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11
CO-EDITORS-IN-CHIEF Grace O’Sullivan Will Catto
Lifestyle
Arts & Visual Culture
EDITOR Meg Stoneman
EDITOR Mia Stevens
DEPUTY EDITOR Anna Johnson
DEPUTY EDITOR Alegra Martin
Food
Fashion
EDITOR Lucy Stephenson
CO-EDITOR Amy Marshall
DEPUTY EDITOR Anya Dixon
CO-EDITOR Mia Flook
COPY EDITORS Ella Rapley Honey Ryder Isabelle Pethick Lydia Lewis
EVENTS Molly Hadley Sofija Slijepcevic
SOCIAL MEDIA Isabelle Ellis Olivia Henderson
PHOTOGRAPHERS Adam Liu Amelie Peters Anna Dodd Charlotte Pang Cian Mc Namara Dan Newell-Price Elena Whiteside Georg Lovric Kirkland Childs Leila Sparks Natalie Chan Poppy Milburn
FEATURED TYPE DESIGNERS Velvetyne Collletttivo Raoul Audouin Luigi Golero
ISSUE 11 GRAPHIC DESIGN Will Catto Grace O’Sullivan
COVER SHOOT Georg Lovric
POEM Wilfred Kemlsey
Say hello… @thecroftmagazine
Partnerships/Submit croft@epigram.org.uk
Hello! This month’s theme is COSMOS. While your mind might jump to dodgy galaxy decor (why was this such a big thing in Year 7?) stay with us; we promise that’s not the heart of this Issue. We were interested in Cosmos, as it represents creation - the power we have as people to make something ourselves, using whatever resources available to generate something new and unexpected. It seems a particularly valuable concept to consider right now, as more and more creative roles get swallowed by technology. Even writing this letter - it could have been made infinitely easier by asking chatGPT to snap one out for us. (I promise we didn’t. Times haven’t gotten that desperate… Yet.) But, as you’ll see in this issue, there is something special, something to be preserved, in human creation. Whether that’s taking the time to create clothing or handmade accessories, there is something so valuable about the process of making. Observing something that came entirely from your own work feels uniquely satisfying. By opting hastily for convenience through technology, we lose this. We hope the pieces in this issue show how valuable our own creativity is. Again, we are so overwhelmed by all the gorgeous support we’re getting. We’re popping up with even more distributors in the city (exciting!) and have met even more of you since Issue 10. The more people who join us, the more diverse and interesting our content gets, and for this we’re incredibly grateful.
Lots of Love, Will & Grace x
ED IT
On a last exciting note - our next Issue will be a collaboration! We’ll hold our breaths for now, but it’s not one to miss. For now, enjoy the spaciness of Cosmos,
’L S OR
ETTER
WORDS & PHOTOS BY ELLA LA GRANDE
MAKING AS MEDICINE Art has always been my sacred way of unbecoming. A safe space to navigate those unnameable inner tensions, as well as a portal to call into existence different versions of authentic self. As Eckhart Tolle notes in A New Earth: Awakening to Your Life’s Purpose, “all true artists, whether they know it or not, create from a place of no-mind, from inner stillness.” My soul is called to create as a way of anchoring in the aesthetic, the tangible visual that is a direct result of tapping into one’s imagination. Carving out time to exhale in my creativity and in the doing of art (which is in fact a kind of undoing) allows me to dip into an essential mental respite from the everyday pressures that exist beyond the canvas. In the contemporary world where endorphins are
driven by instant gratification and surface level excess, I believe that returning to that core human desire to create individually meaningful art can help us reconnect with a more sustainable and slow releasing happiness, that is internally rather than externally regulated. For me, textiles offer the perfect blurring of material and bodily beauty, wherein the outcome is the direct result of my body (and is hence an extension of my body) moving in a rhythmic intention. Whether it be in the process of an abstract art piece or wearable item, any time spent behind the sewing machine enables me to reach flow - that core attention state when your thoughts quiet and your mind is solely dedicated to the present moment.
