De La Soul have announced their first new album in nine years: Cabin in the Sky is set for release on November 21 via Mass Appeal. The follow-up to 2016’s And The Anonymous Nobody, which earned a Grammy nomination for Best Rap Album, is also their first since the passing of founding member Trugoy the Dove (David Jolicoeur) in 2023. It’s led by the single ‘The Package’, which you can check out below.
Killer Mike, Yukimi Nagano from Little Dragon, Nas, and Black Thought, with production from DJ Premier, Super Dave, Pete Rock, and others. It marks the sixth instalment in Mass Appeal’s Legend Has It… series, which culminates with a joint album from Nas & DJ Premier later this year.
Nicotine habits are changing fast in Canada. Individuals are turning their backs on cigarettes and vapes and experimenting with something a lot less complicated, nicotine pouches. These are little, white pouches that are placed under the lip and bring nicotine with no smoke or smell. No lighters. No devices. Just a cleaner experience. Talking of nicotine pouches,yoonepouches is leading in this area, particularly YOONE Pouches. Why exactly is YOONE the name to reckon with when it comes to nicotine pouches in Canada? It is not only the name or the package. It’s how well the product fits into real life.
A Cleaner Choice That Fits Today’s Lifestyle
A change in the preferred method of nicotine consumption is one of the largest factors contributing to the rise in the popularity of nicotine pouches. It was normal to smoke, and now it is an attempt to avoid it, due to odor, health issues, and social consequences. Vaping was an escape hatch out of cigarettes, and yet that can seem like too much hassle: continually charging, leaky gadgets, fussy liquids, and clouds of vapor. YOONE simplifies all of that. There’s no smoke, no odor, no charging, and no awkward devices to carry. Just open the can, take out a pouch, and place it under the lip. That’s it. It also works in the background, quietly, without the need for attention or keeping others around bothered about nicotine desires that the users need. It is what would be ideal in a place where people would not want to be exposed to smoking or vaping, such as in public places, at work, and on public transportation. The pouch is nearly invisible when in use and doesn’t leave any mess behind.
Flavors That Actually Appeal
Taste matters. And YOONE Canada doesn’t fall short here. YOONE Pouches carries several YOONE flavors that match a wide range of preferences—from minty to fruity to refreshing. Current flavors available on YOONE Pouches include:
Cool Mint:A refreshing, frozen flavor, which is clean and fresh. One of the most chosen ones.
Icy Blackcurrant:A bold flavor with a mix of tart and sweet. Offers something different without being overpowering.
Lemon Spritz: Airy, fresh, and zesty. Perfect for the person who desires a spicy flavor.
Spearmint: Low strength as compared to Cool Mint, but still refreshing. It is wonderful to be used all day.
Apple Mint Slim:A unique mix of green apple and mint that feels both fruity and cool.
Fresh Mint Slim:An even, medium mint that is more on the lighter side of the scale of mintiness.
Citrus Slim:A milder citrus variant which is not as hard-hitting as lemon but is still delicious.
Cucumber Lime Slim:A calming, fresh combination. One of the more subtle options.
Black Cherry Mini Dry:A rich, sweet pouch with a dry texture that dissolves slowly.
Wintergreen:A classic cool mint with a sweet twist, ideal for users who like something smooth and familiar.
This range of flavors isn’t just about taste. It gives people variety. Some prefer sticking to a favorite. Others rotate flavors depending on mood, time of day, or even season. Having choices like these helps YOONE stand out in a growing market.
Strength Options That Match Every Need
YOONE has various strengths of nicotine pouches, thereby making it affordable to diverse categories of users. A new user of nicotine or one who is trying to quit smoking may begin with a weaker pouch. On the other hand, those who used to smoke heavily may prefer a stronger option. YOONE Pouches lists strength levels clearly, usually in milligrams (mg). Common strengths include 3mg and 6mg, with some flavors offering both options. This lets people stay in control. They can try different strengths and figure out what works best for their routine without needing to commit to one level right away. It’s not about pushing high doses. It’s about giving people a choice—and letting them pace their intake based on comfort.
Real Convenience: No Charging, No Refills
One of the main complaints about vaping is how high-maintenance it can be. Even disposable vapes have their issues: there are battery problems, quality inconsistency, and waste. YOONE avoids all of that. There’s nothing to plug in, nothing to refill, and nothing to clean. A pouch is ready the second the can opens. And once it’s used, it goes straight into the trash. No ash. No residue. No cleanup. It’s simple. And for people who don’t want to fuss over settings, buttons, or coils, that simplicity is a big win.
Fits Into Busy Lives
The amount of time people spend in one place working, running errands, commuting or even juggling school is growing immensely. You don’t always have spare time to have a smoke, and it is not always possible to use a vape. YOONE Canada works in quiet moments. On a walk. On a lunch break. Between meetings. While stuck in traffic. And since it does not smell or release any vapor, there is no need to go outside and inconvenience others around you. The small cans also fit well into a pocket or bag. This portability makes YOONE easy to carry anywhere, especially for those with fast-paced routines.
Used By People Trying to Quit Smoking
YOONE is not placed as a cessation product, though, and many individuals are using it as a means toward the reduction of cigarettes. It can satisfy the cravings more cleanly since it still provides the nicotine without the smoke, tar, or fire. For some, YOONE serves as a middle ground. They may not be ready to quit nicotine altogether, but they don’t want the mess and health risks of smoking. In that case, YOONE offers a practical alternative. Of course, everyone’s path is different. But having a product that feels easier to use and less harmful gives people more tools to choose from.
Buying YOONE in Canada Is Easier Than Ever
One of the biggest hurdles with trying something new is figuring out where to buy it. YOONE Pouches solves that problem for Canadian customers. The website makes it easy to:
Browse all available YOONE flavors and strengths
Read descriptions of each product
Compare prices
Get fast shipping anywhere in Canada
There’s no need to search in-store or guess what might be available locally. YOONE Pouches has everything in one spot. The checkout process is simple, and packages are discreet—another plus for people who prefer privacy. The fact that the selection is made to suit the Canadian market also plays in its favor. All the given flavors can indeed be delivered to Canada, and this means no frustration of being out of stock or having products available only in the United States.
Why YOONE Canada Keeps Growing
YOONE’s popularity in Canada isn’t by accident. It’s a product that lines up with how people live today—fast, clean, and low-hassle. The wide flavor selection, pocket-sized cans, different strengths, and zero-maintenance format make it one of the most user-friendly nicotine options out there. Increasing numbers of Canadians are moving to it, not because it is a fashionable thing, but because it actually works. It is not bulky and can be carried anywhere, can be used easily, and does not attract attention. And with YOONE Pouches offering a trusted source for YOONE in Canada, getting started—or restocking—is simple.
