#24MAG Special Edition: REMIX

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#24MAG is a collaborative, creative, and transparent endurance publishing event. #24MAG is made for and by people working in creative fields. This special edition was made via an open-invitation remix jam, using content from past issues.

Remix Editor & Community Manager: Ian Danskin Editor-in-Chief: Sara Eileen Hames Art Director: Molly Macdonald Contributors: Chuck Danskin, Ian Danskin, David Dyte, Julie Gotsch, Sara Eileen Hames, Emily Kadish, Ai Lake, Emily Lubanko, Molly Macdonald, Aida Manduley, Max Mechanic, Oliver Thiessen, Amanda Watkins, Jenny Williamson Thank you for remixing with us!

All content & documentation by #24MAG is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License. For more about us, please visit http://24mag.org

Dear readers, I think it was early 2013 when I pitched Sara on the idea of me running a special edition Remix Issue. We’d been releasing all our content under Creative Commons licenses, and wanted to let people know that the creative process of the magazine didn’t have to end after 24 hours.



Beginnings can be the hardest part of creative work, and what I like about remixes is that they take care of the beginning for me. They’re not so much hard in terms of effort or work hours, but in terms of ego. Beginnings can drag on for months. Before I can answer the question, “Is this good?” I have to answer the question, “What is this?” Answering that often involves revising, adding, subtracting, and starting over. A remix starts with both those answered, and asks only, “What can this become?” Middles can certainly be arduous – several of the works collected here took more time and energy than the pieces that inspired them – but they can be less existentially terrifying. Some creative types are undaunted by beginnings. They’ve yet to share their secret with me. I wanted to make an issue that said, “To hell with beginnings.”

Dear friends, I am completely thrilled to be showing you this special edition of #24MAG. The content has made me laugh and yell and wave my hands in amazement. And in addition to these excellent remixed creations, there’s one simple fact about this issue that makes me incredibly happy. I didn’t plan it. Asking Ian to join the #24MAG team was a good decision; I didn’t realize how good until this issue. His dedication and energy made these pages happen, and seeing his passion for this little flash-magazine-internet-party is incredibly gratifying. When people love your project well enough to plan new versions of that project just for themselves, that is something special. I’m glad you’re here, Ian. -Sara Eileen Hames #24MAG Editor-in-Chief

I put together some simple constraints (because what’s #24MAG without constraints?). It was open-invitation; anyone could contribute. Contributors could work from home. All our print and web content was open to reinterpretation. At Sara’s suggestion, I expanded the duration to 48 hours, and we picked a weekend in the summer following Issue 5. Come the day I blasted emails the dozenth time and made a launch video. This issue is all that came in by the 48th hour. It is the reason I am sleep-deprived and giggly today. It contains yarn, thread, paint, and Markov chains, all #24MAG firsts. It contains curious process and amazing product. It contains the first appearances in #24MAG by Amanda Watkins, Oliver Thiessen, Ai Lake, Julie Gotsch, and Max Mechanic. It’s not in my nature to be vain about anything but my cooking and my taste in music, but for my part in this I am exceptionally proud, and for the work of our amazing contributors I am grateful. By devoting an issue to the remix, we excised the beginning, and now we excise the ending by handing it over to you. It’s yours! Do with it as you will! Best of luck with it. -Ian Danskin #24MAG Remix Editor & Community Manager




Inpired by “color” - Sara Eileen, Abby Ringiewicz, and David Dyte, Issue 5

1: Against The Wall

From David: Remixing my own work from #24MAG Issue 5. I took the numbers generated by Sara and Abby from the photo [shown], and plugged all 42 into my spirograph generator. The resulting 7 images summarize the photograph in a way that is both incomprehensible and randomly beautiful.

