no.15
Ellipsis: the omission of words from a sentence, usually indicated by a series of three dots ("...").
A Letter From The Creative ... indicates a pause - a beat, a break. ... can offer a moment's reflection, bringing relief, letting words linger. ... is a train of thought cut short. ... is letting the mind wander or intentionally turning it off. ... can cut tension or create it. ... can invoke hesitation or ignite frustration. ... can be a new beginning or an unknown ending. ... implies uncertainty: how our past has shaped the present, what our individual//collective futures will hold; who we are and what we will become. Ellipsis is either looking away or looking at. Ellipsis is figuring out the difference.
Emma Corcoran Editor In Chief
Photograph by Natasha Hunt
Shiya Rao p.6
graveyards p.16
kira kim p.18
haiku 1 p.19
The intolerante p.20
Ellipses Playlist p.32
Desperation p.35
make our country great again p.36
godard p.34
on pink p.40
haiku 2 p.43
haiku 3 p.44
waldella p.45
headfirst p.46
the creative p.46
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Shiyu Rao 7
I was solo travelling in Morocco for 11 days, and everyone I met, everything I encountered, still feels like a dream for me. Wandering in the old medina by myself; every moment was so beautiful that I wanted to record it with my camera so badly. But it was hard to take photos.
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Some locals don't like their photos to be taken.Â
As for women, it's definitely a no (with a few exceptions). So most of the photos I took only have the person's back or profile. For them, what I secretly captured was just a normal moment of their everyday life. 10
But for me, a tourist, a stranger, it is a mysterious window leading to a fascinating new world. These are fragments of their stories, and the rest, the ellipsis behind those moments, you and I will have to fill in ourselves. 12
Only the cats in Chefchaouen weren't afraid of my camera... 15
graveyards I walk amongst you, in the present Trying- without success (it must be said)to comprehend what it must have been like whilst you were alive.
You great industrial beasts. Your high chimneys and Broken-down windows, Standing tall over un-swept shattered glass Like an angry parent Over forgotten toys, Or a tyrannical government imposing its way On the land.Â
You lay dead and unfeeling, Indiscriminately across the North. Your chimneys do not see smoke anymore, Just fearless birds whose songs now echo. (Did global warming start in Lancashire?!)
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It is hard to imagine you As the hub of change. (Were you a Victorian Silicon Valley, or is that a stupid thing to ask?) You are now symbols of antiquity; Emblems of decay. Signs of non-use, unwant, but present. Marks of ambitious men and forgetful children, Throwing their unwanted toys to the ground And leaving. You are antique and decay, And stand tall and sit still and lay dead Next to many a motorway In Lancashire. The industrial revolution is without steam, Now. Your bricks are mossy. You are decay, decay, You used to be everything (and everywhere) but now just get in the way.
By: Henry Roberts
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By: Kira Kim
Handwritten haiku by Andy Meyer
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The Intolerante Photo series by Laura GwenaĂŤlle Berson 21
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Intolerant for several years to certain foods, I wanted to highlight the effect of food on the body, when it rejects them. Nowadays, many of us still have difficulty accepting food intolerances as a serious evil. How much do you think if this or that food is ingested, "it won't kill you"? In fact, no. But in the long term, intolerances can cause far more serious pathologies if the diet is not strictly altered and followed point by point. The immune system, instead of fighting off an infection, will seek to fight perpetually against the problematic food ingested. Steps passing through the absence of symptoms to pain, the destructuring of the body and more, its modification.
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In fact, being food intolerant is, in the beginning, suffering on a daily basis from disorders of which are difficult to find the cause. It is often the intestinal pain that alert, but they are not the only ones to take into account. Repeated ENT infections, rheumatism, migraines, cutaneous pathologies, tiredness, concentration problems, insomnia, depression...
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Among many responsible for food intolerances, one can note Industrialisation - i.e. industrial aromas and flavours, composite mixes, the addition of many spices, various methods of cooking, etc. The new technologies used by agri-food manufacturers would also be highly allergenic, particularly the systematic introduction of additives into preparations - i.e. environmental pollutants, aluminium, lead, mercury, etc. Heavy metal poisoning (present in dental amalgams, vaccines or cigarettes may also be partly responsible for intolerances to milk, gluten and casein. Recently, Roundup has been implicated for its presence of glyphosate which has adverse effects in the gastrointestinal tract. 26
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More and more cases of food intolerances are detected every year, and the link of cause and effect has become for me something almost intuitive: By dint of wanting to control nature, this one ends up turning against us. Our body is the first to actually say stop at what is not good for all of us. And if instead of possessing our body, this one took possession of us? It is in any case the image I had of my body during these years of daily suffering. The vision of a stifling body, harmful to social relations in all their panoply, a body that takes control of our lives. Is this body in a mutation? Or on the contrary, does it signal to us that this is sufficient, that the modification may in some cases be saving but also prove to be harmful when it is misused to let us try to defy the laws of nature?Â
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We are scientifically advancing on such things as stem cells and their ability to recreate defective organs. But on the other hand, many environmental changes created by our own species are damaging that same body. It amounts to trying to fight Darwinism while provoking it, which is a true heresy and shows the very paradox of the human species in all its splendour.