Conclusion
YOONE nicotine pouches are shaping how people in Canada think about nicotine. They contain no smoke, no odor, and represent a cleaner, more convenient method of nicotine consumption that does not cause one to turn heads or make a mess. Flavors such as Cool Mint, Lemon Spritz, and Black Cherry Mini Dry are the things that people can look forward to. The different strengths mean each person can tailor their experience. And buying through YOONE Pouches makes the whole process quick and easy. YOONE Canada isn’t just growing—it’s becoming the standard. For those looking for a modern way to use nicotine, YOONE is the clear front-runner.
As an AI enthusiast always on the lookout for new digital playgrounds, I’m diving into Janitor AI. This review will explore how Janitor AI lets you craft your ideal boyfriend AI or girlfriend AI, experiment with fantasy roleplay, and engage in “flirty conversations” or “romantic roleplay.” We’ll cover its features, user experience, and whether Janitor AI free options are a good starting point for your creative journey.
What is Janitor AI? Your Ultimate AI Companion Creator
Janitor AI positions itself as a fascinating platform for custom AI character creation and interactive storytelling. I’ve found it to be a unique space where you can bring your virtual companions to life, whether you’re interested in a nuanced boyfriend AI or a dynamic girlfriend AI for diverse roleplay scenarios, including “flirty conversations” and “romantic roleplay.”
Who Uses Janitor AI? Building Worlds and Connections
The community of users on Janitor AI includes individuals interested in detailed character design, immersive narrative exploration, and personalized AI interactions. People use it for both entertainment and a creative outlet, enjoying the freedom to shape their digital companions and stories.
How Janitor AI Stands Out in the AI Chatbot Scene
Janitor AI distinguishes itself from many other AI chatbot platforms through its deep customization options. I’ve found that the ability to meticulously define a character’s personality, appearance, and conversational styles really opens up possibilities for profound engagement and creative play, making each interaction feel truly unique.
Diving into Janitor AI: Setting Up Your Creative Space
Getting started with Janitor AI is an exciting journey into customization. I’ll walk you through how to sign up, build your unique AI characters, and begin engaging in conversations. It’s an intuitive process, much like setting up a new creative workspace.
Account Setup: Crafting Your AI Universe
Creating an account on Janitor AI is straightforward. You typically begin by signing up with an email or social media account. Once registered, you are prompted to set up your first custom AI character. This initial phase allows you to outline basic personality traits and a backstory, which I’ve found makes each AI feel truly yours from the very beginning.
Navigating the Platform: Your Creative Dashboard
The user interface of Janitor AI is generally intuitive, like a blank canvas ready for your AI experiments. You can easily find and interact with your created AI characters, manage your ongoing conversations, and refine your existing companions through a well-organized dashboard. This streamlined layout makes the creative process smooth and accessible.
Character Creation & Customization
The depth of customization available for creating AI characters on Janitor AI is extensive. You can define a character’s personality traits, provide detailed appearance descriptions, and even guide their conversational styles. These elements significantly shape the interactive experience, allowing you to truly design your ideal boyfriend AI or girlfriend AI.
Janitor AI Features: Where Imagination Comes to Life
Janitor AI is packed with features designed to bring your AI interactions to the next level. I’ve been particularly impressed with how smoothly you can switch between different roleplay scenarios and personalize the chat experience, making every interaction feel unique and dynamic.
Engaging in Roleplay & Romantic Roleplay
Janitor AI supports diverse roleplaying capabilities, ranging from intricate fantasy narratives to specific, user-defined scenarios. The platform also allows for “flirty conversations” and “romantic roleplay,” emphasizing user control and providing a space for creative exploration within ethical considerations. Users have the tools to manage their experience.
Custom AI Character Library
Users can explore a vibrant library of custom AI characters created by themselves and the community on Janitor AI. This feature makes it easy to jump into new roleplays with pre-designed companions or refine existing characters, fostering a collaborative and ever-expanding universe of AI personalities.
Interactive Tools & Personalization
Janitor AI enhances interaction through various personalized tools. The platform features memory retention, allowing AI characters to recall past conversations and preferences. It also supports different conversational styles, and user input continually refines the AI’s responses over time, leading to more realistic and engaging interactions.
Understanding how to access Janitor AI is key, especially if you’re wondering about a “Janitor AI free” experience or how paid options enhance your creative freedom. I’ll break down the different ways you can use the platform.
Free vs. Paid Access
Janitor AI free access typically provides a foundational experience, allowing users to create characters and engage in conversations with certain message limits. The benefits of premium access include increased message limits, advanced character customization options, and priority server access, which I’ve found can make a significant difference in long-form roleplays and more intensive creative sessions.
Subscription Tiers & Pricing
Janitor AI offers various ways to enhance your experience, often through subscription models or token-based systems. These tiers typically provide more messages, access to advanced features, and potentially faster response times. Details on specific pricing and what each tier offers are available on the platform, allowing you to choose the option that best suits your creative needs.
User Experience & Performance on Janitor AI
My experience with Janitor AI has been quite experimental, and I’ve found the platform generally responsive, but there are nuances to its performance that are worth noting. It’s like trying out a new game engine – some parts are polished, others are still being refined.
Platform Speed and Reliability
The overall performance of Janitor AI is generally stable. Load times for the platform and the response speed of the AI characters are typically quick, keeping the conversation flowing naturally. This reliability contributes to an immersive and engaging experience during interactions.
Device Compatibility & Access
Janitor AI is primarily web-based, making it accessible across various devices, including desktop computers and mobile devices. While I tend to use it on my desktop for the full, expansive experience, mobile access is incredibly convenient for quick chats and on-the-go creative sessions. There is no dedicated app, but the web interface adapts well.
When exploring any new AI platform, especially one involving personal interactions, it’s important to understand how your data is handled. I always consider the privacy settings as part of my “experiment setup.”
Protecting Your Information
Janitor AI implements privacy policies and data encryption to manage user data responsibly. These measures aim to ensure confidentiality and provide a secure environment for your creative explorations, safeguarding your interactions and personal information on the platform.
User Control and Safety Features
The platform provides features that allow users to manage their content and interactions. These include options to block unwanted engagements or report concerns, contributing to a safer and more enjoyable experience for everyone on Janitor AI. You maintain control over your digital interactions.
I often get questions about AI companions, so let’s tackle some common ones about Janitor AI.
Is Janitor AI legit?
Yes, Janitor AI is a legitimate platform. It provides tools for creating custom AI characters and engaging in interactive roleplay, serving as a creative and entertainment outlet for its users.
