White text 'Ana Somnia' on white background

A collage of a woman in summer clothes beside one in winter clothes; three authoritative-looking women; a girl against a night sky; a woman with her eyes closed; a colorful pattern of sacred geometry; a Chinese water color of birds; a sleeping woman; a woman wearing a poncho; a woman holding a gun.

A collage of a woman sitting cross-legged with her hands on her knees, alongside an image of her lying facedown on a yoga mat with her hands upturned and stretched towards the camera.

Campfire beside a boulder at night in front of a starry sky

An altar to Pachamama comprised of a striped blanket with geometric patterns and several items ion top of it, including 5 small plants, other textiles, an Andean alcoholic beverage in a jug (chicha), a basket, other textiles, and a bag of seeds.

Untitled

On "Different Folks" and Andean musical fusion

Heritage, music, and creative freedom

Rima(y) Raíz is a community collective created by and for the Andean/Andinx diaspora community of the United States.

Choclo y Chicha: a zine for (and from) the Andean Diaspora

<a href="https://anasomnia.com">Ana Somnia</a> is a meditation on what it’s like to dream. It’s also a piece that uses a single interactive element to draw us into an animated world, a clever decision that is minimalism at its best.

On the title screen, atmospheric sounds introduce us to Ana Somnia’s creepy Tim Burton-esque world. We promptly find ourselves inside a little girl’s bedroom. The girl, sitting up in bed, tells us to turn off the lights and goes to sleep. The piece then waits for our interaction, and we hear a music box playing in the background.



<img src="https://altsalt.s3.amazonaws.com/catalog/article/3/anasomnia-2-1024x652.jpg">



It’s here that the clever trick comes out. To “turn off the lights,” you can spoil the fun and cover up your webcam with your hand; or, if willing to play along for a moment, you can turn off the lights in the room you’re physically in (yes, that involves getting up and turning the lights off in real life), to trigger the webcam into opening the rest of the story.

After doing so, Ana’s dream world comes alive, and we progress through a series of animated images, including strange creatures, tentacles, and assorted objects, as well as music and sound effects to match.



<img src="https://altsalt.s3.amazonaws.com/catalog/article/3/anasomnia-3-1024x695.jpg">



For me, it’s the subtleties that really make this piece come alive. The world is nicely fleshed out, from the sound design and music down to the seemingly trivial details (in the opening scene, for example, hovering over the teddy bear will cause it to cover its eyes).

Also interesting is how much the webcam adds to the experience. It’s a great example of creating new kinds of artistic meaning with technology. This animation could’ve been a simple video… but isn’t it cooler when there’s interactivity involved?



<img src="https://altsalt.s3.amazonaws.com/catalog/article/3/anasomnia-4-1024x648.jpg">



I always love to see artists doing interesting things with the technology at their disposal. Now this is just an idea, but it’d be great to see, for example, an e-book that uses the same webcam principle to add some extra immersion in telling its story.

Ana Somnia was created by German artist <a target="_blank" href="http://www.kimkoester.com">Kim Köster</a>. You can support him by purchasing Ana Somnia posters and other merchandise <a target="_blank" href="https://rostlaub.com">here</a>.

Ana Somnia is a meditation on what it’s like to dream. It’s also a piece that uses a single interactive element to draw us into an animated world, a clever decision that is minimalism at its best.

Get Lost Dark Ana Somnia

Turn out the lights and explore a dream world in Ana Somnia

Echoes of our ancestors,
Heard across time and space,
We find the key to our future
As we look into the past.

Calling all Andean and Asian American folks! AltSalt is creating two multidisciplinary collections of work — and we want you to be a part of it.

Who: Zinesters, writers, artists, designers, game developers, videographers, musicians, and more who identify as Andean or Asian American.

What: Team up or work solo to submit a publication based on the following prompt: “Envision a future in which your culture, history, and values have guided the world to an alternative reality — and harnessing that energy, create a piece to resonate with our times.”

When: Work can begin as soon as you read this message. We’ll hold a workshop weekend July 17-18th (schedule available here) to spend time together and share progress (the workshop weekend is over!), with a final submission deadline of Sunday, August 15th. The date will come fast — let’s get started!

If you’d like to get involved, please…

Join our Discord server (optional, highly encouraged).

We also welcome folks doing cross-community collaborations. Want to team up and combine Andean and Asian cultural influences? Do it! We’ll have special sections for cross-community projects in both collections.

