This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
When, if ever, is language natural? In her November column, Adina Glickstein contemplates writing unburdened by digital posterity and what freedom might lie beyond consent.
As pre-orders roll in for her new memoir, Scammer, the disgraced influencer spills the beans to Adina Glickstein about grifting, gendered fame-seeking, and the it-girl as a startup.
Two exhibitions in Paris – Nile Koetting at Parliament Gallery and the group show “Au delà” at Lafayette Anticipations – conjure data’s limitations in the face of the divine.
On Friday 31 March at Soho House Berlin, Tanya Cruz speaks to Adina Glickstein about Keiken’s latest game, Morphogenic Angels,and the collective’s transmedial production of speculative worlds.
Will we still set New Year’s resolutions when our consciousness lives on computers? Adina Glickstein rings in 2023 with transhumanists, goblins, and worms.
In her new column "User Error," Spike Editor-at-Large Adina Glickstein charts the volatility of love and the crypto market, and finds solace in nightcore and Avril Lavigne conspiracy theories.
Scent, memory, and language all imperfectly conjure the moments we keep coming back to. Adina Glickstein writes about Rimbaud, a new fragrance from Celine.
![Katonah Yoga "Wraps for Rapture"](https://www.spikeartmagazine.com/sites/default/files/styles/medium_square_400/public/users/shared/articles/images/katonah_yog_22wraps_for_rapture22_diagram_cropped.jpg?itok=Drdam04r "Katonah Yoga "Wraps for Rapture"")