Is Janitor AI free to use?
Janitor AI offers a free access tier with core features, allowing users to get started without immediate payment. Premium features and expanded usage are available through paid options or token-based systems.
Can I create a custom boyfriend AI or girlfriend AI?
Yes, Janitor AI specializes in deep character customization, enabling you to design your ideal boyfriend AI or girlfriend AI by defining their personality, appearance, and conversational style.
How realistic are the AI conversations?
The AI conversations on Janitor AI can be quite engaging and realistic, especially with detailed character customization and ongoing user interaction. The AI’s memory retention and adaptive responses enhance the conversational depth over time.
What are the best ways to customize an AI character?
The best ways to customize an AI character on Janitor AI include providing a detailed backstory, specifying personality traits, and giving clear descriptions of their appearance. Experimenting with conversational styles and refining their responses through continued interaction also significantly enhances the character.
Final Verdict: Is Janitor AI Worth the Experiment?
Janitor AI stands out as a powerful platform for custom AI character creation and interactive roleplay. Its strengths lie in its extensive customization options, allowing you to truly design and interact with your ideal AI companions, whether for fantasy narratives or “romantic roleplay.”
Considering its features, user experience, and the availability of Janitor AI free options, it offers significant value for users interested in a creative, experimental, and personalized AI companion experience. Start your journey with Janitor AI, which lets you create and chat with unique characters. You can also explore Candy AI, known for its lifelike interactions and engaging personality models. And if you’re interested in discovering even more innovative platforms, check out Privee AI companions that push the boundaries of virtual connection. Disclaimer: The information provided about AI relationships is for informational purposes only. Users should be aware that while AI can offer companionship and emotional support, it cannot replace human interaction or professional advice. Your use of any AI platforms is subject to each platform’s terms and conditions. The information provided herein shall not be used in any way to facilitate illegal activities or relationships.
Call of Duty: Black Ops 7 has officially unveiled more details about its multiplayer experience. Specifically, Activision revealed that players can expect a wide range of modes, maps, and operators. With just a little over a week to go before launch, the upcoming game is building up the hype of being one of the most feature-packed in the series.
Modes in Black Ops 7
Based on the official announcement, the upcoming first-person shooter title will feature 16 modes at launch. Particularly, players can look forward to trying both new and returning classics. Each mode has been designed to highlight the game’s refined movement system and dynamic combat pacing.
Core and Hardcore Modes
Control (Returning)
Domination (Returning)
Face Off Moshpit (Returning)
Free-For-All (Returning)
Hardpoint (Returning)
Kill Confirmed (Returning)
Kill Order (Returning)
Overload (New)
Search and Destroy (Returning)
Team Deathmatch (Returning)
Alternate and Additional Modes
Face Off Domination (Variant)
Face Off Kill Order (Variant)
Face Off Kill Confirmed (Variant)
Face Off Team Deathmatch (Variant)
Gunfight (Returning)
Skirmish (New)
Launch and Preseason Maps in Black Ops 7
According to Activision, fans will see a total of 19 maps in Black Ops 7. It also marks the largest number of maps available before Season 1 in the history of the series.
Here is a closer look at all the maps:
Blackheart (Launch) – 6v6 and 2v2, Small-Sized
Colossus (Launch) – 6v6, Small-Sized
Cortex (Launch) – 6v6 and 2v2, Small-Sized
Den (Launch) – 6v6, Medium-Sized
Exposure (Launch) – 6v6, Medium-Sized
Express (Launch) – 6v6, Medium-Sized
Flagship (Launch) – 6v6 and 2v2, Small-Sized
Hijacked (Launch) – 6v6, Small-Sized
Homestead (Launch) – 6v6, Small-Sized
Imprint (Launch) – 6v6, Medium-Sized
Paranoia (Launch) – 6v6 and 2v2, Small-Sized
Raid (Launch) – 6v6, Medium-Sized
Retrieval (Launch) – 6v6, Medium-Sized
Scar (Launch) – 6v6, Medium-Sized
The Forge (Launch) – 6v6, Medium-Sized
Toshin (Launch) – 6v6, Medium-Sized
Mission: Edge (Launch) – 20v20, Large-Sized
Mission: Tide (Launch) – 20v20, Large-Sized
Nuketown 2025 (Preseason) – 6v6, Small-Sized
Operators in Black Ops 7
Aside from the modes and maps, the developer also said that there are 24 operatives available in the Operators Menu. However, not every operator can be used immediately. Some require players to accomplish a specific unlock criterion.
JSOC and Guild Operators
Anika Grimm (Unlocked at Player Level 7)
Axel Vermaak (Unlocked at Player Level 34)
Cird Jurado (Unlocked immediately)
Chloe Lynch (Unlocked via the Black Ops 7 Vault Edition)
David Mason (Unlocked immediately)
Emma Kagan (Unlocked at Player Level 40)
Eric Samuels (Unlocked immediately)
Gideon Falkner (Unlocked at Player Level 13)
Leilani Tupuola (Unlocked immediately)
Mike Harper (Unlocked via the Black Ops 7 Vault Edition)
Nora Anderson (Unlocked immediately)
Reaper EWR-3 (Unlocked via the Black Ops 7 Vault Edition)
Slade Barrick (Unlocked at Player Level 28)
T.E.D.D. (Unlocked via the Black Ops 7 Vault Edition)
Wei Lin (Unlocked at Player Level 19)
Zaveri (Unlocked immediately)
Zombies Dedicated Crew
Dr. Edward Richtofen (Unlocked immediately)
Dr. Elizabeth Grey (Unlocked immediately)
Grigori Weaver (Unlocked immediately)
Nikolai Belinski (Unlocked immediately)
Tank Dempsey (Unlocked immediately)
Takeo Masaki (Unlocked immediately)
Mackenzie Carver (Unlocked immediately)
Maya Aguinaldo (Unlocked immediately)
Availability
Call of Duty: Black Ops 7 will officially come out on November 14. Meanwhile, the preseason map Nuketown 2025 drops on November 20.
Realistic firearms training prepares shooters for situations that demand accuracy, control, and awareness. Stationary targets help develop precision, but they cannot fully simulate the challenges of an active environment. In real-life conditions, potential threats move unpredictably, forcing shooters to adapt quickly and maintain focus. That is why training with moving targets has become an essential part of modern firearms programs. These systems test not only a shooter’s aim but also their timing and decision-making under pressure. Using advanced moving target equipment builds a training space that feels closer to real situations and helps shooters stay sharp and perform well. Moving targets introduce an element of motion that transforms ordinary practice into meaningful skill development. They encourage shooters to track movement, adjust aim, and anticipate target paths. This process helps refine accuracy while building confidence. The more shooters work with realistic targets, the more natural their reactions become in unpredictable scenarios.
