Mushrooms: The Art, Design and Future of Fungi

By Seana Gavin

Reviewed by Bethany Garry

Mushrooms: The Art, Design and Future of Fungi, curated by Francesca Gavin, can be seen at Somerset House until the 26th of April. It is part of The Charles Russell Speechlys Terrace Room Series and is free to visit. 

Mushrooms and fungi have a specific place in the imagination as strange and otherworldly, often associated with the fantastical or magical, but Gavin’s exhibition on the “future” of fungi posits them as significantly more science-fictional than fantastical. They are a technology – for use in the future of fashion, biotechnology or ecological industries, or an alien – an unexpected invader via decay or rot, part of the aesthetic that makes a landscape feel truly not of this world. The exhibition achieves this through the mix of mediums, beginning with some of Beatrix Potter’s botanical illustrations of mushrooms and fungi, and progressing through dance (in video form), textile arts, sculpture, collage, fashion, and an extensive display of books. 

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The effect is an exhibition that feels unfinished, if visually engrossing. Amanda Cobbett’s sculptures of mushrooms, perfectly rendered in thread and paper, are an illusion good enough to trick you, and Seana Gavin’s collages are alien worlds where mushrooms form otherworldly buildings, or fungi have unsettling human features. The small setting of the exhibit gives little room for in-depth exploration, and its high goal is undermined a little by the content. A display of mushroom-focused non-fiction literature amounts mostly to a display of book covers, which maybe spark thoughts but ultimately feel superficial. However, for a mushroom lover or for those interested in how the natural world can be positioned in a futurist mindset, it’s a fun way to explore how many different artists have used many different mediums to explore the world of mushrooms and fungi. 

While the first two rooms of the exhibit largely explore mushrooms as an aesthetic or fascination, the final ‘Futures of Fungi’ room positions mushrooms as a future technology, one that humanity has not yet fully exploited, with potentials unexplored, with displays including experimental leather made from mushroom, and a typeface generated to ‘spore’ organically as mushrooms do. The strangeness of mushrooms, their in-betweenness between plant and animal, their interconnectedness, are all ways in which they challenge humanity to experiment with their potential. Not all science-fiction, after all, is an exploration of an alien world. Some are discoveries of the strange in our deep seas or our high peaks. Perhaps the next frontier is neither, but instead will be the forest floor.

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Mars By Design

Photo credit: Felix Speller

A review of the exhibition “Moving to Mars” held at The Design Museum, London from 18 October 2019 to 23 February 2020.

By Allen Ashley

The Design Museum used to be tucked away somewhere on the south bank of the Thames but since relocating to Kensington in 2016 has established itself as a premier cultural venue in the capital. Those of us a little longer in the tooth would recognise its newish home as having once held the Commonwealth Institute. Today the array of flags has gone but the building is still nestled next to parkland. It’s drizzling on the longish walk from the tube station. It’s the final week of “Moving to Mars” and it’s also half-term; which, as a sometime supply teacher, I should have taken into account. Let’s face it, what do kids love most? Dinosaurs. And second most? Space. (Witches are third, in case you’re wondering.)  Continue reading “Mars By Design”

From the editor of Focus: Best of the Year 2019

By Dev Agarwal

Image result for watchmenThere was a lot to try to keep up with in 2019.  As usual my attention was split between what was new, what I’d missed and what I revisited.  As this is the regular review of the new, I’ll keep my attention squarely there — though I’ll confess to missing key releases that will doubtless prove to be among the best of the year.

As 2019 was also the end of a decade, this is a moment to note that over the last ten years we’ve seen a number of new writers establish themselves as major names in the genre.

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Conference Report: Utopian Acts 2018

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By Sasha Myerson

Organised by Katie Stone and Raphael Kabo, ‘Utopian Acts’ was a one-day mix of art, activism and utopia hosted by Birkbeck at the beginning of September. The conference provoked us to explore ideas set out by Ruth Levitas in ‘Utopia as Method’ and consider utopia as an act. Aiming to challenge the dystopian pessimism of our current moment, it asked whether examining the intersection of academia and activism might provide a way forward, out of our current impasse, towards a better future. Such thinking informed the structure of the conference, which included a mix of interactive workshops alongside talks by artists, activists and more conventional academics. In a welcome break from the norm at conferences, the event was free and substantive effort was made to ensure inclusivity and accessibility. This included grants to reimburse speakers, step free access to the building, gender-neutral bathrooms, a policy on pronouns and encouragements to keep academic language clear and intelligible. Overall, the conference made an ambitious attempt to relate its content to its form, putting some of its ideas into practice.