Inpired by #24MAG Issue 3



jenny williams

The best way is Hemingway. To explain, process is just as interesting as the sleepdeprived reality. I trust myself to kill him. It is a little terrifying. Is the risk real? I rationed out the trickery. In the same vault is a crafter, a maker. I became obsesse with the most brutal advice. Hit people with swords, a red umbrella, anything. Late at night, I had people to talk to. Then I went off friends. We have a deadline. It’s only when things go wrong, on a bare mountain in Germany, you quickly want to learn my Caribbean accent. People will trust you more. May your prick be hanged. I have a message from strangers, and I might have time to escape. You can trust only one store in New York. Have we slipped, Colleen? To explain everything, spontaneously draw a bicycle. I recommend taking the time. And then I lived my life using a chair. I find myself chewing them a lot. That’s not a joke, but I’m not sure I’d trust it. Now I eat a lot more carrots, and I actually would come back, if this is a side effect. I was having issues, because it’s just completely and utterly a very minor problem. Now, however, things are different. When I have screwed things up, I don’t perform. I think it all boils down to that movie star who was getting a lot of attention. Then my mother called an ambulance. My boss asked me onstage. What’s different? A giant part of the process. It’s hard to choose success. People really have to encounter someone you’ve never done. This wild figure, seven by 2005, renamed itself my sister. Bill is William - one of many others you meet. Intellectually, it took my values outside. It was inappropriate to fling my elbow. I’m OK! Most important in the environment of Lady Gaga, I could spend 24 hours breaking people I can trust. Except this time, they do it right. The end is a tense space in Brooklyn. How do I know that’s true. I like throwing the pieces. We don’t have to worry - and this is huge - every time a buzzer goes off. Because it’s just a baseline, doing whatever, one person bartering with me was a unique experience. First of all, take their baby. That’s hard. I think that was 10 years ago, when I was little. My friends arrived. I barely had time at the ends of my legs. Thank you.

issue one ( )

condensed david dyte I have selectively chosen text from Issue 1, while trying to preserve some kind of coherence and flow to the whole enterprise. These words appear in this order in the magazine.

Inpired by #24MAG Issue 1


Inpired by photograph - Johanna Bobrow, Issue 5



Inpired by Transmedia Chain Links 4 and 5 - Aida Manduley and David Dyte, Issue 4

the transformation of a

poem to stitches the process is the art Ai Lake


This “pattern” provides the method of transforming a poem into a knitted piece. The pattern itself provides the knitter generalized instructions. [Specific implementations used during this project are noted.] The poem selected is “input” by Andy Izenson from #24MAG Issue 5.

Finished Measurements Width: 5 ½” Length: Variable, depending upon the poem. Estimate 4 letters, spaces, and punctuation per inch. [Width: 5 ½”, Length: Approximately 300”]

Materials Yarn 150 yards of fingering weight yarn for every 100 letters [1440 yards (3 skeins) of Done Roving Yarn’s Frolicking Fleet (100% Superwash Merino Wool; 480 yards per 4 oz skein) color: Dungaree Blue] Recommended needle size [always use a needle size that gives you the gauge listed below -- every knitter’s gauge is unique] 1 US 7/4.5mm needle [US 7 40” circular needles] Tools For beading: US 7/1.5mm steel crochet hook 6/0 “E” beads [TOHO Premium Japanese 6/0 “E” Bead, 2 9g vials color: transparent yellow 1952-130] Gauge 20 sts and 32 rows = 4” in stockinette stitch

Note This scarf is in stockinette, so it will curl into itself and form a tube. This is a desired aspect for this project.

Directions A list of standard abbreviations and techniques can be found on Knitty.com: http://www.knitty.com/ ISSUEff13/patterns.php#ksbbb CO 28 stitches using a long-tail cast-on Row 1 [RS]: Knit all stitches Row 2 [WS]: Purl all WS rows All odd numbered rows 3 to end of poem: Follow the table on the next page depending on the character. All even numbered rows 4 to end of poem: Purl all stitches. Next to last row: K28 Last row: P28 Bind off all stitches. Finishing Weave in all ends and block scarf.

