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<title>SI21</title>
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<pre>
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<h1>Special Issue 21</h1>
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<h2>xperimental publishing | june 2023</h2>
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_ _
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| |_| |_ _ _ transparent touches you time touches you teletype
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| __| __| | | |
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| |_| |_| |_| | thread the yarn through the years
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\__|\__|\__, |
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|___/ yontangle
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tele touching you try touching yourself teletales teleroot
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talk to you titty
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</pre>
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<body>
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<h2>A typewriter?</h2>
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<p>why shd it only make use of the tips of the fingers as contact points of flowing multi directional
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creativity. If I invented a word placing machine, an “expression-scriber,” if you will, then I would
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have a kind of instrument into which I could step & sit or sprawl or hang & use not only my fingers
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to make words express feelings but elbows, feet, head, behind, and all the sounds I wanted, screams,
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grunts, taps, itches, I'd have magnetically recorded, at the same time, & translated into word or
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perhaps even the final xpressed thought/feeling wd not be merely word or sheet, but itself, the
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xpression, three dimensional-able to be touched, or tasted or felt, or entered, or heard or carried
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like a speaking singing constantly communicating charm. A typewriter is corny!!</p>
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From <a href="http://www.soulsista.com/titanic/baraka.html">Amiri Baraka, Technology & Ethos</a>
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------------------------------------------------------------------------------------------------------
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<p>This issue started from a single technical object: a Model 33 Teletype machine. The teletype is the
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meeting point between typewriters and computer interfaces, a first automated translator of letters
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into bits. Equipped with a keyboard, a transmitter and a punchcard read-writer, it is a historical
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link between early transmission technology such as the telegraph and the Internet of today. Under
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the administration of our kubernētēs, Martino Morandi, each week hosted a guest contributor who
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joined us in unfolding the many cultural and technical layers that we found stratified in such a
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machine, reading them as questions to our contemporary involvements with computing and with networks.
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The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered
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and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded
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naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release
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weekly bricks was wattled by a shared understanding of time into something more complex in structure,
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less structured in complexity.
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Initially, the week's caretakers were responsible for collecting materials from our guest
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contributions, which included lectures, collective readings, hands-on exercises, an excursion to the
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Houweling Telecom Museum, Rotterdam and another to Constant, Brussels. The caretakers were
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responsible for recording audio, editing notes, transcribing code, taking pictures, and making lunch.
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Meanwhile the week's editors were responsible for coming up with a further step in how the publishing
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progressed, by adding new connections and interfaces, creating languages, plotting strikes and cherishing
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memories. This mode of publishing made us develop our own collective understandings of
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inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and
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futurability.
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Teletypewriters ushered in a new mode of inscription of writing: if the typewriter set up a
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grid of letters and voids of the same size, turning the absence of a letter (the space) into a key
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itself (the spacebar), the teletypewriter finished it by inscribing the space in the very same
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material as all other letters: electrical zeros and ones, that were to immediately leave the
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machine. The Teletype Model 33, one of the most widely produced and distributed text-based terminals
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in the 1970s, introduced multiple technological concretizations that are present in the computers of
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today as a sort of legacy, such as the qwerty keyboard with control keys, the ascii character
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encoding and the TTY terminal capability. We have created short-circuits that allow us to remember
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otherwise technical progress and computational genealogies.
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TTY was produced in april-june 2023 as special issue 21 of the xpub at piet zwart institute,
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rotterdam. xpub is the master of arts in fine art and design: experimental publishing of the
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piet zwart institute. xpub focuses on the acts of making things public and creating publics
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in the age of post-digital networks.</p>
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<h2>Subrelease <a href="enconv/enconv.html">Encoding Converter</a></h2>
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<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!
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You know, when you press a key and the computer somehow magically knows what you meant to say?
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Oh well, our buddy Javascript is here to break it down for you in all its nerdy glory.
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Get ready for some wild en-codings, including binary, hexadecimal, decimal, phonetic cyrillic,
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and even the xpub1 emoji alphabet. 😈
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So kick back, relax, and let's dive into the wacky world of character en-coding. En-joy!<p>
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<h2>We are on <a href="strike/index.html">Strike</a></h2>
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<p>Inspired by "The Phantom of the Operator" documentary we watched in class,
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we explored the concept of a website going on strike.
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Our discussions revolved around the nature of strikes, labor actions, and the often overlooked invisible labor.
