This series of articles and reports tells the story of FutureEverything. We look from when it was founded in 1995 to its closure as a company in 2026. We try to make sense of how, and why, a festival and cultural organisation came to have such an outsized influence. Along the way we chart the development of digital culture in the UK and Europe.

The significance of FutureEverything is evident in the number of initiatives and artists it influenced and supported across thirty years. This first part of The FutureEverything Story traces the organisation's emergence from 1995 to 2009 – from its beginnings as Futuresonic to its establishment as a leading cultural organisation working at the interface of art, technology and society.

This second part of The FutureEverything Story takes up where we left off in part one, in 2010, a year in which the Futuresonic festival is renamed FutureEverything, highlighting its wider scope. At the turn of the new decade, the organisation now positions itself as facilitating digital creativity and futures thinking to support both artistic excellence and positive social change. 

FutureEverything's final years were among its most ambitious – large-scale AI arts exhibitions reaching millions, major commissions including Rafael Lozano-Hemmer's Atmospheric Memory, and a trailblazing final initiative that reimagined FutureEverything as a vehicle for ecological resilience, and made it the first cultural organisation anywhere to appoint Nature to its Board. This period is marked by both creative ambition and institutional courage.