Extras Messages can be added to the scarf through the beads. Variation 1: If the bead placement does not interfere with the yos, you can add a bead to the stitch before you knit it corresponding to the desired letter. So, if the letter is “e”, knit the poem’s letter until there are 4 stitches on the right-hand needle, place a bead on the fifth stitch and knit it, continue to the end of the row. Variation 2: Adding a message on the wrong side of the piece by purling to the stitch that represents the desired letter. So, if the letter is “e”, on the wrong side, purl 4 stitches, place a bead on the fifth stitch and purl it, p23. Variation 3: Using a random number generator, select a value 1 - 26. On the wrong side of the piece, p1, purl to the selected value, place a bead on the next stitch and purl it, purl to the end of the row. [During the phrase “running diagnostics”, beads were placed on the wrong side via this method.] Variation 4: Apply beads to the project whenever you get interrupted or some notable event happens. For instance, watch Star Wars and whenever someone in the film says the word “force”, take whatever is the next stitch, place a bead, and knit or purl it depending on the side of the work. Additional ideas: Add your name to the work via Variation 1. It is like signing the knitted piece. [The first 7 letters of the piece include my real first name.] Add the title of the original piece via Variation 2. [The title, ‘input’ (5 characters), was repeated twice on the wrong side of the piece while adding the word ‘processing’ (10 characters).]

Letter Instructions Letter Knit

Letter Knit


K1, yo, k2tbl, k25


K14, yo, k2tbl, k12


K2, yo, k2tbl, k24


K15, yo, k2tbl, k11


K3, yo, k2tbl, k23


K16, yo, k2tbl, k10


K4, yo, k2tbl, k22


K17, yo, k2tbl, k9


K5, yo, k2tbl, k21


K18, yo, k2tbl, k8


K6, yo, k2tbl, k20


K19, yo, k2tbl, k7


K7, yo, k2tbl, k19


K20, yo, k2tbl, k6


K8, yo, k2tbl, k18


K21, yo, k2tbl, k5


K9, yo, k2tbl, k17


K22, yo, k2tbl, k4


K10, yo, k2tbl, k16


K23, yo, k2tbl, k3


K11, yo, k2tbl, k15


K24, yo, k2tbl, k2


K12, yo, k2tbl, k14


K25, yo, k2tbl, k1


K13, yo, k2tbl, k13


K26, yo, k2tbl

Character Knit


K6, hook bead and knit this stitch, k6, hook bead and knit this stitch, k6, hook bead and knit this stitch, k7


K3, hook bead and knit this stitch, k3, hook bead and knit this stitch, k3, hook bead and knit this stitch, k3, hook bead and knit this stitch, k3, hook bead and knit this stitch, k3, hook bead and knit this stitch, k4


k3, hook bead and knit this stitch, k6, hook bead and knit this stitch, k6, hook bead and knit this stitch, k6, hook bead and knit this stitch, k3


K1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k20


K20, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1

K1, hook bead and knit this stitch, k1, hook bead and knit this stitch, k20, hook bead and knit this stitch, k1, hook bead and knit this stitch, k1

K1, hook bead and knit this stitch, k24, hook bead and knit this stitch, k1

K1, hook bead and knit this stitch, hook bead and knit this stitch, k22, hook bead and knit this stitch, hook bead and knit this stitch, k1

Based on poem “Input” by andy Izenson, issue 5




based on photographs by Johanna Bobrow, Issue 5




1: Against The Wall



2: Esquire

3: Lookout

4: Pedaling

5: Scrap

sara hames

Facepaint Inpired by #24mag logo




sesame noodles I quite enjoy the sesame noodles that Kevin Clark described making in issue 4 of #24Magazine, but found that the instructions for making this dish could be a bit simpler if they were to serve as a recipe for others to follow. Then I actually ate the noodles, and I realized that they are really easy to make. Come on, where’s the joy in cooking if it isn’t challenging in any way? So, I’ve decided to provide you with the recipe, but instead of making it really simple, I’ve decided to add some difficulty by using odd, unusual units of measurement.

Step 1: Cook one centi-Firkin of pasta as you usually would. (This is the easy part of the recipe.) Step 2: Mix together the following:

80 barn-megaparsecs of peanut butter

21 ngogn of regular, plain old water

2 ponys of rice vinegar (or lime juice)

1/40 board-foot of soy sauce

192 smidgens of sesame oil

You should be done mixing these together by the time the Eurasian Plate has shifted 75nm east, relative to the North American plate. Step 3: Add the pasta to the sauce and toss to ensure that the pasta is evenly coated with the sauce. You should be done by the time the moon has moved 50nm away from the Earth.