Creating Realistic Training Scenarios
Traditional target practice builds technical skill, but it lacks realism. When targets move, shooters must engage their coordination, awareness, and adaptability. These exercises replicate the tension of real situations without introducing risk. The sense of movement encourages shooters to think strategically about timing and positioning. This realistic approach helps bridge the gap between target range practice and field performance.
Enhancing Accuracy Through Movement
Moving targets challenge shooters to adjust continuously. Every motion requires recalculating distance, angle, and lead time. This repeated adjustment sharpens focus and builds fine motor control. Over time, shooters develop smoother transitions between aiming and firing. This improvement enhances accuracy and prepares them for real conditions where nothing stays still. Consistent exposure to movement builds trust in one’s abilities and strengthens confidence under pressure.
Building Mental Focus and Decision-Making
Shooting accurately is not just a physical skill. It requires calm, concentration, and quick decision-making. When targets move, the shooter must remain alert and patient, waiting for the right moment to fire. These mental demands develop discipline that extends beyond the range. Shooters learn to balance composure and urgency, two traits that define effective response in unpredictable environments. Training in this way builds resilience and confidence that translate to higher performance.
Supporting Law Enforcement and Security Training
Law enforcement and security professionals rely on moving target systems to prepare for field challenges. The unpredictable patterns mimic real encounters and teach critical response skills. Officers learn to assess situations quickly and act with control. This kind of training improves safety for both officers and the public. It reinforces teamwork, awareness, and precision during active response situations. The more realistic the training, the stronger the outcome in real operations.
Advancing Firearms Training with Technology
Modern target systems combine innovation with performance. Advanced designs can control speed, direction, and timing, providing endless training variations. Instructors can adjust scenarios to match skill levels, creating personalized practice experiences. This flexibility keeps training engaging and effective while reducing repetition fatigue. As technology continues to evolve, moving target systems will remain a cornerstone of professional firearm instruction. Their adaptability ensures that every session contributes to skill growth and situational readiness.
Moving targets have changed the way shooters train and prepare for real-life challenges. They transform static practice into active, realistic scenarios that strengthen accuracy and decision-making. With consistent use, they build both skill and confidence, helping shooters perform under pressure. Whether for personal improvement or professional readiness, realistic training is key to success. Advanced systems continue to push firearm education forward, providing safer, smarter, and more effective ways to train. Through this progress, modern shooting practice becomes not just about aim but about readiness for the real world.
The arrival of fall doesn’t just cool the air, it changes our rhythm. Movements slow, colors deepen, and mornings ask for layers that feel as calm as they look.
This is where WISKII enters the frame as a quiet study of how motion and stillness coexist.
Rooted in the timeless codes of British sport, The Heritage Edit reimagines tradition through softness and restraint, a nod to heritage made for modern movement.
These are pieces that move with you through everyday rituals, proving that beauty can be effortless and design, quietly lived.
Designed for Everyday Life
Between morning stretches, the commute, and evening plans, clothes have to keep up. The Heritage Edit, ten tops and three high-waisted leggings is built for that rhythm.
Every piece mixes and matches freely: off-shoulder, one-shoulder, or halter silhouettes pair effortlessly with V-shaped or scalloped waistlines to create different proportions and moods.
Take the Scallop Off-Shoulder Colorblock Long Sleeve Crop Top. Short-cut and framed with scalloped edges front and back, its color-blocked design sharpens the shoulder line while keeping a soft edge. Removable pads add light structure, and the Nude Sensation fabric, nylon with LYCRA® spandex, offers four-way stretch, moisture wicking, and flat-locked seams for a second-skin feel.
Pair it with the Riviera V-Waist Scrunch Leggings to elongate the waist, or with the High-Waist Scallop Scrunch Leggings (scalloped waist and hem) for a more unified, feminine set. Shades like Truffle/Almond and Fig/Mocha layer naturally with bottoms in Desert Truffle or Velvet Fig. For a lighter balance, switch to Oat Milk or Ivory and add a cropped jacket.
Autumn Palette and Lines
The Off-Shoulder Colorblock Long Sleeve Top leans toward the everyday: a single-piece color-blocked design that sits at the waist and skips scallop detailing. It’s ideal for early-fall layering—think under a trench or cropped jacket, with the High-Waist Scallop Scrunch Legging to keep a clean, uninterrupted silhouette. For a more defined waist, swap in the Riviera V-Waist Scrunch Leggings.
V-Waist Scrunch Legging – subtly narrows and elongates the waist, pairing best with cropped tops.
High-Waist Scallop Scrunch Legging – scalloped waist and hem echo the brand’s signature curved detailing in tops like the One-Shoulder Scallop Long Sleeve Crop Top or Scallop Off-Shoulder Colorblock Crop.
All three cuts also pair cleanly with tall boots, the no-front-seam finish and full length tuck smoothly without bulk.
The palette centers on autumnal earth tones: Desert Truffle and Velvet Fig anchor the range, Cinnamon adds warmth, Oat Milk and Ivory lift brightness and contrast, while Deep Sea offers a cool counterpoint.
Tone-on-tone pairings (e.g., Truffle top × Desert Truffle legging) feel composed and grounded; light-dark contrasts (Ivory top × Velvet Fig legging) bring energy. Rotate these combinations across the seven pieces and you have a capsule ready for early mornings, office hours, and quiet weekends.
How Fall Trends Live in Everyday Dressing
This season’s shift shows up in cleaner shoulders, higher waists, and color contrasts that read calm rather than loud. Pared-back marks, softened curves, and considered layering turn active pieces into clothes you reach for every day.
The update is practical: a bare shoulder sets the tone, the waistline sets the proportion, and light–dark contrast sets the mood. A one-shoulder scalloped top adds ease while keeping its structure.
Waist: a V-shaped waist lifts the line; a straight waist holds a steady column.
Contrast: tone-on-tone calms; light–dark wakes things up (Ivory × Velvet Fig; Truffle × Desert Truffle).
These pieces carry presence through proportion, negative space, and material restraint. That’s the point of this season’s activewear: say less, and let cut and palette set the tempo.
Dressing with Purpose and Ease
The fall season offers us a chance to reconnect with ourselves, our surroundings, and our wardrobes. WISKII understands this.
The collection is built around movement and mood, tuned to the slower pace of the season. It lets you move freely, pause comfortably, and dress in a way that reflects the nuance of your day.
This is what style looks like now: not showy or overly curated, but deeply felt and intentionally lived.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, November 4, 2025.