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It feels as though muscle memory has developed over time and sustained tactile creation and in this place, I reach a meditative state; one that is simultaneously mindful and yet beyond the mind. This thoughtlessness is most freely attained during the constructing of my origami bags, in which I take rectangular strips of recycled fabrics then fold and sew them to make one coherent composition. Origami, although coined after the Japanese words “ori” for “fold” and “gami” for “paper”, originally arose shortly following the invention of paper in second century China. Through the process of folding, a sheet of paper was intended to be admired anew by the creator in its new form. Once the shape was completed, it could be cherished in the knowledge that what was once a singular sheet of paper had been transformed into a dynamic object without taking away or adding anything to its original form or materiality. Allegorically, this concept of wholeness links aptly to spirituality and the path to Zen, insofar that all the tools
needed for enlightenment are mapped within us - it is a matter of bringing active awareness to them that is the key to unlocking inner transcendence. One of my most vital points of learning, and something I’m still cultivating along this journey, has been to release any expectation of your art to be anything but yours. You will not find the pure fulfilment that creativity provides via exterior comparison. This is about letting go, not ego. By fully surrendering to the process of expression without judgement of outcome, you allow the act of making in itself to become the destination, and validation to be summoned from an inner place which loves and appreciates freely. In doing so, a reignition of the playful curiosity we all shared as young children is stimulated, allowing you to live life with an abundant gratitude for the blessings of the everyday. So, I urge you to take time to just be in whatever passions make you feel peacefully affirmed and remember to practice self-rootedness through your inherent capacity for artistic expression.
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It feels as though muscle memory has developed over time and sustained tactile creation and in this place, I reach a meditative state; one that is simultaneously mindful and yet beyond the mind. This thoughtlessness is most freely attained during the constructing of my origami bags, in which I take rectangular strips of recycled fabrics then fold and sew them to make one coherent composition. Origami, although coined after the Japanese words “ori” for “fold” and “gami” for “paper”, originally arose shortly following the invention of paper in second century China. Through the process of folding, a sheet of paper was intended to be admired anew by the creator in its new form. Once the shape was completed, it could be cherished in the knowledge that what was once a singular sheet of paper had been transformed into a dynamic object without taking away or adding anything to its original form or materiality. Allegorically, this concept of wholeness links aptly to spirituality and the path to Zen, insofar that all the tools needed for enlightenment are mapped within us - it is a
matter of bringing active awareness to them that is the key to unlocking inner transcendence. One of my most vital points of learning, and something I’m still cultivating along this journey, has been to release any expectation of your art to be anything but yours. You will not find the pure fulfilment that creativity provides via exterior comparison. This is about letting go, not ego. By fully surrendering to the process of expression without judgement of outcome, you allow the act of making in itself to become the destination, and validation to be summoned from an inner place which loves and so, a reignition of the playful curiosity we all shared as young children is stimulated, allowing you to live life with an abundant gratitude for the blessings of the everyday. So, I urge you to take time to just be in whatever passions make you feel peacefully affirmed and remember to practice self-rootedness through your inherent capacity for artistic expression.
DOPAMINE FASTING IS IT RADICAL TO PURGE YOUR BODY OF PLEASURE? The term ‘dopamine’, in isolation, is regularly associated with prosperous health - we receive dopamine from exercise, dancing, sex, the experience of enjoyable art, even foods rich in vitamins. Why, then, is a ‘dopamine fast’ deemed a health kick? The rules of a dopamine fast vary from source to source, and it seems that participants can take it to whatever extreme suits them. At its most lethal, participants can only consume water, and must repel all human interaction, music, television and wider technology. It is a detox from all the stimuli that activate this ‘happy hormone’ when we partake in pleasurable activities, the brain rewards us by releasing dopamine. However, when we become hooked on consistently chasing this reward, we become prone to a weaker sense of self-control as we consistently pursue sources of stimulation.
