on,about machine, device scatters over theThis earthmagazine for the purpose of ue theorself, thethat other, and seeds community. is committed to nging the current standards for living well through the promotion of healthy minds and .onThis art,ormusic, sustainability, community and anti-capitalism. We whoincludes introduces seeks to foster a certain attitude, care feeling, condition, oothers change the way that young adults consume important information by decentralizing norms which plague lifestyle magazines. We seek to promote optimistic and tive solutions instead of leaving the reader with a sense of doom and depression. Magazine prioritizes action oriented solutions by actively resisting complacency and framework approaches. We embrace and enact a radical re-imagination of the future.
¹a person,about machine, device scatters over theThis earthmagazine for the purpose of dialogue theorself, thethat other, and seeds community. is committed to growth challenging the current standards for living well through the promotion of healthy minds and bodies. art,ormusic, sustainability, community and anti-capitalism. We ²a personThis whoincludes introduces seeks to foster a certain attitude, care feeling, condition, hope change the way that young adults consume important information by decentralizing etc., intoothers taboo norms which plague lifestyle magazines. We seek to promote optimistic and generative solutions instead of leaving the reader with a sense of doom and depression. Sower Magazine prioritizes action oriented solutions by actively resisting complacency and single-framework approaches. We embrace and enact a radical re-imagination of the future.
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SOWER
-the Henry transcendentalist David Thoreau, movement, Walden in the divine force of nature, the cyclical character of life, and respect for all living things. One of Thoreau’s most quoted lines from Walden The United explores States all three National of these Parkthemes: Service has been an “Men emblem esteem of back-to-earth, truth remote,naturalist in the outskirts philosophies of the since system, its establishment behind the farthest in 1916.star, However, before the Adam reality andof racism after in the these last man. parksIn reveals eternity anthere ugly truth: is indeed these white-led something philosophies true and sublime. have been Butappropriated all these times from and indigenous places and communities occasions and are now utilized andtohere. further God capitalist, himself racist culminates agendas. in the present moment, and will never In the be nineteenth more divine century, in theanlapse appreciation of all the for ages.” the outdoors While inspiring, explodedthis intophilosophy the mainstream. is again The not unique romanticization to Thoreau. Though of nature he does wasnot illustrated attributeinitbooks to anylike Walden by American indigenous culture, the transcendentalist sentiment can be Henry found David in Thoreau,works several who argued by indigenous that experiencing people about thetheir spiritual solace of ancient tradition. nature might The Muskogee illuminate Creek truths author about life Bear that wouldwrote Heart otherwise In hisgo book unnoticed. The Wind Walden is My details Mother: Thoreau’s “Our oldtime teaching spentisliving that in thethe universe wilderness, is in harmony developing as long as self-reliance we keep the and Sacred a philosophy Hoop intact. of simple The living. Sacred Thoreau’s Hoop is philosophies the circle ofcriticize life— the theFour powers of capitalism Directions, which, the Earth, at the time and everything he published thatWalden lives on (1854), the Earth. was the It includes driving force not only of the theindustrial two-leggeds, revolution. but also Withthe their four-leggeds, overt anti-capitalism the wingeds, and those appreciation that liveofin nature, the waters, figures those like Henry that crawl Davidon Thoreau the earth, andeven Johnthe Muir areplant considered life. Everything visionaryispioneers part of the forSacred their Hoop and contributions everything is to related. the transcendentalist Our existencemovement. is so intertwined Their glorification that our survival is a process depends of colonization, upon maintaining because a the white balanced transcendentalist relationshiparchetype with everything is nowwithin traditionally the accepted perpetuated as the rightful inheritor of Sacred and Hoop. ¹” spiritual truth. While Muir and Thoreau represent a
e trek in the heart…land…rounded off…life’s circle…infinite…
eginning…or end…fulfills…changes…colors…life,” (The Sun, nt ashe a form explains of neoliberalism, is generally only which attributed places the toMy 6). ne. ibility This fortheme success continues or failure onsquarely the topicon ofthe the National Park Service superintendents decided “we cannot openly nature. This[African diverges Thoreau from writes: indigenous practices eal. against Americans], [but] they should be told that the nophase facilities for nature, taking care for them. (Marguerite S. Shaffer, hften emphasize of community while not and invisible, collective is yetSee st: Tourism and National Identity, 1880-1940 (Washington, DC: oo distinct Bear and Heart obtrusive. also It is there ““Tooto often be we nibility. Institution Press, 2001), pg 126writes, decided “we cannotour openly dNational uccess whenPark we asService financial look superintendents for it, achievement. but not demanding I view e against [African Americans], [but] they should be told that the tion. asfacilities doing It is for like your a silent very best but at all costs.” no taking care for them.sympathizing (Marguerite S. Shaffer, See st: Tourism National Identity, 1880-1940 (Washington, panion ralist spiritual inand whose awakenings company we have retain beenmostDC: of n Institution pg 126 dified dvantages as Press, a trophy of 2001), solitude, for those with who whom arewe lucky can National Park Service superintendents decided “we cannot openly to evade talk, or or be overcome silent, [but] naturally, systemic without issues the likethe eand against [African Americans], they should be told that no facilities for taking for them. (Marguerite S.the Shaffer,can See ssity racism, of talking and inequality. incare a strain Thoreau’s foreign towords st: Tourism and National Identity, 1880-1940 (Washington, DC: sessed (Journal, within November the confines of neoliberal n,”Institution Press, 2001), pg 1268, 1858). e to on the lack of diversity in national that parks, equate see Root, Tik. “Changing y, Bear uncover Heart implications writes: those National Parks.” Science, National Geographic, 4 May 2021, nnot can’t seek walkenlightenment or run all the time. with those Sit down who do not w.nationalgeographic.com/science/article/diversity-in-nationalsionally e.” Additionally, and see the yourlack surroundings… of representation The and and in outdoor its relatives marketing are beneficial and media to our perpetuates bodies, xt that time outdoor you rush activities out, stop, are not lookfor down, everyone. and nforces hank you the before notionyou that gooutdoor on. It’s spaces an injection are ely andforbeauty the privileged into yourfew, life. further That little alienating blade of lized has life communities. just as we have life. Sit down and outdoor e the world industry around and you,” community (228). must eau edge was and able address to profit these from systemic sales ofissues. his book This acknowledging ecognizing and the dismantling indigenous thetribes racial that and ic d him. barriers Thus, that within prevent the marginalized transcendentalist ent nities from from theparticipating very beginning in outdoor was anactivities. It ce anson re-evaluating whiteness and the denial currentofmarket-driven the nce h toof outdoor peoplerecreation of color. Furthermore, that often prices whenout ome nt Woodrow individuals Wilson and created perpetuates the National a culture of rvice erismin(ex. 1916, Gorpcore Jim Crow fashion). segregation Additionally, wouldit any promoting Black person the voices fromand entering perspectives the natural of vital ndividuals to transcendentalist and communities enlightenment. within the outdoor .nal This parks, involves particularly reforming those hiring in practices, the south, chnically g representation not segregated in advertising did notand have media, and ng organizations thatera prioritize diversity, forwith black people.³ In the of black codes, nd inclusion. By actively working to create a parks such as Shenandoah National Park of clusive and equitable outdoor community, we would make “gentlemen's agreements” with or the true spirit of naturalist and e legislature and enforce segregation. ⁴ ndentalist philosophy while simultaneously nal Park Service Associate towards a more just society.Director A.E. y wrote to Shenandoah National Park tendent J. Ralph Lassiter on July 26, 1937 will be some criticism by colored people segregation. But I think we would be subject criticism by the colored people as well as e people if we put them in with the white " after World War II when the National Parks segregated, people of color remained absent parks. Almost all 150 new state parks added he New Deal Era explicitly excluded black While national and state parks have been desegregated, obstacles still prohibit of the outdoors.⁶ y, many of us consider consumer costs to g time in nature—one must purchase the king boots (often priced at $150-400);, high ckingpacking gear ($1,000);, camping and permits ($50-80);, ski equipment 3,000);, ski-lift tickets ($300/day), etc.
