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<strong>ISSUE</strong> <strong>II</strong> 3<br />



Dear Reader:<br />

I was first brought onto this project in July of 2019, right as Stephanie and Rukan were<br />

getting the idea off the ground. At the start, we simply had an idea we continued to build<br />

on, and now, a whole year later, I’ve had the wonderful opportunity to see our cohort<br />

develop into this issue. My personal artistic vision has been shaped by this journal, from<br />

all the artists, writers, and creators who have trusted us with their pieces, to watching<br />

our team develop the many aspects of Sienna Solstice. At the start of this issue timeline<br />

I was reminded of the opening lines from Marge Piercy’s poem To be of use, “The people<br />

I love the best / jump into work head first / without dallying in the shallows”. Despite the<br />

hitches in the road this team has jumped into work headfirst, and I am eager to share<br />

the result with you.<br />

—Lea<br />

When the editorial team was initially developing our journal identity, we didn’t have<br />

many questions answered. We weren’t sure how long this project would last, nor did we<br />

know much about running a journal as complex as Sienna Solstice. Our team of four was<br />

propelled only by our diversified passions, unified by a desire to explore, and ultimately<br />

dissolve, this delineation between the arts and sciences.<br />

Looking back on our 2019 selves, we’ve come a long way, not only developing our mission<br />

and identity, but also our team. As several of you know, we’ve brought on a few<br />

more curious spirits to help us work through Sienna Solstice’s inherent dynamism and<br />

innovation. Expanding our team inspired within us a new commitment to consistently<br />

produce pioneering content within our antidisciplinary niche, and our <strong>ISSUE</strong> <strong>II</strong> cohort is<br />

a testament to this promise. We hope their work surprises you as much as it did us.<br />

Among this issue’s themes were beautiful juxtapositions of interconnectedness and solitude,<br />

inception and destruction, and arguably the most striking: love and withdrawal. In<br />

this new life in which cities are burning and the physical divides between us are growing,<br />

we hope this issue reminds you of what once was—and what will be again.<br />

Thank you for celebrating with us this Fall Equinox.<br />

Warmly,<br />

Kate, Lea, Rukan, & Stephanie


PAGE 6<br />

yasmeen<br />

Safia Elhillo<br />

An Interview with Safia Elhillo<br />

Sienna Solstice Editors<br />

PAGE 10<br />

The Last September Equinox<br />

Elliott Voorhees<br />

PAGE 12<br />

This Poem Has Already<br />

Forgotten Its Name<br />

Darnell “DeeSoul” Carson<br />

Haptic<br />

Ibuki Kuramochi<br />

PAGE 14<br />

Moving City<br />

Emily Ren<br />

PAGE 16<br />

Dancing in the Demolition<br />

Site of My Childhood Home<br />

Anne Kwok<br />

Peel<br />

Ibuki Kuramochi<br />

PAGE 18<br />

a rant 2... whom<br />

“ma.jo.me” (Matt Mett.)<br />

PAGE 20<br />

ochre solitude<br />

Jackson Forte<br />

after you showed me that video<br />

about gravity<br />

Blake Levario<br />

saltwater<br />

Melissa Skowron<br />

PAGE 22<br />

Flower shopping with<br />

Frida<br />

Emily Ahmed TahaBurt<br />

Plantshoot 1 & 5<br />

Milena Correia<br />

PAGE 24<br />

If a Virus Could Sing<br />

Markus J. Buehler<br />

PAGE 28<br />

summer on the taxi<br />

Esther Kim<br />

See Me in Your Dreams<br />

Geneviève Dumas<br />

Postcards from Portland<br />

Matthew Kaminski<br />

PAGE 30<br />

huevos con tortilla<br />

Andrés González-Bonillas

PAGE 32<br />

Divine Myth<br />

Smiti Mittal<br />

PAGE 34<br />

Alexander Hamilton<br />

Rohit Ghusar<br />

DUM-E: Generalizaton Assembly<br />

based on Human Attention<br />

Justin Lin<br />

PAGE 42<br />

A resistance plan was hastily<br />

drawn up.<br />

S. Cearley<br />

If Only We Could See Past<br />

the Dust<br />

Eric Kwok<br />

PAGE 44<br />

Tigris<br />

Gilare Zada<br />

PAGE 36<br />

Shelf Cloud: a caution<br />

Jasmine Flowers<br />

The Wrath of Poseidon<br />

Eric Huang<br />

PAGE 38<br />

Therapeutic Lantibiotic Delivery<br />

and Functionalized Antimicrobial<br />

Surfaces...<br />

Neil Kadian<br />

untitled<br />

Lisa Yang<br />

Some Things Remain the<br />

Same<br />

Andrea Salvador<br />

Exploring the Performance of<br />

Deep Residual Networks in<br />

Crazyhouse Chess<br />

Gordon Chi<br />

Interconnected<br />

Anashrita Henckel<br />

Developing Coupled Physical-<br />

Biogeochemical Models of<br />

Mesozooplankton...<br />

Patrick Kim<br />

PAGE 46<br />

Your time is coming<br />

Geneviève Dumas<br />

Tonality Spectrum<br />

Ian Fleck<br />

PAGE 40<br />

we need space<br />

&<br />

a coming of age but, irl:<br />

respectability politics<br />

Osadolor Osawemwenze<br />

PAGE 48<br />

The Anatomy<br />

Eva Ojeda F.<br />

Hello My Name Is<br />

Daniel Han<br />

PAGE 50<br />

Artist & Author Biographies


yasmeen<br />

Safia Elhillo<br />

Source: Poetry (July/August 2018)<br />

i was born<br />

at the rupture the root where<br />

i split from my parallel self i split from<br />

the girl i also could have been<br />

& her name / easy / i know the story<br />

all her life / my mother wanted<br />

a girl named for a flower<br />

whose oil scents all<br />

our mothers /<br />

petals wrung<br />

for their perfume<br />

i was planted<br />

land became ocean became land anew<br />

its shape refusing root in my fallow mouth<br />

cleaving my life neatly<br />

& my name / taken from a dead woman<br />

to remember / to fill an aperture with<br />

cut jasmine in a bowl<br />

our longing<br />

our mothers’<br />

wilting<br />

garlands hanging from our necks

<strong>ISSUE</strong> <strong>II</strong> 7<br />

An Interview With Safia Elhillo<br />

While you were explaining your poem “yasmeen” in The Poetry Magazine Podcast, we<br />

came to understand the poem as recounting three separate timelines: one where the<br />

speaker is Yasmeen, one where she’s Safia, and one where she has to live with both,<br />

and neither is extricable from her identity. Why did you think a contrapuntal poem was<br />

the best way to present these three timelines?<br />

SAFIA ELHILLO: I was thinking a lot about inherited form, in general, at the time of<br />

writing that poem, and in the case of this particular poem, the form preceded the<br />

content. I’d never written a contrapuntal before, and I’d been reading Olio by Tyehimba<br />

Jess, which is full of these wild contrapuntals that you can read backwards<br />

and upside-down and all sorts of unfair stuff. The summer before, at Cave Canem,<br />

he’d given a talk about his process and walked us through a bunch of his contrapuntals.<br />

I had not been particularly excited about form in that way until I saw him<br />

take such ownership of a form that I think people of color in general—Black people<br />

in particular—have been left out of the conversation about some of those older<br />

forms. So, to see him achieve beyond fluency in the form made me really want to<br />

write a contrapuntal.<br />

I would say that the process of building a poem is measuring out each word and<br />

each line, and [writing a contrapuntal poem] takes that process and magnifies it<br />

because the line not only has to work as a line, it also has to work as half of another<br />

line. So, it really was the longest I’ve ever spent writing such a short poem. So, the<br />

poem was made from scratch in that way, where I had to go into it not knowing what<br />

the poem was going to be and go to meet the form and see what came out.<br />

I was thinking a lot about this idea of an alternate self. There’s a Ladan Osman interview,<br />

where she talks about the particular diasporic experience of always having<br />

to contend with an alternate version of yourself and using that alternate version of<br />

yourself as a metric to measure your actual self against. Like, if I’d only grown up<br />

back home all this stuff I think is wrong with me would not be wrong with me. If I’d<br />

only grown up back home, my ends wouldn’t be split. In hindsight, it is an idea that<br />

makes a lot of sense for the contrapuntal form. I am not generally so “woo-woo”<br />

about the process of making a poem—it’s work. I have to sit and think and do, but<br />

sometimes, there is an element that is beyond something I can language and this<br />

was that—where in hindsight, when the poem was done, I was like, “Oh. Okay, of<br />

course. This is the only poem this could have been.” But at the time, I knew what I<br />

was doing, and also, I didn’t know what I was doing. I was so occupied with fulfilling<br />

the exercise that I almost didn’t notice the poem that was being made.