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After answering several questions, we concluded that it would be impactful to disrupt the functioning
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of the XPUB & LBM Wiki, where everyone is accustomed to accessing information. Initially, we considered
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making all the links redirect to SI21's page or a Manifesto, effectively occupying the wiki. However, due to
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the upcoming assessment weeks for XPUB and LBM, we decided against disrupting users' daily wiki experience
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and workflow.
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To achieve our objective while maintaining the wiki's functionality, we took a different approach.
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We devised a new method to make the previously unseen labor visible, thus shedding light
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on its significance. As a result, we added specific texts to specific wiki pages so that
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the publication captures the essence of the current SI21 sub-release. To distinguish these texts
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as additional commentary and explanations, we chose to add them to the wiki pages as "<!- comments ->"
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which made them hidden elements. This allowed us to provide comprehensive details about our intentions
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and the underlying ideas, while still preserving the wiki's regular functionality.</p>
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<h2>Hey Babe!</h2>
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<p>Hey Babe! is a publication of XPUB1 as part of the Special Issue 21. It consists of excerpts from the
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conversations at the Houweling Telecom Museum, parts from the documentary The Phantom of the Operator
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and a collective reading experience on binary systems, time, worms and pebbles.
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This publication aims to act as a familiar sound over the phone and requires a caller to be heard.
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Unless anyone calls, our memories about the last couple of months will be phantomized.
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This is our ode to the invisible labor of operators, long distance relationships,
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people who could not hear from their lovers for years, trembling voices over the phone
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and all the people who took an effort and spend time to reach someone. This is the sound
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of your friend saying “hello” on the phone.
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The pubication consists of many sound clips. The caller will listen to a random clip each time they call. </p>
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<br>
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Some of the teletales:
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<audio controls>
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<source src="audio/closing.wav" type="audio/wav">
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<source src="audio/telecompart1.wav" type="audio/wav">
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<source src="audio/museumtour.wav" type="audio/wav">
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<source src="audio/closing.wav" type="audio/wav">
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<source src="audio/voicewithasmile.wav" type="audio/wav">
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<source src="audio/zero.wav" type="audio/wav">
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<source src="audio/mol1.wav" type="audio/wav">
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<source src="audio/mosquitoatagate.wav" type="audio/wav">
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<source src="audio/void.wav" type="audio/wav">
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</audio>
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<div class="images">
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<img src="gsm.jpg" alt="GSM card">
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</div>
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<h2><a href="https://hub.xpub.nl/breadcube/gesture/">Gesture Glossary</a></h2>
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<p>This is the gesture glossary. Click a word to see the gestures related to it.
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The aim is to see if a gesture glossary works and how it will work best.
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Also to see what kind of different interpretations there will be on gestures of our memory.
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To test the gesture glossary idea, and see what different meanings appear
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or already exist in the current vocabulary. Putting next to each other
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different agreements on linguistic and body units, testing what makes sense.
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Investigating and playing with communicational channels in between us,
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how a body language is documented, how it expands, how it is capable of creating
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or enhancing identities. To be an xpub means to speak/perform the xpub language?</p>
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<h2>Overlap</h2>
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<p>We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst
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feelings. We contain them and sometimes they overlap each other. Sometimes we are happy and sad;
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sometimes we forget why we were even mad in the beginning. But we also share some of these moments or
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galaxies that reside in our bags with other souls. We remember the same moment through a different
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window. We remember that day as cold, whereas they remember it as warm. One by one, these moments
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create one snapshot of the reality. The reality we create collectively. We sometimes trust our memories
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and our memories always trust us.
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<br>
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We overlap, we crawl through the memory lane. We go silently through the gates of space and time,
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we exchange our sights with each other and for one spectacular moment, all the stars in our bags spill
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and we get to see through each others' eyes. Our bag is now in the middle, its ready for you to
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discover and see the networks of our minds, make knots in the middle or intervene with what we call is
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a collective memory of few xpubbers.</p>
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<img src="overlap2.png">
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<img src="overlap1.png">
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<h2>Special thanks to Martino Morandi (guest editor) and the TTY <_0_0_></h2>
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<p>With contributions of:
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<a href="http://www.andreadiseregoalighieri.info/">Andrea di Serego Alighieri</a>
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<a href="https://roelof.info/">Roel Roscam Abbing</a>
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<a href="https://snelting.domainepublic.net/">Femke Snelting</a>
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<a href="https://www.isabelle-sully.com/">Isabelle Sully</a>
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Zoumana Meïté: a performer and theatre-maker based in Strasbourg
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<a href="http://jararocha.blogspot.com/">Jara Rocha</a></p>
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</body>
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