Newtoy Ltd incorporated as a non-for profit company in 2007
Newtoy aims to develop art events that invoke curiosity and intellectual discourse. We produce Experiential Art (for want of a descriptive name) set to create situations where the artists and the audience members, expand their idea of what is possible in the intercourse of fact and fiction. We provide a range of experiences which result from artistic merit, are based in human perception, emotion and focus on ones' personal relationship with the collective and personal subconscious, individuality and existence.
Started by Joel Cahen in London in 1998 as a cover and framework for his musical activities. In 2002, Newtoy began several series of music and mulit-disciplinary art events in London. Events which included sometimes up to 50 artists in one show involving performances, theatre, installations, video, music and sound art. Music sessions at The Foundry (2001 - 2006). The Wormhole Saloon at The Whitechapel Art Gallery (2005-2006), Evil Art at Gallery 291 (2002 - 2005).
These developed into experiential works like Wet Sounds, underwater listening experience in swimming pools; Scrap Club, public Destructivist activity; Cacophony, multichannel sound in libraries; and Interzone Theatre, augmented reality theatre.
The bigger picture in a philosophical nugget.
It seems that a large reason for conflict between people results from them seeing themselves as a reflection of their society of choice. The thought processes that guide them are those of their society or even of a few other people around them who are, like themselves, part of a 'system', which, as a whole, has different motivations and history to the individual.
It is essential that each person develops their self awareness and internal identity without any relation to the society or other individuals. When perceived as autonomous this creates confidence that does not rely on putting other people down, on other people's opinion, or on the need to create a system to activate thoughts and dogmas.
The quality and power of art comes from the scrambling of language and order, not necessarily for the purpose of creating or assimilating a new order and form, but for the purpose of generating an intelligence in the audience experiencing the work to open a channel of communication and understanding of the art work and therefore one's own methods of experience. When one is confident about their method of experience one can be more vigilant and aware of methods of experience that are passed down from a social order.
The experience of Art, of good art, can be an access point to a feeling of individuality within the environment that is empowering and is facilitated by love and fascination. Therefore good art, whether originating from a communal or a singular merit, will endow you with an infinite moment of wonder and intimacy positioned comfortably in a flux of your environment.
When one experiences ONENESS with oneself one can experience true ONENESS with one's surroundings and society regardless of social signifiers..