Earlier, you mentioned how you’re “limited by your particular obsessions”. One of<br />

the things I noticed is you have quite an “obsession” with ampersands, and you<br />

utilize them a lot in your poetry. Could you expand more on your attraction and<br />

utilization of ampersands within your poetry?<br />

SAFIA ELHILLO: On the most basic level, the ampersand is me trying to write<br />

an Aracelis Girmay poem every time and failing. She also has a poem called<br />

“Ode to the Ampersand”, but what I love, just on a technical level, when I am<br />

making a poem, is I’m always trying to use as few words as possible to articulate<br />

the thing. At the end of the day, the ampersand is very economical. It<br />

is one symbol that takes up the space and the meaning that, otherwise, you<br />

would have to have a whole other word in there—three more letters [and] this<br />

much more space on the line. That feels cluttered to me. I like this neat, little<br />

bundle that contains a word in it without going through the trouble of spelling<br />

out a word.<br />

You once said in a previous interview the best advice you ever received was in<br />

the form of a Toni Morisson quote saying “If there’s a book you want to read and it<br />

hasn’t been written yet then you must write it.” What would you say to young writers<br />

entering a world that feels everything has either been written or is too niche<br />

to be read?<br />

SAFIA ELHILLO: I don’t believe anything is too niche. I don’t think there’s such<br />

a thing. Nothing is universal. I think the only thing that is universal is specificity,<br />

so we might as well write [about] our particular situations because<br />

that hasn’t been written before. Even if there was a book that was written by<br />

someone who was not me, whose main character was Safia and she was Sudanese-American<br />

and she was a Sagittarius and 5’3 and born in Maryland. I still<br />

would have something different to say. Because all of that stuff is just identity,<br />

[and] identity is central to a lot of those questions surrounding representation<br />

in literature but it’s not the end of the project. Just because there’s a book with<br />

a Sudani girl in it doesn’t mean that the book is written. I think that’s when<br />

representation politics fails us—when representation is seen as the end of the<br />

project. But it’s not. There are still things that I have experienced, that I have<br />

observed, that I have felt, that intersect with my identity and also intersect with<br />

my geography and my astrological sign and the weather and where I am in my<br />

menstrual cycle. All of that is the alchemy that makes the voice and the story.<br />

It is niche. Everything is niche. Even those old canonical, white men eating<br />

an apple in a forest—that’s niche. That’s a subculture that I’m forced to get to<br />

know because that is literally niche. I’ve never met those types of people. That<br />

does not mirror the culture I grew up in. So, I think there are ways that stories<br />

and cultures and perspectives that are not straight cis, white, old men are<br />

made to feel that they’re niche because they’re not as historically cannonized.<br />

But that really was an oversight on the part of the canon and the cannon is<br />

lucky that we’re trying to correct that.

<strong>ISSUE</strong> <strong>II</strong> 9<br />

antidisciplinary<br />

(adjective)<br />

• • •<br />

A rejection of the idea of the “interdisciplinary”,<br />

as disciplines are not only interconnected, but<br />

interdependent.<br />

Wherein no system of thought can contain the<br />

fullness of the human experience.


The Last<br />

September Equinox<br />

Giorgio De Chirico, The Song of Love,<br />

1914. Oil on canvas.<br />

I lean in adobe<br />

archways that cast<br />

vaulted shadows a / cross the pavement,<br />

where you rest your marble<br />

coiffure on humid clay.<br />

unfurling<br />

raucous curls<br />

waving against / the thick sky dripping.<br />

I chisel away<br />

at your pupils / expanding<br />

grey iris eclipsed<br />

with an empty / new moon I need<br />

to fill with silver<br />

until eyelids<br />

sink<br />

lashes brushing wispy clouds<br />

off the horizon<br />

of your cheeks.<br />

My tongue traces your broken lobe<br />

with whispers<br />

Can a person be<br />

an equinox?<br />

Elliott Voorhees<br />

The setting sun spills into<br />

your contours / crisp,<br />

luminous geometry.<br />

Orange cheekbones and crimson lips<br />

relaxing into the dying<br />

afternoon / purpling the desert sky / my dark gaze<br />

on the edge of the world<br />

there’s a runaway train<br />

singing / you to sleep.

<strong>ISSUE</strong> <strong>II</strong><br />

11<br />

Photography by Luis Peña

12<br />

This Poem Has Already<br />

Forgotten Its Name<br />

Darnell “DeeSoul” Carson<br />

It has always been something of an amnesiac.<br />

When this poem wakes up, it stares at the ceiling<br />

until it can remember what it was getting up for.<br />

It takes long showers and thinks it is lost at sea.<br />

A minute from now, it will not even remember<br />

how it began, metaphor or mortality.<br />

Even now the moment is fading,<br />

so it finds the closest conceivable thing<br />

that can still hold its attention:<br />

the condensing shower steam,<br />

the water drop descending down<br />

the plastic curtain, how it<br />

hesitates before joining the<br />

pool at the bottom, how<br />

it knows that the union will<br />

make it so indistinguishable,<br />

so common, so unworthy of<br />


13<br />

Haptic<br />

Ibuki Kuramochi<br />

“Under this circumstance, all human relationships<br />

are now concentrated in the<br />

virtual world through the Internet. People’s<br />

thoughts, remarks and lives are<br />

appear in our vision which formed into<br />

photographs, movies, letters, and become<br />

a huge timeline. My work evokes<br />

and awakens the oblivion of the physical<br />

body in the current virtual world.”




<strong>ISSUE</strong> <strong>II</strong> 15<br />

How does architecture occupy and alter a space?<br />

Often characterized by its tall skyscrapers, the modern city is multi-faceted and constantly<br />

expanding upwards and outwards. Through the use of intentional space and selective color,<br />

I explore the building of modern cities and its social and physical impacts on society.


Dancing in the<br />

Demolition Site<br />

of My Childhood<br />

Anne Kwok<br />

Home<br />

It was the ground between our shadows that<br />

wanted your touch, something to hold onto that was more<br />

skin-like than summer’s heat. And it was fitting that<br />

I danced like a lonesome ribbon in the living room while our house<br />

cracked open, a mouth to the hurricane. Look how the air<br />

curls around our furniture like a mother’s arm, the curved fall<br />

of willow strands like softened bone, how the roof is blown<br />

into a sundress spilling from our shoulders. The hour<br />

always leaving, always in a hurry to forgive sweat running<br />

down a knife. I can’t feel my feet now that the memory<br />

has wrecked through me like a river.

<strong>ISSUE</strong> <strong>II</strong> 17<br />

Peel<br />

Ibuki Kuramochi<br />

“All of these video works were created during the<br />

pandemic. I made these video works almost everyday<br />

like a diary. I featured performance movements<br />

and thoughts of the days. Fear, despair,<br />

impatient feeling with the changing days. Everyone’s<br />

sharing the same feeling at the same time.<br />

The world is shaking a lot. I am a part of this world.”


a rant 2.<br />

a multimed<br />


<strong>ISSUE</strong> <strong>II</strong> 19<br />

.. whom<br />

ia collection<br />

(Matt Mett.)<br />

“The original form of "a rant 2...whom" began as a freestyle<br />

rap recorded at 2 in the morning as I "walked and roam[ed]"...<br />

one of Oahu's "lone-ly road[s]"... "in dimmed lights and temperate<br />

cold."<br />

Flurries of mixed emotions clouded my head as a result of<br />

fallout with a friend: nostalgic, reflective, and longing to return<br />

to the "good ol'" days of shared memories with him. I<br />

shuffled my feet home, ready to transpose and transcribe my<br />

thoughts onto (digital) paper— into what is now a concrete<br />

poem with words slightly revised from the original recording<br />

and a visual arts accompaniment.”<br />

“In the winter<br />

In dimmed lights<br />

And temperate cold<br />

On this lonely road<br />

As you walk<br />

And roam...<br />

A lamb<br />

A lone.”


Ochre Solitude<br />

Jackson Forte<br />

Ochre Solitude is a piece for solo piano, inspired<br />

by the Korean poem An Autumn Day<br />

by Lee Si-young. It attempts to capture the<br />

mysteries of the human subconscious while<br />

being alone, and at the same time harnessing<br />

the feelings of being at peace with oneself.

<strong>ISSUE</strong> I 21<br />

after you showed me the video about gravity<br />

Blake Levario<br />

nonetheless<br />

well, actually<br />

i know about gravity<br />

what the fuck is gravity<br />

here, fall into my arms<br />

still don’t get it<br />

and if you know<br />

how to love me:<br />

leave me alone<br />

explain it to me again<br />

don’t show me<br />

that youtube video<br />

please.<br />

those pictures of the moon<br />

so blurry and dense<br />

why can’t it<br />

be simple<br />

open your palms show me your pull<br />

the seams of gravity so lovely<br />

god, are you all you imagined are you<br />

all you wanted to be ?<br />

i’m still<br />

all alone<br />

and i’m okay i’ve always been.<br />

but please, show<br />

me that video<br />

one more time.<br />

*Note: astronaut graphic is not part of Salt Water<br />

Salt Water<br />

Melissa Skowron


“I paint flowers so they will not die.” -Frida Kahlo<br />

Well we aren’t really shopping together<br />

it’s just me recognizing her<br />

portrait by the cash register<br />

in the nearby farmer’s market—<br />

well, a parking lot corner with<br />

beachy air, a few gourds and prices marked for “annuals”<br />

(which i learn means flowers that just die by the end of the year never to return)<br />