us can be “people only difficult care about to conceptualize. themselves”Additionally, but I’ve spent hours scrolling notorious policethrough departments my own and past government posts, analyzing their respective agencies have formally engagement, created archiving a system and of unarchiving us and posts from them, insideyears the panopticon, ago all in anwatching effort to protect us all. This my branded identity. perception of a big I have scarybeen surveilling functionally monster surveilling leads us myself. to perceive Considering surveillance the as normalization something agents of an of institutionalized authority. carry out. levelVery of surveillance, rarely do weI think am curious about about how the surveillance as internet it affectsand ourcarceral own habits state and affected moral our habits, interpersonal dynamics and moral guides. guides. . As Self-surveillance our cultural understanding can be understood of the effects as the of “the the digital ageone attention have pays grown, to one’s the unfavorable behavior when sidefacing effectsthe of surveillance actuality or virtuality affordedof toan usimmediate by new technologies or mediated have become increasingly observation by othersdocumented. whose opinion With he popular or she deems campaigns chilling documentaries on adas relevant”⁴following . Emphasis on the actuality or virtuality. insights and webcam hacking, it is now commonplace Self-surveillance and a deep sense of voyeurism is to have some sort or awareness of being well ingrained into of ourfear social media practices and “watched” either or big tech culture. Notby only are the we government cautious about what we share companies. Institutional is correlated with on the internet to protectsurveillance ourselves from the watcher extensive collection, the police (re: police,data employers…exes), but westate, watchnationalism ourselves and corporate greed¹. constantly through a projected form of self. The In California, large institutions Los Angeles success of this projection can be like actively quantified Police Department notorious data. for This through a system ofhave likesbecome and engagement widespread surveillance from aerial surveillance feeling of being watched tactics and watching oneself gives to asking civilians forcultural social media handles way to a “pervasive anxiety” where when stopped for play interviews ² . This has targeted “individuals an active rolesurveillance in a surveillance culture activists their of color against LAPDstheir surveillance tactics, through efforts to regulate own monitoring like the group Stop LAPD and thatcommunity of others”⁵.organizing We post stuff that makes us look Spying which has that had meetings by police cool, but not stuff makes us infiltrated unemployable – even following media monitoring of the group if we haveLAPDs no ideasocial if a potential employer or anyone is³. This has raised concerns on the kinds of data police actually looking.
Your Head
/www.brennancenter.org/our-work/research-reports/lapd-socialetoring-documents Internet has irrevocably changed how a , R., Patel, F., makes & Ayoub, E. September 9). Documents can be. It us(2022, all strays, and yet its Show toring of Community Meeting on . . . LAPD Social Media em increasingly territorial. in the Brennan Center for Justice. RetrievedEntrenched April 10, 2023, from w.brennancenter.org/our-work/analysis-opinion/documents-showal security of what we already believe, thanks oring-community-meeting-lapd-social-media phones we can anything Bruno, F. (2002). Types discover of Self-Surveillance: from instantly abnormality to at risk’. surveillance and a society, 1, 272-291. ultaneously draw veil”(paris review). This E., & Chan, N. K. (2019). “You never really know who’s looking”: between self branding and selfNew preservation urveillance across social media platforms. Media & Society, o138. anhttps://doi.org/10.1177/1461444818791318 overall normalization of surveillance . (2018, December 5). The Paris Review - Self-Surveillance in the e - The Paris Review. Paris Review. Retrieved April 10, 2023, from des further legitimizing corporate surveillance w.theparisreview.org/blog/2018/12/05/self-surveillance-in-thee constantly measuring ourselves and our by
l brands, we abstract ourselves into beings ’t need real care and attention by real people. validated when we perform under surveilled ns, whether that means obsessively tracking metrics with smart devices, or scanning our ews for the one person to validate it all. This on with the self is damaging, and it is making urotic. dressing institutional surveillance we must ess that surveillance functionally distorts our on of ourselves and therefore the way we ourselves. Because we associate large of our lives with watching ourselves and we fundamentally uphold the existing power es carrying out institutional surveillance. I am ctly sure what is to be done about this ena, but I think it is important to remember e are so in our heads about branded identities -monitoring we cannot possibly be present. give the attention you do to your own brand ging meaningfully in others content and lives. survive if you don’t get enough likes or reach steps, there is no need to constantly nt every part of your life and investigate it. All ck, even the ones in your head.
from https://www.brennancenter.org/our-work/research-reports/lapd-socialmedia-monitoring-documents Age, “the Internet has irrevocably changed how a 3. Levinson, R., Patel, F., makes & Ayoub, E. September 9). Documents person can be. It us(2022, all strays, and yet its Show LAPD Monitoring of Community Meeting on . . . LAPD Social Media users seem increasingly territorial. in the Monitoring. Brennan Center for Justice. RetrievedEntrenched April 10, 2023, from https://www.brennancenter.org/our-work/analysis-opinion/documents-showemotional security of what we already believe, thanks lapd-monitoring-community-meeting-lapd-social-media to smartphones we can anything 4.Vaz, P., & Bruno, F. (2002). Types discover of Self-Surveillance: from instantly abnormality to individuals ‘at risk’. surveillance and a society, 1, 272-291. and simultaneously draw veil”(paris review). This 5. Duffy, B. E., & Chan, N. K. (2019). “You never really know who’s looking”: duality betweenacross self branding and selfNew preservation Imagined surveillance social media platforms. Media & Society, 21(1), 119–138. points to anhttps://doi.org/10.1177/1461444818791318 overall normalization of surveillance 6. Sudjic, O. (2018, December 5). The Paris Review - Self-Surveillance in the culture. Internet Age - The Paris Review. Paris Review. Retrieved April 10, 2023, from Besides further legitimizing corporate surveillance https://www.theparisreview.org/blog/2018/12/05/self-surveillance-in-theinternet-age tactics by constantly measuring ourselves and our
personal brands, we abstract ourselves into beings that don’t need real care and attention by real people. We feel validated when we perform under surveilled conditions, whether that means obsessively tracking health metrics with smart devices, or scanning our story views for the one person to validate it all. This obsession with the self is damaging, and it is making us all neurotic. In addressing institutional surveillance we must also assess that surveillance functionally distorts our perception of ourselves and therefore the way we care for ourselves. Because we associate large sections of our lives with watching ourselves and others, we fundamentally uphold the existing power structures carrying out institutional surveillance. I am not exactly sure what is to be done about this phenomena, but I think it is important to remember that if we are so in our heads about branded identities and self-monitoring we cannot possibly be present. Try and give the attention you do to your own brand to engaging meaningfully in others content and lives. You will survive if you don’t get enough likes or reach 10,000 steps, there is no need to constantly document every part of your life and investigate it. All cops suck, even the ones in your head.
n: geLos eleven, Angeles, doesn’t CA like 90640 spicy food, can’t eat nuts, and won’t eat anything green. I opened gerator: the cool air fell onto my hands as I ginsensor… and grabbed a tupperware of chicken soup. this do, ALI?” I asked. Ali nodded and I placed pot o, ZAZA, of themy soup name ontoisthe Rosa, stovetop. how can I was I beidle, of for ” I the asked. soup to warm, so I looked out of the and into the backyard. ended from the porch’s overhang was an wo e collection children laughed. of wind chimes Zaza stood and hummingbird before me aised The chimes eyebrowswayed and half in of thea breeze, smile. Their generating ds of perplexed ambient me. harmonizations. I waited for an The answer. calming carried led youthrough Zaza!” one the gaping child exclaimed, window. The “wait, put es was in relaxing too! Please andZaza, I began please!” to daydream… Phenotypic ggests w and orange eleven years grain percolated old. through my rocessing smiled and system. turned Atowards distant my humdisplay. oscillated “Hold ve through to upload the air. your I familiarized profiles to Rosa’s myself drive with the before t your hat gently names funneled in.” through the window. It make at’s a itdrive?” as far as themy younger sternum child before asked. falling onto Rosa’s of my computer hands. When library,” I gazed Zaza at explained, my weightless “it’s mory.” noticed that a fly had landed on my knuckles. edeager around to know my feltthe fingertips, children.but They it flew wereaway arly ftedeffective my handintowards persuading my sensor. Zaza to purchase e department store. I watched as Zaza and dropped the children’s profiles from the soup to my was drive beginning folder. I to waited steam forsoanI lowered answer. the mperature. I was reaching for a bowl when I cough come from the backyard. I looked ading y through data… the same window but I didn’t see y. Just then I heard a long exhale come from r side of the kitchen wall– just out of view. I orward, y, there you my cheek go! You centimeters are now in from the system!” the d pane, excitedly, tracking “Rosa, everymeet breath Morgan with my andsensor. Ali.” oted ly person towards satthe in achildren: rocking chair “Hello, onMORGAN the shaded Phenotypic my name is data Rosa, suggests how can eighty-seven I be of service?” years ea me standard some deviation food.” of two years.
