outside light

Sign in Subscribe

otherwriting

Regarding Arts and Cultural Policy:

Regarding Arts and Cultural Policy:

a letter sent to Helen Clark 2000, to Jacinda Ardern 2017 the following letter (sent in 2017 with the additions in square brackets) received no response from either Prime Minister and none from any of the recipients, including Judith Tizard, Marion Hobbs, Bill Ralston, Jane Kelsey, Brian Easton, Luit Beiringa

On the resignation of Prime Minister Jacinda Ardern:

On the resignation of Prime Minister Jacinda Ardern:

towards a politics of change Prime Minister Ardern resigned. Although it deals with what has been said about her time in office and her exit from it, the article that follows is neither valedictory nor a critique. I wanted to deal with what has not been said. I think her

corpocracy and plaguology:

corpocracy and plaguology:

some thoughts on “Digital Maoism” (2007) A voice should be sensed as a whole. You have to have a chance to sense personality in order for language to have its full meaning. Personal Web pages do that, as do journals and books. Even Britannica has an editorial voice, which some

Sweetheart, over____ - stageplay (2006)

Sweetheart, over____ - stageplay (2006)

ACT 1 Running the scenarios. At the SALTON home, in BARBARA and MARIA's sitting room. (BARBARA SALTON stands at a high table reading a book. She wears a black dress down to her ankles. There's a revolver on the table.) (MARIA SALTON enters.) MARIA I don&

experiments with death - screenplay (2005)

experiments with death - screenplay (2005)

1 INT. DAVID'S BEDROOM STUDIO -- AFTERNOON Contrary to normal practice, scenes are numbered throughout. This is for reference: the action in a scene often refers back, quoting action in other scenes, through a monitor or screen. David sits on a chair against a white wall. DAVID Who

NOTHING LEFT FOR THE MIND

NOTHING LEFT FOR THE MIND

the cemetery of principle, part 1 (link to part 2) Nothing left for the mind Nothing left for the mind at the cemetery of principle Nothing left for the mind that some poet hasn’t mushed up and served you Like baby food Not even loss that hasn’t been

theatre manifesto from the 90s

theatre manifesto from the 90s

(1) Theatres don’t make money. Don’t expect them to. (2) Theatres are patronised, not patronising. (3) Theatres are compromised – in this town, in this country, in this economy, in this culture – not compromising. (4) A company shares responsibility, not liability. (5) A company subsidises its artform artistically, not