(i wonder if Frida had annuals and knew to call them “annuals”)<br />

(was it annuals that inspired her to paint them because they always die)<br />

(and she kept them alive)<br />

Thinking what the hell is her portrait doing in this small town market<br />

pale faces everywhere like daisies<br />

or ghosts<br />

if she were here i wouldn’t dare approach her, all<br />

smock and big earrings and tied up hair and perhaps a bag strap across her body<br />

as i’ve met heroes and celebs before, put a foot in my mouth<br />

and kicked myself with it,<br />

still waiting for the right time to message remember me<br />

so we can celeb and collaborate?<br />

(or better yet<br />

someone to approach me) no,<br />

like how my man and i keep each other at arm’s length,<br />

it’s just not the right time,<br />

i’m not who i yet want to be<br />

in this frozen summer<br />

like<br />

should i have thrown something at that man’s car<br />

when two weeks before in the same neighborhood<br />

i walked down the street<br />

like Frida may have through an aisle of annuals<br />

and he screamed<br />

for me<br />

to go back to where i came from 3 times<br />

Flower shoppi<br />

Emily Ahme<br />

should i take a petal out of Frida’s book<br />

and paint flowers and feminism and my Egyptianism<br />

and elephants and doves instead<br />

yet here i am<br />

returning anyway for fruit and flowers<br />

just from a distance<br />

Photography by Milena Correia

ng with Frida<br />

d TahaBurt<br />

<strong>ISSUE</strong> <strong>II</strong> 23<br />

***<br />

Maryland is nasty humid<br />

(my first fern still died a few weeks ago)<br />

(ferns are not annuals)<br />

(did Frida’s ferns die and is that why she painted them)<br />

(did she have a spray bottle to humidify ferns too because that’s not working for me)<br />

(or did she leave them in the bathroom while taking a shower<br />

steam painting overtop the mirror and the plant)<br />

(my birthday just passed and i took photos of the bouquet<br />

to paint it and immortalize it forever because i’m reeeally not 22 anymore and<br />

i’m trying<br />

to take photos more because<br />

i can feel it all slip away<br />

and that’s<br />

something i got from her)<br />

Her Baba was German<br />

i tell my Baba in Cairo on the phone later<br />

because he has the utmost respect for her<br />

(he was called a communist freak too)<br />

and he says<br />

Can that be true?<br />

She’s the face of Mexico<br />

i want to ask him if people cut in half<br />

can’t be the face of anything<br />

i look out the window after the call<br />

and the town stares back<br />

blue and conniving<br />

impossible to stay,<br />

difficult to leave,<br />

horrible occurrences can hold a person hostage<br />

***<br />

Milena Correia<br />

Eventually the tourists flow through the market line<br />

just passing through this place<br />

i approach Frida and the counter with a few gourds and onions<br />

i didn’t grab any flowers<br />

one day I too will pass it by<br />

That’s when<br />

I’ll go home<br />

and I’ll paint my flowers there<br />

and I’ll bury them where they were born


IF A<br />

VIRUS<br />

COULD<br />

SING<br />

Markus J. Buehler<br />

Laboratory for Atomistic and Molecular Mechanics<br />

(LAMM), Massachusetts Institute of Technology,<br />

Cambridge, MA, United States of America<br />

Proteins are key building blocks of virtually<br />

all life, providing the material foundation of<br />

spider silk, cells, and hair, but also offering<br />

other functions from enzymes to drugs, and<br />

pathogens like viruses. Based on a nanomechanical<br />

analysis of the structure and<br />

motions of atoms and molecules at multiple<br />

scales, we showed that each of the protein’s<br />

building blocks – amino acids – have<br />

a unique frequency spectrum, or tonal quality<br />

once transposed to the audible range,<br />

allowing us to translate protein sequences<br />

into musical patterns [1,2] (Figure 1).<br />

Moreover, the hierarchical structuring of the<br />

protein can be translated to music through<br />

variations of volume, note length,<br />

rhythm, and overlaying melodies<br />

leading to counterpoint [3]<br />

(Figure 2). Using this concept of translating the<br />

hierarchical structure of matter into music – a<br />

method termed materiomusic<br />

– we developed sonified versions<br />

of the coronavirus spike protein<br />

of the pathogen of COVID-19, 2019-nCoV (see<br />

Figure 3). The resulting audio features an<br />

overlay of the vibrational signatures of the<br />

protein’s primary, secondary and higher-order<br />

structures and can be played in either<br />

the innate nanomechanical<br />

tuning of molecules (the amino<br />

acid scale) or mapped into<br />

equal temperament tuning [4] .<br />

Sonification of the Coronavirus<br />

Spike Protein [Amino Acid Scale]<br />

Figure 4: Visual representation of the virus<br />

spike protein (left) interacting with the human<br />

cell receptor (ACE2), on the right. This moment<br />

of infection represents the molecular binding<br />

event that occurs during infection process.<br />

Viral Counterpoint of the Coronavirus<br />

Spike Protein (2019-nCoV) [equal<br />

temperament tuning, orchestral classical]<br />

The method allows for expressing protein structures<br />

in audible space, offering novel avenues to<br />

represent, analyze and design ar-

<strong>ISSUE</strong> <strong>II</strong> 25<br />

chitectural features across lengthand<br />

time-scales. This type of<br />

approach can be broadly utilized<br />

and used for other protein structures,<br />

including as a means to<br />

assess detailed molecular processes.<br />

For example, we applied it<br />

to the moment of infection, when<br />

the virus begins to interact with the human<br />

cell receptor ACE2 (Figure 4). The musical<br />

realization of the moment of infection,<br />

written for piano, provides<br />

a microscope into the details<br />

of molecular motions of attachment<br />

and release.<br />

Reflection of Infection (for piano)<br />

Applications of the approach<br />

may include the development of<br />

de novo antibodies by designing<br />

protein sequences that match,<br />

through melodic counterpoints,<br />

the binding sites in the spike<br />

protein. The musical coding also provides a<br />

powerful dataset for AI applications, where the<br />

coding of protein folding and function can be<br />

used to design de novo proteins, or to evolve<br />

existing proteins into new designs.<br />

Other applications of audible coding<br />

of matter include material<br />

design by manipulating sound,<br />

detecting mutations, and offering<br />

a way to reach out to broader<br />

communities to explain the<br />

physics of proteins. It also forms a physics-based<br />

compositional technique to<br />

create new art, which is akin to finding a<br />

new palette of colors for a painter. Here,<br />

the nanomechanical structure of matter,<br />

reflected in an oscillatory framework,<br />

presents a new palette for sound generation,<br />

and can complement or support<br />

human creativity, transcending scales,<br />

species and manifestations of matter.<br />

Figure 3: Visual representation of the coronavirus spike protein, used for<br />

a musical realization. The protein consists of three chains, interwoven<br />

into a complex hierarchical structure. Musically, the interwoven geometry<br />

is reflected through intersecting melodies. The tip of the spike proteins<br />

interacts with the human cell during the moment of infection.


Figure 1: As reported in [5] , a visual representing of the sonified barcodes of each of the 20<br />

amino acids, the building blocks of proteins. Each of these notes can be viewed as a novel type<br />

of building blocks that can be used to generate new art, similar to new colors or new paint<br />

materials or paint strokes (see bottom row for examples). Moreover, the construction of musical<br />

art within the constraint of these sets of vibrations offers an interesting challenge in the design of<br />

novel music, as exemplified in the examples reported in this article.<br />

As an example of multi-protein orchestration, see:<br />

References:<br />

[1] T. Giesa, D.I. Spivak, M.J. Buehler, Reoccurring Patterns in Hierarchical Protein<br />

Materials and Music: The Power of Analogies, Bionanoscience. 1 (2011).<br />

doi:10.1007/s12668-011-0022-5.<br />

[2] Z. Qin, M.J. Buehler, Analysis of the vibrational and sound spectrum of over 100,000 protein<br />

structures and application in sonification, Extrem. Mech. Lett. (2019) 100460.doi:https://doi.<br />


<strong>ISSUE</strong> <strong>II</strong> 27<br />

Figure 2: Comparison of musical structure with protein structures, reflecting a correspondence<br />

between hierarchical features across manifestations from material to sound<br />

and the other way around. Listen to this piece for a audible illustration of the concept:<br />

Hierarchical systems in materials and sound:<br />

[3] S.L. Franjou, M. Milazzo, C.-H. Yu, M.J. Buehler, Sounds interesting: can sonification help us<br />

design new proteins?, Expert Rev. Proteomics. 16 (2019) 875–879.<br />

[4] M.J. Buehler, Nanomechanical sonification of the 2019-nCoV coronavirus spike protein<br />

through a materiomusical approach, (2020). http://arxiv.org/abs/2003.14258 (accessed April 16,<br />

2020).<br />

[5] C.-H. Yu, Z. Qin, F.J. Martin-Martinez, M.J. Buehler, A Self-Consistent Sonification Method to<br />

Translate Amino Acid Sequences into Musical Compositions and Application in Protein Design<br />

Using Artificial Intelligence, ACS Nano. 13 (2019) 7471–7482.


summer on the taxi<br />

Esther Kim<br />

and this late afternoon<br />

heat traces our eyes.<br />

i blink, watch<br />

the sun-ridden apartments and blue<br />

convenience stores<br />

through the window,<br />

like filmstrips—<br />

i never liked film<br />

as in you never wanted to be<br />

filmed, but there’s always<br />

next summer<br />

to let each collected dollar<br />

follow behind us in the wind<br />

as the Han River bows<br />

to us. this is<br />

Seoul you say when the sky<br />

undresses and rain hurtles<br />

into the neon city. at night,<br />

we gather the songs<br />

of cicadas and laugh<br />

into the painted 108<br />

for the last time, before<br />

we arrive at the airport<br />

with the dawn<br />

in our throats, before<br />

we realize there is no goodbye<br />

in the language of this city.