partner’s reset. Morgan hand.stood before me: I“My sawomi himiseating very old, funnel butcake my zaza nearsays a boardwalk. Omi is healthy The sky for was hisa age,” brilliant said blue Morgan, with a few “my fluffy zaza clouds says that it will be hard scattered about. to take The gentle care ofbreeze him now rode that the Aliwaves and I of haveocean the to goand back filled to school the air in-person.” with a salty, marine fragrance. “I see, that makes sense,” I replied. Children respond My feet positively were buried to affirmations. in the sand. Small hairs grew from “Yeah, what Zaza was no says longer that my carbon omi fiber, can remember but rather when iPhonesskin. human and My computers skin, riddled didn’twith exist,” small Morgan said dramatically, “and imperfections, wasZaza tanning saysinthat the sun. they Iboth felt my remember lips the firstinto extend pandemic.” a smile as laughter filled the air. The soup “So, Tomiko,” was my ready. friend called out, “what will it be?” “Would you like to meet my omi?” Morgan asked. I did,“Ibut honestly my system don’t blocked know,” I unregistered responded, “we profile like the interaction. names ‘Zara’ or ‘Zada’ if it’s a girl. If it’s a boy, we were “I–” thinking ‘Zachary’ or ‘Ezra.’ If anyone has any suggestions “Not yet, Morgan,” though, I’m Zaza all ears.” interrupted, “I have to give“Those your omi’s are great profile names,” to Rosamy first.” friend I was noted, relieved “but Iby Zaza’s like theorder nameof'Portobello.’” operations. I picked up Laughter ensued the perfectly while my cooled friends soup tookwith turns one hand and sharing their a spoon hilarious withand theunhelpful other. I glided suggestions. over to the table Suddenly where Ali it smelled was playing of hand a video sanitizer game. and disinfectant. “Thank you, I blinked Rosa,”and saidthere Ali quietly. was my first-born child “You’re in my welcome, arms. I gazed ALI,”down I responded. smiling, Itears turned running aroundmy down and face. stepped I lowered towards my head the kitchen; until ourI would foreheads cleanand met theI stovetop whispered, now. “I will love you forever.” “Rosa,” That night Aliwe called, slept“what in theishospital. your favorite I dreamt color?” that I wasI paused walking for through a moment, a blizzard. surprised My feet by the sankquestion. further I amthe into notpowder permitted with to every internalize step. preference I was waistor deep in subjectivity, snow when Ibut realized I knew that that my the newborn, children still were bundled trying to engage in the hospital with me, blankets, so I decided was nestled to playunder along.the coat of my “Myjacket. favorite color is blue,” I replied. I“Why?” saw a faint Ali asked. glow in the distance. “I find The snow it calming,” had risen I said, to my“Itchest; reminds I was menow of the ocean and holding thethe bundle sky.”of blankets above my head. I screamed “Can you as see loudthe as sky?” I couldAlitowards asked, the looking light.up I towardsup looked the atceiling. my baby as the snow grew around my neck, “No, myALI,” jaw, Imy admitted, cheekbones, “I don’tand have finally eyesmy like eyes. you I do. the felt But weight I have sensors lift from my thatraised allow hands me to detect as I plunged things, like your into the white voicevoid. and movements.” I woke up with adrenaline, but I wasn’t in the hospital anymore. My skin was fragmented and wrinkled; As I finished I was an cleaning old man. theI stovetop, sat in a rocking Zaza chair approached gazing at theme lush and backyard. handed My me grandchildren, a small device that resembled Morgan anda Ali, USB were drive. playing in the grass. I“This looked is Omi’s to myprofile,” right andZaza there explained. stood my“Ichild, neednow you to upload fully grown. it to your system so you can start learning how to take care of him.” I nodded and plugged the device into one of my ports. SYSTEM OVERLOAD… INITIALIZING EMERGENCY SHUT DOWN Downloading data… “Rosa? Can you hear me Rosa?” Omi’s profile was extraordinarily large. I first processed I had been his powered medical history, back on. daily I was routine, on my back facing upwards. medication schedule, My sensor and favorite was adjusting activities, to but the there was so much fluorescent lights more. hanging Omi’s down entire from life began the department to unfold beforeceiling. store me. As a child, he and his family moved around “Hello a lot. Rosa,” Omi’s thefather storewas manager in thesaid. military as an engineer I opened whomy worked mouthon but the I couldn’t world's respond. first computers during “I’m going the Korean to wipe War. your Memories drive now,”from the this manager time were said. beginning to fade as Omi aged, yet I was able to see
with sabotage.tattoos
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ship to crativity have been commodified and greenwashed. In the art world, fashion houses and have begun using buzzwords and greenwashing campaigns to promote environmentally conscious f art. These disingenuous attempts to protect the earth further contribute to our confusion regarding onsibility to the planet. In envisioning a healthier planet, artists have continuously played a role in and conceptualizing the future. As I develop my own practice, I wanted to explore the ways that ave promoted and continue to promote authentic relationships to the environment and sustainability space for a healthier future.
ore what exactly it means to be environmentally “conscious” I spoke with three artists in the LA area: rker and Denelis. We spoke on the role of artists in promoting a reclamation of the earth and what mental consciousness looks like in their respective practices. It was important for me to think about identity and our relationships with class structure impact both our relationship with the Earth as well rt we make in response to it. As a creative person living in 2023, it can be daunting to address my mmitment to the environment, but this does not mean that efforts to connect back to the earth and bility are pointless. In conversation with these artists, I came to recognize the beautiful range of with the planet in creative processes and beyond. From bioluminescent installations to the intimate orytelling, artists like the ones in this feature can help us better understand our own kinship to the nd ways we can include nature and sustainability in our creative outlets.
relationship to crativity have been commodified and greenwashed. In the art world, fashion houses and galleries have begun using buzzwords and greenwashing campaigns to promote environmentally conscious works of art. These disingenuous attempts to protect the earth further contribute to our confusion regarding our responsibility to the planet. In envisioning a healthier planet, artists have continuously played a role in creating and conceptualizing the future. As I develop my own practice, I wanted to explore the ways that artists have promoted and continue to promote authentic relationships to the environment and sustainability to make space for a healthier future. To explore what exactly it means to be environmentally “conscious” I spoke with three artists in the LA area: Star, Parker and Denelis. We spoke on the role of artists in promoting a reclamation of the earth and what environmental consciousness looks like in their respective practices. It was important for me to think about how our identity and our relationships with class structure impact both our relationship with the Earth as well as any art we make in response to it. As a creative person living in 2023, it can be daunting to address my own commitment to the environment, but this does not mean that efforts to connect back to the earth and sustainability are pointless. In conversation with these artists, I came to recognize the beautiful range of working with the planet in creative processes and beyond. From bioluminescent installations to the intimate act of storytelling, artists like the ones in this feature can help us better understand our own kinship to the planet and ways we can include nature and sustainability in our creative outlets.
of the earth.
ersation with Star, I got to know more about what it means to be a community artist and how all the things we create: friendships, love, stories can be our art. Growing up in New York, Star began after finding a community photo class at the International Center of Photography which promoted nity and art for social change. They are influenced by Caribbean folk art and Afro-Indigenous ty which has strong values of storytelling and community. Star describes their work as in “ceremony th” and also works as a healer and herbalist. Throughout our discussion, we spoke about the role of od and origin in creative processes, and how creating has become an act of healing for both of us. In , making art that is true to us can be an ode to the past that lives within all of us in addition to ng the life we hope to live. It was inspiring to hear the evolution of Stars’ work across mediums out their journey of self and care. In addition to their practice, Star also owns and operates a small s, botanica cimarro ́n, which makes healing materials rooted in Afro-Indigenous medicine sourced from bio-regional regenerative farms. Balancing the spiritual with the political, Star has built a community minded artists and individuals who exist across disciplines and create to remedy the pain of past and e of future.
steward of the earth. In conversation with Star, I got to know more about what it means to be a community artist and how all the different things we create: friendships, love, stories can be our art. Growing up in New York, Star began creating after finding a community photo class at the International Center of Photography which promoted community and art for social change. They are influenced by Caribbean folk art and Afro-Indigenous spirituality which has strong values of storytelling and community. Star describes their work as in “ceremony with earth” and also works as a healer and herbalist. Throughout our discussion, we spoke about the role of childhood and origin in creative processes, and how creating has become an act of healing for both of us. In this way, making art that is true to us can be an ode to the past that lives within all of us in addition to generating the life we hope to live. It was inspiring to hear the evolution of Stars’ work across mediums throughout their journey of self and care. In addition to their practice, Star also owns and operates a small business, botanica cimarro ́n, which makes healing materials rooted in Afro-Indigenous medicine sourced from organic bio-regional regenerative farms. Balancing the spiritual with the political, Star has built a community of like minded artists and individuals who exist across disciplines and create to remedy the pain of past and the hope of future.
