인스타그램 스토리 저장

MOLD is divesting from the internet. Our last day of publication will be June 20, 2025, the day of the summer solstice in our home base of New York City. Our energies, resources and gifts will transition to the work of @fieldmeridians, our sister project, an artist collective rooted in Crown Heights, Brooklyn, committed to creating tools for ecological resilience through social practice. We are choosing to invest in livingness, in tending to all the species that call this place home, and in building hyperlocal community through networks of care.

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🌀Our final print issue is officially here!!!

💫Completing our cycle of 6 print issues, this final edition returns to the microbial scale by focusing on designing new earths on this Earth: to spark new imaginaries, forge new relationships, and most importantly, ground ourselves in the soil. 🌍

This issue includes conversations with Cooking Sections @cookingsections, Anna Lowenhaupt Tsing @feralatlas (Mushroom at the End of the World) and Barnabé Fillion @barnabefillion (Arpa), artwork by N&MS @nandms100, Somnath Bhatt @m0henjodaro, Eric Timothy Carlson @erictimothycarlson, Benedikt Luft @benediktluft, and Monika Mogi @monikamogi, Thomas McCarty @thomas_mccarty and contributions from Stephen Satterfield @isawstephen (Whetstone/High on the Hog), Alicia Kennedy @aliciadkennedy, Mariana Pestana @m.pestana, David Zilber @david_zilber, and Meg Miller @meggmillerr (Are.na). Scent intervention by Emma McCormick Goodhart @emmamccormickgoodhart andBarnabé Fillion.

A 48-page poetry insert, “Scores for a New Earth” assembled by Emma Leigh Macdonald @emmaleighmacdonald accompanies the issue.

Read the full editor’s note at the 🔗 and pickup your copy through our online store or at your local independent bookstore. Long live print! #moldmagazine

🌀Our final print issue is officially here!!!

💫Completing our cycle of 6 print issues, this final edition returns to the microbial scale by focusing on designing new earths on this Earth: to spark new imaginaries, forge new relationships, and most importantly, ground ourselves in the soil. 🌍

This issue includes conversations with Cooking Sections @cookingsections, Anna Lowenhaupt Tsing @feralatlas (Mushroom at the End of the World) and Barnabé Fillion @barnabefillion (Arpa), artwork by N&MS @nandms100, Somnath Bhatt @m0henjodaro, Eric Timothy Carlson @erictimothycarlson, Benedikt Luft @benediktluft, and Monika Mogi @monikamogi, Thomas McCarty @thomas_mccarty and contributions from Stephen Satterfield @isawstephen (Whetstone/High on the Hog), Alicia Kennedy @aliciadkennedy, Mariana Pestana @m.pestana, David Zilber @david_zilber, and Meg Miller @meggmillerr (Are.na). Scent intervention by Emma McCormick Goodhart @emmamccormickgoodhart andBarnabé Fillion.

A 48-page poetry insert, “Scores for a New Earth” assembled by Emma Leigh Macdonald @emmaleighmacdonald accompanies the issue.

Read the full editor’s note at the 🔗 and pickup your copy through our online store or at your local independent bookstore. Long live print! #moldmagazine

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Climate Controlled Dosa Picnic Basket, Goa, Dec 2024

The @serendipityartsfestival commissioned us to host picnics on the banks of the Mandovi River. We worked with a team of chefs to make four-foot-long dosas, which were installed in four locally built baskets. We gathered as a procession to transport the baskets to a picnic site for an open-to-all outdoor celebration of the dosa.

Thank you to LinYee @linyee_is_outside , Mold Magazine @thisismold , and Edible Issues @edible_issues for inviting us to dine at the Serendipity Arts Festival. We had the privilege of working with Studio Kadak @built_kadak , who fabricated the baskets with local materials and expertise. Their tireless passion and craftsmanship broughtthis vision to life. Special thanks to Prarthana @prarthanatagore for orchestrating the logistics behind the scenes, and to all the volunteers who made this celebration possible.

More documentation to follow.

Otherworlds X Mold
Serendipity Arts Festival 2024

This time last year.
A Seed Library and a Zine Library.
400+ cardboard boxes, each hand pressed and folded and attached together with 3d printed nut bolts.
.
.
@thisismold
@edible_issues
@serendipityartsfestival
.
@oum_ok @lionelafonso @arkoded
.
@ankitgeorge96
@studio.dahl.in
.
.
See you again this year too !

