iiii Magazine is an independent arts and culture publication, based in London and Manchester. We talk about culture in the sense suggested by Francis Bacon, when he said of intellectual enrichment: 'the culture and manurance of minds’. Our approach to culture is the same: that something bright and engaging may be derived from detritus. We love cultural ephemera in particular, and despite Bacon’s near-perfect turn of phrase, it is the position of the magazine that it is not sufficient. We publish articles that stretch our assumptions of what culture can be, so long as they are forged with originality.
We place no limits on subject matter or form — we have published incisive criticism, personal essays and memoirs, humour pieces and odes to oddities — but we take as a guiding principle this from Flann O’Brien’s The Third Policeman (1967):
‘Always ask any questions that are to be asked […] Turn everything you hear to your own advantage. Always carry a repair outfit. Take left turns as much as possible. Never apply your front brake first’.
¶ Visit Our Shop
Support the magazine by visiting our SHOP.
~ With the help of Studio Hyte, we created a football (scarf) with no crest, no local, nor national allegiance — a garment that challenges the ugly attitudes that alienate so many from the beautiful game.
~ As well as looking fresh, your (scarf) is also doing its bit to address the aforementioned issues, with 10% of all profits raised donated to LGBT charity Stonewall (Charity number: 1101255)
¶ Work With Us
iiii Magazine is a non-profit organisation, and our modest team of editors, reporters, and social scribes work on a voluntary basis. We do have plans to address this in the future. As it is we are looking for a creative, driven individual to join the team, to help shape future editions. If you would like to work for iiii Magazine, do send a CV and a cover letter outlining the sort of role you would like to take to firstname.lastname@example.org. We will do our best to get back to you quickly.
¶ Forthcoming Editions
A Publication by iiii Magazine: A look at football culture through twenty classic kits
(crest) is a book that entwines history, design, and football culture to enliven debate about belonging — both local and national — in a fractious British and European moment. Classic football kits are artefacts highly sought after by collectors and fans alike. Is this a question of design, of a club’s success, or of nostalgia? Can it be all or none of these things? In twenty short essays by twenty writers, (crest) charts the peculiar histories of each of the 2018/19 Premier League football clubs through the lens of a prized classic kit from the past decades. The book takes football seriously at its root, and looks at how larger forces drive the sense of allegiance of football-loving individuals — what hidden personal stories make the Beautiful Game beautiful when it can seem so ugly?
Produced by iiii Magazine, (crest) will feature quality photography and minimalist design. iiii encourages deep and engaged archival research, as well as idiosyncratic and strange personal stories. Whatever the mode or the form, iiii Magazine is committed to providing generous editorial support to writers.
The online publication continues all year round, and publishes articles in three broad categories:
- Esoterica and funny writing [the stranger, more parochial, the better]
- Long-form interviews and features
- The 500 [react, respond in 500 words to an artefact, a lyric, a piece of punctuation, anything]
If your text does not fit into one of the above categories, don't fret, we just need a pitch. Please send a query or an extract from your text to email@example.com with SUBMISSION in the subject line. Work should be previously unpublished; but we will consider work under consideration elsewhere if you let us know. We are run by a team of volunteers, and thus we are unfortunately not yet in a position to offer a fee.
Please provide a short author’s bio-line which will be published under your piece. 'Algenon Overling is a fictional writer based in 12th Century Denmark. He likes to relax with his kestrel and his crossbow. Good with kids’.
Please defer to the short style guide. It not only saves on editorial nit-picking, but illustrates commitment to the publication.
- Oxford commas, yes. In lists of three or more things, include a comma between the final two, before the ‘and’ (Manchester, Leeds, and London).
- Titles of books, films, exhibitions italicised. Titles of artworks ‘Like This’ (2018).
- One space after full-stops. Always.
- ‘Use single quotation marks “except for quotes within quotes” at all times’.
- Include spaces before and after em-dashes. (I wouldn’t — but for in unlikely circumstances — consider a teacake).
- Dates: 5 May 2016 / Decades: 1980s.
- Special formatting requirements are difficult to manage on an optimised website, but we will always try to meet a writer’s needs.
Provocation of the Nightingale (2017) trailer from SHEN XIN on Vimeo.
¶ Where and when did the project Provocation of the Nightingale originate?
'My film 'Provocation of the Nightingale' (2017) originated from a research project of more than two years into the assimilation of Buddhism across various cultural contexts. In the film, the fictional script playing out in Channel 1 is set in the context of South Korea, where the practice of Buddhism is more equal when it comes to gender — though it is embedded in a society that inherits many patriarchal traditions and practices. Besides that, however, the found footage Channel is a more open-ended investigation of other religious practices, such as female imams, and women-only mosques in China'.
¶ How significant is it that the two characters are lovers, in amongst the debate of science and spirituality?
'The space of love is both a fiction and probably the most "felt" thing in the film. The subject matters of science and spirituality follow it — instead of the other way around. The two characters’ physical portrayals of affection allow us access to a space where all of their emotional attachments are revealed, and here, their different belief systems are established'.
¶ What considerations did you pay to working with the human body in the film?
'The bodies in the film linger on the surface of the reflective projection when it comes to engagement of the narrative. As the actors tried to interpret the expressions of queer love, which is still considered to be taboo in South Korean society, their tentative attempts began this teacher-student romance; at the same time, the actors work just as hard with their professionalism and acting skills to interpret a sort of broken Korean text — a text translated from English — to make sense of it, and to break it down into performed realities'.
¶ The camerawork often undulates or changes focus or looks up and down. I wonder if you could talk a little about the cinematography. It suggests in some ways an uneasiness about us as viewers watching the scene — even though you deal with intimacy and tactility on the other side of the camera.
'This has to do with how the collaboration was dealt with: the actors don't speak English, the script was translated into Korean, and a translator was needed at all times. So there were a lot of interruptions, interpretations, misunderstandings — the multilayered process of translation. The actors' ways of using language differ from the translated script in a sense of speed, and in their experiences of space — so their bodies were involved as both actors and protagonists.
There were times in which the actors were looking at the camera, looking back, being aware of the construction of the filming environment, as well as reading from the script which was hiding beneath where they sitting. All these moments were precious to the construction of the filmic space.
There were a lot of juxtapositions of edits when it came to syncing sound and image, and these were intentional considering their relationship with the camera work. The camera pans from a general impression of the theatre to the stage's edge, to the theatre seats, and to the actors.
It's constantly drawing out the space within which the filming is set. This has a lot to do with performativity from both sides of the screen: from the lovers and from the viewers. The performativity found in the speech between lovers was worth exploring, as well as how we perform our positions as viewers: in the act of establishing perspective, and the act of recognition, while we are watching a video work'.
¶ The piece concerns spheres of knowledge: religious, scientific — the interaction of these magisteria. But it also concerns other people. What is your belief about the importance of others in the building of oneself?
'With regard to how others help build an image of the self, I think the idea of otherness concerns the production of abstraction, both experientially and linguistically.
The investment into examining this process of the production of abstraction suggests that it is constant, and the characteristic of being constant is perhaps the space otherness could inherit. And the self, undoubtedly for me, shares the same space'.