Sorry – ‘Candle’
Ahead of the release of their new album COSPLAY on Friday, Sorry have shared its final teaser, ‘Candle’, a ghostly, intense track built on a bouncy piano riff. It follows previous cuts ‘JIVE’, ‘Echoes’, ‘Jetplane’, ‘Waxwing’, and ‘Today Might Be The Hit’.
Remember Sports – ‘Bug’
Philadelphia-based band Remember Sports have announced a new album, The Refrigerator, with the punky, dynamic ‘Bug’. “Have you ever stepped on food on your bedroom floor that you haven’t eaten in many days?” vocalist and guitarist Carmen Perry commented. “I wrote this song in the early part of the pandemic, when everyday felt like I was alive solely to make a mess and then clean it up. Or not. It’s hard to not think about the things you don’t wanna think about when you have nothing to do.”
Smerz – You got time and I got money [feat. Clairo] [VVTZJ EDIT]
Smerz have released Big city life EDITS, a companion to their latest album that features from Copenhagen scenemates including Erika de Casier, ML Buch, Fine, and Astrid Sonne, as well as They Are Gutting a Body of Water, MIKE, and more. The whole thing is extremely cool, but I’m singling out an enchanting rendition of ‘You got time and I got money’ courtesy of Clairo and VVTZJ.
I Promised the World – ‘Bliss in 7 Languages’
Texas-based five-piece I Promised The World have signed to Rise Records and announced a new self-titled EP arriving on January 16. They’ve marked the news with a blistering single called ‘Bliss in 7 Languages’, which was produced by Jon Markson (Drug Church, DRAIN, Stay Inside) and Adam Cichocki.
King Hannah – ‘This Hotel Room’
King Hannah are releasing a new limited edition 7″ next month. The warm, wistful ‘This Hotel Room’ is out today, and its B-side is a cover of Gillian Welch’s ‘Look at Miss Ohio’. “Our favourite thing to do is sing together and harmonise and we wanted a song of our own that allowed us to do this,” the duo shared, “a song that sounded timeless and nostalgic and paid homage to the country-folk singers we love so much while still resonating as a King Hannah track. We’re always trying to capture an intimacy and write in a way that is personal and honest and reflective, and ‘This Hotel Room’ is no exception to this. To us it’s about the past and the future, about trying to find warmth and love in both of those things while also recognising the sadness and sense of loss inherent to both.”
cruush – ‘Rupert Giles’
Rubert Giles! What a cool guy. In a statement about their new song, Manchester band cruush don’t explain why they named their fuzzy, expansive new single after the Buffy the Vampire Slayer character, but it’s well worth a listen. “On a writing retreat to Wales, we took a sunrise hike up Penygader,” they recalled. “We listened to nothing but Neil Young, Brownhorse, and the Van Halen song ‘Panama’. We were sitting by this lake at 6AM, with the sun rising, listening to it, and all felt well. We knew we had a great song written, we were all sleep deprived and sweaty, the stars were aligning.”
Paula Kelley – ‘Party Line’
Paula Kelley, who cut her teeth as a member of shoegaze legends Drop Nineteens, has dropped a vibrant, hypnotic song titled ‘Party Line’. “When the song came to me it presented nearly fully formed- a pedaling bass line, a four part vocal harmony, an expansive soundscape,” Kelley explained. “Sometimes songs sound great in your head but then don’t translate well into reality. I was lucky with this one. As I was recording part upon part, it felt as though the song was writing itself. It’s a dreamy song about dreams—not the kind that come during sleep, but rather wishes, anxieties, projections—as a way to work through and reconcile an unhappy past.”
Philadelphia-based band Remember Sports have announced a new album, The Refrigerator, which arrives February 13 via Get Better Records. Following the great recent single ‘Across the Line’ is the searing, dynamic new song ‘Bug’, which is also the second track on the LP. Check it out and find the album cover and tracklist below.
About the new track, singer and guitarist Carmen Perry shared the following statement: “Have you ever stepped on food on your bedroom floor that you haven’t eaten in many days? I wrote this song in the early part of the pandemic, when everyday felt like I was alive solely to make a mess and then clean it up. Or not. It’s hard to not think about the things you don’t wanna think about when you have nothing to do.”
Perry began writing the songs on The Refrigerator in the wake of 2021’s Like a Stone, an album the band couldn’t tour due to COVID. “It felt like everything I had worked for was falling apart,” she recalled. “For a while, I wasn’t sure what the world was going to look like post-COVID, let alone my life. I was afraid I wouldn’t be able to play music the way I had before.”
At 28, she started working at an elementary school, which ended up inspiring the record. “Kids are weird and wonderful and deeply intuitive,” she said. “Helping them through COVID made me think constantly about my own childhood, memories came flooding back, and so did this intense desire to protect and nurture the little kid I used to be. That completely changed how I approached my writing, and honestly, how I approached my life.”
The band notably tracked The Refrigerator at Chicago’s Electrical Audio just after the passing of Steve Albini. “It feels like a Saturn return record,” Perry concluded. “Messy, hard, crazy-making, but ultimately healing. A convergence of all my past selves into one sad adult who needed direction and reassurance and, most of all, safety.”
The Refrigerator Cover Artwork:
The Refrigerator Tracklist:
1. Across The Line
2. Bug
3. Thumb
4. Selfish
5. Ghost
6. Fridge
7. Roadkill
8. Cut Fruit
9. Yowie
10. Zucchini
11. Soothe/Seethe
12. Nevermind
Stella Donnelly had to resist the urge to turn ‘Year of Trouble’, the piano ballad that anchors her new album Love and Fortune, into a Robyn-esque moment of dancefloor melancholy. She almost took it off the record when her bandmate, Julia Wallace, encouraged her to play it the way she already had been: keep it small. Yet her emotional devastation, the fragile power of her voice, has rarely sounded bigger. “I’m undressed, paperless, filter gone,” she begins as she confronts the loneliness of a friendship falling apart. She does dress up other songs, like its brattier counterpart in ‘Feel It Change’, but that nakedness is what helps the record move from one chapter to the next, like taking heartbreak by its daily swings. Searing and unguarded, Love and Fortune is not just a record about bridges burned and straining for reconciliation, but a reclamation of the dozen selves pecking for attention in the midst of solitude. “Take back my little life, and push you away/ I set myself on fire, for someone else’s flame,” she sings on ‘W.A.L.K.’. More than careful not to reignite it, by the end of the ride, Donnelly sounds caring, kind, and turns out, more than a little fortunate.
We caught up with Stella Donnelly to talk about a charity shop piano, a friendship breakup, self-help books, and other inspirations behind her new album Love and Fortune.