Step 4: This dish is best cold, so I recommend putting out in the fridge until it has reached one megaFonzie of coolness. But really, you should just look at the next page for a recipe that you can actually follow.

Inpired by ”sesame noodl

molly macdonald


sesame noodles Because nothing should be that difficult.

les” - kevin clark, issue 4

Sesame Noodles: Toss: 1 lb.

Cooked Spaghetti

With: 2 tbs.

Sesame Oil

¼ c. Soy Sauce ¼ c. Rice Vinegar

(or lime juice!)

1 c.

Peanut Butter

1 c.

Hot Water


(I used the cooking water from the pasta!)


Jenny Williamson

Kitchen Wound Inspired by Issue #1, “Body Trust”

When the knife slipped, in that instant before my skin parted like a curtain I trusted my body not to bleed.

My Death

Warm red starburst hot on my tongue; flush of shame in my mouth.

When I am old, I shall wear my death like a smart hat.

Now there is a long fearsome numbness streaking up the inside of my finger. Another part of me gone early— I did it to myself. Under my skin, an invisible map of the parts of me I’ve lost, all the ways I’d deserved to be left. Sometimes I trace their absences and whisper: come back to me come back I can be better.

Inspired by Elizabeth Cherry’s Coffin Hat in Issue #2

I will drop its taffeta veil over the wreckage of my face. There will be goodbyes and goodbyes unraveling me toward the grave; I will emulate patience. When it finally comes, there will be no grief. My death will burst from the ground in the last dance of my life, a joy too big for a coffin more deep purple than black, more hello than farewell.

A Secret For Nobody Inspired by Meg Grady-Troia’s piece, “A Secret For Nobody,” in Issue #4

Transparent as a jellyfish, I drift around the room bringing the customers bread on invisible platters. They do not see me. They drop their secrets in the dust. I don’t pick them up on purpose. Rather, they sink into my skin with the kitchen grease and the curse words. They don’t come off with soap. Instead they throb in my bones, an unholy ache like a story with no mouth agitating to be told.

The Lies I Tell Inspired by “The Physical Phases of Stress” by Kevin Clark in Issue #5

At night, my heart is a box of bees and I can’t sleep. I press my hand against the buzzing cavity and wait for the sun to break over the city, bleeding its light into the streets. In the morning, I am a column of jittering atoms on the subway. Staying together takes all of my gravity. Still, who among us hasn’t covered their ruin with a paper face? I smile at the bagel man, make small talk with my neighbors. This isn’t magic, or physics. Not really. My smile is a third-rate magician.

Inpired by “Tasting Notes” - Meg Grady-Troia, Issue 5 When you keep blowing on the stem of a dandelion after all the seeds are gone, and you’re suddenly out of air just as the wind picks up the last little puff, there’s this moment of dry humor that you could be without this thing that surrounds you. This report is made of that kind of breathless, final suspense experienced when you crack the spine of a brand new hardcover book.

emily Lubanko


By Sara Eileen Hames, Emily Kadish & Molly Macdonald

EDITOR’S letter The Encyclopedia Galactica has this to say about magazines: “Purveyors of images and opinions, applied to the glossed pulp of dead trees; designed to disseminate information and promote curiosity, doubt, envy, self-disgust, and general discontentment.” Or at least, that’s what it says now. This is an experiment: a new frontier in the field of extreme journalism. We’re aboard the Heart of Gold, in orbit around Magrathea for what Eddie, our shipboard computer, assures me is a duration equivalent to one Earth day. We are powered by the Infinite Improbability Drive, thanks to our generous and rather intimidating sponsors at The Sirius Cybernetics Corporation. We have resolved to make our tea manually, to avoid any sort of incident. Happy reading. Share and enjoy! A. Dent Editor-In-Chief, #42MAG

This is just to sriracha I have kummerspecked the aorta That farthingaled the spatula Doily me It was mojojojo So cern And so cromulent

O iamb scootaloo toolooralay Badu bidet bananananaphone Cronut! Timbit eclair gnight gday Labamba macarena dangerzone Equester sequestration petrichor Colburtle maximiliian Magrathea Parabasis saran Tralfamadore Euripides hawaya nicetaseeya Recycle! Fixie! Pixie! Lorem Ipsum! CMYK FAQ NYC! Nyan megatron la quinta walla checksum Antarctic reddit fark tumblr jay-z Penumbra scootenfroody hookedonphonix Ikea log badoom-tish jynan tonix


