LIVE STREAMED NEW PLAY READING: WHITE PAPER, by Stevie Amuzu – 8TH SEPTEMBER @ 7PMeventbrite event here, hashtag: #scriptflipping
This is just a quick blog post asking you all (arts folk or no) to get involved in a new writing theatre event next Tuesday (8th September) at 7pm. You can do so entirely from the comfort of your own home, because Theatre Writing Partnership (TWP), Talawa and The Young Vic are going to be working together to live stream a new reading of a piece of theatre. Watch it, comment on the stream, tweet about it, the hashtag for the event is #scriptflipping.
I have been doing some work with TWP (@TWPGoSee) this summer, and am really excited to be working with them on a couple of very cool projects aiming to bring the arts world into the digital one. I’m not blogging on behalf of them right now though, this is just me asking you to tune in. Pioneering events like this need uptake, if people don’t participate; arts orgs just become more and more reluctant to be involved.
Theatre and digital tech are the basis of my PhD, I love both worlds, I think theatre plays a massive role in showing us the society we live in, in exploring big political and intimate personal questions, but I don’t think it will be able to continue to do so if it resists involvement in the digital world(s). I think the ethics emerging from the digital world(s) will have a lot to do with changing the way things work IRL (politics, media, collaboration and distribution) and I think the arts need to be at the forefront of these new worlds, pushing and questioning these new ways of creation, proliferation and collaboration.
Live streaming readings provides work in development with a very cheap and instant audience, it provides a new work with feedback from all over the world (breaking down that London-only barrier of the majority of the new theatre writing world), and opens up the writing process. This allows a theatre and a writer to make new work less of a risk, and at the same time engage with potential audiences.
These kind of events are still very new, and experiments more than anything, so that’s why I’m asking you to be one of our early adopters and get involved.
Let people know about the event, or add it to your diary via our Eventbrite page from there you can push it to various social networks, or email your friends.
And after all that: here’s the blurb about the piece being aired!
Talawa presents an exciting development in its ‘Flipping the Script’ readings at the Young Vic. Live streaming of the readings will allow writers across the UK to join in and comment on what we consider to be the best untold Black British stories as Talawa continues to pursue a UK wide discussion around Black British work.
The series has always proved to be a sold out success but has been limited to London audiences. Now, Talawa wants the writers of Theatre Writing Partnership to share in the rich abundance of plays reaching Talawa’s offices and that would otherwise remain unknown.
The first play, WHITE PAPER, by Stevie Amuzu, is a heart-rending and wickedly funny investigation of generations of a mixed race family and the false loyalties of parentage. Its style is unusual – subtle story telling emerging from a storm of words – and we’d like your comments. Does this approach represent a new direction in story telling?
Please join us on September 8th at 7 p.m. at http://www.livestream.com/talawabroadcasts for live streaming of the event and join in the continuous online chatroom feedback. It’s time to talk to each other.
As soon as I can release the details, I’ll let you know about the other exciting things I’ve been working on, in the meantime, get involved with Flipping the Script. I’ll be blogging, tweeting etc., from TWP in Nottingham (if any local bloggers/twitter folk want to get involved, let me know). See you then.
Image by Stéfan, shared via a Creative Commons licence
Cards on the table, music means a lot to me. It’s scored many critical moments of my life so far, and papered over the cracks in the boring bits. Music has brought me back from the edge, when I felt like my brain was going to leap out of my head, music has set me far freer than alcohol ever has, whisky helps, but give me a dirty rock club, heat, smoke, lights and I will dance until I can’t breathe, until I feel like I could disappear.
For every heart break, there’s a song that goes with it, for every break up, an album you have to reclaim, for every beautiful moment, a piece of music. Music is reciprocal, it’s shared, it brings people together, it makes moments, and it is inspired by them. It is an essential form that talks to us of the universal; rhythm scores our lives, all life.
I like music, you get that. But I would have heard none of the tracks above had it not been for file-sharing. I am not poor, not in real terms, I have a roof over my head, food in the fridge, an education. But my food budget for the past two years was something between £7.50 and £10 a week, I have roughly zero disposable income. I download files. Illegally. So does almost everyone I know. If you took that music away from me, you’d be taking away the thickness of experience. You’d be halving the substance of my memories.
