Bringing together young asylum seekers and refugees, family, friends and other professionals to re-animate a disused corner of Finsbury Park the ‘Seeds From Elsewhere’ project by They Are Here, based at Furtherfield Commons, supports each participant to grow flowers, plants or edible produce from their respective homeland.
Rosa Menkman looks at 'the art of creative problem creation' through digital art works which open up spaces for alternative discourses, comparing these works with the Dadaist 'logic of the madmen' and questioning the historical framing of certain artforms as 'weird'.
Edwina Bartlem’s article Reshaping Spectatorship: Immersive and Distributed Aesthetics proposes that immersive artwork practices have transformative potential. In this interview, her proposition is leveraged as a frame and axis of dialogue with Australian artist Rachel Feery to discuss her multi-sensory immersive work, Clearing the Cloud.
An essay on waiting for the technological rapture in the church of big data. Marloes de Valk writes about the paralysing effect of hiding the human hand in software through anthropomorphising computers and dehumanising ourselves.
Banks, governments, credit card companies and fintech evangelists all want us to believe a cashless future is inevitable and good. But this isn't a frictionless utopia says Brett Scott, and it's time to fight back.
The reason many people on the left are excited about proposals for a Universal Basic Income (UBI) is that it acknowledges economic inequality and its social consequences. In reality, however, UBI provides political cover for the elimination of social programs and the privatization of social services.
In this special feature Steve Jampijimpa Patrick writes about "YAMA" the Warlpiri word for a shadow, or reflection. A word that signifies the nature of existence in Australian Aboriginal Culture, YAMA is also the name given to the multimedia installation made by artists from the Warnayaka Arts Centre with Napanangka (Gretta Louw) for the Networking the Unseen exhibition at Furtherfield Gallery.
Michael Szpakowski offers some notes on the photography of London art teacher Joseph Cartwright, who operates under the Flickr name Noitsawasp. This is the second of three articles about the use of Web 2.0 photosharing service Flickr, by self defining artists, outsider artists and hobbyists, to share and be mutually influenced by each others work.
Despite its image of rapid technological change, progress under capitalism has stalled. Spinning ever faster is not the same as going somewhere. Contemporary Accelerationism wants to take off the brakes, and it is enlisting art's help to do so. Rob Myers attempts to speed up understanding of what Accelerationist art is and where it maybe heading.
When traditional systems become obsolete, they evolve into the facilitator of their own crash. The initial position of the nine debuting artists is the shift- and notions of values within the current...
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