<strong>ISSUE</strong> <strong>II</strong> 20<br />

Postcards from Portland<br />

Matthew Kaminski<br />

Art by Geneviève Dumas


huevos<br />

Andrés González-Bonillascon tortilla<br />

Open and I am cooking huevos con tortilla to 25/8 by Bad Bunny<br />

Open and me and Fernie blast Christian Nodal in my dad’s car<br />

Singing to the tears in our eyes<br />

And the sun has set<br />

And we have laughed at the rooftops and their stars<br />

Open and I am going 105 on the highway pumping blood like nitros<br />

I scream and so do my eyes but<br />

I get home safe that night<br />

Open and I am cooking huevos con tortilla to 25/8 by Bad Bunny<br />

And fuck I could use a smoke<br />

And I lose count of the sunsets<br />

Open and my mom is burning sage again<br />

She talks about how the smoke forms<br />

It curls and whisps<br />

And<br />

The corridos in my neighborhood<br />

Sing to the doves on the wires<br />

And they sing back<br />

Open and home is not what I remember<br />

Open and I am cooking huevos con tortil<br />

The maiz yellows and browns<br />

And the eggs need salt<br />

And the salsa hurts my nose sometimes<br />

And the glass plate stays warm<br />

And the sun is up<br />

And I lose track of when it sets<br />

Open and I haven’t called my nana in a m<br />

And she’s not going to the illegal casinos<br />

Or at least not that she’s telling her daugh<br />

Open and the corridos are still singing<br />

And the gray doves sing back<br />

And they eat huevos con tortilla<br />

Left on the patio table<br />

And the sun sets<br />

And there is no need to track it.<br />

Open and I am cooking huevos con tortilla to 25/8 by Bad Bunny<br />

And one of the lights above the stove is out<br />

And I take my nanas apron out of the drawer<br />

Stitched from the same hands that held me<br />

And call me Andresito<br />

And the lines in my hands look like hers<br />

Open and there is no violence in these<br />

Lines and that is where lineage ended<br />

Open to the sunroof<br />

And the streetlights become their own constellations<br />

And<br />

They are not as extravagant as the ones in the sky<br />

But there are what I have now

<strong>ISSUE</strong> <strong>II</strong> 31<br />

it to be<br />

la to 25/8 by Bad Bunny<br />

inute<br />

anymore<br />


x<br />


Divine Myth<br />

Smiti Mittal<br />

My mother has never believed in religion.<br />

Not surprising, considering her childhood<br />

was congested with countless trips<br />

to astrologers and healers that her parents<br />

thought might ‘fix’ her younger sister,<br />

who was hard-of-hearing. Doctors<br />

too, along the way, but doctors, like most<br />

scientific professionals, seem too sure of<br />

the truth. A false faith is more comforting.<br />

As a result of her skepticism, I grew up<br />

being taught, Celebrate Diwali, but only<br />

‘culturally’. Visit temples but as feats of<br />

architecture. Learn the Hanuman Chalisa<br />

but because it pleases your grandmother.<br />

Because Faith is ancient and you<br />

are a strong independent woman in the<br />

21st Century. God cannot do anything<br />

for you that you cannot do for yourself.<br />

*<br />

It’s 2012. My sister and I ring the doorbell<br />

and wait as my mother tugs open the<br />

creaking metal gate our grandfather insisted<br />

on installing when we first bought<br />

the place. Inside, wooden floor-paper<br />

peels beside the shoerack. I kick<br />

off my shoes without untying the<br />

laces and cross the cramped six<br />

metres it takes to get to my parents’<br />

bedroom. Documents decorate<br />

the Egyptian-blue sheets as<br />

my father hunches over our family<br />

computer. One of the big boxy<br />

ones that has a separate CPU unit. My<br />

grandfather has been in the hospital, so I<br />

worry. Is this paperwork for some surgery?<br />

Could said surgery be unnecessary, and our<br />

family a victim of the medical fraud committed<br />

by Indian hospitals to meet surgery<br />

targets? At 11, I am already cynical. But at 11<br />

I am still a child. So not wanting to disturb<br />

my father and curious what’s for dinner,<br />

I return to the living room.<br />

*<br />

My mother’s anti-faith often takes the note<br />

of, If god exists why is there so much pain? If<br />

prayer works Why is my sister not okay?<br />

I think this is a reflection of the inherently<br />

transactional nature most religion<br />

tends to take. Prayer ~in exchange~<br />

for favors, for forgiveness, and<br />

for freedom. Prayer as a choice you get<br />

to make as opposed to a stubborn inner<br />

reaching for relief I cannot dismiss.<br />


<strong>ISSUE</strong> <strong>II</strong> 33<br />

My sister is an appendage of myself I am<br />

constantly aware of. For the following moments,<br />

I cannot remember where in our<br />

living room she stood or what she wore. My<br />

mother has something to tell us. I don’t remember<br />

how she phrases it but I remember<br />

the hollowing out of a pit in my stomach.<br />

I see death scrawled across tan kitchen<br />

tiles and ashes scattered across the<br />

sink. My grandfather is no more. Matter<br />

of fact, but not to me and not at the<br />

age of 12. Was it 11? I’ve lost relatives<br />

before, but this time is different. I feel<br />

before I think, I cry before I feel, I cannot<br />

breathe and I cannot remember<br />

where my sister stood or what she wore.<br />

*<br />

The night my grandfather dies, I recite<br />

the Hanuman Chalisa to myself over<br />

and over again until I can fall asleep.<br />

At some point in the next couple of days, I<br />

learn my grandfather’s cancer always came<br />

with an expiry date. My parents kept this<br />

from me. Towards the end, I was so bitter<br />

because they wouldn’t let me see him (because<br />

a child, however cynical, has no job<br />

smelling death) so when he left, “I will never<br />

see him again” hit stronger than his deathis<br />

too abstract to process.<br />

*<br />

In the aftermath, my first line of thought is<br />

extrapolation. The possibility of any other<br />

loved one spontaneously leaving suddenly<br />

seems overly real. I start to wonder<br />

every time I leave the house -to go<br />

downstairs to play or for tennis lessons<br />

or for a walk - who might be dead the<br />

next time I walk back in. Specific nightmares<br />

start to frequent - my father falling<br />

sick, my sister being chased, my<br />

mother killing herself.<br />

*<br />

I am certain I will never forget the first<br />

three verses of the Hanuman Chalisa.<br />

*<br />

I make up this ritual where I imagine<br />

him on top of a bed of clouds during<br />

the morning prayer at school. I rise,<br />

touch his feet, and ask for his blessings.<br />

This traditional grandparent relationship<br />

isn’t very representative of ours,<br />

but it makes me feel like I’m doing what<br />

I’m supposed to. Like the vast stretches<br />

of time through which the feet-touching<br />

of both elders in the family and God has<br />

been sacred can somehow protect me.<br />

For the first time, faith has come up outside<br />

of an explicit need for hope. Any break<br />

in pattern requires investigation, so I read<br />

about theology to try understanding this<br />

deviation. This is when I learn more about<br />

the transactional nature of most religions.<br />

Despite this broad theme applying to most<br />

faiths, each one tends to establish a<br />

unique give-and-take relationship between<br />

man and God. In Christianity, one<br />

offers prayer in exchange for absolution.<br />

In Hinduism prayer is traded for favors.<br />

In Buddhism, one seeks Nirvana, ultimate<br />

release from the cycle of rebirth. My<br />

prayer feels less like exchange and more<br />

like an external hurling of hope at slippery<br />

walls hoping something will stick.<br />

*<br />

I remember the first day I forgot to think<br />

of him during the morning prayer. I felt<br />

guilty of not missing him any more and<br />

unsettled by the interruption of ritual.<br />

*<br />

In some sense, I agree with my mother.<br />

God cannot do anything for me that I cannot<br />

do for myself. God doesn’t take cash<br />

or card. But in another sense, I don’t because<br />

the illusion of God occupies a space<br />

separate from my mind, so it can hold up<br />

against trauma that I can’t. There are so<br />

many days all I need is a big bright bearhug<br />

from the cosmos. To be able to scream<br />

into the place where all the quantum<br />

probability decisions are made, ‘please<br />

bring back my grandfather,” long after<br />

he is gone. I need to imagine he isn’t gone.<br />

I need to meet him at that place in the<br />

clouds and be able to touch his feet. I<br />

need stories. To be able to tell them and<br />

then come back and read them when the<br />

telling-self is tired or terrified or traumatised.<br />

Maybe that’s all my mother’s<br />

critique of religion is: a story. I’ve had<br />

enough nightmares to know: if I felt helpless<br />

in the face of a lifelong pain my sister<br />

would need to endure, a burden I was<br />

for no explicable reason free from, I too<br />

would tell myself anything that externalised<br />

all of that guilt and pain and sorrow.


