|
|
|
|
|
|
|
|
|
<!DOCTYPE html>
|
|
|
|
|
<html lang="en">
|
|
|
|
|
<head>
|
|
|
|
|
|
|
|
|
|
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
|
|
|
|
|
<meta http-equiv="Content-Style-Type" content="text/css" />
|
|
|
|
|
<meta name="viewport" content="initial-scale=1, maximum-scale=1">
|
|
|
|
|
<link rel="stylesheet" type="text/css" href="style.css" />
|
|
|
|
|
<title>SI21</title>
|
|
|
|
|
|
|
|
|
|
</head>
|
|
|
|
|
|
|
|
|
|
<pre>
|
|
|
|
|
<h1>Special Issue 21</h1>
|
|
|
|
|
<h2>xperimental publishing | april - june 2023</h2>
|
|
|
|
|
|
|
|
|
|
_ _
|
|
|
|
|
| |_| |_ _ _ transparent touches you time touches you teletype
|
|
|
|
|
| __| __| | | |
|
|
|
|
|
| |_| |_| |_| | thread the yarn through the years
|
|
|
|
|
\__|\__|\__, |
|
|
|
|
|
|___/ yontangle
|
|
|
|
|
tele touching you try touching yourself teletales teleroot
|
|
|
|
|
|
|
|
|
|
talk to you titty
|
|
|
|
|
|
|
|
|
|
</pre>
|
|
|
|
|
|
|
|
|
|
<body>
|
|
|
|
|
<h2>A typewriter?</h2>
|
|
|
|
|
|
|
|
|
|
<p>why shd it only make use of the tips of the fingers as contact points of flowing multi directional
|
|
|
|
|
creativity. If I invented a word placing machine, an “expression-scriber,” if you will, then I would
|
|
|
|
|
have a kind of instrument into which I could step & sit or sprawl or hang & use not only my fingers
|
|
|
|
|
to make words express feelings but elbows, feet, head, behind, and all the sounds I wanted, screams,
|
|
|
|
|
grunts, taps, itches, I'd have magnetically recorded, at the same time, & translated into word or
|
|
|
|
|
perhaps even the final xpressed thought/feeling wd not be merely word or sheet, but itself, the
|
|
|
|
|
xpression, three dimensional-able to be touched, or tasted or felt, or entered, or heard or carried
|
|
|
|
|
like a speaking singing constantly communicating charm. A typewriter is corny!!
|
|
|
|
|
<br>
|
|
|
|
|
From Amiri Baraka, Technology & Ethos, http://www.soulsista.com/titanic/baraka.html</p>
|
|
|
|
|
|
|
|
|
|
<p>------------------------------------------------------------------------------------------------------------</p>
|
|
|
|
|
|
|
|
|
|
<p>This issue started from a single technical object: a Model 33 Teletype machine. The teletype is the
|
|
|
|
|
meeting point between typewriters and computer interfaces, a first automated translator of letters
|
|
|
|
|
into bits. Equipped with a keyboard, a transmitter and a punchcard read-writer, it is a historical
|
|
|
|
|
link between early transmission technology such as the telegraph and the Internet of today. Under
|
|
|
|
|
the administration of our kubernētēs, Martino Morandi, each week hosted a guest contributor who
|
|
|
|
|
joined us in unfolding the many cultural and technical layers that we found stratified in such a
|
|
|
|
|
machine, reading them as questions to our contemporary involvements with computing and with networks.</p>
|
|
|
|
|
|
|
|
|
|
<p>The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered
|
|
|
|
|
and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded
|
|
|
|
|
naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release
|
|
|
|
|
weekly bricks was wattled by a shared understanding of time into something more complex in structure,
|
|
|
|
|
less structured in complexity.</p>
|
|
|
|
|
|
|
|
|
|
<p>Initially, the week's caretakers were responsible for collecting materials from our guest
|
|
|
|
|
contributions, which included lectures, collective readings, hands-on exercises, an excursion to the
|
|
|
|
|
Houweling Telecom Museum, Rotterdam and another to Constant, Brussels. The caretakers were
|
|
|
|
|
responsible for recording audio, editing notes, transcribing code, taking pictures, and making lunch.