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Continue reading “Conference Report: Utopian Acts 2018”

Utopian Acts 2018: Ayesha Tan Jones

Indigo Zoom: The Awakening

Film Screening at Utopian Acts 2018

Set in a future with no safe oxygen left to breathe, the big business corporation Yonivel.co has commodified air and is selling it to the masses. We follow a wayward hydrogen hacker on their quest to #breathefree
Written, directed, edited, produced by
Ayesha Tan Jones
2016/2017

Indigo Zoom : The Awakening (full movie) from ayesha tan-jones on Vimeo.

Virtual Futures: Tomorrow’s Wars

Losers
Losers by Phil Jones

Virtual Futures: Tomorrow’s Wars – 17th April 2018

Inspiration & Terror by Andrew Wallace

Virtual Futures began in the early 1990s, when writers, thinkers, performers and scientists got together at Warwick University to grapple with the implications of technological changes sweeping society. Now that we are in that feared and fabled future, a new incarnation of Virtual Futures has been taking place in London. At the inception, one of the most popular elements of the events, or ‘salons’ as they are known, proved to be a short piece of science fiction written and read by science fiction author Stephen Oram. These pieces were so popular that science fiction got its own night within Virtual Futures, with Stephen as the curator. Mixing fiction specially written around the evening’s theme with keynote introductions by noted speakers often prominent scientists in the relevant field, the nights are unlike any other science fiction event in London.

April’s Salon explored the future of warfare, asking these crucial questions:

War has, so far, been inevitable throughout human history but what will the future of conflict or cooperation look like? Will the discoveries of the future lead us to a world without violent disagreement, or just result in us killing one another in more creative ways?  Continue reading “Virtual Futures: Tomorrow’s Wars”

History of Science Fiction on Audio

Here are a few of the recent history of science fiction overviews that are available in audio format.

Gary K. Wolfe’s 24-lecture series as also available as video lectures. David Seed’s introduction is the most succinct – it is about 5 hours as opposed to about 12 hours for each of ‘The Great Courses’ series.

James Wallace Harris, reviewing Wolfe’s lectures, rearranged in a chronological order the main texts that Wolfe covered in his thematically ordered lectures, it makes for an insightful visual history of the genre: 

 

Vector 287: Some films from Cameroon and SA/Canada

By Dilman Dila

Last year, after a long wait, I got a chance to see Jean-Pierre Bekolo’s Naked Reality, which he describes as an afrofuturistic/sci-fi. Shot in black and white, it is a time-travel tale in which the protagonist searches for her identity, this being allegorical for a continent’s search for its identity. Like his earlier films, including Les Saignantes (2005), it does not use visual effects or mise-en-scène to portray the future. But while strong storytelling with an offbeat style carried his previous works, Naked Reality turned out to be difficult to watch. Its website suggests it “is a new science-fiction interactive and collaborative cinema concept where we make feature films with a story as usual but take out certain aspects like sets, music, dialogues, costumes…” While there is a call for collaboration, it is not clear if it would mean re-editing this film. What made it drag was the miming, the near complete lack of sets, and the attempt to compensate using overlays, where two video clips are blended together – kind of the cinematographic equivalent of Instagram filters – creating a style more suitable to music videos. If ten years ago a lack of props or effects could be a consequence of low budget, today, more resources are available to a filmmaker, especially in a collaborative venture, and there is free software to achieve photorealistic visual effects.

One such software is Unity. In 2016, the company behind it made a short film, Adam (available on YouTube), to showcase its cinematic creation tools and to test out the graphical quality achievable. Adam is short and sweet to look at, though does not have much of a story. The main protagonist, a prisoner, wakes up in a robot’s body along with scores of others. They meet a mystical figure, who leads them away into a bleak horizon. In 2017, Unity partnered with Neill Blomkamp – the South African director well-known for District 9 – to make two sequels to Adam, where we learn of a government called The Consortium, which harvests the body parts of prisoners but, rather than kill them, puts their brains in robots, for unknown but possibly legal or even mercantile reasons. I like the series so far, and although both plot and character development are still thin, it is a visual joy.