inting energy infographics and making biological installations under an ongoing project titled titled: Snake Oil.
ersation with Parker, we spoke about a lot of different things: vegetarianism, crypto, labor organizing realities of being “conscious” in a decaying world as an artist and a person. Parker’s work is ed by a level of social responsibility, resistance to consumerism and a scientific understanding of the ment and climate change. Parker’s creative process includes researching scholarly articles in the field onmental science and combining his findings with social commentary across different mediums. It is nt for all his artwork to be combined with the sources used to make them, not only does this make more accessible for his audience, but it also works to absolve the strict notion that art cannot be and vice versa. During our conversation, he showed me several pieces along this vein including a ist painting in progress featuring the flags of the top 100 polluting countries in the world. In addition informed by scientific communication, Parker is influenced by skateboarding, graffiti and culture scenes that foster alternative lifestyles and promote a diverse array of creative expression. We bout the buzzword “making space” but came to recognize the importance of creatives working against n of capitalism, taking up space and challenging the norms of the pretentious art world. In the future, opes to turn “Organic Snake Oil” into a collective of like minded artists who care about community planet.
time, painting energy infographics and making biological installations under an ongoing project titled titled: Organic Snake Oil. In conversation with Parker, we spoke about a lot of different things: vegetarianism, crypto, labor organizing and the realities of being “conscious” in a decaying world as an artist and a person. Parker’s work is influenced by a level of social responsibility, resistance to consumerism and a scientific understanding of the environment and climate change. Parker’s creative process includes researching scholarly articles in the field of environmental science and combining his findings with social commentary across different mediums. It is important for all his artwork to be combined with the sources used to make them, not only does this make science more accessible for his audience, but it also works to absolve the strict notion that art cannot be science and vice versa. During our conversation, he showed me several pieces along this vein including a maximalist painting in progress featuring the flags of the top 100 polluting countries in the world. In addition to being informed by scientific communication, Parker is influenced by skateboarding, graffiti and counterculture scenes that foster alternative lifestyles and promote a diverse array of creative expression. We joked about the buzzword “making space” but came to recognize the importance of creatives working against the grain of capitalism, taking up space and challenging the norms of the pretentious art world. In the future, Parker hopes to turn “Organic Snake Oil” into a collective of like minded artists who care about community and the planet.
requires utilizing existing garments and fibers and learning to hold on to clothes past trend cycles.
ability and community have become an integral part of Denelis’ art practice. Majoring in Environmental , Denelis has been critical of the role of fashion consumerism in the destruction of the planet. Most major retailers use cheap labor to make an excess of garments that will inevitably end up in landfills. Using ck materials and promoting slow fashion is one way Denelis has remained environmentally conscious in practice. Beyond the environmental impact of mass-producing clothing, Denelis considers the current state shion industry as a spotlight on the intersections between climate change, labor struggles and erist culture. Throughout our conversation, we spoke about how we can cope with the fact that until we n out of capitalism, we will not “save” the planet anytime soon. Despite this, we can still create, and do so y, so that we can imagine a world where our kindness to the earth is at the forefront of policy and change. advocates for holding on to clothes and mending them, even if advertisements are telling us we need new eyond materials, Denelis’ commitment to earth and community has manifested itself in different ways. g up supported by different community organizations and nonprofits, she recognizes the importance of bility to developing an art practice. On campus, Denelis hosts a weekly knitting and crochet club at her Women’s Union. In terms of sustainability, sharing resources and teaching is important to minimizing nd creating a culture of communal intentional living. In the future, Denelis hopes to work with small and hion brands to bring intentional living to the fashion industry and her surrounding community.
fashion requires utilizing existing garments and fibers and learning to hold on to clothes past trend cycles. Sustainability and community have become an integral part of Denelis’ art practice. Majoring in Environmental Analysis, Denelis has been critical of the role of fashion consumerism in the destruction of the planet. Most major fashion retailers use cheap labor to make an excess of garments that will inevitably end up in landfills. Using deadstock materials and promoting slow fashion is one way Denelis has remained environmentally conscious in her art practice. Beyond the environmental impact of mass-producing clothing, Denelis considers the current state of the fashion industry as a spotlight on the intersections between climate change, labor struggles and consumerist culture. Throughout our conversation, we spoke about how we can cope with the fact that until we transition out of capitalism, we will not “save” the planet anytime soon. Despite this, we can still create, and do so mindfully, so that we can imagine a world where our kindness to the earth is at the forefront of policy and change. Denelis advocates for holding on to clothes and mending them, even if advertisements are telling us we need new items. Beyond materials, Denelis’ commitment to earth and community has manifested itself in different ways. Growing up supported by different community organizations and nonprofits, she recognizes the importance of accessibility to developing an art practice. On campus, Denelis hosts a weekly knitting and crochet club at her school’s Women’s Union. In terms of sustainability, sharing resources and teaching is important to minimizing waste and creating a culture of communal intentional living. In the future, Denelis hopes to work with small and slow fashion brands to bring intentional living to the fashion industry and her surrounding community.
to the creativity of an individual. In themeasure widely reported, drug-influenced he found that individuals who produced edata, enhancement.” The rumored magnification vity while under the influence of drugs has eative ideas exhibited more activity within en considered legend, but it may be ural networks:an theurban default network ably true with the study of neuroscience. neous thinking, imagining, brainstorming), the e control network (synthesis), and the ntegration and Creativity network (“alternating between idea on and idea evaluation,” explains Beaty).⁴ is creativity? Roger Beaty, a postdoctoral resting feature of these three networks is that cognitive neuroscience at Harvard University, icateddon’t his research tryingat tothe define what ically get activated same time,” iates a creative brain from a “normal” brain. xplained, “Forout, example, when the executive y, as it turns is far less abstract than is suggested. activated, the default network is usually ly “Creativity is typically defined bility Our to come upsuggest with newthat andcreative useful ideas,” ated. results people eaty.¹ a musician’s standpoint, er ableFrom to co-activate brain networks creativity that nterpreted as the ability to synthesize work separately.”⁵ innovative ideas simultaneously (ex. pitches, ugh these tests, Beaty discovered , dynamics). In an article publishedthat in 2018, ned levels neural integration (also of known leased theofdata-supported definition a ional i.eBeaty how the brain.integration– In the study, hadthree 163 networks ants undergo fMRI scanscorrelate (measuring nicate with one another) withblood the different parts ofproblems, the brain) but as they o not only solve alsocompleted to reach asks that would yield varying creative conclusions that require the ability to think .² the box.”⁶ participants underwent fMRI e of experiment, hile participating in tasks that test “divergent ,” such as coming up with new uses for n objects. The researchers measured the al connectivity between the brain regions of
to why psychedelic music is structured the way it is. Science and of Technology Graduate University A disruption typical linear organization can in lead to Okinawa, Japan ranmusic, and published experiment more unstructured therefore an long, free-flowing determining the effects psychedelic have musical rhapsodies are that extremely populardrugs within the on consciousness. The purpose of the experiment genre of psychedelic music. wasThe to “test theavailable psychedelic is a state sheerwhether variety of drugsstate complicate an ability to make a single generalization about the a of increased consciousness.” ⁷ However, before impact all drugs on neural integration. Different conclusion couldhave be made, the research team needed drugs have different effects on the mind, therefore to examine the effect that a psychedelic drug has on different drugs impact(the thequality creative process in neural differentiation of neural signal processing). different With this ways. information, the team can address the effect that psychedelic drugs have on neural integration. There have been many studies to support this hypothesis, so instead of running their own experiments to prove this hypothesis, the Japanese research team pulled from 14 different studies. Only one out of the 14 studies supported a decrease in neural integration under the influence of psychedelics.⁸ The Okinawa Institute research team then concluded that: “...there is no indication that the classic psychedelics reduce the quantity of consciousness. In fact, quite the opposite appears to be the case– consciousness seems enhanced or elevated... Together, this data suggests that psychedelics disrupt the organization of neural integration, but the overall effect appears to be an
flexibility, and originality categories. ¹⁰ an Others.” The Conversation, 15 January, 2018, http:// ation.com/new-study-reveals-why-some-people-are-moreI could write and finish song." r,was testsolved. subjects who consumed 22mgaof THC n-others-90065. - Joe Walsh, guitarist for The res that were drastically worse than the Eagles other 2018) , Andrew R. “Restructuring Consciousness– the psychedelic ups.