|
|
|
|
|
Meanwhile the week's editors were responsible for coming up with a further step in how the publishing
|
|
|
|
|
progressed, by adding new connections and interfaces, creating languages, plotting strikes and cherishing
|
|
|
|
|
memories. This mode of publishing made us develop our own collective understandings of
|
|
|
|
|
inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and
|
|
|
|
|
futurability.</p>
|
|
|
|
|
|
|
|
|
|
<p>Teletypewriters ushered in a new mode of inscription of writing: if the typewriter set up a
|
|
|
|
|
grid of letters and voids of the same size, turning the absence of a letter (the space) into a key
|
|
|
|
|
itself (the spacebar), the teletypewriter finished it by inscribing the space in the very same
|
|
|
|
|
material as all other letters: electrical zeros and ones, that were to immediately leave the
|
|
|
|
|
machine. The Teletype Model 33, one of the most widely produced and distributed text-based terminals
|
|
|
|
|
in the 1970s, introduced multiple technological concretizations that are present in the computers of
|
|
|
|
|
today as a sort of legacy, such as the qwerty keyboard with control keys, the ascii character
|
|
|
|
|
encoding and the TTY terminal capability. We have created short-circuits that allow us to remember
|
|
|
|
|
otherwise technical progress and computational genealogies.</p>
|
|
|
|
|
|
|
|
|
|
<p>TTY was produced in april-june 2023 as special issue 21 of the xpub at piet zwart institute,
|
|
|
|
|
rotterdam. xpub is the master of arts in fine art and design: experimental publishing of the
|
|
|
|
|
piet zwart institute. xpub focuses on the acts of making things public and creating publics
|
|
|
|
|
in the age of post-digital networks.</p>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<h2>Subrelease <a href="enconv/enconv.html">Encoding Converter</a></h2>
|
|
|
|
|
<p>It's a table, it's a converter, it's a look behind-the-scenes at what really happens when you type on a keyboard!
|
|
|
|
|
You know, when you press a key and the computer somehow magically knows what you meant to say?
|
|
|
|
|
Oh well, our buddy Javascript is here to break it down for you in all its nerdy glory.</p>
|
|
|
|
|
|
|
|
|
|
<p>Get ready for some wild en-codings, including binary, hexadecimal, decimal, phonetic cyrillic,
|
|
|
|
|
and even the xpub1 emoji 😈 alphabet. So kick back, relax, and let's dive into the wacky world
|
|
|
|
|
of character en-coding. En-joy!</p>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<h2>We are on <a href="strike/index.html">Strike</a></h2>
|
|
|
|
|
<p>Inspired by the "The Phantom of the Operator" documentary, our project delved into
|
|
|
|
|
the unusual idea of a website going on strike.</p>
|
|
|
|
|
|
|
|
|
|
<p>Engaging in discussions both inside and outside the classroom, we explored the nature of strikes, labor actions,
|
|
|
|
|
and the often overlooked realm of invisible labor. As our ideas took shape and questions arose, we realized that
|
|
|
|
|
disrupting the functionality of the XPUB & Lens-Based Media Wiki, a platform where PZI people regularly access information,
|
|
|
|
|
could have a significant impact. Initially, we considered redirecting all the links to SI21's page or a Manifesto,
|
|
|
|
|
effectively occupying our beloved Wiki. However, considering the imminent assessment weeks for XPUB and LBM,
|
|
|
|
|
we decided against interfering with users' daily wiki experience and workflow.</p>
|
|
|
|
|
|
|
|
|
|
<p>Instead, we embraced a different approach to realize our idea while preserving the Wiki's main functionality.
|
|
|
|
|
Our solution was to unveil the previously unseen labor and highlight its significance. We added
|
|
|
|
|
specific texts to corresponding wiki pages, seamlessly integrating them into the current SI21 sub-release.
|
|
|
|
|
To distinguish these pieces of text as additions and explanations, we placed them on top of each page
|
|
|
|
|
with the "<!- comments ->" command, and thus rendering them as hidden elements, i.e. invisible on page load.
|
|
|
|
|
This allowed us to provide comprehensive details about our intentions and the underlying ideas
|
|
|
|
|
while maintaining the wiki's regular functionality.</p>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<h2>Hey Babe!</h2>
|
|
|
|
|
<p>Hey Babe! is a publication of XPUB1 as part of the Special Issue 21. It consists of excerpts from the
|
|
|
|
|
conversations at the Houweling Telecom Museum, parts from the documentary The Phantom of the Operator
|
|
|
|
|
and a collective reading experience on binary systems, time, worms and pebbles.</p>
|
|
|
|
|
|
|
|
|
|
<p>This publication aims to act as a familiar sound over the phone and requires a caller to be heard.
|
|
|
|
|
Unless anyone calls, our memories about the last couple of months will be phantomized.
