LAIBA RAJA
March 2020, 1 PM. A soft yellow light glows from the corners of the restaurant. I order a seasonal salad (£9.50) with vegetables, morels, pea shoots, radishes, and lemon dressing, followed by a Yorkshire Chicken (£20.00) with roast corn-fed breast and wings, sweetcorn, baby gem, apricots, almonds, and curry. I wait for the food to arrive and peruse the pamphlet on the table.
(reading) “Having just missed the once-a-fortnight paddle steamer, they are forced to camp for some ten days in a dirty hut by the jetty.” (noting) Quite a bold choice in transport. (reading) “The Colonel tins lobsters assiduously against the advice of the Princess, who prefers them fresh.” (noting, reflecting, processing) A Colonel and a Princess—so, armed nobility? Not satisfied with plain tinned food? (reading) “At last, the boat arrives, and they stow themselves, cart, horses, dogs, and stores on board.” (noting, reflecting, processing, suspecting) Where are they preparing to go?
I turn the pamphlet just to see the title. The Expedition in Pursuit of Rare Meats.
(reading) “They land in a strange country.” (noting, reflecting, processing, increasingly suspecting). (reading) “Close by an immense fortified wall, which they rightly guess to be the Great Wall of Cathay.” (processing) (dots connecting) (thinking) (not commenting). (reading) “They are alarmed and hurry through the first town they reach, their steps re-echoing in the ominously silent and deserted streets.”
I close the pamphlet.
(reading) “Having just missed the once-a-fortnight paddle steamer, they are forced to camp for some ten days in a dirty hut by the jetty.” (noting) Quite a bold choice in transport. (reading) “The Colonel tins lobsters assiduously against the advice of the Princess, who prefers them fresh.” (noting, reflecting, processing) A Colonel and a Princess—so, armed nobility? Not satisfied with plain tinned food? (reading) “At last, the boat arrives, and they stow themselves, cart, horses, dogs, and stores on board.” (noting, reflecting, processing, suspecting) Where are they preparing to go?
I turn the pamphlet just to see the title. The Expedition in Pursuit of Rare Meats.
(reading) “They land in a strange country.” (noting, reflecting, processing, increasingly suspecting). (reading) “Close by an immense fortified wall, which they rightly guess to be the Great Wall of Cathay.” (processing) (dots connecting) (thinking) (not commenting). (reading) “They are alarmed and hurry through the first town they reach, their steps re-echoing in the ominously silent and deserted streets.”
I close the pamphlet.
JAN XU
Drawing destroyed me
Drawing destroyed me
I wake up every morning
Thinking of thousands of untitled drafts
That lay in my Procreate
I got to bed many night
Feeling guilty & shamed
For another day I didn’t draw at all
Drawing destroyed me
I draw what I want
I draw queer love
I draw romantic fantasy
I draw sexy stuff
I draw dumb jokes
Drawing destroyed me
I am a amateur
I am a cyber refugee
I am a girl full of passion
I draw out of love
I draw out of rage
Drawing destroyed me
I hate drawing
Drawing gave me tendinitis
Drawing gave me anxiety
Drawing gave me insomnia
Drawing gave me friends
Drawing is my weapon
I love drawing
Drawing destroyed me
Drawing destroyed me
I wake up every morning
Thinking of thousands of untitled drafts
That lay in my Procreate
I got to bed many night
Feeling guilty & shamed
For another day I didn’t draw at all
Drawing destroyed me
I draw what I want
I draw queer love
I draw romantic fantasy
I draw sexy stuff
I draw dumb jokes
Drawing destroyed me
I am a amateur
