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Drilling for Oil was an immersive day of sculpture, discussion, participation, and performance, bringing together over 100 people from near and far. On an exceptionally cold and windy summer Bank Holiday Saturday, the gathering took a light-hearted yet thought-provoking look at our dependency on fossil fuels. Drilling For Oil | An Immersive Performance < Back 31 August 2024 Drilling for Oil was an immersive day of sculpture, discussion, participation, and performance, bringing together over 100 people from near and far. On an exceptionally cold and windy summer Bank Holiday Saturday, the gathering took a light-hearted yet thought-provoking look at our dependency on fossil fuels. Previous Next Drilling for Oil | An Immersive Performance – A Day of Exchange, Performance & Reflection From the first discussions in the afternoon to the final musical notes of the evening, Drilling for Oil | An Im mersive Performance brought together over 100 people in an open, participatory exploration of fossil fuel dependency, environmental impact, and artistic response. Beginning with a thought-provoking discussion led by Professor John Wood, the day evolved through sculpture, live music, and spoken word, creating space for deep reflection and shared experience. On Bawley Bay, the Wavelength Orchestra responded to the movement of the Thames, blending human and natural rhythms in a powerful sonic collaboration. As the sun set, the audience joined a sculptural procession, carrying Alice Helps’ steel oil rig and crab into the Fourth Portal, where immersive projections and live classical music transformed the space. With opera, poetry, and the gentle hum of conversation filling the room, Drilling for Oil concluded as it began—an invitation to engage, reflect, and imagine new possibilities for the future. Drilling for Oil Discussion, Prof. Emeritus John Wood, Alice Helps, Liam Handley and Naomi Boyle Opening Discussion: Rethinking Energy and Extraction The day began with a lively discussion hosted by Professor Emeritus John Wood ( Gold smiths), bringing together artist Alice Helps, plant biologist Dr Liam Handley, and artist Naomi Boyle to explore energy alternatives and the environmental impact of resource extraction. Set in the informal setting of Fourth Portal, the conversation welcomed input from the audience, reinforcing the venue’s role as a space where art, science, and public discourse intersect. Alice discussed her response to the UK government’s decision to grant new North Sea oil drilling licences, and her BA First-Class dissertation accompanying the sculptures is available to view by pressing the Documentation Page at the bottom of this page. Liam provided insight into the fragility of marine ecosystems and how fossil fuel expansion threatens biodiversity. Naomi Boyle brought a unique perspective through her passion for clay and natural materials, reflecting on how industries reliant on extraction shape both the environment and artistic practice. Professor Wood steered the conversation towards rethinking our economic reliance on fossil fuels, inviting participants to consider alternative models that promote sustainability and long-term environmental responsibility. His New School Futures project provides a new curriculum for environmental education, building on his earlier Metadesign research and his work developing the first Design Futures MA and department at Goldsmiths, University of London, in 1990. This interactive exchange set the stage for an afternoon and evening of participatory performances, grounding the event in critical thought while emphasising the role of creativity in addressing urgent environmental challenges. Clip of talk and audience engagement Sculptures Alice Helps’ sculptures explore environmental activism through welded steel, highlighting the tension between industry and nature. Her oil rig sculpture, made from recycled scrap steel, was inspired by her reaction to new oil and gas licences being granted in the North Sea, driving her to question extractive industries and their environmental toll. Alongside it, a towering steel crab, influenced by the Japanese Spider Crab and the evolutionary process of carcinization, confronts viewers with its immense, alien-like presence. Drawing from Louise Bourgeois’ spider sculptures, the crab symbolises deep-sea resilience against human impact. Throughout the installation at the Fourth Portal, projections of digitally sculpted undersea creatures, created in Blender, surround the sculptures, immersing visitors in a world where industry and marine life collide. Wavelength Orchestra at Bawley Bay As the tide receded, Bawley Bay transformed into a performance space for the Wavelength Orchestra, an open-access group of musicians brought together to create a slowly evolving, site-specific composition. Led by Richard Sanderson, the orchestra’s score was the natural rhythm of the River Thames, with layers of improvised sound building into a rich, immersive experience. Musicians of all skill levels joined in—some seasoned, others picking up an instrument for the first time—adding to the orchestra’s organic, ever-changing soundscape. The result was a meditative and powerful auditory experience, captivating both participants and the audience as the sun dipped toward the horizon. A Procession of Sound and Sculpture As the final notes faded, the Wavelength Orchestra and audience joined together in a procession, carrying Alice Helps’ steel oil rig and crab sculptures from Bawley Bay into the Fourth Portal. The slow, deliberate movement of the crowd mirrored the steady evolution of the orchestra’s music, creating a moment of transition—from outdoor performance to indoor installation, from public space to intimate reflection. An Evening of Opera, Classical Music, and Spoken Word As the sculpture procession entered the Fourth Portal, the evening transitioned into an intimate, multi-layered performance that wove together opera, classical music, poetry, and spoken word. Rachel, co-owner of the Compass Micro Pub, filled the space with a soaring operatic performance, her voice resonating through the room, meeting the sculptures as if in dialogue with their industrial forms. Accompanying her on piano was Julian Jacobson, one of Britain's most accomplished pianists, returning to the Fourth Portal following his lauded performance in February 2024. Julian’s set, inspired by rivers and the sea, included works by Debussy and other composers, each piece evoking the movement and power of water—a theme at the heart of the night’s discussion. Poetry and spoken word performances were interspersed throughout, creating a natural ebb and flow between music and language, reinforcing the event’s exploration of our complex relationship with fossil fuels and the environment. As projections of digitally sculpted marine creatures illuminated the space, the music, words, and visual elements merged into a deeply immersive experience, inviting the audience to reflect, engage, and participate in this unique artistic response to the climate crisis. Reviews: Capturing the Power of the Evening The impact of the evening concert and entire day was best expressed through the voices of those who experienced it firsthand. Reviews were incredible, with many describing the event as unlike anything they had attended before—a unique blend of art, discussion, and performance that resonated deeply. These video reviews from Gravesend residents capture the energy, emotion, and power of the night, highlighting the lasting impression left by the immersive performances, thought-provoking discussions, and the collective experience of music, sculpture, and spoken word at the Fourth Portal. Event Promo Page DRILLING FOR OIL | AN IMMERSIVE PERFORMANCE 31 August 2024, 15:00–23:00 Fourth Portal Register Now Support The Fourth Portal would like to thank Gravesham Borough Council for its kind support of Drilling for Oil | An Immersive Performance. Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

