There is a photograph of my mother, taken on the beach at Robin Hood’s Bay in Yorkshire when she was nineteen, during a holiday with girlfriends from her training college, that suggests to me something of how happy she must have been in those days—the days she talks about often now, since she’…
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‘The anglophone world, we have to infer, has run out of words for its own feelings.’
Daisy Hildyard on the wisdom of scarecrows.
‘What is the read receipt for?’
Lillian Fishman on texting, power and the ethics of leaving a friend on read.
‘Like pretty much everyone who uses the internet, I have seen many terrible things that I did not search for and that I cannot unsee.’
Rosanna McLaughlin on what the internet thinks she wants.
‘I have a pathological addiction to the internet, which I indulge with the excuse of making art. It rarely translates to anything good and mostly leaves me overstimulated and afraid.’
Paul Dalla Rosa on excess and the internet.
‘rumors of bees on speedwell, / no oxidative stress just / effortless pollination’
Two poems by Sylvia Legris.
‘Photography always reveals truths about the relationship between the photographer and the person being photographed.’
‘Most family relationships are difficult, and sometimes they can become the most difficult human relationships of all.’
‘The city has defied many plans for its regeneration and its centre is a dispiriting mess’
‘Growing up is learning how to take a stance, before the camera and before the world.’
‘How would I feel if I had messaged for years with someone that I later found out was an AI?’
Brea Souders speaks to Alice Zoo about chatbots, interconnection and the dialogue between photography and text in her work.
‘Insofar as value for money is relevant to art, that audience – an attentive audience, a great audience – were determined to get it.’
Fiction by Nicola Barker.
