protesters which people were unwittingly allowed into, and then refused the right to leave, and people were arrested without being told why. I will say that some of the UAF are just as guilty as thinking in black and white, however, and some of their shouts and behaviour went beyond the peaceful protest principles of hold on, sit down, make yourself difficult to move. The EDL were mostly pretty offensive and violent.

Here’s a selection of videos and audioboos – the audioboos as links and the twitvids followed by links that should work on iphones (damn flash/apple).
Continue reading…

Eismas Reading

Blog posts are thin on the ground at the moment – a combination of Christmas frivolities, PhD work culminating into a body of writing for January, 2 play redrafts, and my being asked (and thus needing to prep) to talk to students at Leeds Met and Nottingham Trent about arts, tech, and audience participation in the New Year.  So here’s some media to tide you over:

These Audioboos make up the full 30 minutes of the reading of my piece Eismas – currently being redrafted. Track 01 is where you want to start.