Public engagement and research. Case study: The Evidence Chamber The Evidence Chamber was FF’s first collaboration with the Leverhulme Research Centre for Forensic Science (LRCFS), at the University of Dundee. Here we talk about how the project came about - and why it worked.
process Looking for ‘Looking for Love’ It’s time we all stopped pretending we make perfect work that turns out just as we planned. This is an honest documentation of a process which taught us a lot.
interactive theatre and technology It's a kind of magic: multimedia theatre and digital performance The how and why of multimedia theatre - and a few tips on what we’ve learned while making digital performance (face-to-face and online).
audience What language please What happens if you apply start-up logic to being an arts organisation? Turns out that looking at what you do through the lens of another sector shows up the baggage you're carrying.
The Networked Condition Invisible Flock interview: The Networked Condition 'The Networked Condition: Environmental Impacts of Digital Cultural Production' is a collaborative research project exploring digital arts through an environmental lens. Here we chat to Invisible Flock.
process Making shows, taking care Devising online has made us all think more about how we care for the folk we're working with... here's some stuff we've learned.
audience 6 things I learned from digital work and 6 things I learned from remote work Reflections on transitioning from a theatre director in a theatre to a digital experience maker in my kitchen.
audience Convenience culture and exclusive events At a time when all kinds of performance are available at the click of a trackpad, it isn't 'liveness' that we should be talking about. It's event-y-ness.
digital entertainment Queerness, video games, and escaping reality Co-writing Fast Familiar's latest show got me digging into the stories of LGBTQIA+ gaming – as well as my own.
audience centric Putting the play into theatre What do we really mean when we talk about playable theatre, immersive theatre, interactive theatre and the like? And what do we hope to get from works in these categories?
audience What kind of art do we want right now? Sometimes we make art to prod the belly of corporate greed; sometimes we make art to frolic with elves at the North Pole. Both these things are fine – and necessary.
critics 13 things I’ve loved and loathed in online escape rooms This year we've ended up spending countless hours locked into online puzzle games – and made our own. But what's so good about them? And what's... not?
audience Hello, you’ve reached tech support Reflections on using bespoke homemade technology for a live online show.
Carbon efficient We made our first carbon-neutral project 🎉 Big goal: accomplished. But how? Here’s a not-too-technical breakdown that might contain some useful stuff you can apply to your own digital adventures.
process New forms, old boxes So theatres are shut - I don’t know if you’d noticed. Some people are making for a new architecture - the internet. But do we have the language to talk about these new forms?