Hilariously, it is most popular in Silicon Valley, the spawning ground of tech companies including Apple, Facebook and Google. Having released a plague of technological overstimulation, the players of these companies are now diligently fasting from the evils they’ve created; I suppose it’s quite sweet of them to at least pretend they can be monks as well as millionaires. The dopamine fast intends to effect a greater self control; the idea seems to be that participants, rather than thoughtlessly hunting for dopamine stimuli, become less dependent
So, while an unstimulated mind may be a soothing source of health, is the ‘dopamine fast’ a wise way to achieve this? It seems that the term ‘dopamine fast’, while guided in the right direction, may be villainising the wrong enemy. Certainly, stimulators that trigger overloads of dopamine beneficial to fast from. But dopamine is
For example - if you decided to commit the entire day to avoiding screens, having sex and eating strawberries (both these activities, you’ll be pleased to know, trigger the chemical), I’m positive that, without having regimentally ‘fasted’ from dopamine, you would experience the desired effects (slower trains of thought, depleted levels of anxiety, many other lovely things). However, you would have reached the goal in a far less depressing way. And, frankly, lucky for you if you ever experience such a day. It seems that in our societal chase for maximalism, we suddenly catch ourselves in a state of panic and feel the need to drastically cut back. Let’s be truthful, a dopamine fast sounds like the kind of day you would really quite like to avoid - something born from the mind of a ruthless Puritan, or
PHOTOS BY DAVID MATOS (VIA UNSPLASH ) & LOIS OLIVIA
The state of decreased stimulation is, to me, absolutely desirable. I’m constantly disturbed by our collective obsession for more; as feeble as it sounds, a twenty minute walk without checking my phone can be genuinely transformative, and I feel reluctant to return back to a more engaged and anxious state. By regularly tuning ourselves into environments where we are forced to chase the new, to seek out every sensation available to us, we actually deprive ourselves of any genuine feeling of peace.
itself just a product of this stimulation; so, it seems worthwhile to investigate activities that produce dopamine, but do not cause the mind to experience overstimulation.
WORDS BY GRACE O’SULLIVAN
on the chemical feeling, and are able to adjust to a lifestyle with decreased stimulation.
Orwell’s ‘1984’. While it seems to be wildly appealing to temporarily enact harsh restrictions in the name of health, I think that this obsessive culling of pleasure is often misplaced. Is it not smarter to treat the cause of the problem first, rather than let the effects build up, and then impose the self-flagellating treatment of a fast? This, again, seems to represent a pattern that we follow as a 21st century society - a rapid cycle of over-indulgence, which triggers a sudden shock of guilt, urging us to go into total restriction. By rushing ahead thoughtlessly, we become addicted to these dopamine sources, and suddenly terrify ourselves into a dramatic state of elimination.
But, if we were simply more thoughtful, took time to carefully consider why we are pursuing these dopamine triggers - and, importantly, identify which ones are overly stimulating - we could avoid this rapid pattern. Many sources we interact with create dopamine, but it is very possible to locate ones that are not over-stimulating. I also think it’s important not to encourage self-shaming when we recognise ourselves chasing these hits. We are set up, by many companies and social structures, to pursue them - so don’t blame yourself if you find it difficult to moderate certain behaviours. I promise you are a good person; even if you slyly reject your screen-time cap every single day.
PHOTOS BY GEORG LOVRIC
FASHION DESIGN BY FREDERIK LOVRIC LIEDERLEY
A HUNDRED MILLION MILES AWAY With light created, I departed From the group with which I’d formed. And so I sat, the stratospheric center, A single point for life to form. From here I sat in silent sunlight. planets churned and journeys started. You named them after gods of yours, Who now it seems you’ve disregarded? I watched collisions form your orbit, Form your atmospheric shell I saw monsters roam your surface Then I watched them burn as well. I blinked and almost missed it. When you first began to breathe When you dragged yourself, so painfully, from out the deepest seas. At my middle age, it seems your growing Far faster than i’d care to ponder. You’ve already killed off creatures I’ve watched evolve for so much longer.