This is a blog in reaction to Peter Mandleson’s threat to cut off internet access to persistent file-sharers. There are two questions here; one is it legal, two, is it useful?
Despite the fact that the in depth Digital Britain report released in June 09 ruled out cutting off P2P sharers (“The most draconian penalty considered at the time was to slow down a persistent filesharer’s broadband connection”. Source) Peter Mandleson has since announced a new plan that
Calls for the secretary of state to be given the power to direct the communications regulator Ofcom to implement technical measures against illegal peer-to-peer filesharing. Source
So, is it legal? There’s quite a strong argument against these measures in terms of them being unenforceable – you cannot cut off 7 million people’s internet connections without due process of law. (I shouldn’t have to say this but) you cannot assume guilt; it’s perfectly easy to piggy back on unsecured wireless connections, just as it is possible that a connection is shared by a building, a family, a business. Is Mandleson proposing to process each illegal filesharer through the justice system? (And at the cost of the taxpayer – “Her Majesty’s Court System currently holds 200,000 criminal cases per year” source – how is it going to deal with millions)? Or is he advocating a form of marshal law, where ISPs are sheriffs, and users are guilty until proven innocent?
The second argument against the idea is that it actually directly contravenes our human rights under EU legislation:
Disconnecting people from the internet does not fully comply with EU legislation. In fact it directly contravenes EU legislation. I am referring to amendment 138/46 which […] declared that access to the internet was a fundamental human right. source
The action also contravenes what was pretty much the whole conclusion of the Digital Britain report: that broadband internet access was a right, not a privilege.
These actions are bolstered by false accounting for losses to the creative industries, and even aside from the exaggerated and erroneous figures involved in the headlines (see Ben Goldacre’s excellent blog post for more) their maths is flawed at the point they assume every download is a lost sale.
It’s all beginning to sound a bit desperate isn’t it?
Whitehall insiders believe the U-turn is more likely to have been caused by a prior meeting with one of the most powerful figures in the British music business, Lucian Grainge, the chairman of Universal Music – Source
Do you know what might save you a lot of money Universal? How about pulling out of all of those lawsuits, cutting down on those very finely paid lawyers of yours. A shiny penny to anyone who can set Universal Music Group’s legal costs against their projected losses to file sharing.
What we are seeing here, is the end of one type of business: the physical distribution of digital products. Source
These movements against progress are nothing less than the death throes of a nasty, parasitic part of a very worthy industry. They are not useful.
Copyright was originally brought about in 1709 to “encourage the creation of artistic works by granting a right to copy for 14 years.” It now stands between 50 and 95 years Source. Its aim was to encourage a profession. I am not arguing for an artistic community that consists solely of amateurs, I understand, boy do I understand that artists need to be paid. But being paid is not the ends for which art is made, it is the encouragement. The leveller. Not the stick with which to beat the consumer.
Culture is not only enjoyable, it is vital to us as a species, culture frames our existence; it helps us reflect of our selves, it asks big questions. Culture was also vital to our evolution, the ability to tell stories- to imagine differing outcomes was key to our growth– we teach out young using stories, cautionary tales and nursery rhymes. Our cultural heritage is open source, peer to peer, shared. See ballads, fairy tales, myths, legends, and performance like commedia dell’arte (its latter day incarnation is pantomime, but it used to be free to view political satire, kind of like a Spitting Image road show). The ownership of stories (told visually, actively, aurally) have changed since then, with the advent of a market economy, came patronage, and then a global capitalist system decided that not only did it want to own our stories, it wanted to sell them to us too. Distribution. But now the system is changing again.
