Receding Heirlines.

Is there a growing appreciation that large institutions, corporations, and even cities, are not necessarily the best place anymore to do what they used to do best?

For example, Blockchain and Crypto-currency technology may be said to bypass the dominance of big banks; the culture of Parcour challenges the place of athletics within an arena (or otherwise conventional navigation of urban environments); music recording software, such as Ableton Live, has all but made fixed recording studios redundant; and even leading capital cities, such as London, may be progressively losing monopolies of creative prominence as young people move to emerging creative hubs elsewhere for affordable risk and adventure.

Correspondingly, the question can also be asked if art and design colleges are still the best places to be creative in anymore? As the potent and risky laboratories UK art schools were during the latter half of the 20th Century, they both disrupted and instructed a changing world, rather than ascribing to and aligning with an increasingly monetised and evaluated global marketplace.

Where, then, are the new sites, places, or understandings of subversion for the Arts? Certainly, as ever, insurgency or revolution lies in the mind, but what and where are the new physical ‘seminaries’ of creative ingenuity?