“Resistance and change often begin in art.”
Future St. is set in an America in which homosexuality has triumphed over heterosexuality, cloning has replaced sexual reproduction, and California has seceded from the mainland United States to form the gay male state of “Clonifornia.”
Obscuring the past to get at truth in Paul La Farge’s The Night Ocean
If novelists could tell the story of climate change, they might spark the action scientists are calling for in order to save the planet.
Surrealism meets fantasy in The Last Days of New Paris, a recent novel by a British author of New Weird Fiction.
On genre, influence, and getting weird in fiction.
“Look at me, I have an inner life, I think differently, I am different, and yet, I can also reflect back your own thoughts.”
A musical that argues against itself, posing more questions than it could ever attempt to answer.
“Fiction can be this art object that doesn’t show us anything new about reality, but draws out everything fake.”
The director of Advantageous on technology, childhood, and the market forces that shape family relations.
Tarkovsky, aural illusions, and cultivating transcendent spaces.
“Who speaks in the work of Samuel Beckett?” asks Simon Critchley in his probing 1998 essay on the nature of the Irish writer’s narrative voice.
Interplanetary folk music, the production tricks behind the Ramones’ success, and how to produce a classic song.
“Ambient” music, found sound, and valuing process over product.
Folk and sci-fi coexist in Bishi’s live performance of Albion Voice.
On Siegel’s film Provenance and its insertion into the global circuit of art and design objects.
Writer and director Shane Carruth talks about his latest film Upstream Color, Walden, and an integrated filmmaking process.
The manager at Data Harbor quit her job to become
a conceptual artist.
“I think that ‘consciousness’ is thinner than we like to believe.”
Sarah Gerard learns how to live safely.