War as we know it is changing - and fast. Sections of the Ukrainian front line are now manned entirely by drones, with unmanned ground vehicles (UGVs) taking the place of human soldiers in the ‘kill zone.’ With drones accounting for 70-80% of battlefield casualties in 2025, a future of ‘coordinated drone swarms executing missions autonomously’ is within arm's reach, says researcher David Kirichenko.

With the third global crisis in six years and the arrival of proper AI, it’s time to try a new way of managing our economies: the case for universal basic income has never been stronger.

The Hostile Environment policy was introduced first under the Cameron government in 2012. The idea was to make the process of immigrating to the UK so laborious, so humiliating, and so hostile that people would ‘voluntarily leave’.

“No art without art work-ers!” might not have rolled off the tongue, but an abundance of rhythm and improvisational skill amongst assembled workers, artists, students and activists outside the Tate Britain late last year ensured the truth of the chant was powerfully felt. Huddled in the cold, a ‘Palestine Day’ on the picket line expressed the strength of feeling shared by culture workers across the country. Out on strike for over a week, rage had built against disappearing wages & pensions, mouldy vending machine sandwiches in place of a subsidised canteen, and their employer’s continued relations with companies embedded in the ongoing genocide in Palestine.

In a DOPE Magazine first, our cover design for Issue 34 is a stained-glass piece. We sat down with Keira McLean in her Glasgow workshop to discuss the artwork and her work.

As authorities crack down on London's free party scene, the ravers pushing back say that resistance is the point.

For the third time in a decade, the British left has found its saviour. First it was Corbyn. Then it was Corbyn again. Now it's Zack. He's got a rent control policy and a TikTok strategy!

One hundred years ago, two million workers joined Britain's largest-ever general strike. They faced up not just to their bosses and the government, but also their own union leaders. For over two weeks, this momentous event shook the very core of Britain.

In 2014, the small Kurdish-majority town of Kobanê near the Syria-Turkey border became the focus of global attention. Surrounded by ISIS and expected to fall, Kobanê resisted, survived, and inspired one of the most radical democratic experiments of our time. During the siege, I was translating Hemingway’s The Old Man at the Bridge and imagined the story set along the ancient Euphrates River, near some of the world’s oldest settlements. Hemingway’s Old Man fled the Spanish Civil War, leaving behind his animals, his home, and his life. Nearly eighty years later, in Kobanê, the Old Man was Kurdish. He left his goats, cats, pigeons, olive trees, and a home built over generations. The bridge in Spain became a river crossing in northern Syria; history had changed its language, but the fear and the loss remained the same.

‘We call on all cultural workers to put down their tools and cease to make, distribute, sell, exhibit, or discuss their work from January 1st 1990, to January 1st 1993'. So begins the Art Strike Handbook, published in 1989, with the hopes of initiating an international cessation of artistic labour. Organisations were formed, banners and badges were made, and pickets were organised. The goal wasn't just to shut down the art world, but threaten the very notion of art itself.