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Wake Birth of the Sun - Australian Aboriginal The Genesis - Nas Intro - The XX The Miseducation of Lauryn Hill, Intro - Lauryn Hill Cold Little Heart - Michael Kiwanuka
Up Happy - Eric Leon Something About You - Hayden James Venus Fly - Grimes ft. Janelle Monáe Anymore - Goldfrapp Imitosis - Andrew Bird
And
Visa Vulture - Shame
You’re in Love With a Psycho - Kasabian Now That I Know - Devendra Barnhart Cameos - Swimming Tapes The Night We Met - Lord Huron
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Feel HUMBLE. - Kendrick Lamar Where Did I Go? - Jorja Smith Notget VR - Bjรถrk With U - Klein ft. Kahlia Bakosi Same Drugs - Chance the Rapper
Mixed Cranes in the Sky - Solange
Cheek to Cheek - Ella Fitzgerald & Louis Armstrong Circle Theory - Taylor Haskins Three Little Birds - Bob Marley & The Wailers Enter Sandman - Metallica
Emotions Denai Moore - Switch Trickle September Song - Agnes Obel Daydreaming - Radiohead
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Dreams - n u a g e s A Walk - Tycho
Sober - Childish Gambino Playlist by Emma Corcoran 33
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Desperation Did you remember to lock-? I don’t always, no. I have more bruises than you know. (or care to) (Do I want to know?)
Will you take me to the theatre? We can go out to dinner, Before or after. (?) I hear the sound of wedding bells, And fast retreating footsteps. I’ll do that thing you like. They’re getting quieter and quieter.
By: Henry Roberts 35
Let's Make Our Country Great Again A response to populism by artist duo, oneandtwo
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oneandtwo is a Spanish/English artistic partnership. Juan Andres and John McKitterick have worked together since 1992, in London, New York, Costa Rica and Spain.
Focusing on the interconnecting areas within the themes of humanity, society and culture, oneandtwo develop their art through observing, contemplating and discussing the times in which we live. Reflecting on how the present effects society and the individual, the aim of their work is to propose futures. oneandtwo work in any medium that will successfully produce their objective; the communication of the idea. For oneandtwo the idea is the most important element in their work. Their concepts are complex and multilayered but they ensure that their ideas be seen, appreciated and understood. They achieve this through elegance of thought, method, technique and procedure. Elegance is of the utmost importance to oneandtwo; elegance as in a mathematical proof or philosophical theory. Their work has been exhibited internationally at venues such as Freedom Gallery, London, New Museum of Contemporary Art, New York, The Science Museum, London, Throckmorton Gallery, New York, Central Saint Martins, London, The Truman Brewery Galleries, London, The Andy Warhol Museum, Pittsburg and SUMA, Madrid. Presently they live and work in Madrid and London. 38
With this new body of work "Let's Make Our Country Great Again," the artist duo respond to the language, rhetoric and politics of the growing wave of populism around the world, using equally vivid language. Populism employs the telling of lies, half truths and the manipulation and peddling of fear. Always dividing the population, populist politician are demagogues and political fantasists who seek support by appealing to popular desires and prejudices rather than by rational argument. By using methods of deconstruction and optical illusion, oneandtwo have produced several works that disguise their true meaning and ask the question: how much time will it take for the viewer to discover reality hidden within the work? Hidden within each piece is the recognised symbol of totalitarianism, the swastika. Once this symbol within the works is discovered, it is impossible to look at them again and not see the work's true meaning. With these works oneandtwo expose the reality of populism and of the repeated shouts "Let's Make This Country Great Again." But the real question being asked is how much time will it take for the people who vote for populist parties to discover the truth behind populist language and rhetoric?
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By: Hannah Brattesani
My sporadic (and lacking) episodes of productivity have recently become punctuated by breaks of retro-kitsch. I type this with candyfloss nails that have only just relocated from the downward swipes of Instagram to my keyboard. I’m fresh off my rose-gold iPhone and here to confirm that I’m joining a migration towards (backwards?) pink-fuelled nostalgia. I’ve jumped on the bandwagon. And it’s a certain shade of salmon/apricot. My dashboards and newsfeeds are suggesting that I wear plain white t-shirts, take a penknife to my Levi’s and watch Godard’s Masculin Féminin. They do this without explicit instructions. In fact, they do this even without words. Somewhere between nouvelle vague screencaps, Uma Thurman nosebleeds and vague expressions of teenage angst, the suggestion becomes clear and it is, somehow, communicated through colour alone. Millennial (eye-roll) pink has become synonymous with the “Tumblr generation” (another eyeroll) and finds its definition lodged in articles between explanations of the sudden abundance of avocado toast and a rising rental market. Identifying the exact shade is difficult and mapping its origin is an even more nebulous task. Whether we consider it a peachy cousin of a seventies blancmange or Pantone’s ‘pale dogwood,’ the images and trends that millennial pink conjures at first glance is testament to the frequency with which it features on social media.