Alexander Hamilton<br />

Rohit Ghusar

<strong>ISSUE</strong> <strong>II</strong> 35<br />

DUM-E: Generalizaton Assembly<br />

based on Human Attention<br />

Justin Lin<br />

Today an important open question in the field of human-computer<br />

interaction is the capability of robots to autonomously interact<br />

with objects in their environment as well as interface with<br />

humans. In this paper, we explore planning and action representation<br />

through self play and human attention mechanisms<br />

in order to explore approaches towards few-shot learning in an<br />

environment without robust 3D mapping. In previous works, kit<br />

assembly and bin picking can be formulated as a shape matching<br />

problem that establishes geometric relationships between<br />

object surfaces and their target placement locations from visual<br />

input. We explore the ideas of self-play through repeated<br />

assembly and disassembly in a variety of test kit scenarios.<br />

Furthermore, we merge human gaze and pose estimation<br />

in order to build a shape and position representation that best<br />

emulates a human working environment where object interactions<br />

happen between robots and humans. Our self-supervised<br />

data pipeline is obtained through ground truth placement that<br />

emulates the methodology described in Form2Fit (Zakka et. al,<br />

2019). Our resulting system, Dum-E, is able to increase pick and<br />

place strategies by 14% in a variety of test kits and over 7%<br />

in completely new test cases versus simply self-play and other<br />

approaches such as simulation-based reinforcement learning.


a storm rolled in the east;<br />

i only came to warn you.<br />

my lower belly stretched<br />

of crops going on for<br />

miles: red dirt lines<br />

made from sweat.<br />

Shelf Cloud: a caution<br />

Jasmine Flowers<br />

across the sky, cloaking<br />

town as a dry welcome.<br />

people strained to see<br />

my dimpled white unfold.<br />

i admired the gritty faces<br />

& bodies. i traced grids<br />

cotton bolls shook deep<br />

in the fields & soft hairs<br />

stood to greet my wind.<br />

a cautious kiss boiled up<br />

in my maw: an early gift<br />

for those who watched.

<strong>ISSUE</strong> <strong>II</strong> 37<br />

The Wrath of Poseidon<br />

Eric Huang


Therapeutic Lantibiotic Delivery and<br />

Functionalized Antimicrobial Surfaces<br />

via Thermostable Degradation-Resistant<br />

Nisin-Adsorbed<br />

Endospores:<br />

Engineering an Alternative to<br />

Antibiotics and Pesticides<br />

Neil Kadian<br />

Antimicrobial peptides (APs) produced by a large number of microorganisms,<br />

plants, and animals hold considerable potential as broad-spectrum<br />

alternatives to traditional antibiotics, pesticides, and therapeutics. However,<br />

their clinical and industrial application is limited by their poor chemical<br />

stability, low specificity, and susceptibility to environmental degradation.<br />

This study sought to improve the stability, delivery, and application of the<br />

model AP nisin by exploting the phenomenal physiological stability of<br />

bacterial endospores for AP delivery. It was hypothesized that nisin adsorbed<br />

to the glycoprotein surface matrix of Bacillus subtilis endospores<br />

would show markedly improved chemical stability, shelf life, and resistance<br />

to protease degradation. Extensive wet lab testing<br />

including spectrophotometric BCA protein assays, broth<br />

microdilutions, and protease digests were used to characterize<br />

nisin-endospore adsorption kinetics, shelf-life, and<br />

bactericidal activity. Nisin-endospore binding conditions<br />

were optimized for maximally efficient loading. After storage<br />

in a liquid format for 2 weeks at 20°C, nisin-adsorbed<br />

endospores retained 80% (pH 7.0) or 40% (pH 10.0) antimicrobial<br />

activity, while free nisin lost all activity by week<br />

one. Following a 1-hour pepsin digest, endospore-adsorbed<br />

nisin retained 65% of antimicrobial activity while free nisin retained<br />

only 7%. This suggests that endospore delivery allows APs to be<br />

administered orally instead of intravenously and stored under non-ideal<br />

conditions using a cheap, environmentally-friendly, biocompatible carrier.<br />

Future applications to be tested include: functionalization of crops, fabrics,<br />

and other surfaces to mitigate microbial growth; co-adsorbing with<br />

proteinaceous ligands to localize APs at target tissues and organisms; and<br />

improved penetration of biofilms. This is the first study reporting the use<br />

of endospores to stabilize APs.

<strong>ISSUE</strong> <strong>II</strong> 39<br />

Art by Lisa Yang<br />

passed down like an antique vase or a plot of land<br />

perhaps both, she learns the method of growing:<br />

bones over skin, hair reaching waist, head bending south<br />

Some<br />

Things<br />

Remain<br />

The<br />

Same<br />

Andrea Salvador<br />

coaxed by the whispers of unruly ancestors<br />

she begins to mask appendixes, pull out wisdom<br />

teeth and bury pockets of fear as the film credits roll<br />

her stomach rumbles, but the stove remains unrepaired<br />

so she eats her feelings and yesterday’s<br />

leftovers on a plate that has withstood raised voices and cries<br />

as all spoilage do, beginning to want: to be nice, to be thrown<br />

out then taken back, to be a star, to look at them<br />

unfiltered – no canopy of smog to recognize the similarity<br />

of being: bright, discernible, too good for this world. i am just like<br />

you, she says, and the stars wink back. together, they wait<br />

to be rebirthed.


we need space<br />

Osadolor Osa<br />

"This artwork<br />

lack of auton<br />

During the pa<br />

through July<br />

this piece, ma<br />

struggles, an<br />

came massiv<br />

social media.<br />

trauma and ig<br />

mental health<br />

consumption<br />

sion makes th<br />

up quickly in<br />

autonomy in<br />

ence. Finding<br />

this time crea<br />

passive and a<br />

Black youths<br />

the present s<br />

the frontline f<br />

discourse, an<br />

representing<br />

future. All this<br />

being margin<br />

as angry. Not<br />

figures are sm<br />

emotion was<br />

creative visio<br />

ership of all f<br />

rightful anger<br />

when we cho<br />

These figures<br />

arranged to f<br />

image of spa<br />

The crowded<br />

box black you<br />

have to navig<br />

alism and eu<br />

of beauty, life<br />

such an impr<br />

is essential to<br />

tionalities and<br />

gles black no<br />

so I wanted t<br />

majority of m<br />

used. The foc<br />

is not only a v<br />

with the diffe<br />

also to showc<br />

mity to euroc<br />

sion of black<br />

facing misog

<strong>ISSUE</strong> <strong>II</strong> 41<br />

wemwenze<br />

is a look into the<br />

omy for black youth.<br />

st two months (May<br />

2020) of completing<br />

ny different issues,<br />

d oppression beely<br />

consumed on<br />

The erasure of black<br />

norance of black<br />

in regards to mass<br />

of systemic opprese<br />

black youth grow<br />

hopes to gain some<br />

voice and experione’s<br />

voice during<br />

tes liminality in<br />

ssertive resistance.<br />

are the future and<br />

imultaneously, being<br />

orce of dialogue,<br />

d change while also<br />

hope for a brighter<br />

is happening while<br />

alized and “painted”<br />

e how none of the<br />

iling. The lack of<br />

not only done for<br />

n but to take owneelings,<br />

including<br />

to oppression and<br />

ose to express them.<br />

are simple faces<br />

ormulate a bigger<br />

ce or the lack thereof.<br />

ness represents the<br />

th are put in. We<br />

ate white professionrocentric<br />

standards<br />

, and behavior at<br />

essionable age. It<br />

note the intersecadditional<br />

strugn-men<br />

go through,<br />

o have them be the<br />

uses and figures I<br />

us on black non-men<br />

essel to experiment<br />

rent hairstyles, but<br />

ase the non-conforentrism<br />

and expresfemininity<br />

while<br />

ynoir."<br />

a coming of age but, irl:<br />

respectability politics


A resistance plan was<br />

hastily drawn up.<br />

S Cearley

<strong>ISSUE</strong> <strong>II</strong> 43<br />

If Only We Could See<br />

Past the Dust<br />

Eric Kwok<br />

towering titan of gold<br />

solar shield made of silver sail<br />

unfurl the winds of this universe<br />

& reduce the moon to an echo.<br />

unclasp the secrets of the sky<br />

pearls of smoke, a billowing<br />

curtain of debris<br />

a storm of cosmic glitter.<br />

if only we could see past the dust,<br />

a galactical nirvana awaits<br />

Elysian Fields, promised lands<br />

with gardens of celestial relics.<br />

run your hand through a belt<br />

of constellations & watch each child<br />

split into hallways of light<br />

your crimson eye unblinking.<br />

unknot the umbilical star &<br />

deliver us back, into time’s womb.