The great chaotic utopia envisaged by some online evangelists would be culturally impoverished – a world that would create millions of buskers, but no Beatles. Source
I, and many of my peers are not calling for an end to the creative industries, we’re calling for changes to a very specific aspect of them – distribution. I’m not talking about some ‘choatic utopia’, what I am saying is the way that we consume is changing. Myspace, and Spotify have already changed the way that that we access music, and that artist distribute their wares. Youtube allows anyone with a camera and a computer to have their say. The Age of Stupid crowd-sourced the complete £450K production budget and are pioneering a system that allows anyone to buy a licence to screen it whenever and wherever they like – keeping the profits for themselves or their climate campaign.
Here’s a theory:
The world of ideas is changing, the news is becoming mutual, Obama’s politics was mutual- not driven by spin, broadcast control and brand […] It’s all about the pull […] Think pirates. Think mavericks, think renegades. They will re-form our world, they can tell us what the future might look like. It’s critical that artists are engaged with the digital world, not for marketing, but to ask difficult, big questions of it – Charles Leadbeater @wethink at Shift Happens
Here’s an industry perspective:
The majority of my audiences watch my films over the BitTorrent system, a system so revolutionarily brilliant that it means I, an independent film-maker, can distribute a film in full High Definition to hundreds of millions of viewers with absolutely no cost incurred to me – Monaghan Media source
And that of a consumer
Now, I muster all the spare cash I have to pay for an internet connection, and go to gigs as often as possible. I tell my mates (and a bunch of strangers on the interweb) about all the new bands I’ve heard of, and encourage them to see them live. So, I’m paying for the music I like, I’m paying the costs of distributing it, and I’m promoting it source
P2P filesharing is revolutionary, it’s zero cost, close to zero in carbon emissions (servers), it runs on recommendations. It is another shift to the ‘pull’ ethic of the digital world. In a hyper-connected, information heavy existence, you cannot deliver neatly packaged tales of what we should buy and how we should be, because there are a million other voices that will simultaneously disagree. People taped music from CDs and radio before now, that’s been going on for years, what really scares the Powers That Be is the peer – peer review, peer sharing. Theirs is no longer dominant voice, we’re building our own stories.
I believe that cutting off filesharing is fundamentally unfair, fundamentally unjust – and penalises the young, and the less well off.
Yes artists need to make a living, but hierarchical distribution is not the only way to do that. Radiohead released their album In Rainbows allowing people to pay ‘what they thought it was worth’, you could pay as little as 1p for it. The average paid was around $6 (source). They also very recently gave away a song for free. In a world where everyone is vying for your attention a loyal fan base matters more than ever, you cultivate that through trust, interaction and recommendation.
Ben Walker, (the man who did the Twitter song [and much else besides]) suggests that “when it’s so easy to make and share music, you’d be an unpopular person if you charged for music.”
Copyright has evolved, we now have Creative Commons, and likewise we can find new models from which artists can make a living, offering “goods that are infinitely duplicated (music) for free and tying them to scarce goods (vinyl records, t-shirts, collector’s items etc.)” source, is one method, Likewise we are never going to be able to duplicate the singular experience of seeing a performance live, people still pay for that. Artists will still make a living, what digital distribution demolishes is the hierarchy – superstars and massive profit margins.
Johnathan Phan, of Pirate Party UK suggests that
Whereas earlier we had [one] artist making 10 million, we now have a hundred people making 1 million. source
It is not useful for Peter Mandleson to be attempting to tackle file-sharing. What he should be doing, as Secretary of State for Business, Innovation and Skills, is using the Digital Britain report to offer big business a manual to the digital world, if they want to survive, they have to evolve, Mandleson is doing the country a disservice when he panders to their childish cries to stem the tide of change.
Our world is slowly realising that unrelenting growth is not a sustainable model, in economics, in the environment, in our populace. Unfortunately this message takes the longest to reach the people at the top. What’s the answer? Support artists, not labels. Go to gigs, love music, share your love with others.
And if anyone tries to prosecute you for sharing torrents, show them the Pirate Google, and tell them to fuck off.
NB I know this is also an issue for software and gaming, and I haven’t really addressed them here, I pretty much hold the same line of argument, open-source software is already leading the way, and gaming development needs levelling from the ‘big producing studio’ ethic to allow for greater access for would-be-developers, shifting the focus from the blockbuster to storytelling and innovation. See Psychonauts.
