Article
Culture
Freedom of Belief
Politics
5 min read

Asylum row pits Church against State

From Westminster to Weymouth, the church incurs the wrath of statesmen.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A man wearing a waist coats sits at a desk and ask a questions of a panel of people with their backs facing us.
Lee Anderson MP questions clergy.

To tune into yesterday’s Home Affairs Committee hearing on asylum-seekers was to witness the Church in the dock. 

The Church is “aiding and abetting” people-smugglers by being so welcoming to refugees, one committee member, MP Marco Longhi, claimed. 

There were audible groans when one of the three Church representatives put forward to defend such claims - Baptist Union spokesperson Steve Tinning - revealed that seven asylum-seekers from the Bibby Stockholm have been baptised since October.  

There were more groans when Mr Tinning claimed each of the baptisms had involved individuals whose conversions had taken place before their arrival on these shores. 

“A likely story!” the groaner - I think it was the new Reform Party MP, Lee Anderson - seemed to wish to say. 

The “hostile environment” facing asylum-seekers was referenced several times by the Church of England's Bishop Guli Francis Dehqani, and “hostile” would certainly describe the reception she received. 

On the other hand, there was celebration for the “bravery” of the “whistleblowing” former Church of England minister, Rev Matthew Firth, who told The Telegraph recently about the alleged “conveyor belt” of asylum-seekers being baptised after falsely claiming to have converted to Christianity. 

One committee member, MP Tim Loughton, suggested Rev Firth might be appointed to a prospective working group on the issue.  

There was no such invitation for the other Church representatives. 

It seemed in this particular hearing that to speak for asylum-seekers was very much to swim against the prevailing tide. 

There perhaps could be no clearer illustration of this than when Mr Longhi flatly accused the Church of England of “working in the opposite direction” to the government’s efforts to deter immigrants from arriving on our shores.  

While the Home Office minister tasked with responding to this accusation did not specifically charge the Church of this sin, he did caution them to “think very carefully” about how the work that they do “can be portrayed by those that are facilitating these terrible [Channel] crossings”. 

There can be little doubt that the comments of senior figures, including MPs, have contributed to such threats. 

Dame Diana Johnson, who chaired the meeting, paid tribute to the churches “supporting some of the most vulnerable people in our country”, but such tributes were not forthcoming from the other committee members. Quite the contrary. 

Dame Johnson also thanked Mr Tinning for highlighting the “sadness and fear” of church members in Weymouth who have been insulted and threatened since the stories of asylum-seekers converting in their church were publicised. 

Mr Tinning said the church had received an email saying: “You need shutting down, and the backlash from this will be huge. The truth is, you know you’re lying and cheating our system. Treacherous to taxpaying people! Brace yourself!” 

“This church is now fearing the backlash because of language used,” Mr Tinning said, “about whether taxpayers are being ‘scammed’, or others saying that ‘you attend Mass once a week for a few months and bingo, you're signed off by a member of the clergy’. It's just not true. And it's doing damage to the communities that are desperately trying to serve the poor and vulnerable in their areas.” 

Dame Johnson said it was “quite disturbing” to hear the Weymouth church had been targeted. But again, this was to swim against the prevailing tide.  

There was an eagerness to celebrate the “bravery” of Reverend Firth - this was mentioned by several committee members - to stand up against the powerful Church, while the bravery of regular church members to stand up for refugees seemed to be overlooked. 

All of which leads one to wonder which is braver: to stand up against the Church, or to stand up against the State? And which is more powerful?  

“The Church of England has come down on you like the Spanish Inquisition!” MP Tim Loughton suggested to Rev Firth.  

And when Rev Firth reported being told that “people might try to get you” for speaking out, he received understandable sympathy.  

But might it have been even more courageous for the other committee members to have joined Dame Johnson in also speaking out on behalf of church members like those in Weymouth who have been threatened simply for daring to assist asylum-seekers. 

And there can be little doubt that the comments of senior figures, including MPs, have contributed to such threats. 

Another element in the background of the hearing was Suella Braverman’s contribution, in absentia, by having recently claimed - in another widely read piece in The Telegraph - that churches around the country were “facilitating industrial-scale bogus asylum claims”. 

The Home Office Minister, Tom Pursglove, was asked several times whether there was any evidence for this claim, the short answer to which appeared to be no.  

“You’ll have to ask her,” was his repeated response.  

But as Mr Tinning mentioned in his closing remarks, words are important, and what stood out most from the hearing was that the general consensus among MPs, it would appear, is that those who speak out against asylum-seekers and the Church are to be welcomed - perhaps simply because they are working with, and not against the government. 

Perhaps it's little wonder, then, that churches who do stand up for refugees - which in the current climate would appear to be standing up against the State - incur the wrath of statesmen.  

The question for the general public to decide is which is more harmful: the desire of the Church to speak up for asylum-seekers, even if some may be found to be bogus, or the desire of the State to stop them arriving at all costs. 

 

Watch the full Home Affairs Committee hearing on Parliamentlive.tv.

Review
AI
Art
Culture
5 min read

Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions

The digital artist talks about the possibilities and challenges of artificial intelligence.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A darkened art gallery displays images and screens on three walls.
Takeo.org.