I think that I shall never froddglarl Zamifredous langophiscule as mardinlangle An homwig quitillinglammy zamorgan Zincdardingderdle ygdrassil


disaster For some reason they’re telling me I have to write a review of Disaster Area’s new Sense-o-Tape release. Here I am, brain the size of a planet — I could have this magazine written and distributed in less than a parsec — but instead I’m told to do the really rewarding work, the work that no one else wants to do because it might damage them. That was a joke, by the way. I know that a parsec is a unit of distance, not time. A bit of Earth humor, which I understand is popular with you lot. And in case you were wondering, which you probably weren’t, I also know that I’m fairly easy to repair. Not that anyone repairs me, you understand. I’ve had pain in the diodes all down my left side for ages, and nobody bats an eye. But that makes me unutterably depressed so I had better not talk about it, except that I just did. “Get on with it, Marvin,” I can hear you saying. I can’t actually hear you saying it, but I am programmed with more than 28 billion predictive models for humanoid behavior, none of which seem particularly promising. Anyhow, plutonium rock band Disaster Area has proven to be the loudest and most reverberative sound ever produced by pushing a series of buttons. Their live shows have received intergalactic acclaim, and the advent of Sens-O-Tape HD has spurred frontman Hotblack Desiato to release this album for us all to enjoy and blah de blah blah, you know what, I’m not even going to finish this. No one but me will ever read this far. I could sit here prattling away until I rust, and not a soul will know or care. I could do that, you know, just to prove the point, just to show how little I’m valued. Life. Don’t talk to me about life.

Inpired by “Coagulate” - Emily Lubanko, Issue 5

sara hames

Monster 2

Made from Issue 5 by Ian Danskin


Photos by Aida Manduley

Emily Kadish Urban Fervor: Word Herder. spacecraftnyc.wordpress.com Sara Eileen Hames Sara Eileen Hames is absolutely thrilled to be taking part in a #24MAG event that she did not organize. She makes art. saraeileen.com David Dyte David Dyte preferred the First Amendment over the Second in four out of five blind taste tests. brooklynballparks.com Julie Gotsch Julie Marie Tait Gotsch is short and orange with freckles and boots. She works in a studio at The Hive in Oakland, CA, making chickens out of felt and clothing out of things that were not formerly clothing. etsy.com/shop/JulieMarieSink Emily Lubanko Emily Lubanko is a Somerville-based illustrator specializing in Whatever Needs To Get Done. She sports a BFA from the Rhode Island School of Design and an omnipresent sketchbook. emilylubanko.net Jenny Williamson Jenny Williamson is an actress and writer living in New York City. She’s pretty sure her laptop is haunted. cupcakesnkarma.blogspot.com Max Mechanic DJ/producer, developer, scientist, miscellanist. @MaxMechanic Ian Danskin Ian Danskin is a New England media artist, freelancer, game designer, and 29-year-old part-time undergrad. He is also the community manager for #24MAG, by golly. innuendostudios.com Oliver Thiessen Oliver Thiessen says: “It is alternately hilarious and disturbing how stereotypically German I am. Now, if you’ll excuse me, I have a beer waiting.” Amanda Watkins Amanda Watkins never knows what to write for bios, but we have it on good authority that she’s a talented artist who mostly lives in the Boston area. huhkins.tumblr.com Chuck Danskin Chuck Danskin graduated from Nebraska Wesleyan University in 1967 with a BS degree in Theatre and a minor in Art. He is President of Danskin Editions, an art publishing firm. Ai Lake Android. Geek, gamer, cinephile, foodie, baker, crafter, atheist, queer, kinkster. @Siniful Molly Macdonald Molly Macdonald tells words and images where to stand and what color to be. She tries to remember to ask nicely. 24mag.org/contributors/molly-macdonald Aida Manduley Aida Manduley is an ovecommitted boricua working in nonprofits. Her love of big earrings and good design is only shadowed by her love of social justice. smutandsensibility.com

Thank you

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