#parametricdesign #cnclaser #3dprint

SALE! SALE! SALE! Up to 30% off everything in our store. It’s our first and (probably) last sale on every product in the MOLD store. Magazines, tote bags, tees, stencils and more — even our full archive is on sale. From now until the end of the year. ➡️ thisismold.myshopify.com

Early this June, 73 square miles of land along the lower Klamath River were placed under the ownership and management of the Yurok Tribe, in the largest “land back” deal in California history. Two decades in the making, the deal is the latest step in a broader movement to restore tribal sovereignty along the banks of the Klamath River.⁠
⁠
Today, the Klamath River flows freely from Lake Ewauna to the Pacific Ocean. This is no small feat. Until last fall, four hydroelectric dams obstructed the river’s natural course. For over a century, the dams had degraded local ecosystems, decimating salmon and steelhead trout populations essential to indigenous foodways and choking the river with toxic algal blooms. After decades of advocacy from Klamath River Basin tribes and environmental groups, the dams have been demolished in what marks one of the most ambitious river restoration efforts in U.S. history.⁠
⁠
The true work however, extends beyond the moment of demolition. Under tribal stewardship, ecologists like Joshua Chenoweth, the Yurok Tribe’s senior riparian ecologist is working on large-scale restoration efforts—a process that will take decades—in order to ensure the ecological health of the region’s future. Isabel Ling speaks to him about the revegetation efforts on the ground of the Klamath River Basin. ⁠
⁠
Link in bio to read more from Land Back.

In ‘Parable of the Sower’, Octavia Butler’s protagonist, Lauren, is a “sharer”, syndrome that allows her to feel what others in her vicinity are feeling physically and emotionally. In the fourth installment of Kandis Williams’ series on Octavia Butler, Williams explores hypervigilance.

Link in bio to read more from Kandis Williams’ series on Octavia Butler.

From women in San Jacinto, Mexico who have married trees to protect them from illegal logging to the granting of legal personhood to the Whanganui River in New Zealand, applying human rights to the non-human world has been a successful tactical strategy for safeguarding planetary health. In her contribution to our Land Back series, Lily Consuelo Saporta Tagiuri interviews water defender Yaku Perez on his work as an advocate for ecological jurisprudence.⁠
⁠
Link in bio to read more from Land Back.

Joy James argues that Afrofuturism “channels factual horror into the imaginative future”. In the third installment of Kandis Williams’ series on Octavia Butler, Williams examines how Butler uses the trauma of enslaved and exploited bodies to envision a Black future that rejects colonial narratives, writing “Afrofuturism serves as a tool for reimagination, countering a long history in
which black life and creativity have been relegated to the ‘scrapings of myth’.”
⁠
Link in bio to read more from artist Kandis Williams' series of essays on Octavia Butler.

In the second installment of Kandis Williams’ series on Octavia Butler, the artist examines Butler’s writing through the framework of Aime Cesaire’s boomerang effect. As Cesaire writes: “And then one fine day the bourgeoisie is awakened by a terrific boomerang effect: the gestapos are busy, the prisons fill up, the torturers standing around the racks invent, refine, discuss. People are surprised, they become indignant. They say: “How strange! But never mind—it’s Nazism, it will pass!” And they wait, and they hope; and they hide the truth from themselves, that it is barbarism, the supreme barbarism, the crowning barbarism that sums up all the daily barbarisms; that it is Nazism, yes, but that before they were its victims, they were its accomplices; that they tolerated that Nazism before it was inflicted on them, that they absolved it, shut their eyes to it, legitimized it, because, until then, it had been applied only to non-European peoples.”⁠
⁠
WIlliams argues that through her writing Butler counters the fascist myth-poetics formed within these racial colonial orders. That as a fiction writer, Butler builds an oppositional gaze to black inferiority, capitalizing on language, she reveals the falseness of the settler logic and the incomplete records it leaves behind.⁠
⁠
Link in bio to read more from artist Kandis Williams' series of essays on Octavia Butler.

