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Belonging

Zeros + Ones

“A strong-minded woman! Much like her mother, eh? Wears green spectacles and writes learned books … She wants to upset the universe, and play dice with the hemispheres. Women never know when to stop … “ William Gibson and Bruce Sterling, The Difference Engine.

A large part of the history of the struggle for women’s rights has been the fight for participation in the public sphere; for the vote, for a say in politics, economic rights, for a voice, and worth in the public arena. We hear again and again that technology is a powerful tool, that blogs and social networking phenomena such as Twitter are becoming more and more involved in politics, and that people gather, communicate, and agitate from online. There is no doubt that as a forum for discussion and a place to co-ordinate action, technology is an invaluable platform. New online tools are creating a new public sphere – in such a fast moving medium, we simply cannot afford to be left behind. Women need to be on the front line, both participating in and originating new technology, and whilst women represent roughly 55% of the people online, and a 2008 study by Tesco’s Computers for Schools initiative found that from as early as seven years old, girls are outstripping boys when it comes to computer literacy (Taherreport, 2008), this isn’t being born out in the tech industry itself:

While women influence 80% of consumer spending decisions, 90% of technology products and services are designed by men […] Women make up approximately 20% (and sometimes less) of panelists at major tech conferences. Even fewer are asked to be keynote speakers. Furthermore, women in tech are rarely quoted and sought out as experts by the mainstream media covering technology. (Kapin, 2009)

Women are hideously underrepresented in the tech world, this is due to more universal problems encountered by women in and en route to the work place, but it is also down to the pervading myth (and it is a myth, but one that unfortunately one that is woven into our education right from the kinds of toys that children are given to learn from) that women just can’t do tech as well as men. What is largely accepted as true is that role models are one of the best ways to break down that misconception. Enter Ada Lovelace Day – A day named after the world’s first computer programmer – countess of Lovelace, Ada. Ada Lovelace Day brings bloggers together to share stories and role models of women that are important to the/their history of digital technology/computing.

There are plenty of excellent programmers and engineers which other people are going to do much better justice than I. The person I have decided to talk about is a bit different, but the kind of person who I think also makes a big difference. I’d have to, really, because she’s an academic.

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The Player as Political

elephant

Image shared via a creative commons license by nikki_pugh on Flickr.

This is the paper I gave at the TAPRA Dealing with the Digital symposium today. Do comment and let me know what you think.

In scattered and barely noticed ways, the desire to construct one’s own life was shaping the twentieth century (McDonough 2004, 10)

From the bypassing of human interface devices (HIDs) such as mice and keyboards represented by the iPhone and the iPad, to the removal of a media interface represented by the increasing popularity of social media, the current trend in digital technology centres around the removal of the interface. This trend has recently been seen as becoming increasingly prevalent in theatre and performance.

[A] key ’09 [theatre] trend was the removal of performers from performances altogether. Whether directed by headphones or left to negotiate for themselves […] increasingly the spectator was becoming the spectacle. (Haydon 2009)

In 2009 the biggest selling entertainment item on Amazon.co.uk was a video game – COD:MW2 outsold both Harry Potter and Twilight on DVD. We spent 30% more on video games last year than we did on going to the cinema and purchasing DVDs combined. And in a recent survey done by the BBC, 100% of 6-10 year olds gamed regularly.

With gaming you’re involved and in control. With other things you just have to sit back and watch. I’ve been gaming for most of my life. – Callum, aged 10 (BBC 2005 Source (PDF))

Although digital strategies and ideas have been examined in a performative context since the 1960s, this technology and these strategies have reached a point where they are ubiquitous enough to form a real trend in narrative consumption. As thus ours is a culture becoming much more used to being embedded in its stories, political as well as social. In Theatre and Performance in a Digital Culture Matthew Causey discusses the political move from simulation to embeddedness, suggesting that

The site of power has shifted from the exterior screens of simulation to the interior body of the material subject. (Causey 2006, 179)

The example drawn by Causey contrasts the illusion of Gulf War I – of cut together clips, narrators, and news packages – to the rolling embedded coverage of Gulf War II. ‘This is happening now’, the spectacle says, ‘there is no room for editing, cutting, or simulation; this is reality’. In our age of so-called reality TV, 24-hour rolling news, and the advent of the ‘real-time’ and ‘social’ web, we are witnessing a corruption of the data-flow of contemporary life. We are led to believe that the data we receive is live, uncut, unmediated and true. As thus we lose the critical tools afforded us by distance and reflection. It is the ‘interior body of the material subject’ where the political battle for subjectivity must now be fought, in our selves.

Pervasive gaming and interactive theatre takes the digital idea of player-as-protagonist, and applies it to the lived body of performance. Pervasive games are ‘playful experiences’ which combine aspects of childhood parlour games and video game ethics and t to be played in groups across large urban spaces, interactive theatre moves these ideas into thicker narratives. Both forms allow the audience to become agent, and can be seen to expand their storytelling over space, technology, and/or time.

“All theatre is interactive. To call this diverse spectrum of work ‘Interactive Arts’, is only to suggest that it acknowledges that relationship and seeks, in some way, to interrogate it.” (Field 2010)

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