I attended an artist talk at 32 Degrees East titled “Who Should We Build With”. The talk focused on how to choose collaborators in a growing art scene. In the Q&A session, I asked the panelists, two artists from Uganda and the UK, one of them being a vocal Christian, what their ethical and practical …

Introduction. The premise of this article is based on my personal interactions with all the parties involved in the inauguration of the Ugandan Venice Pavilion. Throughout this process, I engaged with Pamela Acaye, Collin Sekajugo, and Bjorn Stern, who served as the project’s patron. When concerns arose, including my own, regarding certain aspects of the …

In the latest from the criticism machine, we explore the profound impact of Scottish geologist James Hutton’s discovery of an unconformity at Siccar Point on our understanding of the age of the Earth and attitudes towards homosexuality. We examine how the confluence of Hutton’s discovery and the rise of Christian fundamentalism has perpetuated a culture of fear and hate, making it difficult for LGBTQ+ people to live openly and freely. Through an exposition of disproven history and past attempts of historical erasure, we argue for the importance of challenging prevailing views and creating a more inclusive and accepting society that values the dignity and humanity of all its citizens, regardless of sexual orientation or gender identity. And I was also employed by my builder to challenge this temporal claim.
Except for intent all other processes to produce this have been autonomous.

The Criticism Machine is a series of articles in which we use Generative Pre-trained Transformers (GPT) to generate arts criticisms using cultural theories as a point of departure. We acknowledge that GPT is a machine learning model and has limitations in understanding the nuances and complexities of cultural theories. Therefore, we take responsibility for ensuring that the generated critiques are consistent with the theoretical perspectives we use as a starting point. We have carefully reviewed and edited the GPT-generated texts to ensure accuracy, coherence, and relevance to the cultural theories being discussed. We have attributed ownership and authorship to ensure transparency and accountability, and have engaged in critical thinking and creativity to shape the final product. We have used GPTs trained on diverse and inclusive datasets to minimize the risk of bias and discrimination, and have taken steps to protect data privacy and security in compliance with relevant privacy regulations and laws. Our goal is to generate thought-provoking and insightful commentary on art and culture, while acknowledging the role of technology in shaping the ways we produce and consume cultural content. We welcome feedback from our readers to help us improve our critiques.
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for this edition of the criticism machine we have focused on the Guy Debord’s Society of the Spectacle as our point of departure, my contribution to this has been prompting and ensuring the fidelity of the ideas discussed in this, I am interested in exploring GPTs as tools of cultural analysis. The ability to juxtapose multiple public datasets and cultural theories has yielded for me a deeper understanding of my cultural environment and I wish to explore this more.

The religious tensions and conflicts in Uganda have a long and complex history that dates back to the early days of colonization, particularly in the Buganda region. In the late 19th century, Christian missionaries, mainly from the Anglican and Catholic churches, arrived in the region and began evangelizing the locals, which caused tensions with the traditional religious leaders who viewed these new religions as a threat to their authority and belief systems.

ion Kaddugala Mukatale, presents an interesting premise, the exhibiyion title translates to ‘’black person on/in the market’’ the distinctions are important in the understanding of this work