Tigris<br />

Gilare Zada<br />

oh you tigris<br />

i have seen what you have done<br />

upon the rich banks<br />

creeping towards the kurdish shore<br />

as the crescent moon sung solely for you<br />

you snaked your way between nations at arms<br />

a murky serpent charged with crimes churning below<br />

unfazed by the rage that had crossed you before<br />

wars have thrived where your waters sigh<br />

you tigris<br />

you crooning flood of honeydew<br />

i have woken in cold sweat<br />

beads tauntingly mimicking<br />

your sweet droplets that clung to me<br />

i dripped in sugar when i listened to you<br />

you river styx<br />

my people emerged at your brook<br />

but there i crumble in my sleep<br />

drowning in the softness i let go<br />

when my home sank into you<br />

i have learned to hate you<br />

you monster of soft soiled beds<br />

on which i coil and writhe like you<br />

i am beginning to creep away from you<br />

the lonely moon weeps rivers for you<br />

Exploring the<br />

Performance of Deep<br />

Residual Networks in<br />

Crazyhouse Chess<br />

Gordon Chi<br />

Crazyhouse is a chess variant that<br />

incorporates all of the classical chess rules,<br />

but allows users to drop pieces captured<br />

from the opponent as a normal move. Until<br />

2018, all competitive computer engines for<br />

this board game made use of an alpha-beta<br />

pruning algorithm with a hand-crafted evaluation<br />

function for each position. Previous machine<br />

learning-based algorithms for just regular chess,<br />

such as NeuroChess and Giraffe, took hand-crafted<br />

evaluation features as input rather than a raw<br />

board representation. More recent projects, such<br />

as AlphaZero, reached massive success but<br />

required massive computational resources in<br />

order to reach its final strength.<br />

This paper describes the development<br />

of SixtyFour, an engine designed to<br />

compete in the chess variant of Crazyhouse<br />

with limited hardware. This<br />

specific variant poses a multitude of<br />

significant challenges due to its large<br />

branching factor, state-space complexity,<br />

and the multiple move types a<br />

player can make. We propose the novel<br />

creation of a neural network-based<br />

evaluation function for Crazyhouse.<br />

More importantly, we evaluate the effectiveness<br />

of an ensemble model, which<br />

allows the training time and datasets<br />

to be easily distributed on regular CPU<br />

hardware commodity. Early versions of the<br />

network have attained a playing level comparable<br />

to a strong amateur on online servers.

<strong>ISSUE</strong> <strong>II</strong> 45<br />

Developing Coupled Physical-Biogeochemical Models of Mesozooplankton<br />

Dynamics in the California Current System<br />

Mesozooplankton play an immense role in the<br />

global ocean. They are intricately intertwined in the<br />

pelagic food web and are major contributors to oceanic<br />

biogeochemical cycling through vertical migrations.<br />

However, much is unknown about the quantitative<br />

distribution and biomass of mesozooplankton<br />

in the ocean. Our limited knowledge impairs the<br />

development of global models, used to understand<br />

interactions of marine resources with functioning of<br />

the earth. In the upwelling system of the California<br />

Current System (CCS) and other productive regions<br />

throughout the ocean, these models are integral in<br />

developing sustainable environmental policy. Here,<br />

we assess ecological dynamics of mesozooplankton<br />

in the CCS and analyze the accuracy of current<br />

simulative models of these dynamics. Using datasets<br />

accessed from MARine Ecosystem DATa and the<br />

World<br />

ical<br />

Patrick Kim<br />

Ocean Atlas, climatolog-<br />

fluctuations of<br />

mesozo-<br />

oplankton biomass, sea surface temperature, chlorophyll<br />

levels, salinity, and photosynthetically active<br />

radiation in the CCS were standardized and synthesized.<br />

These analyses were compared to model<br />

output from a coupling of the Regional Ocean Modeling<br />

System (ROMS), modeling ocean physics, and<br />

Biogeochemical Elemental Cycling (BEC), modeling<br />

biogeochemical dynamics. Observational climatologies<br />

verified the significance of upwelling dynamics<br />

in the CCS. Model outputs underestimated mesozooplankton<br />

biomass during upwelling seasons and<br />

in regions of coastal upwelling. Regions of overestimation<br />

aligned with oligotrophic offshore regions.<br />

Compartmental modifications of ROMS-BEC may<br />

yield more accurate estimations of observed mesozooplankton<br />

dynamics. Especially with increasing<br />

perils of anthropogenic climate change, accurate<br />

models are essential for development of sustainable<br />

fishery management, regulation of wastewater nutrient<br />

outfall, and robust global climate policy.<br />

Interconnected<br />

Anashrita Henckel<br />

“During the first few weeks of lockdown, I created<br />

this piece as a way to capture quarantine life in<br />

Dubai. The first layer features faint drops of<br />

rain on parched Dubai ground. Rain occurs<br />

so rarely here, so when it comes, everyone<br />

revels in the experience despite being<br />

isolated - whether it be taking a photo,<br />

commenting to one another or using<br />

the moment to look up and out from our<br />

confining walls. The second layer is a paper<br />

cutting featuring iconic buildings in<br />

Dubai intermingled with everyday people<br />

in their homes. Diverse peoples celebrating<br />

birthdays, religious holidays like Ramadan<br />

and Easter and living, learning, teaching<br />

and meeting online. I wanted to capture<br />

our interconnectedness and used geometry to<br />

symbolise the order and routine in the seeming<br />

chaos of change and unpredictability. The organic<br />

hexagonal geometric form is inspired by Ernst<br />

Haeckel’s scientific drawings of plants and animals.<br />

I used this to represent the Covid-19 virus which, at the<br />

time, scientists knew little about and was a kind of mystery<br />

to us all overshadowing yet connecting our lives.”


Your time is coming<br />

Geneviève Dumas

<strong>ISSUE</strong> <strong>II</strong> 47<br />

T O N A L I T Y<br />

S P E C T R U M<br />

Ian Fleck


Acrylic on canvas,<br />

36 in x 24 in,<br />

2018<br />

The Anatomy is<br />

an acrylic painting<br />

depicting the<br />

skeleton structure<br />

of a contortionist,<br />

comparing<br />

it to their<br />

regular body<br />

through three<br />

triangles, one<br />

showing their<br />

belly, another<br />

their elbow and<br />

a last one showing<br />

one foot and<br />

half of a leg. This<br />

artwork began<br />

from my fascination<br />

with contortionists<br />

and the<br />

possibilities of<br />

the human body.<br />

Besides my BFA,<br />

I practice circus<br />

arts and I have<br />

always had a<br />

very bendy back,<br />

but I am not a<br />

contortionist yet.<br />

I wanted to know<br />

how our spines<br />

work and how<br />

can they get to<br />

be so flexible,<br />

but because<br />

there is no anatomy<br />

textbook<br />

that shows it, I<br />

decided to study<br />

the body and<br />

paint it.<br />

The Anatomy<br />

Eva Ojeda F.