Brainstorm ideas, form teams if applicable, begin work



Saturday, July 17th — Sunday, July 18th

Workshop weekend to connect and share progress (full schedule available here)

 

Sunday, July 18th — Sunday, August 15th

Continue working on and submit final projects



Our Broader Vision — Our purpose is to envision and create an alternative world through our collective creativity. To grow in community, we must become curious on how we can not only grow as one, but with the multitudes we intersect with. We hope that this can be the first of many initiatives to create solidarity across communities and share knowledge. Let’s transcend artificial boundaries; let’s connect.

Why these two communities? They’re the ones us, the organizers, are most familiar with and the ones that we belong to. We hope to offer a similar space for other communities on AltSalt in the future!

Open To All Creatives — No matter where you are in the creative process, whether your work is free or commercial, you can get involved:

Have you already created work and want to list it in the collections?



Have you started working on creative projects but haven’t had the capacity to finish them?



New to zine-making or creative publications? 

You are welcome to participate! Just fill out the participation form, then join our community of creatives on Discord for inspiration, collaborators, or guidance, and get involved with our upcoming events.

The Andean collection aims to highlight creative and artistic works in diverse mediums/publication styles from self-identified Andean creators. We utilize the term ‘Andean’ to embrace and honor our shared history before colonization, although we recognize that today many of us are accustomed to identifying by nationality (such as Peruvian or Peruvian-American). We appreciate the rich complexity of identities represented in our community and welcome anyone who has ancestral or social ties to the Andes (whether Ecuador, Chile, Argentina, Peru, Bolivia, etc), and its diasporas, to participate. Andean identity is also intersectional and extends beyond an Indigenous, Spanish, mestizaje, or Latinx/Latine dichotomy; therefore, we wish to be inclusive of diverse diasporas such as Peruvian Nikkei and Afro-descendiente communities.

This collection is by and for us, our ancestors, and our future generations. Our goal is that it feel both intimately familiar and, at the same time, entirely new because it encompasses diverse perspectives within our shared cultural repertoire, which is so rarely represented in the dominant narrative.

This is an experimental place to explore your individual identity, your creativity, and be a part of our community. We invite you to visit, contribute, and collaborate with us in whatever ways are most inspiring to you.

A S I A N   A M E R I C A N   C O L L E C T I O N

The Asian American collection seeks to explore the many facets of Asian American’s experiences and varied cultural heritages through creative mediums and publications. This collection is for and by Asian Americans, including those whose backgrounds encompass East, Southeast, and South Asian, Pacific Islander, multi-ethnic and diasporic Asian identities.

In defining a collection, the distinctions of who is included in ‘we’ and ‘us’ remains slippery. Within our communities, there are often inequalities of power between groups. Differences within ‘Asian American’ across class, color, gender, sexuality, religion, immigration status, history, and national origin produce asymmetrical and uneven histories, and encounters with state violence. Additionally, calls for community might strategically offer unity yet conflate the differentiated effects of racialization and colonization under one umbrella term. Rather than demand inclusion, our collection offers a space for sharing narratives that speak to different intersections of histories and experiences, within those who identify as Asian American.

This collection seeks to provide a space for identity exploration, community building and a creative well, to come to nourish ourselves, refill our cup and continue to explore without boundaries, to stretch the limits of our imaginations — using our creative practice to puzzle through the times we’re in together towards a future of collective liberation.

To envision an alternative world.
Because representation matters.
Sharing knowledge and consciousness,
Let’s create the future.




From left by row: Artwork by Jessica Tin, Jamie San Andres of Rimay Raiz, Layqa Nuna Yawar, Lia Coleman, Felix Kar-wah Fok courtesy of Shirley Man-Kin Leung, Sandy Enriquez, Adina Farinango, and Angela DelosReyes. Background pattern by Artemio Morales with gratitude  to the teachings of Zadir Milla Euribe. Music by Jonathan Morales. 

Alternative Worlds: The Andes and Asian America

Mundos Alternatives: Los Andes y América Asiatica

This is the first in a series of posts to highlight members of the AltSalt community. First up we have Shirley Man-Kin Leung, a community organizer and yoga teacher based on traditional homelands of the Arapaho, Cheyenne, and Ute nations (Northern Colorado), as well as organizer behind the Asian American collection for Alternative Worlds.

