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Dun Manifestin’

Colony prototyping #1Image from Nikki Pugh’s CC images of her Colony testing…

The title’s a Pratchett joke. It’s the name of the mountain where all the gods hang out in his sort-of-comedy-fantasy Discworld. Not that I’m casting myself as a god in this reference, you understand. More I needed a title, and this kind of worked, whilst hopefully making those of you out there of equal dork status feel a warm ‘one-of-us’ glow in your collective bellies. Mmm. Glowy.

Manifest(o)in’ am I? Well, yes, collectively, with that there Nikki Pugh (and provoked by Paul Conneally); who I had the great pleasure to finally meet in the flesh last Tuesday. I’m rushing around like a very busy person at the moment – heading off to Belfast this weekend is knocking out a lot of my ‘doing stuff’ time – so I haven’t had time to talk about the Fierce evening of testing new work/ideas that I attended. It was really brilliant, though; I particularly spent the night with a vibrating gps creature, you can read more on that here. Anyway, as Nikki highlights over on her blog post, we were both struck, whilst being in each other’s physical presence, how lonely our practice can sometimes make us feel. Naturally our response was to write a SPLACIST/TECHNOSPLACIST MANIFESTO over googledocs a couple of nights later. Now all we need is to pretend that the next big revolution is all our doing, spend the rest of our days spilling wine over our faces, and we’ll already have outdone the Situationists by dint of actually having done some stuff.*   **

Anyway, head on over to Nikki’s piece and read her context to the manifesto. Or look a whole paragraph down to read the thing itself. Also: JOIN US.

In other news, you can see my face on this website, and I’ve been reading Eats, Shoots and Leaves in a vain effort to, as my supervisor put it, ‘learn how to punctuate’. Look! I put semi colons in this! I’ve moved into the over-confident sprinkle-it-liberally-and-some-will-hit-the-mark phase, I’m sure it can’t be long before I start actually writing Proper English.

Manifesto-in’:

WE ARE THE SPLACISTS

We will own this city.
We will take it back.
We will link and shift.
We will affect and be affected.
We will look, and be seen.
We will expose and re-see.
We will glory in the moment, the collage, the marking and then passing on.
We reject the beginning, middle and end.
We reject your shopping centre, your pavement, your cultural quarter.
We will build our own constructs.
We will build our own bridges.
We will find the edges and push them.
We will fail spectacularly, vitally, elegantly.
We will span.
We will look up, down, under and behind.
We will leap.
We will invite others to do these things too.
We will make exchanges.
We will make adventures.
We will make beautiful moments.
We will reveal the ugly.
We will hold your hand.
We will whisper in your ear ‘let go’.
We will run, skip and jump.
We will be motionless.
We might dance.
We will dream.
We will be generous, but we may subtle about it, too.
We will reclaim the city, not for you, but with you.
We are you.

WE ARE ALSO THE TECHNOLSPLACISTS

We will learn how to use the tools that make the things we want to happen happen.
We will help others learn wherever we can.
We will construct our manifesto – collaboratively – online, because the Internet is also a space :)
We will shift between space, online and off, taking on the form and the arena that suits us best.
We will bodily augment the layers of virtual space, story, marketing, capitalism, that exist in the city, with our own stories.
We will hold the data-harvesting done in the city in the name of ‘games’ (foursquare, loyalty cards) accountable.
We will find our own energy sources.
We will learn how to flex the central nervous system of the city – the data streams in its weather detectors, CCTV, red light cameras – for our own aims.
We will release all that we can via creative commons, so that they can be reclaimed, remixed, re-purposed.
We will cut, and we will paste.
“Plagiarism is necessary, progress demands it.”
We will pervade.
We will not be technosplacist when being splacist will suffice.
We will never underestimate the power of gaffa/electrical/masking tape
We will be artful. We will be skillful. We will fail usefully.

fin

*and having females involved.

**I’m taking the piss, lots of my PhD is on the SI, please don’t come out of the woodwork now, Situationist sticklers.

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Then and Now

The Globe (78 / 365)

Image shared on Flickr by somegeekintn via a CC license

I saw two very different pieces this week. Both made me react quite strongly so I thought I’d scribble a few lines about them. (aside: what’s the typing equivalent of scribble? Patter?)

Although really very different pieces, one devised, one scripted, one raucous and difficult, the other anxious and heartfelt, it felt like they were both, in some way about inarticulacy; Ugly the inarticulacy of a potential then, What I Heard About the World about the inarticulacy of being, now. Here are some thoughts:

Ugly

Ugly is a piece touring regionally with Red Ladder Theatre, the script is by Emma Adams and is a really challenging piece which I struggled with. It was only actually by the post-show discussion that it really began to work for me. That’s the first time how I felt about a piece has been changed so dramatically by talking with people involved. <insert something about me being stubborn>

Both the text and the direction was relentless. There were no still characters, no still moments, even moments of (opted) coitus were frenetic and impersonal, the characters seemed to be archetypes left out in the sun too long then fed a combination of amphetamines and ritalin, and the language warped and broke and jarred and choked with swear words. I struggled to hold my attention to it because it rattled on without respite. And I think that now feels like it was the point. It was not structurally sound. It felt like it was too long. And it said big things, at the same time as (with the frequent swears) saying nothing. It was a flawed vehicle about a flawed future. When I got back from Twitter I described it as a mix of Alice in Wonderland and Threads. And as I pile similes and metaphors on you – you hopefully see something, too, of inarticulacy. The experience of the play, not the words or the action, is where the heart of it lay.

But I also think that this play wasn’t really for me – not that I didn’t like it, but that for me, it’s not necessary. It was a piece for younger people, the ones who don’t see beyond now because as yet their life doesn’t require them to, and don’t connect the many news reports to a future. I don’t need convincing climate change is deadly. And I’m not one to be convinced in such a frenetic, physical way. I think it did want for a greater connection to that audience – this came out afterwards – ‘what happened in between’, ‘how did it get to that’ – they needed a glimpse of something they could recognise, to tie them back to their own lives. But it stubbornly refused that. And that’s a point in itself – you won’t recognise anything apart from that these are people. But some of them aren’t even that.

The other Climate Change Play that has stuck with me for a long time is (the lovely) Steve Water’s Contingency Plan. A completely different, very realistic, near-future double bill about flooding somewhere very like my home county and Westminster’s reaction to it. The script was an exquisite piece of almost porcelain sculpture – and as Steve, and like me, cerebral at heart. That was my watershed. But I think for a few people, younger, Ugly might be theirs.

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