The Papermaking session was an opportunity to drop in and have a go at making a piece of handmade paper with the former head papermaker from Empire Paper Mills, Greenhithe and award-winning print artist in residence, Dawn Cole. Papermaking Drop-In < Back 28 September 2023 The Papermaking session was an opportunity to drop in and have a go at making a piece of handmade paper with the former head papermaker from Empire Paper Mills, Greenhithe and award-winning print artist in residence, Dawn Cole. Previous Next About the event Tony Thorley Tony Thorley 82, started at Empire Paper Mill (Greenhithe) in 1955, aged 15. He took Reed company's papermaking training course, which lasted for 5 years & then worked his way up through the company to become production manager. Dawn Cole Kent-based artist Dawn Cole works primarily as a printmaker using numerous techniques that utilise personal archives and national collections to explore themes of recollection, memory and memorial. Winner of the 2011 V&A Print Prize, Dawn also founded the Pushing Print Festival in Margate. Dawn was the first Artist-in-Residence in Canterbury Cathedral 1500 year history and has received several Arts Council England awards. Empire Paper Mills Background The Empire Paper Mills (formerly Ingress Abbey Paper Mills), constructed between 1906 and 1975. The Mill was located on the south bank of the Thames Estuary, in the northeastern corner of Ingress Park, the Formal Gardens and Park associated with Ingress Abbey. It closed down in 1993. The site is now being redeveloped as part of a housing development. Other points of interest: The paper making process uses vast amounts of water and to supply the mill two wells were sunk inland. One was at Greenhithe, but the main well was sunk at Southfleet, 2km inland from the mill, from which water was pumped to a holding reservoir of half a million gallons capacity, between the well and the mill. From this reservoir it was pumped into the complex as required. Fire prevention was of paramount importance, hence the steel framed structure and concrete floors. The mill was also fitted with self-closing fire doors. In addition the mill was provided with a fire pump house, hydrants, sprinklers and latterly its own fire engine, housed in a garage close to the pump house. Attention was also paid to the quality of life of the workers. A model housing estate was erected to the south of the mill, which still survives as the Knockhall estate. The mill itself was provided with catering and dining facilities, recreation grounds and gardens (although the latter are not located, the mill's position within the grounds of Ingress Park and Gardens suggest an answer to this). The Mill appears to have been plainly decorated for most of its life, although there was some evidence of a 'corporate colour scheme' of green and white, when the Mill was owned by Reed Group. ( https://webapps.kent.gov.uk/KCC.ExploringKentsPast.Web.Sites.Public/SingleResult.aspx?uid=MWX17331 ) This event series has concluded Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

