Theatre, networked performance, and notions of ‘democratised’ spectatorship

The potential to cultivate new relationships with spectators has long been cited as a primary motivator for those using digital technologies to construct networked or telematics performances or para-performance encounters in which performers and spectators come together in virtual – or at least virtually augmented – spaces and places. Today, with Web 2.0 technologies such as social media platforms becoming increasingly ubiquitous, and increasingly easy to use, more and more theatre makers are developing digitally mediated relationships with spectators. Sometimes for the purpose of an aesthetic encounter, sometimes for critical encounter, or sometimes as part of an audience politicisation, development or engagement agenda. Sometimes because this is genuinely an interest, and sometimes because spectators or funding bodies expect at least some engagement via Facebook, Twitter or Instagram. In this paper, I examine peculiarities and paradoxes emerging in some of these efforts to engage spectators via networked performance or para-performance encounters. I use examples ranging from theatre, to performance art, to political activism – from ‘cyberformaces’ on Helen Varley Jamieson’s Upstage Avatar Performance Platform, to Wafaa Bilal’s Domestic Tension installation where spectators around the world could use a webcam in a chat room to target him with paintballs while he was in residence in a living room set up in a gallery for a week, as a comment on use of drone technology in war, to Liz Crow’s Bedding Out where she invited people to physically and virtually join her in her bedroom to discuss the impact of an anti-disabled austerity politics emerging in her country, to Dislife’s use of holograms of disabled people popping up in disabled parking spaces when able bodied drivers attempted to pull into them, amongst others. I note the frequency with which these performance practices deploy discourses of democratisation, participation, power and agency to argue that these technologies assist in positioning spectators as co-creators actively engaged in the evolution of a performance (and, in politicised pieces that point to racism, sexism, or ableism, pushing spectators to reflect on their agency in that dramatic or daily-cum-dramatic performance of prejudice). I investigate how a range of issues – from the scenographic challenges in deploying networked technologies for both participant and bystander audiences others have already noted, to the siloisation of aesthetic, critical and audience activation activities on networked technologies, to conventionalised dramaturgies of response informed by power, politics and impression management that play out in online as much as offline performances, to the high personal, social and professional stakes involved in participating in a form where spectators responses are almost always documented, recorded and re-represented to secondary and tertiary sets of spectators via the circulation into new networks social media platforms so readily facilitate – complicate discourses of democratic co-creativity associated with networked performance and para-performance activities.

Diverse bodies-space politics: Towards a critique of social (in)justice of built environment

Writing has long played an important role in the progression of architecture and the built environment. Histories of architecture are written, manifestoes that form the basis for a designer’s work are written and most importantly, the built environment advances itself through the act of critical writing. Not unlike the visual arts, literature and poetry, the tradition of written criticism has been crucial to the progression of architecture and its allied professions (Franz 2003). This article contributes to architecture and the built environment through the act of a written essay that critiques the problem of bodily diversity to architecture. In particular, the article explores the implications of body-space politics and abstracted body thinking on diverse bodies and their spatial justice. Using Soja’s Spatial Justice theory (2008), we seek to point out the underlying conceptions and power differentials assigned to different bodies spatially and how this leads to spatial injustices and contested spaces. The article also critically analyses the historical emergence of ‘the standardised body’ in architecture and its application in design theory and practice , and looks at how bodies often found on the outside of architecture highlight how such thinking creates in justices. Different theories are drawn on to help point to how design through the use of the upright, forward facing, male bod willingly and unwillingly denies access to resources and spatialities of everyday life. We also suggest ways to re-conceptualise the body in design practice and teaching.

Kaupungin savut ja käryt : Helsingin ilmansuojelu 1945-1982

The smoke and fumes of the city: Air protection in Helsinki from 1945 to 1982 This dissertation examines air pollution and air protection in post-war Helsinki. The period studied ends in 1982 when the Air Protection Act entered into force, thus institutionalising air protection in Finland as a socially governed environmental matter. The dissertation is based on the research traditions of environmental politics and urban environmental history. The development of air protection is approached from the perspectives of politicisation and institutionalisation. The dissertation also investigates how air pollution grew into a social issue and presents various discursive ways of analysing air pollution and protection. The primary research material consists of municipal documents and newspapers, while supplementary material includes journal articles and interviews. The event history of air protection is described through an analysis of the material, including source criticism. The social ways of dealing with air pollution and the emergence of air protection are analysed in the light of case-specific air quality disputes from both factual and discursive perspectives. This approach enables the contextualisation of the development of air protection as part of the local history of post-war Helsinki. The dissertation presents the major sources of air pollution in Helsinki and describes the deterioration of air quality in a society which emphasised the primacy of economic prosperity. The air issue emerged during the 1950s in neighbourhood disputes and was exacerbated into a larger problem in the late 1960s. Concurrent to the formation of the field of environmental protection in Finland, an air protection organisation was established in the 1970s in Helsinki. As a result, air protection became a regular part of municipal government. Air protection in Helsinki developed from small-scale policies focused on individual cases into a large, institutionalised air protection system managed by experts. The dissertation research material gave rise to the following major research themes: the economic dimension of the air issue, the role of science in the formation of the environmental problem, and the establishment of norms for acceptable air quality and reasonable limits to air pollution in the urban environment. The paper also discusses the inequitable distribution of the negative effects of air pollution between the residents of different districts. The dissertation concludes that air protection in Helsinki became a local success story although it was long marred by inefficiency and partial failure.