<strong>ISSUE</strong> <strong>II</strong> 49<br />

Hello My Name Is<br />

Daniel Han

author & artist<br />


Markus J. Buehler is the McAfee Professor of<br />

Engineering at MIT, leads MIT’s Laboratory for<br />

Atomistic and Molecular Mechanics, and a composer<br />

of experimental, classical and electronic<br />

music, with an interest in sonification. His primary<br />

research interests focus on the structure and<br />

mechanical properties of biological and bio-inspired<br />

materials, to characterize, model and create<br />

materials with architectural features from the<br />

nano- to the macro-scale. Using an approach<br />

termed “materiomusic”, his artistic work explores<br />

the creation of new forms of musical expression<br />

- such as those derived from biological materials<br />

and living systems - as a means to better<br />

understand the underlying science and mathematics.<br />

One of his goals is to use musical and<br />

sound design as a way to model, optimize and<br />

create new forms of matter from the bottom up,<br />

and to assess cross-system design relationships.<br />

He is also interested in research to explore relationships<br />

between classical music, mathematics,<br />

and the physical and biological sciences, an in<br />

the mapping of models of consciousness across<br />

systems. In recent work he has developed a new<br />

framework to compose music based on proteins<br />

– the basic molecules of all life, as well as other<br />

physical phenomena such as fracturing, to explore<br />

similarities and differences across species, scales<br />

and between philosophical and physical models.<br />

Darnell “DeeSoul” Carson is a Black queer<br />

poet, performer, and educator from San Diego,<br />

CA, co-director of the award-winning Stanford<br />

Spoken Word Collective, and Editorial Assistant<br />

at the Adroit Journal. A two-time CUPSI finalist,<br />

his work has been featured or forthcoming<br />

on Write About Now Poetry and Button Poetry,<br />

and in The Adroit Journal, The Unified Anthology,<br />

The Oakland Arts Review, and elsewhere.<br />

He is currently pursuing a degree in Cultural/<br />

Social Psychology with a minor in Creative Writing<br />

at Stanford University, where he has also<br />

led two-quarter long poetry workshop courses.<br />

S Cearley has tricked a computer into making<br />

poetry when it thinks it is making art. He is<br />

a former researcher in artificial intelligence and<br />

its use in generative literature, lecturer in philosophy,<br />

and a writer. For many years he has<br />

been creating these poems by tweaking expert<br />

systems, pushing the boundaries of the intended<br />

use of software. In the crisp, elegant world<br />

of mathematics and logic, he injects the fœtid<br />

swamp of human nature. His concrete poems<br />

have been published in many journals both online<br />

and on-paper. He has held classes on concrete<br />

poetry across the US, and many works<br />

have been featured in galleries in North America<br />

and Europe. More at futureanachronism.com.<br />

Gordon Chi is a Stanford sophomore currently<br />

studying Math and Computer Science. His research<br />

interests include the intersectionality of AI<br />

in healthcare, as well as the development of depthsearch<br />

based engines for board game variants.<br />

Since his freshman year, he has been a member<br />

of Dr. Andrew Ng’s AI in Healthcare bootcamp.<br />

Aside from research, Gordon enjoys playing<br />

chess, watching basketball and composing music.<br />

He is also a member of the North American<br />

Computational Linguistics Open Problem<br />

Committee, after having previously competed<br />

in the International Linguistics Olympiad.<br />

Milena Correia is a Brazilian artist, master’s<br />

student in aesthetics and artistic studies in photography<br />

and cinema at Universidade Nova de<br />

Lisboa, researching Brazilian women in documentary<br />

cinema. She studied theater and audiovisual<br />

and is the founder of Rustica Producoes,<br />

where she directs, photographs, edits and produces<br />

mainly films related to music and arts in<br />

general. She worked on music videos by artists<br />

such as Regina Machado and Tom Zé, Maurício<br />

Tagliari and Luedji Luna, Iara Rennó, Laya (in<br />

partnership with the photographer Gal Oppido).<br />

Responsible for editing the medium-length<br />

film “Sangria” by Luiza Romão, a film that was<br />

in several national and international festivals.<br />

Develops social and authorial projects through<br />

photography and film such as the partnership<br />

with Canudos Project, which takes place in<br />

the hinterland of Bahia - BR, and her recently<br />

experimental short film “The black hole and<br />

the blank page”, that flows around loneliness.<br />

Geneviève Dumas is the Montreal based printmaker<br />

artist behind the brand Goldengen. Her<br />

work is an investigation of unexpected representations<br />

that result from the combination of

fragmented materials & feelings through her<br />

printmaking. She’s using collage and screen<br />

printing to build up momentum and stories. She<br />

tries to let her art allow the viewer to question a<br />

lot of things, but mostly how we deal with ourselves<br />

& love and experience moments. She<br />

leaves just enough detail for you to wonder.<br />

Ian Fleck is a 15 year old sophomore at the<br />

Los Angeles County High School for the Arts,<br />

where he is the first chair clarinetist in the orchestra.<br />

He discovered his passion for music<br />

at a very early age, and played several instruments<br />

before deciding to focus on clarinet in<br />

2013. He soon joined the Kadima Conservatory<br />

of Music, where he continues to play yearround.<br />

Ian enjoys many disciplines of music,<br />

including arranging, transcribing, composing,<br />

conducting, and performing. He studies music<br />

from multiple genres such as jazz, classical, and<br />

contemporary. He is the youngest of three children,<br />

and lives in Los Angeles with his family.<br />

Jasmine Flowers is a well-watered poet from<br />

Birmingham, AL. Her favorite flowers should be<br />

jasmines, but she loves peonies too. She received<br />

her BA in English from the University of Alabama.<br />

Currently, she is a poetry editor for Variant Literature<br />

Journal. Her poems are published in Rejection<br />

Letters, River Mouth Review, giallo, Q/A<br />

Poetry, perhappened mag, Versification, and<br />

Mineral Lit Mag. Follow her on Twitter: @jas_flow<br />

Jackson Forte is a 19 year old composer and<br />

multi-instrumentalist from San Clemente, California.<br />

He is currently attending Chapman<br />

University as a sophomore, pursuing a double<br />

major in Music Composition and Keyboard Collaborative<br />

Arts, as well as a minor in film music.<br />

Jackson’s compositional style takes inspiration<br />

from video game soundtracks and impressionist<br />

music, as well as his own half-Korean heritage.<br />

Additionally, he writes music for student<br />

films, and is hoping to pursue a career in film<br />

scoring. As a pianist, he often collaborates with<br />

instrumentalists and vocalists as an accompanist,<br />

playing in concerts and recitals. Aside from<br />

this, Jackson also enjoys expanding his musical<br />

instrument collection, and he hopes to get his<br />

hands on a pair of bagpipes in the near future.<br />

Rohit Ghusar is a 20 year old film student at<br />

CSUN. He was born in Yuba City, California<br />

and has been into photography for about<br />

5 years and is a total camera nerd. Photography<br />

was his introduction into film and holds a<br />

very special place in his heart. Rohit’s dream<br />

is to be a writer/director for film since it encompasses<br />

all of his interests such as photography,<br />

music, and writing. Rohit has won Gold<br />

Key Scholastic Art Awards for his photography.<br />

Andrés González-Bonillas is a Xicano poet,<br />

student, and photographer based in Philadelphia<br />

via Arizona. His work focuses on Latinx<br />

identity, love, ancestral history, and radical<br />

politics. Andrés has been published in<br />

La Vida Magazine and has been a member of<br />

the Excelano Project since 2019. He is pursuing<br />

a BA in English at the University of Pennsylvania,<br />

with a focus in Post-Colonial Lit and<br />

Theory. Follow him on twitter @gonzanillas<br />

Daniel Han is currently studying at the University<br />

of Southern California School of Cinematic<br />

Arts. Inspired by Chazelle, Spielberg, and<br />

so many other legends, Daniel aspires to be<br />

an auteur of his future productions. A people’s<br />

person, Daniel values the human relationship<br />

and character above all else both in his works<br />

and in real life. Consequently, Daniel’s favorites<br />

genre to write and create is a coming of<br />

age story that is sprinkled with small moments<br />

of fantasy, or as people call it, “movie-magic”.<br />

Anashrita Henckel is an emerging artist who<br />

was born in the Caribbean, grew up in London<br />

and now lives and works in Dubai. Primary<br />

school teacher by day and artist by night, she<br />

works in a variety of media including drawing,<br />

painting, paper sculpture and digital art and has<br />

a particular interest in constructing geometric<br />

motifs that add layers and meaning to her artworks.<br />

As a young artist fresh out of university,<br />

Anashrita took part in exhibitions in London and<br />

Staffordshire and has seen many of her artworks<br />

sold to private collectors. She then took time<br />

away from the artworld to raise her two cheeky<br />

sons to teenagehood, but has now resumed creating<br />

and has artwork in several online gallery<br />

collections. Anashrita has plans to exhibit in

galleries and exhibitions once they are safe to<br />

reopen after the Covid 19 pandemic has eased.<br />

Eric Huang is a composer based in Los Angeles,<br />

California who is currently studying music composition<br />

and communications with an emphasis<br />

in business at the University of California, Santa<br />

Barbara. Although he also enjoys composing<br />

concert orchestral pieces, his main focus is<br />

writing music to film. Aside from creating music,<br />

he also enjoys cooking and playing badminton.<br />

Neil Kadian is a senior at Dr. Ronald E. McNair<br />

Academic High School in Jersey City, NJ. He has<br />

spent the last three years improving technologies<br />

for drug delivery in his high school and<br />

local labs, and often takes inspiration from biological<br />

architectures found in nature. He is humbled<br />

to be an ISEF finalist and alumni of several<br />

research programs including the Summer Science<br />

Program, NJGSS, Columbia SHP, and NJ<br />

Governor’s STEM Scholars. Neil’s work reflects<br />

his strong belief in the importance of centering<br />

academic research on altruistic values—originality,<br />

elegance, pragmatism, long-term forethought,<br />

efficient allocation of resources, and<br />

comprhensive consideration of outcomes—and<br />

hopes to echo these principles in the future as<br />

a research- and medicine-focused professional.<br />

Matthew Kaminski studies at Chapman University<br />

in Southern California and writes music<br />

for orchestra, small ensembles, wind ensemble,<br />

and vocalists. He is a ten time first place winner<br />

for the state of Oregon through MTNA and<br />

NFMC, and has been a national finalist three<br />

times in the US. His music has been described<br />