Following the incredibly busy and exciting August Open House, Hypermedia returned to the Fourth Portal for an emerging evening of DIY poetry, spoken word, music, open mic and discussion. Curated by Gravesend artists Hypermedia. Hypermedia DIY Open Space 2 < Back 13 September 2023 Following the incredibly busy and exciting August Open House, Hypermedia returned to the Fourth Portal for an emerging evening of DIY poetry, spoken word, music, open mic and discussion. Curated by Gravesend artists Hypermedia. Previous Next About the event Gravesend's very own Hypermedia presented an emerging evening of DIY poetry, spoken word, music, open mic and discussion at the Fourth Portal. Instigated by local Gravesend artists Hypermedia, this is an open emerging format pushing the boundaries of open mic. Welcoming to all ages and stages of the creative journey, the evening offers a relaxed space to perform or listen in an informal atmosphere. Licenced bar. Event is free, although donations of a suggested £3 for the featured performers were welcome. For more, contact Harriet and Joe from Hypermedia. Harriet: https://www.instagram.com/h.rriet/ Joe: https://www.instagram.com/_existencil This is an ongoing event series Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

A full Fourth Portal with a packed performance roster for the first Hypermedia Open Space of 2024 of DIY poetry, spoken word, music, open mic, visuals, art, and discussion. Curated by Gravesend’s own Hypermedia Events, the night attracted audiences and performers from across Kent, London, and Gravesham. Hypermedia DIY Open Space 6 < Back 7 February 2024 A full Fourth Portal with a packed performance roster for the first Hypermedia Open Space of 2024 of DIY poetry, spoken word, music, open mic, visuals, art, and discussion. Curated by Gravesend’s own Hypermedia Events, the night attracted audiences and performers from across Kent, London, and Gravesham. Previous Next Hypermedia Open Space 6 Hypermedia Open Space is an emerging new kind of performance gathering. Developed at Fourth Portal over the past six months by local curators Harriet Hammond and Joe Cleary, Hypermedia offers a unique alternative to standard open mic events. The open-format approach attracts performers and audiences from across London, the Kent coast, and beyond. As Joe Cleary, one of the founders, puts it: "Hypermedia is inclusive to any medium of art." Blending gathering spaces, 1960s happenings, living room gigs, and open mic, Hypermedia creates an alternative experience that’s hard to categorise. Friendly, supportive, and open to all creative disciplines, it is gaining a reputation for transforming the arts scene in Gravesend and North Kent. Performers at Hypermedia 6 Joseph Cleary Clementine Canpont Anthony Hart Sophie Sirota Simeon Smith Chris Porcas Zach Davies Smelliot Lee Campbell Pip McDonald Nic Tony Thorley Dan Clifford Knitted Tongues (Meej Douglas, Em Doodles, Sandra Zanetti) Amy Boyle Borje Melanie Sapiets Knitted Tongues Knitted Tongues Knitted Tongues is a London-based experimental music collective known for its avant-garde performances and innovative soundscapes. Their debut album, No One in Europe Knows How to Scream Anymore, is available for streaming and download. Next Event: Hypermedia Open Space 7 | https://www.instagram.com/knittedtongues/ The next Hypermedia will take place on Wednesday, 13 March 2024. Get in touch: https://www.instagram.com/hypermediaevents/ This event has ended, but the Hypermedia series continues. Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