In this series, we hope to showcase and celebrate the diverse perspectives and creative work of our communities, to learn, find inspiration, and share resonance with one another.

Tell us about yourself! How did you get involved with AltSalt?

I am a sister, a daughter, an auntie, an immigrant, a lover, a gardener, an artist and lover of life.

I got involved with AltSalt through my friendship with Artemio, although we haven’t (yet!) met IRL, we participated in this amazing 6-month long virtual course called Global Reciprocity at the Ayni Institute a few years ago, and have stayed connected ever since then. In that course, one of the things we did was work together to map our entire lineage and legacy of life as humans, to understand where we are, who we are, from 5 billion years ago to today… it transformed my life and that is where the seeds of a lot of my work today was born, and where AltSalt also was born!

What does Alternative Worlds mean to you, and why did you decide to organize an Asian American collection?

Alternative Worlds is about giving us the opportunity for "otra forma de ver" — other ways of seeing. We’re in this liminal space, between the ways things had been and an unknown future. I think it's our role, as artists, to be stewards of this in-between space, to be able to hold and see multiple worldviews and swirl them together and breathe into a reality another way of being. The only way to be with all of the contradictions and transitions we’re in right now, is through art and activism. I think that this is how we will be guided through a transformation process towards a collective awakening, moving us towards global reciprocity.

I wanted to organize the Asian American collection because, as a mixed race, Chinese, Filipino immigrant, who was adopted and raised by white American parents, my own healing journey has been about finding community to heal my own wounds and connect with my ancestors lessons for these times we find ourselves in.

Having a collection is about building community for artists, where we can look to each other in our different but common struggles for liberation, and say I see you, I know myself through your struggle, we are done appealing to the dominant white culture, instead we are prioritizing each other, first and foremost.

The silos we find ourselves in are designed by the empire, and it's exhausting constantly appealing to dominant culture or resisting the world coming at us hard, seemingly alone in our struggle, finding ourselves asking for crumbs... the alternative is, you create a community where you can look around and see our power and creativity and strength is immense, we can learn from each other, we can create a vision together, we can show up and show our strength in ways that are impossible to do alone, it's immensely hopeful!

The racist, colonial regimes are very clear about the world they want, they want the status quo. We’re less ready (in part by design I think) to declare the world we want, our imaginations are atrophied in part because of always being in a reactive / traumatic state of resistance. We must collectively put forth the world we want, that we deserve, that is our inheritance from these freedom fighters, our ancestors, we have everything we need to not only articulate that world but to build it, the constant affirmation that we are enough, we have what we need to be in relationship with one another in deep and meaningful ways to build that world.

What’s your own creative practice like?

My creative practice is hard to define because it takes so many different forms. Poetry has definitely been a guide for me though, and there is this quote by Nayira Wahid speaking to my own feelings and intentions around my creative practice right now:

“You do not have to be a fire for every mountain blocking you, you can be a water and soft river your way to freedom too”

I exercise my creative muscle as a daily practice, as a way of taking time to slow down and be intentional with where I’m putting my energy. I also consider my creative practices to be part of a larger whole of resilience practices, which our ancestors and communities have been cultivating to survive and thrive. I really do believe that we need to be just as rigorous in our play, pleasure and our joy, as other forms of work. When we are in a reactive state, we aren’t able to respond creatively, and that's by design.

Lastly, my creative practice is both playful and oftentimes silly, but it also serves a larger purpose and has been critical for me in my own healing journey. For example, I recently shared a piece of poetry I wrote about my mother’s mental illness and what it’s taught me about honoring joy and healing intergenerational trauma. Speaking about things directly is such a big shift from how I articulate through poetry, and it’s powerful to see different gifts each form has.

What do you think the role of art is in our culture?

I spend a lot of my energy and time thinking about cultural change. Changing our hearts, minds, body and spirits. Policy and social change can move really slow. What can make change happen is the people, and there are many instances of this happening in history (take the Mexican Revolution for one example). I believe that art plays a critical role in this aspect. I also think art has a role in spreading and sharing wisdom and knowledge. Sharing knowledge is about building power, not increasing paranoia. We need to understand what is the system we are up against, but the same way we want to study what we don’t want, we need to study, imagine, and create what we do want to see!

Artists are the stewards of our collective imagination. We need both imagination and memories. Artists can remember, reclaim and reframe; to find things that were lost and hidden on purpose and own and reclaim them through our creative practices.

