DAAP – the Digital Archive of Artists’ Publishing – is an interactive, user-driven, searchable database of artists’ books and publications. It was built by artists, publishers, and a community of creative practitioners in contemporary artists’ publishing, and acts as a hub to engage with others. It has been developed via an ethically driven design process, supported by Wikimedia UK, Arts Council England and ongoing fundraising.

Francis Whorrall-Campbell is an artist, writer and sometimes archivist from the UK. Working across text, sculpture, and the digital, their work explores and advances a trans poesis, probing the link between making an artwork and making a (gendered) self – or, how art and writing can be tools for transition. This practice is guided by research into materialist histories of trans becoming, including histories of DIY transition, mutual aid, trans medicine, trans aesthetics, and other conditions which promote or inhibit trans survival.

Ami Clarke is an artist, and founder of Banner Repeater and the DAAP, working with art and technology, critically engaged with the complex protocols of platform and surveillance/disaster capitalism in everyday assemblages, with a focus on the inter-dependencies between code and language in hyper-networked culture. They utilise various digital media, often distributed, with aspects of live programming, to produce: video / sound works, sculpture and Virtual Reality works, that often come together as installations. Their work is conceptually framed in ways that critique is articulated through it’s production, drawing out new behaviours emerging from human engagement with technology, through performative modes. Experimental writing/publishing methods and strategies often drive the work, in both an on and offline context, as well as informing spoken word performance. Their ongoing body of work explores probability and risk within surveillance/disaster capitalism from a critical xeno-feminist post-human position. They are interested in acknowledging, and thinking through the complexities of the subject emerging in synthesis with their environment, from a critical intersectional position. What that means is there is an emphasis on grasping something of the complexity of the multi-temporalities and scales, cross-species contaminations and alliances, necessary to confront environmental challenges ahead - within an evolving awareness of power relations, which necessarily take into account colonial histories as well as neocolonial extractions of value.