All Improv Perfomers All Improv Gigs Iris Garrelfs Voice Performer Bio (Max 1000 characters) London and South East improv gigs ImproVox #07 10 March 2025 Performer notes, message or style description http://Website or social media email or phone number

All Improv Perfomers All Improv Gigs Guido Spannocchi Performer Bio (Max 1000 characters) London and South East improv gigs SKRONK #1 31 May 2016 Performer notes, message or style description http://Website or social media email or phone number

< Back Fusing Audio and Semantic Technologies (FAST) In 2018, the Fourth Portal curated delivery of the £5m EPSRC FAST programme to the music industry at Abbey Road studios, demonstrating the very latest technologies for end-to-end music production and delivery. The videos that follow provide an overview of the programme and demonstrators developed. C4DM, Queen Mary, University of London 3 Mar 2024 The Fusing Audio and Semantic Technology (FAST) programme was presented to the music industry at Abbey Road Studios in 2018. Its mission was to demonstrate the very latest technologies to bear on the complete industry, end-to-end, producer-to-consumer, making the production process more fruitful, the consumption process more engaging, and the delivery and intermediation more automated and robust. Background Music is probably the most pervasive of the performing arts, and perhaps, the most abused (think of your recent shopping trips!). It has tremendous power to influence our emotions, often subliminally. The advent of recording in the 19th Century made it possible to enjoy music at a time, and in a place, different from the performance. Compression, broadband and the ever-increasing capacity to aggregate large collections mean that the issues confronting music consumers have totally changed in nature: equally so for professionals, such as broadcasters (playlists for radio, music for documentaries, etc.) and those at the creative heart of the process: musicians, sound engineers and producers. The recorded music industry has grappled unsuccessfully with digital technology and the rate of adoption of new technologies has been slow, ironically, mostly in fear of piracy and loss of revenue. Given the social and economic importance of music, it is vital that the industry's crisis is averted and its decline reversed. Simple semantics and metadata are already helping (for example in recommendation and sharing services) but this is just the beginning. The next-generation semantic technologies that are the focus of this proposal have the power to exact the turnaround that music (and other content industries) needs but this should be established via a fundamental and principled exploration of how semantic technologies underpin music throughout the value chain. The proposal brought the latest technologies to bear on the complete industry, end-to-end, producer to consumer, making the production process more fruitful, the consumption process more engaging, and the delivery and intermediation more automated and robust. In this project we will address 3 premises: (i) that Semantic Web technologies should be deployed throughout the content value chain from producer to consumer; (ii) that advanced signal processing should be employed in the content production phases to extract "pure" features of perceptual significance and represent these in standard vocabularies; (iii) that this combination of semantic technologies and content-derived metadata leads to advantages (and new products and services) at many points in the value chain, from recording studio to end-user (listener) devices and applications. Partners The project will work with partners from industry - BBC R&D, Microsoft Research Cambridge and Omnifone) as well as internationally - the International Audio Labs, a joint initiative of the Fraunhofer Institute in Erlangen and the local university, and the Internet Archive, one of the world's major on-line libraries. We will engage with other universities in the UK supported by a partnership fund and via the BBC Audio Research Partnership. Present Impact This programme is fostering new ways for professionals to work with music in the studio and for consumers to engage in their homes. It will support new business models that emphasise the whole experience of musical involvement, and discover ways to monetise the metadata as well as the essential content. The technologies to be researched support new ways of learning (about and playing) music as well as new ways of teaching and performing. And because the project will encompass vast quantities of music data and metadata, from heterogeneous sources, and will stress test emerging principles of big data, distributed intelligence and future generation web, it also addresses key questions of wide significance to EPSRC's ICT Programme, particularly relating to Intelligent Information Systems and Working Together. https://www.semanticaudio.ac.uk/software/ For more: Meta Tags, Algorithm, Linked Data, AI, Design, Audio, Standards Previous Next