And far more recently, you’ve started on each other. Quite the concept. If i’d paid attention sooner I would have noticed from the outset, That you just weren’t meant to last. Oh by all means, command and beckon But in the single day of earth's long life, You’ve lived for fractions of a second.
As when your tombstones turn to dust. And your many metal statues fall. I'll still be warming, waiting, watching The petty drama of it all. For billions of years I've laid a witness To what my orbit has to say. Even I can see you’re finished, From a 100 million miles away.
WORDS BY WILFRED KEMSLEY
Keep on burning up the ground you walk Or poising your water. Keep tearing up the earth to feed The young you send to slaughter.
WORDS BY AVALON VOWLES
COSMOS IN MUSIC The word music is derived from the Greek expression ‘Mousike Techne’, meaning ‘Art of the Muses’. When we make reference to the ‘the arts and sciences’ in modern society, everything under that umbrella comes from the artistic and academic aspirations of the Muses. In the mind of mythology, the Muses have inspired the entire human experience of creativity and have been nourishing philosophers, scientists, artists, and musicians since Pegasus warmed the ground with his hooves at the foot of Mount Olympus. When the elders of Crotona questioned Pythagoras’ wealth of wisdom, he first recommended they build a temple that homages the Muses. Pythagoras maintained that the planets and all heavenly bodies were operating on a foundation of notes of reverberation, established on orbit and distance. He stated that humans exist without the capacity to
hear the music of these spheres. In correlation with the ‘cosmos’, this inspiration from the Muses of all things artistic, highlights the interconnectedness, complexity, and beauty between the earth and music. In this article, I intend to elaborate on the relationship between music, our planet, and beyond and how they have always co-existed harmoniously. Music is and forever will be universal and timeless, it functions as an alchemical matrimony between the heart and the mind. Outstretching a hand to the inner soul, music is intrinsically linked to a higher quality of wellbeing. Soundscapes and everyday ambience, or noises that aren’t typically classed as ‘music’, also contribute to the ongoing score of the universe.
Arguably, music began with animals. Whale and bird song has permeated the earth ever since they have inhabited the natural world. It has been documented that shamans and hunters, from a myriad of traditional cultures, embraced and emulated animal sounds into their songs. Animal vocalisation is the bedrock of music as we know it today. Regarding rhythm, we aren’t the sole species to comprehend the intricacy of it. Specific insects, such as bush crickets, can beat and vibrate at a fixed pace, participating in their own cosmic chorus. To align with Pythagoras’ theory, there is a tempo to life that exists within and without us. It accentuates our earth's sheer beauty and complexity and the space that vibrates around it. From the pulse of the cricket to the modern-day drum machine, rhythm has always been an essential component of life. When you begin to dance or listen to your favourite song, your body feeds this positive effect back to your brain. Our own phenomenological experience of music can immerse us in our emotions, for there is always a song to match
the mood. This clarity and release we gain from music is invaluable: a distraction from the complexity of existing, an underscore to life’s grievances and triumphs. Music also provokes our memory, and it's powerful to realise that the same song can have an abundance of meanings and associations for individuals all over the world. When I think of the word ‘cosmos’ within the realm of music, it feels necessary to mention the psychedelicenthused air of 1960s counterculture. The creative process of many artists has come from a basis of experimentation and existentialist search. Scouring the universe for wider answers, some of the most evocative and revolutionary songs have come from hallucinogenic explorations of life’s inner complexities. Music has made a vital contribution to psychedelic therapy, facilitating constructive outcomes in the exploration of the mind and nature around us. Music catalyses mystic and complex thoughts – for when we look up at the night sky, we observe the same moon that Pythagoras and all those musicians and animals have done before us.
