Take a leaf out of someone’s book—there, in sprawling handwriting, is a meeting place: a bridge you once loved a few universes over. When you get there, there’s no sign of anything or anyone… sinθ #23 “NOTES 帖” collects works that evade, that disguise, that make strange and that demand a second look. These works ask for your attention the way a footnote, a post-it tab, the bleeding of fluorescent highlighter into a page of your favorite book, or a letter slipped gently into your pocket would. Look, and don’t look away.

In this issue:

  • Editor-in-Chief Jiaqi Kang speaks with designer Janny Jingyi Ye; they discuss the evolving collections of her fashion label, seventyfive, her collaborative project, pomelo, and the centrality of memory and history in her fashion design.
  • Quinn Leong’s ghostly self-developed film photographs defamiliarize the spaces in his everyday; Angelina Han’s “I Ran Into My Past Self Today” collages an unexpected moment of re-encounter.
  • Managing Editor Chi Siegel chats with polymathic creator Xiaowei R. Wang about the impulse and process behind their projects, and the transformative power of innovative technology in a digital age that is both precarious and limitless.
  • Juliette Wu’s digital illustration “Wedding Day” echoes Vivien Qian’s photoshoot “Perennial” in their contemplations on ritual and tradition.
  • Web Editor Hayley Wu features Trevor Van de Velde for our Student Spotlight; they trace the roots of his musical practice, the intersections between culture and technology in his work, and what it means to center community in art-making.
  • In Katie Hwang’s short story “A Catfish”, no one is who they claim to be—how can you know nothing about the person you know so well? Daisuke Shen transports us into a fever dream in his short story “God’s Eye”; T. Y. Christiansen’s “Notes on a Geography Field Trip” and Sarah M. Zhou’s “Movie Scene at a Midtown Bus Stop” stumble into and out of almost-discoveries.
  • Poems by Ting Lin, Catherine Zhang, Shameera Nair Lin, Yasmina Jaksic, and Jonathan Chan brim with memory and tenderness.

Cover by editor Eli Hsieh.