sad realityhave is that manythat talented artists y studies proven alcohol enhances bum.2015.00346/full#B60 to to thecreatively fallacy that drugs solve. make better bility problem Like art ore (2015) e scientific research this by is often twisted na however, a study like in 2018 Professor Mikael; Hazekamp, A; Colzato, L; Steenbergen, H; Wee, Nic wrong Art isState something that found is Jarosz of Mississippi University ; Durieux,contexts. Jeffrey; Manai, Mereim; Hommel, Bernhard. and Creativity: Highly Potent Cannabis Impairs Divergent human and is driven by individualism and viduals who have consumed a limited amount Regular Cannabis Users.” 7 October, 2014, lmacology, expression. Drugs alter the relationship ol were better at creative problem solving https://doi.org/10.1007/s00213-014-3749-1. nAlison. the art and the artist by literally changing “Research: People Better about at Creative se who were Drunk sober. AnAre article the the lving.”published Harvard Business Review, May–June, 2018, https:// emistry of the artist. One could make the ent in the Harvard Business Review 8/05/drunk-people-are-better-at-creative-problem-solving. that “tipsy the influence drugs 13% clashes with the dntthat, subjectsofsolved to 20% cal definition of what personal expression is. oblems than sober subjects.”¹¹ l expression may reflect the qualities that are by psychoactive drugs. Does from the art eed gave participants 15 questions a ely the individual if the artist is not in a ve reflect problem-solving assessment called the zable state of mind? ArtRAT—for is not dependent ote Associates Test, or example,on it is dependent on the human tfunction, word relates to these three: ‘duck,’ ‘dollar,’ n. While the ability to make associations ?”; the answer to which is “bill.” We foundis a function, the failure to make he tipsy people solved two toassociations three more is an condition. only frees definition ems than folksThis whonot stayed sober.the They also om thetheir confines of creativity but also relocates itted answers more quickly within the y as something that is incomplete without the minute-per-question time limit, which is reof. In the context of art, the pursuit of “more e even more surprising (Jarosz). y” is metaphorically similar to the pursuit of more unique.” The illusion that drugs makethis evidence suggests a relationship between rt distracts art’s greater ar definitionfrom of “creativity” andsignificance the manifests the expression, communication, ption of certain mind-altering substances and like ntation of the human condition. marijuana, and LSD. This interpretation of y is inherent to these studies, for example in or Jarosz’s study “creativity” is defined and d to the ability to make associations. The Associates Test was also used in the study ing marijuana. It is important to understand ativity is an umbrella term for a myriad of abilities and is not limited to association.
t of integrated information theory.” Frontiers in Human ce, 12 June, 2015, https://www.frontiersin.org/articles/
ty and Art
role does creativity play in the production of earch conducted by the Okinawa Institute of and Technology, Roger Beaty, and Andrew upports the claim that a certain amount of a ce will enhance associative function, but does rt the claim that the use of drugs can result in duction of better art? From a scientific int, it seems apparent. If drugs improve function, then drugs have a positive affect on use art is dependent on creative function.
of Juvenile Programming at Street Poets Inc. Instagram: @matthewcubanofficial www.matthewcuban.com
you can push decorated in the through lyricalsome form of rhymes the bullshit andinbeats. this world For the past and be a15 bityears, happier. theIfpoet, that’sauthor, a skill Iand canrapper offer has been working somebody, that’s as amy teaching purpose. artist who uses poetry as a tool for both individual and collective healing. In choosing IN: Are there whatsome demographic poets that he you wanted want to to work share with, Hernandez with others? felt pulled to one of the most underprivileged groups: incarcerated youth. Although raised In MCH: in a Florida, classroom he’s worked setting for with me, incarcerated I’ve alwaysyouth loved in various sharing Maya states Angelou’s from Kentucky, work. Maya to Arkansas, Angelou is to Illinois, and finally here, absolutely brilliant. in California with Street Poets Inc. Street Poets Inc has been a crucial community organization Ishta Nabakka: in LA What for 25 has years, beenand your Hernandez experience haslike been working working with with Street them Poets for the Inc past and five specifically years as with the Director of Juvenile incarcerated youth? Programming. I recently sat down with Hernandez to talk about his work and the powerful communicative Matthew Cuban Hernandez: medium Oneofofpoetry. the things we say is, “Be Heard and Be Healed;” and I think that’s IN: What the crux ofisthe your work relationship we’re doing. to poetry? We’re giving young people the opportunity to be heard and really listened MCH: to. We Poetry use poetry is theand art use of getting hip hop toas— knowhey, yourself what’sforona living.mind? your The better How can you you can get this to know out? yourself, What’s inside the of better you that’s you begging can dealto with be the heard? things Whether life throws it’s letting at you. I’m finding them get onout thereally mic and beautiful tell their things story through through poetry music, about or whether myself… it’s finding I’m starting who they to doare things in their thatstory as a brown mixed through poetry, kidthat’s from kind Jacksonville, of the crux Florida of ourI way mightin.not I
Interview with Matthew Cuban Hernandez
numbed try is one yourself, of thosebut things. now you I feelalso obligated can’t feel to wlpyou as also manycan’t of these feel excitement. young folks Now as possible you also el hatpassion. same support. All of it is numbed. Your limbic knows— you’re not only numbing the things ddition ke you upset. to youth No,programming, you’re numbingI also fucking saw ng. re are other workshops that Street Poets ke the Ancestors Speaks Series. Can you wado bityou about respond the series to students and alsowhen how they you tell tand school and is relate a waste to the of term their ancestors? time and that n’t get any valuable life skills from it? or [the people affiliated with Street Poets Inc], ids told passes me the other dayplane, that “school is a omeone from this they become fstor. my time. I’m folks learning We have wholiterally are ournothing direct that I in my real world, but you want me here all our blood butdo we also drs,if who I skipare and I go get arelatives, job or I go our mentors. Thewhatever people who have ng else, or I sell I need to inspired sell to epeople lights on, whothen haveI’m shaped a criminal. us. Maya ThenAngelou I’m a is ent.” is where most of the kids are. [I stor. And And this we think of this relationship between m] what are you living What and are you hem an opportunity to for? be heard healed as for right now? What excites you? And you’re well as doing the healing work fromabout the other hese poems… you’re finding more who e’ve a homie ontothe side who’s kinda and got that’ll be able getother you through some of ings. with us, Lifeworking is hard, for butus, if you to kinda don’t manifest create skills the he want joy where you need all it’s ever we in ourselves. Soto, forthat’s the Ancestor e. of the time we don’t [young it’sSo anmuch opportunity [to share] the let poems that fail with grace. School is not giving them an us. nity to be a human being. My ideal world is hese young people be artists, and fail at it. I mnthat you’re yoursharing favoriteyour rapper own was poetry, trash the what first is y wrote. Yourtofavorite writer, thetogreatest ou’re trying communicate people? ho won Nobel Prizes or Pulitzer Prizes, they iple drafts of their works. Letting kids create onestly, I try be a bigI advocate for poetry. judgment or to criticism]. want people to dy can do this, everyone story to do tell. eely. I want people to seehas thata you can someone’s r you want. favorite [I tell kids poet. that] I think I’m not that’s the abest m not the best poetainpowerful the room, but I showed l sentiment. That's realization for still to do what I can do,considers I love showing e toable be like wow, someone me eople that there’s totally a way through this I have a story to tell. sharing sn’t look like what youWhen think I’m it looks like.my You mdolike, youwithout can do going this too you should things toand college. You cando ncredible y to sharethings. that we’re Society all inisaintentional state of grief, in doing the eanet say the is A broken], but is ineducation a grievingsystem process. majority of it’s us xactly whatgrieving, it wants to which is a bad job alize we’re so do, we’re doing ate black and brown people– constantly ’re not healing we area abandoning black and browncorrectly, folks. There’s lot more that we love. people or relationships done butWhether it starts it’s with allowing people with or And ty toso, express I try tothemselves share as much and to of not thatbe as at . it
ate to that, I think it’s easy to slide your ough the day to day without consciously stock of what is happening. So, it’s only at of the day when I am debriefing with ne or journaling that I can fully process ing that happened and is happening.
