By: Samuel Grange

The innocent smiling child is now offering a symbol of castration.

By: Lucia Laurent-Neva

His loneliness was soulfully painful.

By: Hamsini Shivakumar

Somehow, it doesn’t feel right to wear them.

By: Chris Arning

Its abrasiveness (or what you might call asperity) is perfectly calibrated.

By: PROJECT:OBJECT

Objects of significance to consulting semioticians worldwide…

By: Jeff Malmberg

A film gets to be many things, including sometimes a recipe.

By: Vicente Lozano

To Ahmad, the notebook is everything.

By: Joshua Glenn

“I know what we need. The Killer!”

By: Laura Miller

A passport to another world that Jeffrey only thinks he wants to visit.

By: Carlo Rotella

You spend the whole scene wondering when the hovering hand will start powdering again.

By: John Sellers

WHY DON’T THEY EAT THEIR KILL

By: Alix Lambert

In slowness there is a value, anticipation, a treasuring of the physical object.

By: Tony Arcabascio

Nothing could fuck with me when I had that extra skin on.

By: Annie Nocenti

Locke slips out of his own clothes and into Robertson’s life.

By: Guy Trebay

Both a key to the plot and a kind of subliminal tell.