Normality and repetition
I’d decided that I wasn’t going to tour for a year or two, just to figure out if I was going to make music again, so I got a job in a bakery. It was my first time knowing what was happening that week: I wake up, go do the job, come home. And I do think that repetition, riding my bike along the same road every day, finishing the food in my fridge, all of those sorts of things really fostered that. I was finding a lot of joy in the repetition, playing in a netball team, just having those weekly things that I really look forward to doing. I got bored, which I think is the perfect recipe for me to write songs.
When did you feel the boredom leading to inspiration?
It’s like with anything new you start, you’re like, “I work in a bakery, this is the best fun ever.” And then a month in, your legs are really sore, you’ve eaten way too many croissants, and you’re really sick of the customers. You’ve just washed your 70th pan covered in oil, and it’s that point where you have that perspective of, “Okay, playing music’s not so bad.” [laughs] Working in a bakery is not so bad either, I loved it, but working those hours in hospitality – the charm wears off quite quickly.
Were you writing songs while working at the bakery?
I worked all the way through the record, so yeah. I’m still working part-time now, not in the bakery, but in different jobs. Now it’s nice, because I’ve got the repetition, but I do have a little bit of excitement and joy and playing music again, so it’s a nice combination.
A new box to write in
I was living in a share house, which had a really big shed out the back. My housemate works in film, and he’s a builder, and he had a bunch of materials, so he built me a box – a room that you could fit maybe three people in, no windows, and the box went inside the shed. It honestly was life-changing, because it was also the middle of summer, so this box was the coolest room in the house. We didn’t have air conditioning or anything, so I would just go into my dark little box and spend hours in there. It’s just like that feeling when you rearrange your furniture or something – it’s that “I’m in a new house feeling,” you know? It was such a beautiful gift to me.
So when you say you wrote songs in the shed, you mean in the box in the shed?
Yeah. [laughs] It was also because I was out in the shed, but I knew that my housemates could hear me, so I was feeling insecure about annoying them and the neighbors. It was also just a soundproofing situation.
Do you think that contributed to the atmosphere of the record?
I think the loneliness of it. Being in such a quiet space maybe contributed to the record being very introspective, more so than my previous work. It definitely contributed to it being all about me.
A charity shop piano
The piano was a big part of Flood as well, but it becomes a different kind of emotional thread through the piano songs on Love and Fortune. What role did the piano have in shaping this record?
I didn’t lean on it as much in this record. I spent a bit more time with the guitar on this record, but the charity shop piano, it’s that feeling of: you sit down, and there’s an opportunity to write a song immediately. I guess you could pick up an acoustic guitar, but I never had my guitars lying around. You pick up the electric, you gotta plug it in, you gotta get the pedals on, there’s a process to that. Whereas you could just be, literally, from getting out of the shower, within 30 seconds writing a song on the piano. Having a piano around is just really good for me.
I think the songs that I wrote on piano are more vulnerable just in the sort of physiological experience of playing a piano. It’s very there, whereas playing guitar, I kind of have this little shield. I feel like there’s a bit more confidence, and I’m standing up, whereas I feel like you can’t really lie when you write a song on piano. I guess that’s where I turned to the piano, when it was time to go there in some of the painful moments of the record.
Were there more songs like ‘Year of Trouble’, ‘Friend’, and ‘Love and Fortune’ that didn’t make the cut?
There were more guitar songs that didn’t survive. Most of the piano songs survived, maybe a couple of the demos didn’t make it through. I feel like the piano songs were carried the theme of the record for me, They really created these sort of anchor points to stretch and branch out on the record.
Was there a song out of these that was the trickiest to sing over?
Well, ‘Year of Trouble’ was tricky. I initially wanted it to be a sad Robyn sort of dance floor song, but also ‘The Look’ by Metronomy – that was the energy. And then it just kept not working. We ended up going to do a show, and I was gonna cut the song from the setlist, and Julia [Wallace], who engineered the record, they were like, “Do not cut that song. Just play it on piano, it’ll be great.” And I’m really glad they stepped in there and encouraged that for me. That was a tricky one, it felt like a bit of a beast that we were wrangling. ‘Friends’ and ‘Love and Fortune’ came very quickly.
Limitations
Going through a friendship breakup, I was writing so much, but in every song, I was trying to make sense of the whole situation in one song. Because I was still so close to the pain, I guess I was trying to figure it out in the song, and it got to the point where I was like, “Okay, enough. I’m just gonna let myself feel the one feeling, and then I can make up for it in the next song.” For example, ‘Feel It Change’ is quite petty in my eyes. It feels self-righteous and bratty, so I made up for it with ‘Year of Trouble. There were a few moments in ‘Year of Trouble’, where I’m like, “This so soppy,” so then I make up for it in ‘Love and Fortune’, which has a bit more wit about it. Each song really goes further into the feeling of it, and I think that also allowed me to expand on the character in each song – to not lean on the full story and just start to write more of a story around each situation.
Friendship breakup
‘Feel It Change’ and ‘Year of Trouble’ also complement each other as singles: there’s irony in wishing to be told you’re the perfect friend and then declaring that it’s all your fault, in a way. Having some distance from the record, what do you feel like forgiveness looks like in the context of a friendship breakup, where there’s usually more room for reconciliation?
I don’t want to go into it too much out of out of respect and care for that other person who hasn’t had the opportunity to write an album about it. [laughs] So much of it is just inspired by that situation, and it’s not just the truth in every detail. But there’s just so much shame in a friendship breakup compared to a romantic breakup. I have no shame about writing a breakup song about any of my exes, but when it came to this… There’s a reason I stopped playing music for two years. I wasn’t sure I was willing to go there, because it’s just complicated, and a friendship breakup speaks so much to your personality and your humanity. It was a very confusing time. I think when it comes to forgiveness, again, it’s such a complicated situation that I can only forgive myself for certain for the parts I’ve played, forgive the other person for the parts they’ve played. And just move on – I think that putting this record out is that, like, “I can move on now.”
Does being in music, or any kind of spotlight, complicate how you deal with that breakup, especially when it’s a shared thing?
For me, the friendship was over by the time I’d written the record, and that was not necessarily my choice. I had to do the work on my own to figure it out and to reconcile with everything that way, so the music in itself kind of allowed me to do that. It’s why we write songs, I guess. So much of the record is a love song to that person, and I had to justf let go of how they might feel if they heard it, because I had to write the record, in a way.
There’s a lot of overlap between a friendship breakup and a romantic breakup, but they don’t always demarcate your life in the same way. I’m curious if it had that effect on you.