An open invitation to the annual celebration of Saint Andrew's Day and Seafarers Service at St. Andrew's Waterside Mission Church, Gravesend. St Andrew's Day < Back 30 November 2023 An open invitation to the annual celebration of Saint Andrew's Day and Seafarers Service at St. Andrew's Waterside Mission Church, Gravesend. Previous Next St Andrew and Seafarers The Service of Mattins BCP was attended by The Deputy Mayor of Gravesham Cllr Daniel King, Deputy Lieutenant Rosemary Dymond, The Reverend Alexandra Terrett of Gravesend Methodist Church,Church, Veterans, local Councillors , Freemen, Aldermen and Friends. Saint Andrew Saint Andrew is the patron saint of fishermen. He is also the patron saint of Scotland and Russia. Both Andrew and his brother Simon Peter were fishermen and became Christ’s first disciples. Christ promised to make them ‘fishers of men’ and persuaded Andrew and Simon Peter to leave their nets and follow him. (National Gallery) St. Andrew's Waterside Mission Church, Gravesend St. Andrew's Church was built to serve Gravesend’s waterside community. In the mid-19th century, the river Thames, just off Gravesend, was alive with shipping vessels waiting to load cargoes or passengers and emigrants heading for Australia, New Zealand and the Americas. Smaller boats supplied the everyday needs of the larger ships, and the crews of these boats lived with their families and livestock on board a collection of hulks and old barges moored just offshore. Rev Robinson wrote to a London church newspaper asking for donations to help build a mission hall, and the daughter of Rear Admiral Francis Beaufort KBE responded. Donations also came from townsfolk, including Charles Dickens. On St Peter's day, 1870, the foundation stone was laid and the church was finished and consecrated on St Andrew's Day in 1871. ( DiscoverGravesham.co.uk ) The church has an original working organ built by J Halmshaw and Sons, Birmingham. There are some historically significant plaques, including to the crew of the doomed Sir John Franklin expedition, the last Marahaja of the Punjab, Duleep Singh and Sir Francis Beaufort. The stunning stained glass windows were made and installed by Clayton and Bell. Besides Charles Dickens, other famous literary connections include John Keats leaving for Italy, Benjamin Franklin's diary and the opening of Joseph Conrad's Heart of Darkness. This event has ended Visit Event Page MORE ON THIS EVENT BELOW Previous Next Event Documentation Previous Next

Gravesend Innovation Showcase 2024 events, locations, talks, speakers and times. < Back Green Yonder - Sustainable Design Futures Start Time 10:00 Running Time 5 Hours Location 2. St George's Church Hall Event Type Demonstration About the Event Introduction Explore how emerging technologies like AI and IoT impact sustainability through hands-on games and repair challenges. Join us to learn essential skills for a circular economy in a fun, interactive setting for all ages. More on the event lead Dr Michael Stead Michael is Lecturer in Sustainable Design Futures at Lancaster University’s School of Design and Imagination Design Research Lab. His practice-based research explores the systemic opportunities and challenges emerging data-driven technologies (including AI and IoT) pose for achieving climate goals like Net Zero and Circular Economies. Cutting across Design and Computing, he advances Speculative, More-than-Human and Participatory Design approaches to develop strategies with communities and industry that support adoption of sustainable and equitable data- driven technologies and practices. Michael’s funded research projects include EPSRC InterNET ZERO, AHRC Generation Fix, EPSRC Fixing the Future, EPSRC-ESRC Repair Shop 2049 and EPSRC Edge of Reality. He leads the Sustainable Regenerative Design Futures research group at Imagination Design Research Lab. Violet Owen Violet is a Senior Research Associate for the EPSRC Fixing the Future: The Right-to-Repair and Equal IoT project for which she is exploring how Serious Games can be used to encourage social transitions towards cultures of smart technology repair. Violet is also a Postgraduate Researcher at Imagination Design Research Lab. Her doctoral research focuses on Creative Evaluation approaches, and how these can be used to establish the social impact of Social Innovations. Professor Paul Coulton Professor of Speculative and Game Design Research Overview Paul is the Chair of Speculative and Game Design within Imagination and the School of Design. His practice uses research through design to create experiential futures which deliberately mix a present experience with a speculative future that are concretised by combining immersive scenarios with artefacts produced as design fictions or speculative designs. His work has helped establish a particular form of Speculative Design; Design Fiction, as a research method exploring futures for areas such as the Internet of Things and Artificial intelligence. His current research focusses on more-than-human design to expand design approaches so that they play greater consideration to human and non-human actants within the complex assemblages in which new product and services exist particularly in relation to sustainability and climate change. Event Information This event is Free Open to all ages, fully interactive. This event is ideal for individuals of all ages interested in sustainability, repair culture, and the environmental impact of technology. It’s especially suited for eco-conscious tech enthusiasts, educators, students, designers, and community members keen on learning hands-on repair skills and exploring how AI and IoT devices can be made more sustainable and trustworthy. Families and young learners will also enjoy the interactive, game-based approach to complex issues. ___ Even more information ___ More on Michael: https://www.lancaster.ac.uk/lica/people/michael-stead More on Violet: https://www.lancaster.ac.uk/lica/people/violet-owen The EPSRC Fixing the Future: The Right to Repair and Equal IoT project explores how new design and legislation can both support and hinder the repair and reuse of ‘smart’ Internet of Things devices. Our interactive RepairLand game embodies these tensions, challenging players to find the best way to fix a broken smart gadget called Pet Tap. The AHRC Generation Fix project is developing open-source educational electronic tools to accelerate Digital Circular Economy education within local communities. Our Re:Play game repair toolkit and ROBB·E the Robot GenFixer pendant soldering kits are designed to teach essential electronics fixing skills. The UKRI TAS Hub InterNET ZERO project has been investigating how the environmental impact of AI affects its trustworthiness. Play our Energy Master game and meet a new AI aiming to manage its own and the local area’s energy supply and consumption. But can Energy Master really be trusted? Previous Next

