GIF

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 3

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 2

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 1

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

Upon Emergent Occasions

Using 21st Century representational technologies, Brooklyn-based artist Carla Gannis tells stories through a “digital looking glass”, where reflections on power, sexuality, marginalization, and agency emerge. She is fascinated by digital semiotics and the situation of identity in the blurring contexts of the real and the virtual.