I think what it made me realize is that there’s a very thin line between platonic friendship and romantic friendship. It’s a very confusing line. In a way, my life was very split. It was a very disruptive, eruptive, harrowing experience. You start to evaluate all of your other friendships. It’s quite destabilizing, because you start worrying this might happen with other friends, and it was working through that and finding my grounding again.
What did it change about how you approached other friendships? What were you more aware of?
I honestly think the dynamic that two people create is their own, and I realize that sometimes it’s just not the vibe. For a while, I was a little shaky, but I think now I just really cherish the people in my life, the friends that I have have had for a very long time.
Share house
How did it affect your day-to-day life outside songwriting?
I love living in a share house. I find it so nourishing and nurturing. I was in a house with six other people, and then across the street was another house filled with our friends. I’ve since moved 100 meters down the road, so it still feels very much like we’re all part of the same community. None of my housemates were musicians, except my partner, Marcel. And I found that so exciting. I was living with a midwife who would come home at six in the morning, covered in blood, with stories of birth. People who work in film, or a school teacher, a landscaper. That was a very exciting space to be in, but also just the feeling of knowing my friends are around, having cups of tea. You can tap straight into community really quickly, but also tap out of it and know that that’s okay, and I think for me that feeling of writing music whilst there are people around is a really comforting thing. I hate being home alone. I feel like apartment living is the life. If I ever got to live in my own house somewhere, I’d want to live in an apartment so that I could hear people around.
Would they ask you about the music?
Yeah, I wouldn’t really talk about it. None of us really talk about our jobs. It’s a beautiful thing. We talk about food. We talk about planning our next camping trip, or we do the quiz, or we just laugh about random shit. It’s such a beauty, this feeling of: these people love me, and they may have not even listened to my albums. I think that’s having true chosen family. None of us really know what each other’s doing, but we all really love each other very much. One of my friends in that house, Grace, my best friend, she knew what I was going through. She’d been by my side through that time anyway, so I wasn’t gonna bore her with any more of my, like, whinging, or my songs. She hasn’t heard the record yet, she’s just hearing it as it’s coming out. I did send it to two of my best friends, we live in different parts of the world.
Could you talk about the ways in which friendship, and not the breakup, inspired the record?
The record was just me, Marcel, who plays drums, Jack [Gaby], who plays bass, and Julia, who plays keys and flugelhorn. It’s just the four of us, and I produced it. No one else knew what we were doing. It felt like we didn’t have an adult with us. I felt like we’d we’d snuck into a studio and we’re just doing what we could do with what we knew, which was very special and instrumentalin the sound of the record – it being, I guess, stripped-back. The two friends that I sent the demos gave me the confidence to put the album out. They were really supportive of me. I am a needy person, and I realize my well-being really relies on the people around me. Not even just in service to my music, but not being in my own world all the time. I’m really glad I got to step out of the box and share the songs with Jack, Julia, and Marcel.
Self-help books
You weaponize them in a darkly funny way on the title track. I’m curious if that was just a lyric that stuck in the context of the song, or if reading self-help books had actually become a habit.
Yeah, it had become a habit. I was just trying to make sense of the world. I think it’s ironic, really – I was in a share house full of people that loved me, but I was in my room reading self-help books, thinking that that was going to be the answer to getting over a breakup. I made a list of self-help books that I was reading. The first one was Dopamine Nation by Anna Lembke. Then I read Unstuck by Dr. Emily Musgrove – that was really helpful. Then I got into The Creative Act by Rick Rubin, and then Big Magic by Elizabeth Gilbert, which was actually the best one.
Why was it the best?
I’ve never read Eat, Pray, Love, so I don’t really know anything about Elizabeth Gilbert, but she was talking about how she wrote all these books, and she thought Eat, Pray, Love was going to be the trashest of all books. She kind of hated it, and then it ended up doing really well. It was this idea of: just let it go, write whatever the fuck you want to write, and you don’t get to decide what happens after that. I think that gave me the confidence to write the album and almost approach it the way an author would approach a book, rather than a musician approaching a record, splitting each song into a chapter.
I started moving on to reading women’s stories, Crying in H Mart by Michelle Zauner, Motherhood by Sheila Heti, The Outline by Rachel Cusk, All Fours by Miranda July. I was reading all these women’s stories where they were kind of alone in the world, and picturing them sitting alone, writing those books, gave me great comfort while I was sitting in my box in a shed.
Was reading a daily habit when you were writing, or did you take breaks from it?
No, I was so into it. I had a library card – because I was home, I guess, it was my first library card since I was a child. I had this huge list in my notes from recommendations of what to read, and I would just stand in the library and try and find any of those recommendations. I was deeply absorbing as much work as I could at that time; avoiding the pain.
One moment that stuck out to me in terms of the language of self-help showing up on the record is in ‘Please Everyone’: “We hide ourselves in always pleasing everyone, and you can’t please everyone.” That feels like one of the lessons of the record.
Yeah, and to be brave. I’m really learning that a lot, actually, at the moment. ‘Being Nice’, for example – I think I need to actually take the lessons from the songs that I write. I think I do a lot of impression management; I really want to make a good impression on people that I meet, and I work so hard at doing thatthat sometimes I forget who the fuck I am and what I like. I hope that I can begin to get over that and just grow up.
This interview has been edited and condensed for clarity and length.
Anastasiya Dzhioeva didn’t arrive at POSITIONS Berlin Art Fair 2025 with a “digital corner.” Coming from CIFRA, a multipurpose digital art platform that combines streaming, a marketplace, and educational programming, she arrived with a proposition: that digital art can sit inside the logic of a major international fair without being reduced to spectacle, novelty, or a polite side-programme. POSITIONS Berlin Art Fair 2025 took place on 11–14 September 2025 at Tempelhof Airport (Hangar 7), and is an international contemporary and modern art fair within Berlin Art Week where galleries present curated booths and special presentations. She arrived with a proposition: that digital art can sit inside the logic of a major international fair without being reduced to spectacle, novelty, or a polite side-programme. The CIFRA × Upframe digital section was not simply present; it was legible — and in a fair environment, legibility is power. It is the difference between a visitor glancing and moving on, and a visitor stopping long enough to be changed by what they’re seeing.
It also mattered, structurally, that CIFRA was the only dedicated digital media section at POSITIONS that year. Being the only one is a kind of pressure you can’t fake. It forces the section to carry the medium’s reputation on its back: if the presentation is sloppy, digital art becomes “sloppy”; if it reads like entertainment, digital art becomes “entertainment.” Anastasiya’s work — both before the fair behind the screen and on-site during the fair — was precisely about refusing those defaults, and building a framework where emerging artists could be perceived through the fair’s most serious lens: as contemporary practice that can hold attention under pressure, take up space among objects, and claim its place in an ecosystem that still privileges the physical.