PHOTOS & FASHION DESIGN BY NETO KEN-AMOBI
g A crochet collection by Neto’s Crochet Store takin y funk e Thes ! ion some of inspiration from 60s fash era of handmade crochet pieces will transport you to an in a up Flower Power and free-spirited vibes, all wrapped slight delightful colour palette of brown and purple with modern twist.
ovy LILAC o r G BLU ES
G-ASTRONOMY How can we learn from food? What does it tell us about larger concepts? Does making it bite sized makes it more digestible? The cosmos, the universe and its vastness are beyond comprehension of the human brain, by their overwhelmingly large nature their greatness is something that we are unable to conceptualise. It is simply impossible to think of something being that big, for me at least. When we are children concepts like maths and algebra hold this same type complexity that positions them as incompressible, but unlike concepts like the universe we are able to make concepts like maths smaller and more familiar so we can understand them. Positioning larger concepts, to something familiar puts it in a physical realm that we can come to terms with. My year 3 self was first exposed to the ability to learn through
food, when our already well adored maths teacher, Mr Turner, was teaching us fractions. A concept we were struggling to understand, so he decided to turn to a more palatable method for our young minds to digest. A chocolate cake. Whilst I am sure he didn’t intend to set out to teach us about the greater concepts of financial greed and gluttony, retrospectively my interest was in getting the biggest slice, and thus the biggest fraction. Mr Turner had set out to teach us how to accurately divide, but looking back I am sure there was more than one lesson there. At the time I saw the intention to teach us how a round chocolate cake, could be cut up,
WORDS BY DANI WEISS
PHOTOS BY NATIONAAL ARCHIEF (VIA UNSPLASH) & LEILA SPARKS
divided, and shared and we would all get an equal amount if we calculated our divisions properly; something about this fairness resonated in our young minds. I in particular was dedicated to making sure no one else got a larger slice then me. So, I was keen to make sure that I, and everyone else in my class got their calculations correct.
Whilst it may be reaching to claim that Physicists like Brian Cox would struggle to explain the workings of the universe through pie, or maybe HE could. Learning through Food, eating, and cooking holds a unique position as the only global language that doesn’t require translation, we are able
to break down larger preconceptions and distant concepts and put them on our plates. Understanding food systems, of exchange, trade and seasonality allows for a better comprehension of our vastly complex and confusing world. It is a tool for knowledge that we can use to understand each other more. Our human nature drives us to want to learn, and we can incorporate this through the, arguably the most important choice we make, what we eat. Fundamental to the process of eating, is the socialising that comes with it. Intercultural connections are made through our experiences through eating. International travel is driven by a desire to taste the best Pizza in the world from Naples, or the best Pho in Vietnam, through making these mighty pilgrimages to these food sites, we inevitably learn about the cultures, the people, and the customs of these places. What drives us to there is our desire to taste, buy what we get to take away is much vaster and
provides us with an expanded knowledge of a new culture that we otherwise would not get to experience. So, whilst I was first exposed to the concept of learning through food in its very physical sense, a chocolate cake, as my palate has expanded so has my world view. This summer I had the privilege of taking a cooking class in Sicily, in which we learned about why we could and couldn’t use particular ingredients, and why the dishes that we made where popular in that region. Common to most regional dishes, the pistachio ravioli we made, was the dish of the poor man. Through these basic ‘poor man’s recipes’ we are able to learn about the experience of those who are often written out of the history books. The world’s favourite dishes are the poor man’s food. Dishes can teach us about migration patterns from, Caribbean curries heavily influenced by Indian flavours, to Britain’s national dish being
Chicken Tika Masala, what we eat reflects who we have encountered and were we have come from. Learning those recipes allows us to learn about those cultures, and in turn our minds are not only enhanced by new flavour combinations but by intercultural experiences. So whilst your alphabetti spaghetti may not spell out Pythagoras thorium, nor can it truly explain quantum physics, or even spell out poetry of the great, the experiences that we get from exploring, experimenting and engaging with new tastes allows us to understand our world and each other better.