I am a cyber refugee
I am a girl full of passion
I draw out of love
I draw out of rage
Drawing destroyed me
I hate drawing
Drawing gave me tendinitis
Drawing gave me anxiety
Drawing gave me insomnia
Drawing gave me friends
Drawing is my weapon
I love drawing
Drawing destroyed me
CHAHAT AHMAD
İlysm BEING TRANSGENDER. İlysm TRAN-SEXUALS. Ilysm COCK. İlysm DIRTY MEN. İlysm VIOLENCE. İlysm BEING DEGRADED. İlysm LOVING. İlysm CUMMING. İlysm ESTRADIOL VALERATE. İlysm INJECTABLES. İlysm CHEAP VODKA. İlysm NO BOTTOM SURGERY. İlysm PHILIPS TRIMMER. İlysm DOUCHE BULB. İlysm POPPERS, İlysm MZE. İlysm CIGARETTE BREATH. İlysm STARVING. İlysm BEING SCARED OF BIG COCK. İlysm CHEAP RED WINE. İlysm M*K*L. İlysm PREP. İlysm SOME MEN. İlysm L* İlysm BEING A HATER. İlysm AR*A. İlysm JEALOUSY. İlysm INSECURITY. İlysm BREAST GROWTH. İlysm DOMINATION. İlysm GRINDR. İlysm CLEAN SOLID SHIT. İlysm TRADE. İlysm IBS. İlysm İlysm OWNERSHIP. İlysm BLACK-MAILING. İlysm J*SH. İlysm GUILT TRIP-PING. İlysm OBLIGATION. İlysm A**j**N**O İlysm CRYING. İlysm M*K™L İlysm WAILING. İlysm GE**E. İlysm MISSING DOSES. İlysm DIRTY TALKING. İlysm DEPREVATION. İlysm W*L*D. İlysm BRUISED KNEES. İlysm SPIT. İlysm DEEPTHROAT. İlysm NOT BEING ABLE TO CUM. İlysm LASER HAIR REMOVAL İlysm C*IS. İlysm BUTT PLUG. İlysm MUGLER ALIEN. İlysm KAJAL, İlysm SILVER JEWELRY. İlysm NIPPLE PIERCINGS. İlysm BUSH. İlysm BEARS. İlysm HAIRY BACKS İlysm TENDERNESS. İlysm STD TESTS. İlysm BAREBACK. İlysm TEETH WHITENING STRIPS. İlysm WET WIPES. İlysm H'MZ İlysm BIDET. İlysm CUDDLING. İlysm WAKING UP ALONE. İlysm SUPPRESSION. İlysm DYING ALONE. İlysm WILTING. İlysm LOVELESSNESS. İlysm MORNING BREATH. İlysm DEEP STAIN REMOVER. İlysm EPILATION. İlysm PUBLIC FUN. İlysm GETTING CAUGHT. İlysm ILYSM İlysm CHASERS. İlysm TRUE LOVE.
MIKKI JANOWER
Esteemed readers and stakeholders,
Q2 is upon us, and with it, incentive to innovate. Art-making presents a steep growth opportunity. Keen-eyed investors will have observed the commercial success of Generative AI technology, the global shift towards “gig” work in the arts, and the defunding of art infrastructures, and understood that the market thirsts for change. The enterprising among them may even observe some routes by which he might deliver such disruptions. First, he can cut overhead costs by automating, digitizing, or wholly deprecating art-making processes where possible (those that stubbornly require skilled work can be cheaply approximated through compounded micro-labor). He’ll observe that, across consumer landscapes, buyers accept declining quality and increasing climate externalities, inviting all manner of cost-cutting ventures. He ought also consider a time-tested strategy from the financier’s playbook: funneling funds from arts education and nonprofit sectors towards consultants and administrative personnel, who will duly expand and perpetuate this process.
Yet there is another intrinsic value to art, one divorced from fiduciary incentive. How do we preserve this other value, this beating heart of culture, amid such changes? The x-factor I speak of is, of course, free-market exchange. I’m thrilled to share that this will continue apace. I also advise the reader not to compromise on creativity. Visionaries, from growth equity gurus to executive directors, deserve time, trust, and resources to streamline efficiencies in groundbreaking ways.
Reader, you and I have the power to protect and nurture the age-old urge to think and build together: neoliberal capitalism. This fiscal quarter, I hope you’ll find it in your heart to give (ideally directly to me). Thank you.
