I am really pleased to share the Thamesmead Social Gardens Learning & Impact Handbook, which documents 2 years of conversations, decision making and insights developed alongside communities in Greenwich & Bexley.

My NSOTA project was to research remnants of the Carnivalesque within living traditions of village pantomime in North Norfolk.

This is a collection of images which map Canterbury’s Shelford landfill site. The landfill is an obscured space, deliberately hidden by geography, fencing, and unreadable planning documents.

Research published by Paul Habineza at New School of the Anthropocene, July 2025.

I had a project. I wanted to change the way we (who is we? - everyone?) speak about the more than human. I wanted to find a way to express that we are not just connected, not just part of but somehow are nature – and nature is us. (I’m not a fan of the word ‘nature’ - I think it’s part of the problem. But I haven’t yet found a better word.)

A collaborative physical theatre project about the most basic theme of connection. It concerns symbols of voluntary movement (such as animation, puppetry, dance, performance, and exercise) and involuntary (such as shaking hands in the face of shame), a warped mirror, door, and paint on plywood that will not be destroyed, lest it hurt oneself.

'A Parasitic Folding (in on the site's perimeter)' is a study the microbial life around Heathrow's perimeter, augmenting images in location to where the artists’ understanding of cybernetic systems worldwide terminates.

This project approaches my personal experience of wildlife rehabilitation in Australia, thinking through whether this kind of care for the more-than-human world can be thought of in terms of 'solidarity' like that in the above quote on what Out of the Woods Collective describe as 'kithness'.

Our project is an exploration of the idea of courage in the Anthropocene. Our interest in this developed from our earlier study of the work of Jorie Graham, an American eco-poet, whose most recent collection addresses an apocalyptic near-future (2040), and for whom courage has superseded notions of hope.

I invited residents from the new-build town where I live to take an hour with me to make botanical inks and to paint with them onto paper seeded with wildflowers. This is a project about reunion, regeneration and letting go, on a land with which we have yet to connect, during a time of collapse.

When I found the New School of the Anthropocene, I was halfway through writing a book ‘Rag Manifesto’ based around my project ‘Rag School’ at East London Textile Arts.

The piece which was used to make this video was written in the style of James Joyce’s experimental novel, Finnegan's Wake (1939). The animated text is cut with footage of young people riding bikes and a performance I took part in, which was based on Finnegan's Wake at Cleveland Performing Arts Festival 1995.

Attempt to make an object which encapsulates home. Portable so it can be taken with me. A connection to the living land. To embody a place in small form. An object to bring joy and connection.

Wanting to work with living materials in a no waste, non extractive process, seeing the beauty in the overlooked. I wanted to make something beautiful working with a living material which is often overlooked and even unwanted in many places.

My NSOTA research project is a sonic investigation into the potentials of sound within the embodied impact of the Anthropocene.

This is my second year at NSotA. This year's project is a continuation of the one I started in the first with its overarching theme of place and being ‘most in a place’, all anchored within the parish boundary where I live in Hampshire, UK.