you’ve and poetry numbed is one yourself, of thosebut things. now you I feelalso obligated can’t feel to try to joy. Now helpyou as also manycan’t of these feel excitement. young folks Now as possible you also to findfeel can’t thatpassion. same support. All of it is numbed. Your limbic system knows— you’re not only numbing the things IN: Inmake that addition you upset. to youth No,programming, you’re numbingI also fucking saw that there are other workshops that Street Poets everything. hosts like the Ancestors Speaks Series. Can you tell How IN: me ado bityou about respond the series to students and alsowhen how they you tell understand you that school and is relate a waste to the of term their ancestors? time and that they don’t get any valuable life skills from it? MCH: For [the people affiliated with Street Poets Inc], MCH: Kids told passes me the other dayplane, that “school is a when someone from this they become waste of my time. I’m folks learning an ancestor. We have wholiterally are ournothing direct that I can use in my real world, but you want me here all ancestors, our blood butdo we also day. And if who I skipare and I go get arelatives, job or I go look at our else, mentors. Thewhatever people who have something or I sell I need to inspired sell to us. The keep thepeople lights on, whothen haveI’m shaped a criminal. us. Maya ThenAngelou I’m a is delinquent.” is where most of the kids are. [I an ancestor. And And this we think of this relationship between ask them] what are you living What and are you giving them an opportunity to for? be heard healed as fighting for right now? What excites you? And you’re well. Asthese well as doing the healing work fromabout the other writing poems… you’re finding more who side.are We’ve a homie ontothe side who’s kinda you and got that’ll be able getother you through some of working these things. with us, Lifeworking is hard, for butus, if you to kinda don’t manifest create skills the to find we the want joy where you need all it’s ever things in ourselves. Soto, forthat’s the Ancestor gonna be. of the time we don’t [young Speaks, it’sSo anmuch opportunity [to share] the let poems that people] fail with grace. School is not giving them an inspire us. opportunity to be a human being. My ideal world is letting these young people be artists, and fail at it. I IN: them tell Whenthat you’re yoursharing favoriteyour rapper own was poetry, trash the what first is bars they wrote. Yourtofavorite writer, thetogreatest it that you’re trying communicate people? writer who won Nobel Prizes or Pulitzer Prizes, they did multiple drafts of their works. Letting kids create MCH: Honestly, I try be a bigI advocate for poetry. [without judgment or to criticism]. want people to Everybody can do this, everyone story to do tell. dream freely. I want people to seehas thata you can You are someone’s whatever you want. favorite [I tell kids poet. that] I think I’m not that’s the abest writer, I’msentiment. not the best poetainpowerful the room, but I showed powerful That's realization for up. I’m stilltoable to do what I can do,considers I love showing someone be like wow, someone me young people that there’s totally a way through this greatdoesn’t or I have a story to tell. sharing that look like what youWhen think I’m it looks like.my You work, I’mdolike, youwithout can do going this too you should can still things toand college. You cando this. I try create incredible to sharethings. that we’re Society all inisaintentional state of grief, in doing the this. [We say the is A broken], but whole planet is ineducation a grievingsystem process. majority of it’s us doing exactlywe’re whatgrieving, it wants to which is a bad job don’t realize so do, we’re doing incarcerate black and brown people– constantly at it. We’re not healing we area abandoning belittle black and browncorrectly, folks. There’s lot more that things love. people or relationships can bewe done butWhether it starts it’s with allowing people with or things. the ability Andtoso, express I try tothemselves share as much and to of not thatbe as perfect at it possible. IN: I relate to that, I think it’s easy to slide your way through the day to day without consciously taking stock of what is happening. So, it’s only at the end of the day when I am debriefing with someone or journaling that I can fully process everything that happened and is happening.
degradedculture rigorous by both at hypersexuality my predominantly andwhite invisibility. institution, This raving very idea with has mybeen bestexplored friends became in Nicole anFleetwood’s integral part of my college book, Troubling experience. Vision which I havespeaks come accustomed to the role ofto certainsupremacy white dark warehouses in defining overBlack others femininity and have and carefully its crafted rave excess. relationship looks that Drawing featureon wigs, Fleetwoods thigh-highs work, and I whatever argue thatbeauty the excessiveness supply accessories presentI in have raves onthat hand. are Over time, made for and I have by Black started femmes to recognize can bethese a place parties of as community cultural resistance. events, In which “Excess buildFlesh: spaceBlack for alternative Women and deviant individuals, Performing Hypervisibility” like myself. Fleetwood Beyondexplains dancingthat and the physicalinto playing liberation excessone andmay “hypervisibility experience is ona the dance floor, I am deeply performative strategy invested for black in thefemale idea of cultural raves as a political project producers ”¹, sheand describes their role “excess of supporting flesh enactments” alternative andthe as deviant process lifestyles. by which Through Black women pro-Black can parties, reference harm reduction and reject and whatmutual is already aid; thought raves areofable us, without to foster safe spaces andpromoting necessary radical ideas a singular through way music to be. and For dance. my friends I amand aware I, raves that this haveis become not the common a place for perception us to do of raves too much amongst on purpose, my peers without at private fear of college–and judgment or I’ll an admit that they cantobe expectation beoverwhelming. respectable. InI think addition people to providing can be frightened physical spaces of the that excess. are safer Maybe from theanti-Black music is too loud, the people are harrasment, Raves too crazy, that center or theBIPOC looks are andtoo or much. queer But that is kind ofcan experiences theliberate point. As those a Black of usfemme, alreadyI deemed am troubled too muchby orexcessiveness at risk just for existing. being a bad thing. My very existence Last month, is deviant I attended and excessive Hood Rave in the LA’smany Freaknik spaces for I occupy. Black History WhenMonth. I first got Having to college, spent Ionly was$15 turned eachoffonby the diversity tickets after aand BIPOC inclusion discount, programming my friends that and was I underscored squished intoby anaUber culture andoffound wealth liberation and whiteness. in the As I completed foggy warehouse. my studies Hosted in mathematics, by two BlackIfemmes constantly Kumi felt out of place James AKA BAE socially, BAElike andentire Kita parts ClarkeofAKA identity DJ Kita, were too much Rave Hood for themakes space.obvious the role of partying in community For Blackresistance femmes and andBlack its importance queer people, for this mark of excess isindividuals. alternative the norm inInwhite an essay spaces titled and “Hood this extends Rave
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meUnderground - Journal #132. e-flux. Retrieved April 9, 2023, from w.e-flux.com/journal/132/508444/hood-rave-la-framing-the-blackhis, me to Hood explore Ravegender servespresentation, as an excess flesh erground/ ent, ent and experimental gives “a space music,forand Black formqueer people . (2022, June 16). Inside Hood Rave, L.A.'s Black, queer, ions mes to last far In beyond a time where the rave”, play Jane time is told d party.that Losplay”². Angeles Times. https://www.latimes.com/lifestyle/ /2022-06-16/hood-rave-l-a-black-queer-underground-party-dj-baeerms Hood ofRave creating is ansafer example spaces of athey party believe proved ration-freedom arties ve(2023, in that allow it individuals continuously to On challenges gotheout without C. February 22). Subculture: Scene at the L.A.’sthe Hottest Rave. Rolling Stone. Retrieved April 9, from https:// figotry nightlife and and harm party present culture. in2023, straight clubs. The stone.com/music/music-features/subculture-hyperpop-rave-clubaking ves asa “a space safesafe space, for [where] all, centered we'rearound free to the 683416/
mme time on andbeing or queer imaginative experience, and sharing Hood Rave love ,rily Jane take explains. safety seriously. “That’s what WithI no hope outsourced to dinsecurity the events at parties, that I plan Hood or Rave play at! aims Mytofavorite foster unity do asapproach a DJ is highlight to safety women that isand not queer typical at frties color, and and clubs. assemble Hood their Ravesounds is “consentto d” t us and into has another a zero world”. tolerance policy for ment, clear people homophobia are starting and transphobia to pay attention at theto d aking dance it aculture “safer in space” LA. Mainstream ³. In accordance outlets with like ng Stone hardcore recently dance described scenesa with popular safety, rave, Hood ure d other Party, parties as a place alike have “where begun dragintroducing queens, duction Freaknik, adjacent to the ads, andefforts. TikTokAt club kids rule the night” ⁵. poles and dancers, I visited safety month, Serenity Link hosteda arave party in th free water bottles and fentanyl testing kits. ation with the highly respected Frieze Art Fair. ug overdose deaths rise and arties like these can on be the a source of life for onal drug use being a prominent featureour of ost marginalized in alternative scenes, ,till it is important for party organizers and goers restricted under capitalism. As the raves nize riskinand of partying. This ies I the attend LA dangers gain popularity I hope that ration a forcommitment harm reduction and safetyliving, is a mains to alternative element of Hood Rave'sand radical aspirations. ce to commodification, inclusivity for all. many of usParties hope to create present s,reno bosses. and ravesis like Hoodin the the underground: safety judgment eofsuccessful when they canwithout empower BIPOC mmunal resources. nities that are already promoting sex ey,writing this story, I hit up one of my fave rave harm reduction, communal resources and AKA D-Jane (they/them, nJane – even after the weekend is over.