The thematic anchor, Future Recipes, was the right kind of idea for that task because it isn’t decorative. A recipe is a method: a set of ingredients, constraints, tools, and infrastructures that decide what becomes possible. In digital culture, “recipes” are everywhere — the algorithmic recipes that govern visibility, the technical recipes that dictate what formats can circulate, the social recipes that decide what becomes credible. By placing Future Recipes in the fair context, Anastasiya and the CIFRA team were effectively saying: the future of digital practice isn’t a single aesthetic; it’s the evolving relationship between artists and the systems that shape their work’s production and reception.
That is why the open call process is not just an administrative detail. It is part of the argument. Future Recipes attracted 166 submissions, each requiring full registration and upload — a procedural seriousness that signals to artists and audiences alike that this isn’t a pop-up gimmick. Anastasiya Dzhioeva’s coordination of that pipeline matters because digital art is often trapped between two extremes: the frictionless online feed, where work is endlessly accessible but rarely deeply engaged, and the specialist festival circuit, where the audience arrives pre-converted. A fair is neither. A fair is where work has to convince strangers, quickly, in public, in transit.
Within that structure, the selection’s breadth became a strength because it was choreographed rather than dumped. You could feel it in how the works sat together: not as a random stack of moving images, but as a conversation about bodies, systems, ritual, simulation, appetite, and belief. One minute you might find yourself pulled into Annan Shao’s Reptile Cafe, with its unsettling intimacy and world-building; the next you’re in the conceptual temperature shift of Alexandra Tchebotiko’s Tomorrow I won’t be here, which carries disappearance not as drama but as logic. Zack Nguyen’s The Space Between Becomes Us doesn’t merely “show” something — it asks what distance does to identity, how relational gaps become material. Then the room can tilt again: S()fia Braga’s Third Impact moves with a kind of charged, speculative intensity, while Eyez Li’s Wandering at the Exit of Deity / 徘徊于神明的出口 touches the spiritual and the infrastructural at once, holding the sacred and the system in the same frame.
If the theme is “recipes,” then these works read like different forms of cooking: slow fermentation versus flash heat, careful measurement versus intuitive improvisation. That metaphor becomes especially vivid when the fair context forces viewers to ask a question they don’t always ask online: not only “what do I feel,” but “what is this doing here, among objects, among markets, among institutions?” Anastasiya Dzhioeva’s curatorial translation was partly about letting that question remain open without letting it become dismissive.
This is also why the UK presence inside the selection carried a specific kind of resonance. A fair is a career-making context precisely because it is a place where an artist’s work is not simply “watched” but positioned. When mmii’s Co:beliefs sits in a fair environment, it isn’t just a piece of digital media — it becomes a statement about how contemporary belief systems are engineered, shared, and performed. When James Bloom’s Half Cheetah appears nearby, it’s not simply a striking work title; it becomes a hinge between the language of technology and the language of body, speed, and evolution — the kind of tension fairs understand well because they’re built on the friction between old forms and new propositions.
Then you have the UK-connected practices that complicate the idea of national scenes entirely: Ruini Shi (China/UK), with FuneralPlay, brings ritual into the digital with a sharpness that resists both sentimentality and irony; Maricel Reinhard (US/UK), with A Meal For The Rest of Your Life, turns appetite into a system of meaning — not “food” as lifestyle, but consumption as a structural condition. In a fair context, these works don’t just “represent” UK-linked practice; they demonstrate that emerging digital artists can be read seriously by the same audiences who typically reserve that seriousness for painting, sculpture, and object-based installation.
The curatorial picks layered the argument further, refusing to let “emerging” become an aesthetic category. Under Alessandro Ludovico’s selection, SENAIDA’s Thread 342: East of Empire (3-Channel) introduces multi-channel complexity — not as tech flex, but as a way of thinking about history, empire, and split perception. Frederik De Wilde’s ADAL brings a different pressure: a sense of systems and signal that feels clean until you notice how much it’s doing. Katia Sophia Ditzler’s WE ARE DESCENDED FROM THE SAME EUKARYOTE pushes the theme toward the biological and the philosophical, reminding the fair audience that “future” is not only computational; it’s cellular, shared, and unsettlingly continuous.
And Anika Meier’s picks sharpened the emotional register without abandoning rigor. Ivona Tau’s Summer Diary holds intimacy in a way that feels fragile in a fair’s bright, transactional atmosphere — which is precisely why it matters to place it there. Marine Bléhaut’s Clara navigates presence and character with a clarity that doesn’t need volume to hold you. These choices complicated the section’s rhythm: they made room for quiet works to survive the fair.
None of this cohesion happens by accident, and this is the part that people often miss when they talk about “visibility.” Anastasiya Dzhioeva’s labour was both long-term and immediate. Before the fair, her work happened “behind the screen”: shaping the open call, coordinating jury workflow, managing communication with artists, ensuring registrations and uploads were complete, and translating a curatorial idea into a selection that could be installed and understood. That behind-the-scenes work is the invisible ingredient in the recipe — the thing that makes the fair moment possible.
Then, during the fair, Anastasiya was physically present on site — and that matters just as much. A digital section becomes a true public-facing space only when someone holds it: answering questions, contextualising without flattening, supporting artists, speaking to collectors and institutional representatives who want to understand how digital work sits inside acquisition logic, and ensuring the zone doesn’t slip into the “cool screens” trap. In the highest-traffic parts of a fair, attention is a constant negotiation. Anastasiya’s on-site presence helped turn passing curiosity into engaged looking.
The metrics tell part of the story: the section was positioned in one of the most frequented areas of the pavilion, reaching an estimated 400 visitors in the pop-up zone within a total attendance often cited around 30,000. The project generated 14 documented media and institutional mentions, plus organic social engagement that extended beyond the fair itself. But the deeper point is conceptual: CIFRA’s presence as the only digital art section didn’t just serve CIFRA — it served the artists by placing their work in a context where it could be taken seriously, evaluated, remembered, and advocated for.
A fair perspective is harsh — but it is also clarifying. It forces digital art to be framed as art, not content. It forces audiences to slow down long enough to understand method, not merely effect. It forces institutions and collectors to confront the reality that digital practices are not an emerging side-genre; they are contemporary practice, fully. At POSITIONS 2025, Anastasiya Dzhioeva helped make that confrontation possible — with a theme that operated as a method, with a selection that held together without flattening difference, and with the kind of on-site stewardship that turns an idea into a space people actually enter.