When it comes to re-building, creating alternative worlds, I think the role of artists is to take the time to slow down to dream and be intentional around the world we want to see. How do we start to put those dreams and strategies into play and then practice? It’s not enough to just think about if we aren’t doing them, practicing! And remember that creating and sharing art is collective! The role of artists is about bringing people along with you, we can't do it alone, where are your homies at?

What do you hope participants get out of being a part of this?

A sense of community, some budding friendships, fresh ideas, support for your own creative practices, and just to have fun and be challenged in some new and exciting ways!

You can find out about Shirley's yoga practice here, and find the Call for Submissions for the Asian American and Andean Collections here. We also invite you to join us for our workshop weekend from July 17-18 th, 2021!

This is the first in a series of posts to highlight members of the AltSalt community. First up we have Shirley Man-Kin Leung, organizer behind the Asian American collection for Alternative Worlds.

"To Dream and Be Intentional" — Interview with Shirley Man-Kin Leung

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The Birth of Andean Futurism

Here follows the workshop weekend schedule for Alternative Worlds: The Andes and Asian America.

This workshop weekend is part of a project that aims to create two multidisciplinary collections of work and is open to anyone who identifies as Andean or Asian American.

While our coworking sessions and discussion groups are for project participants, our InDesign and Illustrator workshops are free and open to all; we invite you to join us!

If you do identify as Andean or Asian American, we also invite you to join our coworking and discussion groups to connect with fellow creatives, no prior signups or participation in the collections required (though it is highly enouraged!)

All of this information, Zoom links, and coworking sessions can be found in our Discord; we encourage you to join us there to connect with fellow participants!

Note: Eventbrite registration is not necessary; we've provided the Eventbrite option for convenience in case you'd like to get email notifications and the Zoom URL in your inbox at the time of the event.

For more details on this project and to sign up to participate, please read our Call for Submissions and fill out our participation form or talk to us on Discord! 

Intro to Adobe InDesign
*Free and open to the public*
11:00am ET — 12:30pm ET
Eventbrite registration

Coworking over Discord
12:30pm ET — 2:00pm ET

Virtual Rooftop Meet and Greet
2:00pm ET — 3:00pm ET
*URL available on Discord*

Coworking over Discord
3:00pm ET — 4:00pm ET

Asian American Discussion Group
*Topic: Creative Practice*
4:00pm ET — 5:00pm ET
Eventbrite registration

Open Coworking on Discord
5:00pm ET — ∞

Intro to Adobe Illustrator
*Free and open to the public*
11:00am ET — 12:30pm ET
Eventbrite registration

Coffee and Chat: Andean Futurism
4:00pm ET — 5:00pm ET
*We encourage you to read the Andean Futurist Manifesto (though not required)*
Eventbrite registration

Open Coworking on Discord
5:00pm ET — 7:00pm ET

Virtual Coffeehouse
7 :00pm ET — 8:30pm ET
*Show and tell projects from over the weekend OR any prior work you’d like to contribute to collections*
*Sign up sheet to share work available on Discord*
Eventbrite registration 

To envision an alternative world.
Because representation matters.
Sharing knowledge and consciousness,
Let’s create the future.

From left by row: Artwork by Jessica Tin, Jamie San Andres of Rimay Raiz, Layqa Nuna Yawar, Lia Coleman, Felix Kar-wah Fok courtesy of Shirley Man-Kin Leung, Sandy Enriquez, Adina Farinango, and Angela DelosReyes. Background pattern by Artemio Morales with gratitude  to the teachings of Zadir Milla Euribe.

The workshop weekend schedule for Alternative Worlds: The Andes and Asian America.

Alternative Worlds Workshop Weekend Schedule

(Interview)

This is because life itself is dynamic, a spiral — and you can see this play out even in history. Everything is always changing yet circling back on itself, evolving with similarities but transformed.

Andean Sacred Geometry

Offering resonance is an intentional practice used to cultivate deep listening and connection.

Typically done in person, participants take turns sharing and listening to one another's stories, practicing both telling stories earnestly and listening deeply (or in our case, reading).

After the speaker has finished, listeners share the specific moments in which they felt emotionally connected to the story, for example saying, "I resonated with you when you said [insert moment]." Storytellers can then in turn express their gratitude by saying, "Thank you for listening."

Every story we receive is a gift. Offering resonance is a way to reciprocate with the receiving of that gift, to let each other know that we've been heard.

