Support the work of poetry press Song Cave with this new print by Eileen Quinlan! songcave-arteditions: The 14x10.5” Version of Fahrenheit #13, 2008-2013Eileen Quinlan14x10.5 inches, archival pigment printSigned and numbered, in an edition of 50 BUY  $200 Stunningly mysterious and beautiful, the photographer Eileen Quinlan’s work is unsuspectingly straightforward. The house-of-cardlike worlds that she constructs, staged solely for her camera’s lens, prop mirrors reflecting intensely colored light, deep shadows, cloth, reflective Mylar, wisps of smoke, and especially, each other. The images created by these arrangements offer kaleidoscopic sights into indeterminate and infinite spaces… . 
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Support the work of poetry press Song Cave with this new print by Eileen Quinlan!

songcave-arteditions:

The 14x10.5” Version of Fahrenheit #13, 2008-2013
Eileen Quinlan
14x10.5 inches, archival pigment print
Signed and numbered, in an edition of 50

BUY  $200

Stunningly mysterious and beautiful, the photographer Eileen Quinlan’s work is unsuspectingly straightforward. The house-of-cardlike worlds that she constructs, staged solely for her camera’s lens, prop mirrors reflecting intensely colored light, deep shadows, cloth, reflective Mylar, wisps of smoke, and especially, each other. The images created by these arrangements offer kaleidoscopic sights into indeterminate and infinite spaces… . 

I had always admired people who had a palpable sense of their own future, who constructed plans and then followed them… . Chance, to me, had a kind of absolute logic to it. I revered it more than I did actual logic, the kind that was built from solid materials, from reason and fact. Anything could be reasoned into being, or reasoned away, with words, desires, rationales. Chance shaped things in a way that words, desires, rationales could not. Chance came blowing in, like a gust of wind.

—Rachel Kushner, The Flame Throwers


Novelist Rachel Kushner speculated with Triple Canopy during PS1’s Expo 1: New York. For upcoming conversations and lectures about the future, view full schedule. 

Like its publisher, Corrected Slogans sidles curiously between print and digital. Its fastidious edits, a vestige, increasingly, of the printed page, lend it the feel of a dog-eared book, removed from the web’s frictionless slick. At the same time, it takes the footnote and subjects it to the logic of the Internet. Its annotations seem beholden to the sort of tangential wandering through sources that Google and its bevy of digitized books enable.
Courtney Fiske review of Triple Canopy’s book, Corrected Slogans, in the Brooklyn Rail.
This world I live in—this isn’t quite how I want to live. I want the time and space to think and read, and to look at and make things; I want unbroken days so I can write with a clear head; to reread your essay, to read myself into it before I edit it. I want to get paid a bit more for a bit less done better, with more care, and I want the same for my friends and strangers. I want to discuss what I’m doing and thinking about with thoughtful people; I want my work to amount to something solid, not scatter out in multitasked busyness. And I know it’s not the Internet’s fault—but where did my day go? Where the hell did the day go? I read a lot of interesting things, they seemed interesting at the time, I can’t quite remember. I have thirteen tabs open, twenty-one, thirty-four, it’s like I’m almost living in my laptop. Is it … the Internet … the Internet … not me … [shakes, collapses, palpating smartphone]
From “Some Assembly Required,” an essay on technology and culture from the editors of Triple Canopy. Read it at Refresh, Triple Canopy’s capital campaign to raise $100,000 in support of TC 3.0.

Refresh is Triple Canopy’s capital campaign to raise $100,000 in support of TC 3.0—our new publication platform that spans time and media, using the Internet to enrich the work of artists and writers and genuinely engage audiences locally and globally. Your support will enable Triple Canopy editors and designers to fully devote themselves to the task of revolutionizing the arts publication for the digital age.

Emily Dickinson’s Tumblr.

theparisreview:

According to Harvard University’s Houghton Library, the books in the Dickinson Family Library exhibit, very occasionally, cut-outs, as seen in chapter 54 of Charles Dicken’s Master Humphrey’s Clock above. The cut-out illustration was used for a poem Emily Dickinson sent to her sister-in-law Susan around 1859.

TRIPLE CANOPY IN TEXAS WILL SOUND A LOT LIKE THIS.

On April 9, editor Alexander Provan is on a panel at the Modern Art Museum of Fort Worth; and on April 10, he joins Peter J. Russo and William S. Smith in a classroom at Southern Methodist University.

Above: John Cage playing an amplifed cactus with a feather, via emergentseas.

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