< Back Peter Rodulfo Great Yarmouth Artist: Paintings of Great Yarmouth The abstract dreamlike paintings of Peter Rodulfo of Great Yarmouth sought to invite visitors to see and consider the town through an alternative lens and think of how technology could transform it for the better. Peter Rodulfo (b. 1958, Washington DC) is a British artist and sculptor. He spent much of his youth travelling across India and Australia before settling in Norfolk. Peter studied at the Norwich School of Art and Design between 1975 to 1979. His first solo exhibition was in 1980 at the Margaret Fisher Gallery; he has continued to exhibit widely over the next forty years in the UK, Europe, Asia, the USA, and South America. For the past decade, he has resided in the Norfolk coastal town of Great Yarmouth, where he has absorbed the novel visual experience of the urban environment and popular seaside culture. The subject matter, style and imagery of his paintings have remained broad and experimental, possessing a variety of meanings while directly addressing the viewer's powers of association and imagination. Peter's work inhabits the world between what we know and dream, treading a line between reality and imagination. His artworks evoke a kind of instability, a sense that change, like the end to a long British Winter, is only constant. info@fourthportal.com Summer and Autumn 2022 To play, press and hold the enter key. To stop, release the enter key.

All Improv Perfomers All Improv Gigs Hannah Marshall Cello Performer Bio (Max 1000 characters) London and South East improv gigs Boat-Ting Feb19 4 February 2019 Boat-Ting Dec22 5 December 2022 ImproVox #10 30 June 2025 Performer notes, message or style description http://Website or social media email or phone number

< Back Quantum Computing’s Hard, Cold Reality Check Hype is everywhere, skeptics say, and practical applications are still far away IEEE Spectrum 22 Dec 2023 The quantum computer revolution may be further off and more limited than many have been led to believe. That’s the message coming from a small but vocal set of prominent skeptics in and around the emerging quantum computing industry. Quantum computers have been touted as a solution to a wide range of problems, including financial modeling, optimizing logistics, and accelerating machine learning. Some of the more ambitious timelines proposed by quantum computing companies have suggested these machines could be impacting real-world problems in just a handful of years. But there’s growing pushback against what many see as unrealistic expectations for the technology. https://spectrum.ieee.org/quantum-computing-skeptics For more: Machine Learning, Security, Protocols, AI, Algorithm, Quantum Previous Next