We believe that receiving and offering resonance is a human right. Our aim is to cultivate more sharing, more resonance, more connection, both here and beyond.

Example prompts when resonating:
- I resonated with you when...
- I was right there with you when...
- I really felt when...
- I really appreciated...

Resonating is not:
- Telling your own story
- Offering advice
- Reviewing a piece's quality

If you'd like, we'd love for you to try cultivating this reciprocity muscle and offer resonance to storytellers as a way of practicing deep listening. And in turn, we hope you'll consider sharing your story as well!

You can find more information about resonance in this PDF. 

Our deepest gratitude to the Marshall Ganz of Harvard University; Mark Fairfield, Cedar Landsman, and Lucien Demaris via the Relational Center; and Relational Uprising for devising this framework, and to the Ayni Institute  for sharing it with us, which we have adapted.

in this PDF.

Relational Center

Relational Uprising

Ayni Institute

Offering resonance is an intentional practice used to cultivate deep listening and connection; we've adapted it for AltSalt.

What is Resonance?

Every year since my friend Bill committed suicide, his mother and I had exchanged Christmas cards. And I am one of those people who do holiday letters...

The Coming Out Ring

This is the first in a series of ongoing letters between me and my friend, Charles Huang, exchanged via public posting. You can find his blog here. 

I’ve had a lot swirling around my mind the past few days; so much is happening all at once and I often feel like I’m being swept up in a big current. Then there are moments like right now, as I revise this letter, having just meditated standing barefoot on the ground (literally grounding), and I feel at ease.

As you know, I just turned 31 this past week, and I’m considering more and more what I value, what we as a culture value, how I find myself within that and how to live a good life.

Over the weekend, I went to an offering to Pachamama; it was a beautiful day on Governor’s Island where I was surrounded by inspiring community members, and while I can’t speak to everyone’s specific personal beliefs, being together to honor ancestral traditions helped me to feel increasingly connected and supported in mine.

My spirituality is something I’d been wrestling with for a while; having been raised Catholic, I’ve faced a lot of doubts regarding what our relationship as individuals is to the cosmos, even as I move toward practices that feel more authentic and healthier to me than what I was raised with. It wasn’t the first ceremony I’d been to, though this weekend did feel like an inflection point in my understanding of those relationships.

This Peruvian heritage bed was stewarded by Claudia Urdanivia and Carlos Jimenez Cahua of the the Andean community in NYC; the offering to Pachamama was part of an event to honor Andean farming traditions.

There’s so much power wrapped up in our beliefs; the stories we tell of who we are, and where we come from, shapes our destiny.

To that end, there’s an Andean prophecy stating that humanity, in our current historical moment, has the opportunity to usher in a new stage of consciousness, to become more enlightened and compassionate as a people. It’s a big if; nothing about this is preordained in the Andean worldview from what I understand. And we’re currently up against the largest existential threat we’ve ever faced.

We have a global climate crisis at our doorstep; communities are already being displaced; myself I’m uncertain whether I’d like to raise a family because our collective future is so uncertain. And yet as I began writing this letter last week, I was embarking on an hour-long car ride to visit my family in upstate New York, followed by another 2.5 hour-long car ride to visit family in Pennsylvania. Later this year I’ll likely take a flight to see my family in Florida. Billionaires recently launched themselves into space.

Is it ethical to be doing all this consumption? Shouldn’t we all live locally within walking distance of our families and friends in small neighborhoods to limit our carbon footprint? Shouldn’t we be drastically reshaping our culture and institutions to preserve the planet for future generations?

This huacatay, a crop native to the Andes, was harvested from the Peruvian heritage bed.

Recently while meditating, in an effort to address these anxieties, I’ve been asking my ancestors and the universe for guidance. Doing this regularly, I eventually had the insight to try connecting with the value of ayni, or reciprocity in Quechua; and taking inspiration from the mudras of Buddhism, I’ve been holding my hands in positions found in the sculptures and artwork of the Andes that represent this idea of ayni — one hand on my heart, the other on my side; or one hand held out in offering, the other held out to receive.

Having set that intention, one day a visualization of the invisible tendrils and geometry that interconnects our reality came to mind; patterns interweaving, layered upon each other, our spirits as nodes in a vast web of those relationships, my entire being just a mirror reflecting the people, places, and circumstances of my life.

