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Blue  Manifesto
    Letter from the Editor

Currents Brice AfonsoWorks in ProgressNibha AkireddyPlaying for DaysJon BennettRoman Candle  Oliver Beatty001: Potential Energy
Playlist
Hayden Carr-Loize and Pheobe Lippe
Cascade, Tooth, Circular Panel  
Sarah Chess
Expectations
Madeline Haze Curtis
Transmission I: spit with sonic weather
Claire Dauge-Roth
Try to Run
Clay Davis
Planning Time Off
Clay Davis
PoemSam ErteltUntitledUgo FerroUntitled, UntitledVitya FitsnerGray Cloud on San Jacinto PlazaDagoberto GilbThe Drunken WalkRobert Pogue HarrisonDead Friend Haunts Man with Mismatched Flip-Flops R. W. Haynes'On ne part pas' disait Rimbaud, FUWA, Journal
Marie Hazard
NorCal Wave (Series)
Eva Hoffman
Carlos y Pablo, agua y espuma, and other paintingsMaría Fragoso Jara
The Ballad of Jeff Bezos 
Margot Kaiser
And the Days Are
Not Full Enough

Lulu Lebowitz
The Many Lives of Energy
Anna-Sofia Lesiv
Douma, Schizein
Chrstipher Lyr
Pristine
Douglas Milliken
Tu es d'une sucrerie diabolique
Mona Neilson
Process of Sculpting Dream, Block-In of a Young ManKaelin PalcuOn the Street, In the Arena
Jonah Pruitt
Letter to You as a Tallgrass Meridian
Maxwell Putnam
Pandæmonium
Matthew Schultz
Spin, Measure, Cut
Molly Pepper Steemson
Untitled, Untitled
Oliver Stokes-Curtis
L'AppesaLorraine de ThibaultDiálogos IBruna VettoriAnonymized LetterxDirt Poem
Rachel Wolfe
Metanoia Arina ZhuravlevaUntitled #11 Arina ZhuravlevaLife as a Work of Art:
Henri Bergson on Possibility and Creation
Clara Zimmermann






Letter from the Editor


We conceived of Notch Magazine in fits and starts. Inspiration appeared and vanished like a mirage, dissolving on occasion and leaving behind swaths of arid land. In retrospect, meandering through the desert was a necessary stage of our becoming in the world. The careful dance of courting the mirage is intimately familiar to artists. So when it came time to choose our first issue’s theme, we chose to pay homage to periods of weighted absence that precede presence. 

Potential Energy is anchored in asymmetry—a person has potential in relation to a future state in which they have accomplished more. The ball at the top of the ramp realizes its potential when it rests at the bottom, as does the toiling writer when his words finally take shape. The space between present and future is the neck of an hourglass in which ideas transform from the vague realm of the imaginary into something that can be shared—a metamorphosis that is invisible to all but the creator. 

But unlike a grain of sand in an hourglass or ball on a ramp, the potential of an artist is neither fixed nor known. There is a uniquely human phenomenon of energy expenditure begetting greater potential: the more we create, the more we seem to be capable of. With each success, the promise of what might come is more acute. Artistic creation defies the laws of physics that describe the relationship of potential and actualization as inverse. Artists are not closed systems—bring together all the grains of sand in an hourglass, and they will discover a mirage.

For this issue, we asked our artists to meditate on the top half of the hourglass. In response, we received Madeline Haze Curtis’ confrontation of boundlessness, Nibha Akireddy’s paintings in progress, Dagoberto Gilb’s depiction of a tipping point (real or imagined), Brice Afonso’s video queering the inexorable march of evolution, Clara Zimmerman’s analysis of Bergson’s potentiality, and many more remarkable conjurings. 

In these pages you will encounter our contributors’ footprints through the desert. We hope that in following them, you stay attuned to shimmering apparitions you may encounter along the way.


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