In the current fractured debate about the future development of Artificial Intelligence (AI) systems, artists are among those informing our understanding of the issues through their creative use of technologies. British-American visual artist Michael Takeo Magruder is one such, with his current exhibition Un/familiar Terrain{s} infusing leading-edge AI systems with traditional artistic practices to reimagine the world anew. In so doing, this exhibition pushes visitors to question the organic nature of their own memories and the unsettling notions of automatic processing, misattribution, and reconstruction. 

The exhibition uses personal footage of specific places of renowned natural beauty that has been captured on first generation AI-enabled smartphones. Every single frame of the source material has then been revised, reworked, and rebuilt into digital prints and algorithmic videos which recast these captured moments as uncanny encounters. In this exhibition at Washington DC’s Henry Luce III Center for the Arts & Religion, the invisible work of the AI allows people to experience more than there ever was, expanding both time and space. 

Magruder has been using Information Age technologies and systems to examine our networked, media-rich world for over 25 years. A residency in the Department of Theology and Religious Studies at King’s College London resulted in De/coding the Apocalypse, an exhibition exploring contemporary creative visions inspired by and based on the Book of Revelation. Imaginary Cities explored the British Library’s digital collection of historic urban maps to create provocative fictional cityscapes for the Information Age. 

JE: You are a visual artist who works with emerging media including real-time data, digital archives, VR environments, mobile devices, and AI processes. What is it about the possibilities and challenges of emerging media that captures your artistic imagination? 

MTM: As a first-generation digital native, computer technologies – and the evolving range of potentials they offer – have deeply informed my life and art. Computational media not only opens different avenues for artistic expression but provides a novel means to recontextualise traditional artforms and histories of practice; its ephemeral nature is a particular draw. However, this also creates new challenges, especially in areas concerning preservation and access. I sometimes wonder if my art will still exist for future generations to experience in full, or if it will simply fade alongside the technologies that I’ve used in its production. 

JE: To what extent does Un/familiar Terrain{s} build on past exhibitions like Imaginary Landscapes and Imaginary Cities, and to what extent does it break new ground for you? 

MTM: Un/familiar Terrain{s} certainly arises from and expands on the artistic concepts of those past projects. The main difference is that each artwork in Un/familiar Terrain{s} is generated from a small sample of personal data (a scenic moment that I’ve captured intentionally), not digital materials gleaned from large public archives and online collections.      

JE: Do you find that working with images of the natural world (as is the case with this exhibition) as opposed to images of human-made environments (as you did with 'Imaginary Cities') leads to different approaches or inspiration on your part? 

MTM: My projects that explore constructed environments often reference principles of Modernist architecture and design whereas my pieces in Un/familiar Terrain{s} explicitly seek to dialogue with the long history of Western landscape art. The AI systems that I have used in their creation are leading edge but conversely, their conceptual references extend back to long before the onset of what we consider ‘modern’ art.  

JE: I've heard many artists criticise digital art in terms of degrading the principal tools and techniques of artists throughout history and those arguments would be made even more vigorously in relation to AI. In this exhibition you're enabling a conversation about the painterly effects you can create as a digital artist and those that can be achieved through AI, yet without leading us to one side or other of that argument. Is your vision essentially one of wanting to see the possibilities in whatever tools, techniques or technologies we have to hand? 

MTM: Absolutely. For me that’s one of the fundamental purposes of art. AI is unquestionably the most disruptive (and potentially problematic) technology affecting creative communities at present, but it’s just the most recent historical example. I imagine similar criticisms arose during the proliferation of devices like the printing press and the first photographic cameras. Such inventions clearly did not ‘degrade’ art, but they indisputably shifted its trajectory. 

JE: While your work is not expressly religious, you have engaged with theological themes and institutions as with Un/familiar Terrain{s}, which is on show at Wesley Theological Seminary in Washington DC. What do you think it is about your work and the ways you use and explore emerging media that enables such a dialogue to take place?  

MTM: I feel that many of the social and ethical questions raised by the emergence of transformative digital technologies are quite similar (and sometimes identical) to ones that have been traditionally posed by theologians. With that in mind, although the fields are quite different in many ways, at present there are some strange and compelling intersections. 

JE: From your experience, what can theological or religious institutions learn from a more engaged involvement with emerging media, particularly AI? 

MTM: Like artists, perhaps theologians can use emerging (and disruptive) media to not only expand possibilities for their work, but more importantly, to refocus their efforts towards areas that these technologies cannot presently (and will likely never) address. 

JE: Apocalyptic scenarios are often invoked in response to developments such as AI, the refugee crisis, populist political movements or the climate emergency. In De/coding the Apocalypse, you worked with emerging media to explore contemporary creative visions inspired by and based on the Book of Revelation. From that experience, what advice would you give to emerging artists wanting to engage with or invoke apocalyptic imagery? How might emerging artists live in the shadow of apocalypse or what have you noticed about our contemporary fear of modern apocalypses? 

MTM: Throughout history, visions of apocalypse have been consistently rooted in humanity’s prevailing fears. In the Digital Age these sit alongside our growing concerns about technologies that afford increasingly greater potential to create or destroy. Of course, artists should continue to reveal the deeply problematic (and potentially apocalyptic) aspects of new technologies, but they should also highlight their positive aspects to encourage the creation of “a new heaven and a new earth” that can be a better place for all. 

 

Un/familiar Terrain{s}, 30 May – 18 September 2024, The Dadian Gallery, Henry Luce III Center for the Arts & Religion.