|
|
|
|
|
This is our ode to the invisible labor of operators, long distance relationships,
|
|
|
|
|
people who could not hear from their lovers for years, trembling voices over the phone
|
|
|
|
|
and all the people who took an effort and spend time to reach someone. This is the sound
|
|
|
|
|
of your friend saying “hello” on the phone.</p>
|
|
|
|
|
|
|
|
|
|
<p>The pubication consists of many sound clips. The caller will listen to a random clip each time they call.</p>
|
|
|
|
|
|
|
|
|
|
<p>Press play and listen to some of the teletales:</p><br>
|
|
|
|
|
|
|
|
|
|
<!-- hey all, for some reason only one audio clip shows on the website. can someone try to fix it, please? -->
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/closing.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/telecompart1.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/museumtour.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/closing.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/voicewithasmile.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/zero.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/mol1.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/mosquitoatagate.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<audio controls="controls">
|
|
|
|
|
<source src="audio/void.wav" type="audio/wav">
|
|
|
|
|
Your browser does not support the audio element.
|
|
|
|
|
</audio>
|
|
|
|
|
|
|
|
|
|
<img src="gsm.jpg" alt="GSM card">
|
|
|
|
|
|
|
|
|
|
<h2><a href="https://hub.xpub.nl/breadcube/gesture/">Gesture Glossary</a></h2>
|
|
|
|
|
<p>This is the gesture glossary. Click a word to see the gestures related to it.</p>
|
|
|
|
|
|
|
|
|
|
<p>The aim is to see if a gesture glossary works and how it will work best.
|
|
|
|
|
Also to see what kind of different interpretations there will be on gestures of our memory.
|
|
|
|
|
To test the gesture glossary idea, and see what different meanings appear
|
|
|
|
|
or already exist in the current vocabulary. Putting next to each other
|
|
|
|
|
different agreements on linguistic and body units, testing what makes sense.
|
|
|
|
|
Investigating and playing with communicational channels in between us,
|
|
|
|
|
how a body language is documented, how it expands, how it is capable of creating
|
|
|
|
|
or enhancing identities. To be an xpub means to speak/perform the xpub language?</p>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<h2>Overlap</h2>
|
|
|
|
|
|
|
|
|
|
<p>We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst
|
|
|
|
|
feelings. We contain them and sometimes they overlap each other. Sometimes we are happy and sad;
|
|
|
|
|
sometimes we forget why we were even mad in the beginning. But we also share some of these moments or
|
|
|
|
|
galaxies that reside in our bags with other souls. We remember the same moment through a different
|
|
|
|
|
window. We remember that day as cold, whereas they remember it as warm. One by one, these moments
|
|
|
|
|
create one snapshot of the reality. The reality we create collectively. We sometimes trust our memories
|
|
|
|
|
and our memories always trust us.</p>
|
|
|
|
|
|
|
|
|
|
<p>We overlap, we crawl through the memory lane. We go silently through the gates of space and time,
|
|
|
|
|
we exchange our sights with each other and for one spectacular moment, all the stars in our bags spill
|
|
|
|
|
and we get to see through each others' eyes. Our bag is now in the middle, its ready for you to
|
|
|
|
|
discover and see the networks of our minds, make knots in the middle or intervene with what we call is
|
|
|
|
|
a collective memory of few xpubbers.</p>
|
|
|
|
|
|
|
|
|
|
<img src="overlap2.png">
|
|
|
|
|
<img src="overlap1.png">
|
|
|
|
|
|
|
|
|
|
<hr>
|
|
|
|
|
|
|
|
|
|
<h5>Special thanks to Martino Morandi (guest editor),
|
|
|
|
|
<a href="http://www.andreadiseregoalighieri.info/">Andrea di Serego Alighieri</a>,
|
|
|
|
|
<a href="https://snelting.domainepublic.net/">Femke Snelting</a>,
|
|
|
|
|
<a href="https://www.isabelle-sully.com/">Isabelle Sully</a>,
|
|
|
|
|
<a href="http://jararocha.blogspot.com/">Jara Rocha</a>,
|
|
|
|
|
<a href="https://roelof.info/">Roel Roscam Abbing</a>,
|
|
|
|
|
and Zoumana Meïté. Your generous contribution has made those releases possible,
|
|
|
|
|
and we are deeply grateful for your gesture.</h5>
|
|
|
|
|
|
|
|
|
|
<h5>Yours, xpub1 🐛</h5>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
</body>
|