Increasingly this is how I’m beginning to see the world regularly, and it offers so much agency — everything we do, everything we are, matters — and the energy we receive, transform, and project into the universe has far-ranging effects we can’t begin to understand.

I don’t know where all of this leads yet. I feel hope, though. To see my life not as the span of my individual experiences, but the echoes and reverberations of all that has come before, all that is touched in the present, and all that ripples into the future, is both comforting and a challenge.

To know, to believe, that the world will not end, that it will simply be transformed, is so inspiring. As to what form that future world takes, that’s up to us, and one of the most radical actions we can take is believing that we’re going to make it out of this — sincerely recognizing our role in the interdependence of our surroundings — and gently cultivating the inner strength, agency, and intention that will allow us to transform the energy within and around us so that someday, we emerge as the humanity we aspire to be.

Someday, our descendents might look back and see, when faced with the greatest crisis we’ve ever known, we collectively reimagined and reshaped our culture, that we answered the call and rose to the challenge.

Here I'm holding the huacatay, which is used in several dishes including ocopa, a potato-based recipe of Peru.

I’m still working through how this all manifests in my life; I feel like this is a start, though. To move forward, I think we need to remember who we are, and maybe that’s as simple as touching our hands to the ground, offering a prayer, and gathering in community to catch a glimpse of how things might be.

So here I suppose I’m sending you some of the thoughts, anxieties, and hopes that have been on my mind recently. I’m looking forward to reading your letter! And maybe reading some of the things you’ve been thinking up.

(Dear Charles) The Shape of Our Future

A short story about legacy, revolution, and obliquely, terraforming Mars. Also contains a dumpling recipe.

Within the Fold

In his first letter to Art, Charles writes on human nature, technology, and the 90s Disney film "Honey I Blew Up the Baby"

First Letter to Art - Human Nature, Technology, and Blown Up Babies

Acceptance

Letter to Art #2 - Egos, Deadlines, The Twisties, and Sandwiches

I was right there with you in your mission statement, about feeling the dual exclusion from both Latinx and U.S. heritages. I've felt that so much growing up as a Peruvian in the United States, and I'm so glad that this organization exists 🙏I resonated so much with Marisol's poem, with the mixture of Spanish and English, and with the connection to your grandfather and thinking about future generations' connection to their heritage.I resonated with Elena's piece, when you spoke about going to Peru and the eagerness to fill a hole made of solitude.I was right there with Analisa in so many parts of her story, riding on the swerving bus with the sheer drop to the ocean, when you met your brother for the first time, and forgetting how to speak in any language.Super appreciate all that the contributors shared during both of your events. Congrats on this publication, looking forward to the next one 🙂

<a href="/artemiosans" target="_self">@Artemio Morales</a> thank you so much for your poetry of a mesaage! it's an honor to have pieces of myself living on this online community.

Everyone

United States

Taiwan

China

Bolivia

Colombia

Peru

Ecuador

South Korea

Philippines

Mobile Android Browser

Desktop Chrome

Desktop Firefox

Kindle

Mobile Chrome

Mobile Firefox

Interactive Fiction

Twine

Choose Your Own Adventure

Zine

Poetry

Politics

Millennial

Essay

News

Experimental

Letter

First Person

Serious Game

Impact Game

Introspective

Perzine

Andinx

Aymara

Second Generation Immigrant

Indigenous

Quechua

Latinx

Andes

Asian American

First Generation

English

Spanish

A few minutes

Tech Raptor Preview

Listen to Analisa Freitas' oral history

Games for Change Summer Expo

Global Game Jam Success Stories

Reflections at Sunset Home Page

Itch.io

Ebook

Red, green, and yellow art with choclo and geometric iconography.

Cover of the author walking down a city sidewalk

A cover image with the text "Making AI Art Responsibly: A Field Guide", & a cute character at the summit of a mountain alongside a flag.

The background is the Colombian Flag with the Words "Colo-Mitolo-Gital" spanning each stripe. In the foreground is a floating back and a pair of red heels. In the top right, there is two buttons

Screenshot of webzine: two side-by-side portrait-orientation images of cityscapes, overlapped by a rectangle containing a recreated text message conversation, all against a white background.

Blue text on white background: "These are the things they took from us, They left us bare These are the things they couldn’t"

A group of people surrounding a frustrated girl trying to draw, they all seem to be looking at what she's doing.

Envisioning an alternative world

Choclo y Chicha Vol. 2

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