as extremely evocative with large amounts of<br />

imagery and emotion, and covers the genres<br />

of contemporary instrumental to electronic. For<br />

the last six years, Matthew has been a member<br />

of Cascadia Composers, chapter of NACU-<br />

SA, and YCP through fEar No Music. In 2019,<br />

Matthew attended the Brevard Music Center<br />

Summer Institute (NC) where he wrote Hidden<br />

Voices, which he later conducted the premiere<br />

of at the Arlene Schnitzer Concert Hall<br />

with the Metropolitan Youth Symphony. More<br />

of Matthew’s compositions can be found at<br />

makcomposer.com, or on Spotify/Apple Music.<br />

Esther Kim is a Korean-American writer from<br />

Potomac, Maryland. Her poetry is forthcoming<br />

or published in Diode, Up the Staircase<br />

Quarterly, and SOFTBLOW. In the summer<br />

of 2019, she participated in the Kenyon Review<br />

Young Writers Workshop. A senior in high<br />

school, she has been recognized by the Library<br />

of Congress, the Scholastic Art & Writing<br />

Awards as a National Gold Medalist, The<br />

Atlantic, and the Poetry Society of the UK.<br />

Patrick Kim was born and raised in Los Angeles,<br />

California. Currently in his first year at Stanford<br />

University, he plans to study Earth Systems, Mathematical<br />

and Computational Sciences, or Political<br />

Science. He is broadly interested in the intersections<br />

between climate science, public policy,<br />

and communication. In his free time, he enjoys<br />

hiking, eating hummus, watering his house plants,<br />

and climbing buildings to stargaze on roofs.<br />

Ibuki Kuramochi specializes in artworks for exhibition<br />

(paintings, movies and digital works),<br />

and also specializes in live performances combining<br />

her live painting with her Japanese Butoh<br />

dance. From 2012, Ibuki started exhibiting works<br />

in major cities in Japan, U.S.A.,Taiwan, France,<br />

Italy and Australia. She studied Butoh dance at<br />

the world renown Kazuo Ohno Butoh Dance Studio<br />

in Yokohama in 2016. Through her work, she<br />

pursues the physicality of Butoh’s poetic choreography<br />

and the pursuit of the human body in<br />

anatomy. She visualizes her performance and<br />

body movements as two-dimensional works<br />

and video works. Ibuki explores concepts of the<br />

body, thought and physical resonance, metamorphosis,<br />

the ideal of the Sci-Fi animation<br />

character’s body, and the uterus and fetishism.<br />

Anne Kwok is a National Student Poet Semifinalist<br />

and a Foyle Young Poet. She has been honored<br />

by the Alliance for Young Artists and Writers,<br />

National Poetry Quarterly, Poetry Society of<br />

UK, Smith College, 1455 Literary Festival, and<br />

the Apprentice Writer, among others. Her work is<br />

published or forthcoming in Hyphen Magazine,<br />

Oberon Poetry, Eunoia Review, and Half Mystic.<br />

Eric Kwok is a queer, Chinese-American poet<br />

born and raised in Brooklyn, NY. A graduate from

New York University, they currently work as an<br />

Electrical Engineer in Southern California. When<br />

not being coerced by capitalism, they spend<br />

their time cooking Chinese soups for their beloveds,<br />

listening to poetry podcasts, reading fiction<br />

that explores the emotional interiority of diasporic<br />

transience, and arguing about fruit. You<br />

can connect with them on Twitter @jooksingzai.<br />

Blake Levario is a Mexican-American writer.<br />

He is currently enrolled in New York University’s<br />

MFA program in Poetry. He reads<br />

poems for the Adroit Journal and is frequently<br />

being sad on Twitter @b_levario. You can<br />

find his words in or forthcoming from Hobart,<br />

Alien Magazine, Pidgeonholes, and elsewhere.<br />

Justin Lin is a senior in high school with research<br />

interests in the foundational science<br />

of deep learning as well as SoTA applications<br />

of computer vision in the context of robotics<br />

and medicine. He’s an incoming researcher at<br />

the Harvard ML Theory Group and Berkman<br />

Klein Center for Internet & Society. Currently<br />

he’s a researcher at the UCLA Visual Machines<br />

Group and USC IPILab with publications<br />

at SPIE and CVPR regarding computer vision<br />

applications. Furthermore, he’s founded RELU<br />

Labs as a part of his research into human-robot<br />

interaction and works on various aspects<br />

of public policy regarding technology. Outside<br />

of academia, Justin loves to play basketball,<br />

scroll through Twitter, and go on biking trips.<br />

​Matt Mettias is a multimedia visual and sound<br />

artist from Stanford University, where he is also<br />

currently studying educational policy and conducting<br />

research in psychology –– which still<br />

nurturing his artistic hobbies and tendencies.<br />

Some of his favorite activities include ocean<br />

diving in Hawaii (his home), playing pickup<br />

basketball with his best friends, and producing<br />

music –– everything from boom-bap rap<br />

and ‘classical trap’ to the blues and reggae.<br />

Smiti Mittal, a rising sophomore at Stanford University,<br />

first started writing in order to process<br />

pain. She has dabbled in slam poetry, creative<br />

non-fiction and play writing over the years. Regardless<br />

of the form, she is most drawn to stories<br />

that investigate the human condition. When not<br />

lost in thought, she can be found reading, running<br />

single cell data analysis or curating playlists.<br />

Reach out to her at smiti06@stanford.edu.<br />

Eva Ojeda F. is a multidisciplinary emerging artist<br />

currently based in the unceded territories of the<br />

Musqueam, Squamish, and Tsleil-Waututh peoples,<br />

colloquially called “Vancouver”. She holds<br />

a BFA from Emily Carr University of Art+Design.<br />

She was born and raised in Mexico City and<br />

her background as a WOC sets her practice as<br />

an artist. Eva’s work varies from performance<br />

art to sculpture and painting, exploring the<br />

themes of the body, race, identity and feminism.<br />

Osadolor Osawemwenze is an incoming student<br />

at Stanford University and plans on majoring<br />

in Communications. With his interest being<br />

vast and wide, he also intends on engaging in<br />

courses in Sociology, African and African American<br />

Studies, and Studio Art Practice. His future<br />

aspiration is to become a Creative Director to<br />

develop brands to change the way we see people<br />

in the marketing world. Not only as numbers<br />

or consumers but also people with important<br />

experiences to take into account, to increase<br />

media representation. In his podcast, a coming<br />

of age, but irl, Osadolor comments on all things<br />

concerning today’s youth. Diving into social issues<br />

and tying them back to pop culture, he offers<br />

entertaining insight on trends, while relaying<br />

his experience as a black student at a PWI.<br />

Follow him on his socials, keep up with his podcast,<br />

and check out his art at linktr.ee/osadolor.<br />

Luis Peña is a gifted designer, art director,<br />

Photographer, DP, and Director. His gift lies in<br />

his ability to see the world in the wide-eyed,<br />

holy-shit-this-is-amazing way that mostly<br />

only children do. This sort of purity of vision is<br />

rare indeed, and it allows him to notice things<br />

most people miss - like the small fragments of<br />

truth, beauty, and the unexpected that make<br />

up great film. He also enjoys candy orange<br />

slices, running ultra marathons, and sprinting<br />

blindly along the very thin line between triumph<br />

and disaster - especially if he can film it.<br />

Emily Ren is a college freshman from Plano,

TX passionate about the intersection of business<br />

and law. Her art explores the concept of<br />

the city and alienation from these metropolitan<br />

spaces, with a focus on minimalist design.<br />

When she’s not drawing, you can normally<br />

find her googling movie plot summaries<br />

or running around places in a suit and heels.<br />

Andrea Salvador lives somewhere in Asia,<br />

specifically a country with thousands of islands<br />

and constantly humid weather. She is an<br />

alumna of the Adroit Journal Summer Mentorship<br />

Program and the Sonorous Writing Workshop,<br />

while her work has been recognized by<br />

the Philippine Daily Inquirer, Columbia College<br />

Chicago, Trinity College - University of Melbourne,<br />

and Interlochen Arts Academy. In her<br />

spare time, she creates lists, watches sci-fi<br />

and horror movies, and rearranges her bookshelf.<br />

Find her on Twitter at @andreawhowrites.<br />

Melissa Skowron was born in Calgary, Alberta<br />

where she received her Bachelor of Fine Art in<br />

Painting from the Alberta University of Art in 2009.<br />

She has participated in many local shows including<br />

the Ignite! 2012 Emerging Artist’s Show, PARK<br />

art show, and as guest designer for Make Fashion.<br />

Emily Ahmed TahaBurt (she/her) grew up in<br />

Cairo, Egypt and Annapolis, Maryland. She is an<br />

emerging writer and this would be her first publication,<br />

though she was a finalist for the Etel Adnan<br />

Poetry Prize in 2019 for her chapbook manuscript<br />

On Distance. On Distance reflects on transnational<br />

relationships and how they inform other<br />

relationships, family histories, and xenophobia<br />

juxtaposed with a variety of twisted myths and<br />

fairytales. You can reach her on Instagram @emilyahmedtb<br />

or at emilytahaburt@hotmail.com.<br />

Elliott Voorhees is a cancerian poet from North<br />

Carolina. They studied English and Art History at<br />

the University of North Carolina at Greensboro,<br />

where they received their BA. From 2019-2020<br />

they were a member of the Leonard Pubantz<br />

Artist Residency Program where they created<br />

a collection of bilingual poetry written in English<br />

and German. This project stemmed from<br />

their love of language, particularly how it can be<br />

broken and reassembled to create new experiences.<br />

Starting in the fall, they will be a part of<br />

the MFA poetry cohort at California College of<br />

the Arts. They can be found on Twitter @_juuliuscaesar<br />

and on Instagram @juuliuscaesar_ .<br />

Lisa Yang is a Taiwanese Canadian multidisciplinary<br />

artist specializing in still life art direction,<br />

photography and prop styling. Her<br />

work focuses on bright and bold colours, textures<br />

and playful compositions. Often playing<br />

with fruits and mundane objects, she<br />

believes in not taking anything too seriously<br />

and to have fun in image creation. She currently<br />

resides and works in Montreal, Canada.<br />

Gilare Zada is a Kurdish-American from San Diego,<br />

California. She is a rising junior at Stanford<br />

University, and plans to major in English with a<br />

minor in Mathematics. Outside of school, she<br />

writes for the Stanford magazine and spends<br />

her free time writing poetry. Among ambitions<br />

to attend law school and live abroad, she<br />

hopes to one day publish her writing and return<br />

to visit Kurdistan with her mother, Berivan.<br />

Kate Hayashi<br />

Editor<br />

Rukan Saif<br />

Editor<br />

Lea Wang-Tomic<br />

Editor<br />

Stephanie Zhang<br />

Editor<br />

Esther Suyoung Moon<br />

Design<br />

Kelthie Truong<br />

Design<br />

Anicia Anjel Miller<br />

Junior Editor<br />

Jisoo Hope Yoon<br />

Poetry Reader

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