By Laura Potts
SAVORR, a non-profit arts organisation based in Norwich, recently started a series of events called SAVORR Social, to showcase interesting new ideas and concepts in local art. These events aim to inclusively welcome a number of groups into a socially and artistically fertile space, a space that harbours diverse ideas, conversations and considerations. On Thursday April 19th I attended the ‘NUA Open ANTIsocial Social’, the fifth event in the series, which showcased experimental work from four Norwich University of the Arts (NUA) students.
by Beth Saward
Have you heard the news? America has solved sex trafficking. With the passage of SESTA/FOSTA, it will become a thing of the past, the internet will be safer and Freedom™ wins again. What’s that? You haven’t heard of this miraculous new law? Here’s how it works.Continue Reading
by Justin Reynolds
Frankenstein: or The Modern Prometheus, the classic novel by Mary Shelley that stands at the pinnacle of the gothic tradition and looks forward to the new genre of science fiction, was first published 200 years ago this month. Shelley’s visceral tale of the terrible consequences that follow the failure of brilliant young scientist Victor Frankenstein to take responsibility for the strange new life he creates, is both of its time and utterly contemporary.
It can be read as a high Romantic fantasy set against a background of electric storms, shimmering Alpine peaks, Rhineland forests and Arctic wastelands, and as a subtle meditation on themes of knowledge and responsibility that resonate with today’s hopes and fears for the possibilities opened by artificial intelligence (AI) and synthetic biology.Continue Reading
by Bradley Allsop
Young people can’t catch a break. On the one hand, we’re scolded and ridiculed for our apparent lack of engagement with traditional political institutions, which is generally assumed to be a result of our ‘laziness’ or ‘apathy’, with our disillusionment and distrust with politicians that have continually failed us apparently precluding our ‘right to complain’. On the other hand, when we do engage politically, in those rare moments when we do seek to take an active role in our futures, we’re painted as thuggish, fragile or naïve. In short, the message we continually get is: “engage – but not like that!”
by Laura Potts
Artistic culture and practice has changed drastically over the past few centuries. From Renaissance painting and its high-minded focus on aesthetic and documentary purpose, to the eruption of absurdist Dada work in 1915, to the stark political statements of much modern art. The aesthetics of art and its chosen themes are not the only thing that has changed though; the spaces where we encounter art have also transformed.
For part 1, click here.
Content warning: links contain references to white nationalism and Charlottesville.
By Rob Harding
Unfortunately, I can’t provide a full road map to the future from our current Nazi-sodden economically unstable world of earthbound, cishet-dominated capitalism (at least, not in 600 words). If the 20th century taught us anything, it’s that traditional revolutions are messy, violent and frequently impossibly complex things, and, even if their intentions are good, they tend to make things worse rather than better. A violent uprising with the fat cats first against the wall is perhaps a good daydream while you’re stressed and trying to pay your rent on time, but in practice we’d get another Stalin.
As such, this article will be much more hypothetical, looking at the kind of technology necessary for a global, fully automated and luxurious communist society, and then looking at ways we might potentially create and distribute it.Continue Reading
by Carmina Masoliver
CW: discussion of domestic violence
An eight episode series, Las Chicas del Cable (The Cable Girls) begins with a woman killing her friend’s husband – part self-defence, part accident – also shooting her friend. It’s a drama full of love stories, as well as crime and mystery, yet domestic violence is a major theme that runs through the series. Set in 1928 in Madrid, it shows the impossibility of leaving an abusive relationship in a patriarchal society, where even the law protects men who are abusers.Continue Reading