In Hodkinson’s work series Nothing Breaking the Losing (2016 – ongoing), the audience is invited into the performance situation itself, and is thereby assigned a collective responsibility for realising the work. The string instruments have cotton threads attached, which the musicians pull on with their fingers so that they vibrate, returning sound to the instruments. Some audience members are required to hold threads that are strung across the performance area. Buttons, keys, and other small tinkling objects dangle from the threads, which float above a small installation of delicate porcelain and glassware on the floor. The threads are like lifelines which, like umbilical cords, provide direct nourishment and content to the piece through a joint effort. A text is recited; it is a plea to connect tiny human actions with larger social and complex interpersonal contexts that are rooted in gender, race, national sentiments, class and family relationships. So far, the series contains a number of versions – Nothing Breaking the Losing (2016), Nothing Breaking/Occasion (2018), Nothing Breaking/Necessary Places (2022), Nothing Breaking/No Care (2022), all of which work with precisely these social mechanics, each time with different instrumentation, degree of amplification, audience interaction, and installation of threads and objects.