Many journalists have attempted to identify its exact birth - placing it in the womb of Wes Anderson or, centuries earlier, playing a Hitchcock-sized cameo appearance in larger paintings. The consequence of pinning a time and a place to the colour’s conception, arguably, adds little to its present state. Is our concentration on this aspect, therefore, misplaced? The power of total-encapsulation* that one shade holds, lends itself to a larger discussion of the colour’s unifying power. Pink has always acted as an extension of my girlhood. It was Barbie, bubble-gum and lipstick. As I grew older, my use of the tone grew more muted and eventually merged into a penchant for less “obnoxious” shades of blues and whites (excluding the one week I went Goth and wore exclusively black). The progress of my childhood to adulthood is marked by the slow abandonment of girlish things, so it was only natural that I move away from the one colour that was so closely aligned with the early years of my life. It is interesting to note that my return to the pink (or at least my renewed appreciation of it) and the popular adoption of its varying tones, has emerged in a decade where genders, and society’s expectation of the sexes, are becoming less concretely defined. To put it simply, I look at the cover of Hotline Bling, Zayn Malik’s rose-frosted tips and the scattering of
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pink at men’s fashion week and cannot help but think, fuck yeah pink does make the boys wink. The larger aesthetic that millennial pink is attached to is not gendered, but instead finds itself in a limbo between nostalgia and progressive ideas. It is 1968’s Cuadra San Cristóbal, your grandmother’s old bath, a triangle of LGBT pride and a marcher’s pussy hat. It is at once both sexual – Eileen Myles writes of the colour, “genital, though not an excited one” – and religious – Michelangelo robed his god in pink. Drake wears it. So does Kanye. It’s. just. so. millennial. God, I hate myself for saying that. I have rarely paid attention to Pantone’s colour of the year, but as Marsala (an earthy red wine) in 2015 shifted to Rose Quartz in 2016 I couldn’t help but agree. The tone, though ever-so-slightly paler than the millennial shade, was, and still is, omnipresent. When I return to my iPhone – my reward for completing this piece – I have no doubt my fingers will, somewhat involuntarily, doubletap anything vaguely salmon. Pantone, you should be thrilled – that’s just the millennial nod of agreement.
*My easy, go-to, phrase for millennial pink’s important position in the centre of a larger web of aesthetic ideas that spiral off from it.
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Handwritten haiku by Andy MeyerÂ
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Handwritten haiku by Andy Meyer
"Waldella, Dundee" by David Batchelor, McManus Gallery
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i wasn’t a real woman, you said, because of binge eating and starvation, reckless insomnia and bittersweet goodbyes – a disease that i could not control and so i was out of control. you were afraid to touch me, you said. but who could ever love a wisp of nothingness shoved into the hollows of cracked lungs; an unwanted caress; a comma, or possibly, an enigma; a nail biter with a predictable ending. i was a small child, you yelled, worn-out run-down unable to cope lost in my own mind, delusional then unrecognisable – why had i let it get this bad and why didn’t i care.
Head
the blood-soaked pieces seeping into the earth and you're shaking screaming pull yourself together because you didn't sign up for this but neither did i except you weren’t supposed to care.
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two aching bodies, one glowing and the other translucent, trekking uphill toward an illusory civilisation. midnight blizzard illuminated by lamplight and the occasional headlights. the alcohol made you honest and i didn’t see it coming – i couldn’t have. baffled and blindsided your words stung
first
deeper than the ice liquefying against my skin and falling headfirst into the snowbank, heart bleeding but body lighter than ash,
i didn’t know what i wanted... but i knew it wasn’t this.
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The Creative Editor in Chief
Emma Corcoran
Business Manager
Hannah Brattesani
Content Editor
Violet Chaudoir
Content Editor
Emma Galligani
Events Manager
Elizabeth Dias
Events Manager
Lucy Beaurle
Events Team
Jack MacleanÂ
Graphics Team
Connor Reilly
&
Fashion Sub-editor
Ileana Livingston
Film Sub-editor
Mercedes Weidmer
Music Sub-editor
Maddy Belton
Music Sub-editor
Tom Hurst
Photography Sub-editor
John Rattray
Theatre Sub-editor
Natasha Warby
Arts & Culture Sub-editor
Taliha Gazi
Creative Writing Sub-editor
Laura Reeves
Thank you to all our contributors & Hannah Brattesani for designing the magazine.