Neill will be making more episodes of Adam alongside other short films in his own Oats Studios, which he set up to develop ideas without years of waiting for Hollywood. The first film he made was Rakka, set in a dystopian, post alien-invasion world. The obsession of seeing aliens as the evil other echoes colonialist era fears (e.g. H.G Well’s War of the Worlds) but also resonates with anti-immigration sentiments of today. Rakka features Sigourney Weaver, whose great performance failed to save the film from a clichéd plot that does not add anything new to an alien invasion narrative.

I thought other Oats Studios films would be similar, but was pleasantly surprised. Firebase starts off like an alien-contact film, and ends up something like a revenge-ghost story, with US soldiers in Vietnam encountering something called the River God. Like the other shorts from Oats Studios, Firebase could develop into a feature film, and a recent tweet from Neill suggests he is planning to crowdfund its production – this might explain its abrupt and unresolved ending.

amosZygote is the film I liked the most. Though it also seems to be the first twenty minutes of a feature, it works beautifully as a stand-alone short. It’s a sick horror, a good old-fashioned monster tale redolent of Frankenstein, and it may be difficult for some people to watch. I liked the monster very much because it reminded me of Amos Tutuola’s My Life in the Bush of Ghosts, and the awesome “flash-eyed mother,” which is a ghost made up of “millions of heads which were just like a baby’s head,” each with two hands and two eyes that shone day and night. Zygote gripped me right from the start, and the suspense did not relent. It is set in an asteroid mining operation, and the story opens with two survivors from a catastrophe that is never fully explained, though we deduce it coincided with the creation of the monster. One survivor is a slave, an orphan bought in her infancy, and the other a synthetic human, who sacrifices himself to help the orphan escape. Like most of Neil’s films, this one is very entertaining, and yet still packs in social issues, in this case genetic engineering and a critique of corporate capitalism.

DILMAN DILA IS THE AUTHOR OF A CRITICALLY ACCLAIMED COLLECTION OF SHORT STORIES, A KILLING IN THE SUN. HE HAS BEEN LISTED IN SEVERAL PRESTIGIOUS PRIZES, INCLUDING THE GERALD KRAAK AWARD (2016), BBC INTERNATIONAL RADIO PLAYWRITING COMPETITION (2014), AND THE COMMONWEALTH SHORT STORY PRIZE (2013). HIS FILMS INCLUDE WHAT HAPPENED IN ROOM 13 (2007), WHICH HAS ATTRACTED OVER SIX MILLION VIEWS ON YOUTUBE, AND THE FELISTAS FABLE (2013), NOMINATED FOR BEST FIRST FEATURE AT AFRICA MOVIE ACADEMY AWARDS (2014), AND WINNER OF FOUR MAJOR AWARDS AT UGANDA FILM FESTIVAL (2014). HIS SECOND FEATURE FILM IS HER BROKEN SHADOW (2017), A SCIFI SET IN A FUTURISTIC AFRICA. MORE OF HIS LIFE AND WORKS ARE AT DILMANDILA.COM

Near Future Fictions Salon: Virtual Persons

Extruded Bodies & Phantom Flesh by Andrew Wallace

Virtual Futures’ March 2018 Near Future Fictions Salon explored the theme of Virtual Persons

Virtual Futures grew out of a series of conferences in the mid-90s that sought to develop a new discipline that would confront the technologisation of culture. Its latest incarnation is a regular ‘Salon’, where philosophical, scientific and creative thinkers combine discussion, performance and fiction to explore current and potential technological extensions of the human condition.

The Near Future Fictions Salons place science fiction centre stage, with previous guest participants including Alan Moore, Pat Cadigan, Gwyneth Jones, Hari Kunzru and Geoff Ryman.

Monday’s event explored the theme of ‘Virtual Persons’:

The digital world is a personality playground that offers us an unprecedented ability to curate and create a public persona – but what does this ability mean for the future of personhood? [from http://www.virtualfutures.co.uk]

Opening keynote by performance artist Stelarc

Stelarc took part in the original Virtual Futures conferences at Warwick University in the 90s. His work explores alternative anatomical architectures, interrogating issues of agency, identity and the post-human. He has performed with a mechanical third hand, a stomach sculpture and a six-legged walking robot; while Fractal Flesh, Ping Body and Parasite are internet performances that explore remote and involuntary choreography. Most recently, he has harnessed surgery and stem-cell technology to grow an ear on his arm.

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Stelarc and Andrew Wallace

Continue reading “Near Future Fictions Salon: Virtual Persons”