In the second installment of Kandis Williams’ series on Octavia Butler, the artist examines Butler’s writing through the framework of Aime Cesaire’s boomerang effect. As Cesaire writes: “And then one fine day the bourgeoisie is awakened by a terrific boomerang effect: the gestapos are busy, the prisons fill up, the torturers standing around the racks invent, refine, discuss. People are surprised, they become indignant. They say: “How strange! But never mind—it’s Nazism, it will pass!” And they wait, and they hope; and they hide the truth from themselves, that it is barbarism, the supreme barbarism, the crowning barbarism that sums up all the daily barbarisms; that it is Nazism, yes, but that before they were its victims, they were its accomplices; that they tolerated that Nazism before it was inflicted on them, that they absolved it, shut their eyes to it, legitimized it, because, until then, it had been applied only to non-European peoples.”⁠
⁠
WIlliams argues that through her writing Butler counters the fascist myth-poetics formed within these racial colonial orders. That as a fiction writer, Butler builds an oppositional gaze to black inferiority, capitalizing on language, she reveals the falseness of the settler logic and the incomplete records it leaves behind.⁠
⁠
Link in bio to read more from artist Kandis Williams' series of essays on Octavia Butler.

Recent years have revealed uncanny parallels between Octavia Butler’s science fiction writing and our present political and environmental realities. In a new series from MOLD, artist, writer and editor Kandis Williams delves into Butler’s archive and legacy. Williams reveals that Butler’s seemingly predictive abilities as a Black, female science-fiction writer in a predominantly white Western literary landscape lay not in a devotion to the near future but rather an unflinching cognizance of the material conditions shaping her lived reality.

In the first installment of the series, Williams writes, “Butler’s formal prowess lies in her ability to materialize the intricate matrix of holding and withholding, observing the dissonance engendered by patriarchy, white supremacy, and fascism.” Across the essay, Williams analyzes how through her literature Butler exploited this cognitive dissonance, exploring and subverting the underlying assumptions of white supremacy to articulate and reimagine new realities outside of existing frameworks of oppression.⁠
⁠
Link in bio to read more from artist Kandis Williams' series of essays on Octavia Butler.

There are many interpretations/translations of the I-Ching. I use the Wilhelm/Baynes edition. Carl Gustav Jung wrote a kind of cheeky foreword for it.9 In my earliest introduction to the I-Ching, I latched onto hisspecific interest in the synchronicity or the coincidence of time that the I-Ching is meant to allow for as a way of understanding, accepting, and in certain circumstances, celebrating the chaos of life. According to Jung, the synchronicity part lies in the question, the answer you arrive at, and the way you, as the reader, interpret what the advice is. From this perspective, it’s not change so much as it is chance.

Link in bio to read more MOLD'S final series, Time.

There are many interpretations/translations of the I-Ching. I use the Wilhelm/Baynes edition. Carl Gustav Jung wrote a kind of cheeky foreword for it.9 In my earliest introduction to the I-Ching, I latched onto hisspecific interest in the synchronicity or the coincidence of time that the I-Ching is meant to allow for as a way of understanding, accepting, and in certain circumstances, celebrating the chaos of life. According to Jung, the synchronicity part lies in the question, the answer you arrive at, and the way you, as the reader, interpret what the advice is. From this perspective, it’s not change so much as it is chance.

Link in bio to read more MOLD'S final series, Time.

There are many interpretations/translations of the I-Ching. I use the Wilhelm/Baynes edition. Carl Gustav Jung wrote a kind of cheeky foreword for it.9 In my earliest introduction to the I-Ching, I latched onto hisspecific interest in the synchronicity or the coincidence of time that the I-Ching is meant to allow for as a way of understanding, accepting, and in certain circumstances, celebrating the chaos of life. According to Jung, the synchronicity part lies in the question, the answer you arrive at, and the way you, as the reader, interpret what the advice is. From this perspective, it’s not change so much as it is chance.

Link in bio to read more MOLD'S final series, Time.

There are many interpretations/translations of the I-Ching. I use the Wilhelm/Baynes edition. Carl Gustav Jung wrote a kind of cheeky foreword for it.9 In my earliest introduction to the I-Ching, I latched onto hisspecific interest in the synchronicity or the coincidence of time that the I-Ching is meant to allow for as a way of understanding, accepting, and in certain circumstances, celebrating the chaos of life. According to Jung, the synchronicity part lies in the question, the answer you arrive at, and the way you, as the reader, interpret what the advice is. From this perspective, it’s not change so much as it is chance.

Link in bio to read more MOLD'S final series, Time.