Edinburgh Fringe Festival: Revenge porn, social media, and tech take centre stage
on
Get link
Facebook
X
Pinterest
Email
Other Apps
Sick of the Fringe performers hope to inspire new ideas on health research.
Lucy Orr
As feathers settle at the end of yet
another Edinburgh Fringe Festival, this year's event—celebrating its
69th birthday—showed that, despite its staunch old age, material at the
fest is increasingly relevant to contemporary discourses on social
media, research, science, and technology.
These topics underpinned many of the performances at the Edinburgh Fringe Festival. One such example was The Sick of The Fringe conceived by artist, performer, and Wellcome Trust engagement fellow Brian Lobel.
He explained the rationale behind the show to
Ars: "As a performer in Edinburgh for the last eight summers, I found
myself frustrated by the lack of nuanced conversation, particularly
about issues of health, the body, trauma, illness, and disability." He
added:
I hope that The Sick of the Fringe
is a safer platform for artists making work on their body, providing
spaces for nuanced conversation, and opportunities for connections among
artists making work on subjects which are difficult, and identities
that are marginalised by differences in health and presumed capacity.
I also hope that The Sick of the Fringe
provides space for those working in health, medicine, and research—both
here in Edinburgh and abroad—to engage with the ideas put forward by
artists at the Fringe, which we hope will inspire new research, new
policy, and a renewed sense of purpose.
As a member of the Sick of the Fringe
team of writers in Edinburgh this year, I was asked to become part of
the discourse among artists who are making work that deals directly with
their own experiences relating to, say, sickness, racism, or
discrimination.
We were asked to diagnose their performances
by looking beyond the production quality or entertainment value of the
piece, and to instead analyse the ideas presented in the work and its
context within scientific and medical inquiry—often pushing writers
beyond their comfort zone. While undertaking my diagnosis, I was
surprised by the preponderance of performances surrounding social media
and sexuality, which suggested an emerging trend in how artists'
experiences of new technological platforms are being reflected upon and
filtered through to the diverse audiences that attend the Fringe.
Performers would often do their best to turn
audience members into collaborators by asking them to tweet or blog
questions or reaction.
One such performance was Blush—created
by Snuff Box theatre in association with Underbelly Untapped—which
presents the primal responses to those whose lives have been affected
adversely by online porn.
It included stories that address revenge porn,
porn addiction, and looked at how seeking validation and approval
through sexual activity online can be harmful. Characters created by
Charlotte Josephine were all defined by exposure to sexually explicit
online content. A desk bell is used to simulate online notifications of
venomously sexist comments. Every so often a blinding camera flash lit
the stage to remind the audience that any intimate selfie can instantly
become common digital property. And those targeted are left with little
in the way of justice as revenge porn laws struggle to be enforced.
Blush certainly brought together familiar narratives and cautionary tales for the technological age.
Continuing that theme, Infinity Pool: A Modern Retelling of Madame Bovary
by Bea Roberts explored technology and sexuality by updating Gustave
Flaubert’s enduring narrative on adultery for the sexting age. The
performance had no actors but—with the use of a TV, a soundboard,
several projectors, an animated Powerpoint presentation, and a variety
of physical props—it managed to be an immersive performance. Roberts
showed staggering flexibility and skill in exploring how tech can lead
to loss of sexual intimacy while lubricating virtual betrayal. The
evolution of online relationships is detailed here in a flurry of
flirtatious e-mails and suggestive sexting.
The vast
programme of the Fringe, ensures that—for every serious reflection on
the dark side of humanity and technology—there’s some light relief,
often taking place in minuscule, dimly lit catacomb cellars with an
alternative context for tackling scientific themes. Stand up
performances strangely included reason and critical thinking in The Fringe of Reason—Undiluted Brilliance, while Dan Simpson's Artificial Ineloquence warned audiences of the imminent world domination by deep learning AIs, and Dissecting the Joke saw scientists and sceptics take to the stage.
Gareth Morinan’s performance, Graph Giraffe,
used Venn diagrams and bell curves to call out "heightism," privilege,
and what he believes would be the benefits of living in a "Dataocracy."
Using some slightly suspicious statistics to educate the audience about
lanky privilege, he suggested height wasn't a simple linear scale
because it must be a function of gender, and in fact all privilege
factors are also functions of something else. All of which led to some
impressive privilege based equations.
A government ruling through evidence based
policy instead of being 99 percent ideologically based, he reckoned,
would lead to more data that is recorded and openly available. I’m sure
Edward Snowden would approve.
The Wellcome Trust has said that it wants to
spend £5 billion on research projects over the next five years—an
important shot in the arm for projects such as The Sick of the Fringe, which will be back in Edinburgh in 2017. Meanwhile, a mid-February festival in London is planned.
Lobel told Ars that he has separately been working on There is a Light, a theatrical adaptation of the BRIGHTLIGHT study—the largest research ever undertaken with young adults who suffer from cancer.
***
Lucy Orr grew up
close to CERN and Fermilab, while her father was busy searching for the
Higgs boson (which he eventually found). While waiting for her mutant
powers to manifest, Lucy kept herself occupied programming BASIC,
reading comics, and playing MUDs. With an extensive career in digital
art and animation, she still finds time to pet ferrets, listen to pop
punk, and drink cider.
Comments
Post a Comment