Black FemmeUnderground - Journal #132. e-flux. Retrieved April 9, 2023, from https://www.e-flux.com/journal/132/508444/hood-rave-la-framing-the-blacklight allowed of this, me to Hood explore Ravegender servespresentation, as an excess flesh femme-underground/ enactment and movement, experimental gives “a space music,forand Black formqueer people 3. James, J. (2022, June 16). Inside Hood Rave, L.A.'s Black, queer, and connections femmes to last far In beyond a time where the rave”, play Jane time is told underground party.that Losplay”². Angeles Times. https://www.latimes.com/lifestyle/ image/story/2022-06-16/hood-rave-l-a-black-queer-underground-party-dj-baelimited, me. In terms HoodofRave creating is ansafer example spaces of athey party believe proved bae-on-liberation-freedom generative these parties in that allow it individuals continuously to On challenges gotheout without 4. George, C. (2023, February 22). Subculture: Scene at the L.A.’sthe Hottest Hyperpop Rave. Rolling Stone. Retrieved April 9, from https:// norms fear of of bigotry nightlife and and harm party present culture. in2023, straight clubs. The www.rollingstone.com/music/music-features/subculture-hyperpop-rave-clubrave Inserves makingasa “a space safesafe space, for [where] all, centered we'rearound free to the party-1234683416/
use that Black femme time on andbeing or queer imaginative experience, and sharing Hood Rave love necessarily instead”, Jane take explains. safety seriously. “That’s what WithI no hope outsourced to staff andinsecurity achieve the events at parties, that I plan Hood or Rave play at! aims Mytofavorite foster a community thing to do asapproach a DJ is highlight to safety women that isand not queer typical at most parties artists of color, and and clubs. assemble Hood their Ravesounds is “consentto centered”us transport and into has another a zero world”. tolerance policy for harassment, It is clear people homophobia are starting and transphobia to pay attention at theto rave,and rave making dance it aculture “safer in space” LA. Mainstream ³. In accordance outlets with like balancing Rolling Stone hardcore recently dance described scenesa with popular safety, rave, Hood Rave and other Subculture Party, parties as a place alike have “where begun dragintroducing queens, harm reduction Freaknik, adjacent to the metalheads, andefforts. TikTokAt club kids rule the night” ⁵. stripper and dancers, I visited safety Just lastpoles month, Serenity Link hosteda arave party in table with free water bottles and fentanyl testing kits. collaboration with the highly respected Frieze Art Fair. With drug overdose deaths rise and While parties like these can on be the a source of life for recreational drug use being a prominent featureour of those most marginalized in alternative scenes, nightlife, it is important for party organizers and goers play is still restricted under capitalism. As the raves to recognize riskinand of partying. This and parties I the attend LA dangers gain popularity I hope that consideration forcommitment harm reduction and safetyliving, is a there remains a to alternative another element of Hood Rave'sand radical aspirations. resistance to commodification, inclusivity for all. Thecops, futureno many of usParties hope to create present No bosses. and ravesis like Hoodin the politics the underground: safety judgment Rave areofsuccessful when they canwithout empower BIPOC and communal resources. communities that are already promoting sex While writing this story, I hit up one of my fave rave positivity, harm reduction, communal resources and besties, Jane AKA D-Jane (they/them, liberation – even after the weekend is over.
both sadinand situated thetrue. back of the property. “You already After inspecting asked the me irrigation this and lines, theI answer walk back I gave over youmy to then tent, is crawl the same inside, answer lay on I’m my giving back,you andnow–I I give in already to the sound secured of the everything, wind outside. okay?” I bit back, annoyance soaked in my tone. *** I picked up the sand bags, “June, and wake strodeup! over Wake to the UP!” tents. I woke I twisted up to the sound tent stakes of October further yelling into at theme ground and shaking and reinforced my body. the My perimeter eyes were of crusted the tents over with andthe behind sandbags. October, Greenhouse sunlight locks, was piercing sand bags, through animal the tent traps, and water obscuring collection my view system. of his face. This has been my nightly routine for what feels like“What, foreverOctober?! now. The Christ, morning what?” is not Imuch tried to different, yell back but it at at him, least butbrings my voice with was it thehoarse newness andofbits theofday. sand peppered After laying my tongue. the last of the sandbags, I reset the animal “Thetraps, greenhouse. and I walk Theover fucking to the greenhouse meticulously June!” laid irrigation I’d never seen lines that him this stretch angryfromusually the base ourof roles the were plants to an underground switched. His eyes water and body chamber movement that prevents were frantic; further I atmospheric was still groggy water from loss. waking The needle up and sized everypipelines limb within siphon me ached water with from the the heaviness roots ofthat the followed plants and every redirect the water intense work towards day. He theall tank. of aWe sudden live inwent the desert quiet, and so whatever still. My mind water was is available slowly going is carefully throughcollected, what could stored, and possibly be rationed. wrong with Unlike the greenhousefood that youI secured try and the eventually posts and locked get used theto,greenhouse life in the Forks door-isright? a particular Right?
g my elbows, I pushed myself off the ground and crept through the tent entrance. Once I straightened my d looked up, an immediate sense of dread seeped its way through every bone in my body. All around me, e site was upturned. The needle thin irrigation lines were haphazardly splayed out on the ground with aining out into the sand. The water didn’t pool though, no, dark patches of sand indicated that the water ked into the ground and as quickly as it bled into the ground, it also evaporated into the air, taking with it of the scarce resources that we had. Slowly glancing around I felt like I was in a hazy dream, fleeting in of consciousness, legs like Jello that swayed beneath me, barely supporting a body that felt as heavy as
mber, my youngest sibling, ran up to me and tugged at my leg. The sound of her disjointed and muffled mixed in with the background screams and the franticness that blanketed the air. December’s small body ling at mine in an effort for me to notice them, but my mind was still processing the scene before me. After t like forever scanning the site, I began to notice the details that made up the chaos. Each little piece of rocessed information cut like a razor nick and caused my heart to murmur. e whole scene, there was something that was missing; there was something that I wasn’t seeing.
completely flung off its hinges and was laying on the ground along with the vegetables. The whole structure was dilapidated and seemed to be hanging by a thread. I thought back to last night, to my routine. Greenhouse locks, sand bags, animal traps, water collection system. Last night, I had gone through the motions of the routine, a little zoned out and thinking about random fleeting things. I hadn’t fully secured the locks; I’d pulled on the door and it seemed closed enough to me so I’d moved onto the next thing. I hadn’t even bothered to check on the posts. I lied to October, twice. Looking around me, another wave of dread rolled through me as I assessed the damages and repercussions of my willful ignorance and laziness. December’s crying nudged its way back into my consciousness and I looked down at her. Dried snot clung to her nose and sand stuck to the trail of tears that framed her face. “Come here baby” I whispered as I knelt down and beckoned her to come to me. She ran over and wrapped her small arms around my neck and into an embrace. I held her, and we both cried into the chaos that swirled around us. *** After spending the day cleaning up the site and salvaging whatever food and materials we had left, the