Q2 is upon us, and with it, incentive to innovate. Art-making presents a steep growth opportunity. Keen-eyed investors will have observed the commercial success of Generative AI technology, the global shift towards “gig” work in the arts, and the defunding of art infrastructures, and understood that the market thirsts for change. The enterprising among them may even observe some routes by which he might deliver such disruptions. First, he can cut overhead costs by automating, digitizing, or wholly deprecating art-making processes where possible (those that stubbornly require skilled work can be cheaply approximated through compounded micro-labor). He’ll observe that, across consumer landscapes, buyers accept declining quality and increasing climate externalities, inviting all manner of cost-cutting ventures. He ought also consider a time-tested strategy from the financier’s playbook: funneling funds from arts education and nonprofit sectors towards consultants and administrative personnel, who will duly expand and perpetuate this process.
Yet there is another intrinsic value to art, one divorced from fiduciary incentive. How do we preserve this other value, this beating heart of culture, amid such changes? The x-factor I speak of is, of course, free-market exchange. I’m thrilled to share that this will continue apace. I also advise the reader not to compromise on creativity. Visionaries, from growth equity gurus to executive directors, deserve time, trust, and resources to streamline efficiencies in groundbreaking ways.
Reader, you and I have the power to protect and nurture the age-old urge to think and build together: neoliberal capitalism. This fiscal quarter, I hope you’ll find it in your heart to give (ideally directly to me). Thank you.
ISMAËL CORBIN
We interrupt this record to bring you a special bulletin. The reports of a flying saucer, hovering over the city, have been confirmed. The flying saucers are real.
That was The Clatters’ recording ‘Too Real’. We switch you now to our on the spot reporter downtown.
Take it away, John Cameron Cameron.
This is John Cameron Cameron down-town. Pardon me, madam, would you tell our audience what would you do if the saucer were to land?
The gentleman with the guitar, what would you do, sir?
Thank you. We return you now...
This is Drak, your outer space disc jockey, with a request for ‘Earth’.
That was The Pelicans’ outer space recording: ‘Earth’. I’ve just been handed a bulletin. The flying saucer has just landed. We switch you again downtown.
Here we are again. We have with us Professor Sir Cedric Pentingmode, of the British Institute, and the professor is approaching the saucer to see if there’s possibly any sign of life aboard.
Well, I’m sure something—are you there?
That was Laughing Lewis’ record ‘Knocking’.
This is John Cameron Cameron on the spot. And now I believe we’re about to hear the words of the first spaceman ever to land on Earth.
And now here are the ball scores.
Four to three, six to two, and eight to one.
The impact of seeing the first spaceman has this reporter reeling.
That was The Clatters again with their big one ‘Uh-Oh’.
This is John Cameron Cameron again downtown, the spaceman has returned to his ship and is taking off. We return you now to our studios.
The flying saucer has gone. There is no threat of an invasion. However, the flying saucers are still around.
That was The Clatters’ recording ‘Too Real’. We switch you now to our on the spot reporter downtown.
Take it away, John Cameron Cameron.
This is John Cameron Cameron down-town. Pardon me, madam, would you tell our audience what would you do if the saucer were to land?
The gentleman with the guitar, what would you do, sir?
Thank you. We return you now...
This is Drak, your outer space disc jockey, with a request for ‘Earth’.
That was The Pelicans’ outer space recording: ‘Earth’. I’ve just been handed a bulletin. The flying saucer has just landed. We switch you again downtown.
Here we are again. We have with us Professor Sir Cedric Pentingmode, of the British Institute, and the professor is approaching the saucer to see if there’s possibly any sign of life aboard.
Well, I’m sure something—are you there?
That was Laughing Lewis’ record ‘Knocking’.
This is John Cameron Cameron on the spot. And now I believe we’re about to hear the words of the first spaceman ever to land on Earth.
And now here are the ball scores.
Four to three, six to two, and eight to one.
The impact of seeing the first spaceman has this reporter reeling.
That was The Clatters again with their big one ‘Uh-Oh’.
This is John Cameron Cameron again downtown, the spaceman has returned to his ship and is taking off. We return you now to our studios.
The flying saucer has gone. There is no threat of an invasion. However, the flying saucers are still around.