of re us crazy, left and no, you’re the band actually got smaller out of your and with time. No one here had parents anymore; ain he only point, way all October of our parents you know had this moved andon you for have e of our to do lives. this,” Sometimes, my eyes were their wide moving andoni felt was peration n. that coated my eyes and voice. w, e time June,preceding how? Youtheir think departure, they’re going Mama to would open October es for us? and A Iband aboutofhow orphans to take who care lack ofreal the ”survive His questions on barren hadland, a lotbut of validity more importantly, to themasn’t ake care a place of each we ever otherventured and December. to much less bout. er October It wasor a bit I were of an doing enigma, something, a fairytale even te and asthat securing did not the exist tents in with the world the sandbags, we uld d. come over to both assist and teach us do k around things you, in a more October,” efficient I said. way. “That When move rm wiped on, they awayaren’t nearly supposed everything to in tellthe anyone camp. e it’s enough not meant fresh produce to be a spectacle. for the next Here, three ng t most. is fleeting And that’s and we with live rationing. in a constant After state that rt manence. eating from So, the when reserves someone andknows those reserves that it’s de,for they one prepare month.those We don’t around have them all the by gthat more wetime need together, to repairgiving the damage more advice, to both and gnhouse their clothes and the soirrigation that the inheritor lines. To has get them, ed work to trade to do.some Whileoftheir the sacrifice food we have isn’t forced, left and ot ected. a price we can pay right now. We need to erite.” aches Bythat now,I could my eyes feelwere in mylocked body, on thehis as pangs gripping bit athis meknee the most. hard enough that he mber, at the who pain was and sitting I couldbeside tell thatme, he tugged gave in.on It dd and to face whispered, the consequences “is there any of more the situation food for ?”. in,I but looked we simply down at had hernoand time. shook left. my We head had He the knew greenhouse this. and the irrigation down, we ation eave whatever tomorrow,” food I whispered. we had leftAnd while with wethat, I out k uphow andto strode get more. to myI lifted tent. my head slightly nced around at the*** solemn faces that framed meter e? June, of the where stove. are Across you going?” from me, December Deimos deyes my arm trained as Ito was thecrawling distant Three out the Sisters tent. I my n peaks eyes, that tookshrouded in a shallow a small inhale, inner andcity. His sed hanging to come byup hiswith sidesome and Iexcuse followed to the ease her of dirt on his arm that led to his hands which back erlaced to bed, with Phobos. December. I’m going out for a ked thenover I’ll be toback, October ok?” and I was knelt going down out, in front but for of enger need than to figure I said.this out”, I whispered to him. re I spoke lying to me him,June, I couldn’t why are lookyou at his lying face. to out wasthe stillgreenhouse dark outsideand butthe even wasted in theresources my s I could body. see As my hermind eyessifted gloss through over with the tears ofuld the hear day,the I felt slight myself quiver clenching that sheand was holding
n to of Pyrite Deimos. was “I relatively just can’t.” straightforward, but hey!” not like Deimos those exclaimed, on the outside. “nowThose I know without we’re mes, he best houses, terms, governments. but you need me June. You can backhelp to bed you.” December, He wasn’tI’llwrong. only be Heout was, forin a ht. le then I did I’ll need come him,back, but Iok?”. was too There prideful was to eI looked silence in and thedarkness distanceintowards the tent,the but Three I could then how her to Deimos, little body and reacted back totoOctober. what I had As just sould I wanted sensetothe take way this heronshoulders and rectify slumped my ,little I couldn’t droplets do of it alone. tears that escaped her eyes. statshe October, breathed I didn’t out, know “ok, I’ll what givetoyou saya to hug him. ou e raised get back”. to take With care that, of each I felt her other, re-adjusting but beyond ne the wasblankets nothing then else she to our went relationship. still as sheI was back king about to sleep. how I silently to say goodbye zipped the totent himback when I nd rms meenclose then turned my body. around, I hiked my pack up miss k andyou,” walked he whispered over to theinouter my ear. edge I felt of the my heat at opened up anditsmy way eyes to wide felt heavy. expansive “I’ll see desert. you whispered ow you have back dramatic to him.flairs WithJune, that, Ibut drew leaving my way iddle from of the his night and started withouttowards saying anything the Threeis n for you,” I turned around to face October s crouched by the *** fire pit, playing around with ay last to of Pyrite the burning wasn’t aembers. particularly complicated w’s ut itthis didany require different perceiving from what beyond mama what andwas pop
different and you know it.” Placing his hands nees, he pushed himself up and walked over me. “I can’t let you leave alone, I know you u got us in this mess, but it wasn’t all you.” h, well maybe it wasn’t me but I sure fucked it,” I still couldn’t look him straight in the eyes, ed with the metal post of the weather vane. mos is going with you.” My head snapped up at him. you serious? Why? Why are you risking more This is something that I need to do on my With each question, my voice grew louder and heard gravel crunch behind me and I d around to see Deimos adjusting his pack king over to me. His short and unassuming made him seem like a potential weak link, but quick and clever– two traits that beat out any mpetition no matter how tall or bulky. w now June,” he laughed as he approached at happened to us being friends? For a
scent to scare, caused but my rather mouth to warn to water, and guide so I bit the into intentions it not knowing of those what that to wanted expect.more. The smell But even of thewith jewel these exploded warnings,allgreed around stillme found as I asank waymy to slip teeththrough into it. the Liquid dripped down the– cracks. “Hey!” My head snapped towards the direction of the Walk and walk sound, eyes wide, heart racing, mouth stuffed with Until you can’t anymore the jewel. Deimos ran over to me and passed me a Riches abound machete. What are you asking for? In the distance To be continued in Issue 2 You’ll see the peaks Three Sisters None of them meek There is no path For no one has dared Make your own Lest you won’t be spared Look around But not with your eyes Take what you must And be sure to be wise For fire burns The greedy hand. From hands that sow And those that reap Look back and see For that which you seek *** “Wait, quiet,” Deimos whispered, “do you hear that?” At first, I didn’t hear anything, then swells of laughter trickled in through the dense foliage that we’d been bushwhacking through. “You don’t think that's…” I trailed off, not wanting to jinx the situation and get my hopes high. “Let’s keep going.” He brought out his machete and slashed his way through the vines. Soon enough we stumbled into an orchard full of trees that were decorated with an abundance of yellow, orange, and red jewels. Mesmerized by the rich colors of the scene, my feet floated towards the yellow jeweled tree and I reached up to examine one of them. I tugged to bring the jewel closer to me, but instead it fell off the branch and I cupped it in my
viaje-Boyd. (2020). Highway 1 [Digital Photography].
l Capital
viaje-Boyd. (2022). Tides [Oil Pastel painting]. viaje-Boyd. (2019). Untitled [Digital Photography].
Cop in Your Head
uch. (2023). CCTT [Digital Collage].
Daydreams
viaje-Boyd. (2023). Robot Confrontation [Digital]. viaje-Boyd, T.S. Elliot. (2022). The Hollow Men [Digital]
ork: An Interview with sabotage.tattoos
akka. (2023). Portrait of Sab Drescher [Digital Photography]. akka. (2023). Sab sketchbook [Digital Photography]. akka. (2023). Ishta’s hip tattoo 1 [Digital Photography]. akka. (2023). Lily’s stomach tattoo [Digital Photography]. akka. (2023). Ishta’s hip tattoo 2 [Digital Photography]. akka. (2023). Tianna’s arm tattoo [Digital Photography]. akka. (2023). Remy’s thigh tattoo [Digital Photography].
Artists
uch. (2023). Earth’s Artist [Digital Collages]. (2022). Untitled (Floor maps, or Portals into emerging mysteries)[Concrete from a sidewalk in ruins, acrylic paint, rainbow serpent oil, ns Variable]. (2022) Entre Agua Dulce y Creencias Amarga (A Chiasmus) [Moving picture frame, acetate, speaker, looped compounded original and sung x 13 x 4 in]. (2017) This Beauty Can Be Your Undoing [Installation view, wood, one way mirror, hand painted wallpaper, inkjet prints, sand, color lights, sound audio, dimensions variable]. aham. (2022). NFPA [Digital]. aham. (2022). Affordable Housing [Acrylic, plastisol, and graphite on metal]. aham. (2022). Crypto Kwh/Transaction [Acrylic, plastisol]. aham. (2022). Entropy in Diet [Mixed media, 29.5 x 20 in]. aham. (2023). Organic Snake Oil [Digital, logo]. costa. (2022). Tianna’s Armwarmers [Crochet]. costa. (2022). Failure to Comply [Woven tapestry, various yarn and fibers]. costa. (2022). Ribbon Bag [Crochet, ribbon]. costa. (2022). Maggie’s Armwarmers [Knit, crochet, mohair].
ty on Drugs
viaje-Boyd. (2022). Self Portrait [Color Pencil].
Poets Inc: Interview with Matthew Cuban Hernandez
z, M. (2023). Matthew Cuban Hernandez [Digital Photography]. Lounge. (n.d.). Photos [Facebook page]. Facebook. Retrieved April 6, 2023, from https://www.facebook.com/DaPoetryLounge (2022) From the Ashes (A Chiasmus) [Digital inkjet print, railroad spikes, acetate, 25 x 44 x 5 in].
R Us
(2023). Two Black femmes dancing in excess [Digital Photography]. Hood Rave Freaknik. Watts. (2023). Jane DJing at Tinashe Night [Digital Photography]. Melody Lounge costa. (2023). Antifa Battle Angel Set [Digital Photography]. Subculture Party, Catch One. costa. (2023). Tianna and Nasira [Digital Photography]. Subculture Party, Catch One.
tivators
viaje-Boyd. (2022). Farmland [Oil pastel on paper]. 23, April 10). Three mountain ranges in the desert [Generated image]. https://www.fotor.com/features/ai-art-generator/ 23, April 10). Image of greenhouse, sand bags, animal traps, water collection system in the desert [Generated image]. https://www.fotor.com/ -art-generator/ 23, April 10). Image of barren desert landscape [Generated image]. https://www.fotor.com/features/ai-art-generator/ 23, April 10). Image of woman looking into the distance with a determined look on face [Generated image]. https://www.fotor.com/features/ai-art-
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viaje-Boyd. (2023). Anza-Borego [Digital Photograph].