trying to add my website sillies

ada/index.html

@@ -10,14 +10,14 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><h1 id="title">Title</h1>
-<h3 id="grad-project-description">Grad project Description</h3>
+<div id="content"><h1 id="backplaces">Backplaces</h1>
 <p>Hi.<br />
 I made this play for you. It is a question, for us to hold together.</p>
 <p>Is all intimacy about bodies? What is it about our bodies that makes
@@ -48,16 +48,18 @@ Inspired by an email response from a survey I conducted about receiving
 emotional support on the Internet, this story explores the contradiction
 of being online while wanting to disconnect. It is a web play inviting
 you to navigate both of these feelings.</p>
-<p>Good Pie is a great big play of pies, a performance that took a year
-to bring together. It had three phases. First, as my friends left, I
-baked each of them a goodbye pie. Then I hosted two performances. In the
+<p>Cake Intimacies is a performance that took a year to bring together.
+It is a small selection of stories people told me and I held to memory
+and rewrote here. The stories come from two perfomances I hosted. In the
 first, I asked participants to eat cake, sitting facing or away from
-each other and sharing their stories about cake and the Internet. In the
-second I predicted participants’ future lives on the Internet using
-felted archetypes and received stories from their Internet past in
-return. This website is a reflection of all these experiences. Each Good
-Pie has a filling that tells a story, merging the bodily with the
-digital and making a mess of it all.</p>
+each other and sharing their stories about cake and the Internet. The
+second perfomance was hosted at the Art Meets Radical Openness Festival,
+as part of the Turning of the Internet workshop. For this performance I
+predicted participants’ future lives on the Internet using felted
+archetypes and received stories from their Internet past in return. Now
+the stories are here, each of them a cake with a filling that tells a
+story, merging the bodily with the digital and making a mess of it
+all.</p>
 <p>I love you and hope you see what I saw in these stories.</p>
 <p>Safe dreams now. I will talk to you soon.</p>
 </div>

ada/index.md

@@ -1,27 +1,34 @@
 ---
-title: Project
+title: Backplaces
 author: Ada
 
 ---
 
-# Title
-
-### Grad project Description
+# Backplaces
+adadesign.nl/backplaces\
 Hi.\
 I made this play for you. It is a question, for us to hold together.
 
-Is all intimacy about bodies? What is it about our bodies that makes intimacy? What happens when our bodies distance intimacy from us? This small anthology of poems and short stories lives with these questions---about having a body without intimacy and intimacy without a body.This project is also a homage to everyone who has come before and alongside me, sharing their vulnerability and emotions on the Internet. I called the places where these things happen backplaces. They are small, tender online rooms where people experiencing societally uncomfortable pain can find relief, ease, and transcendence.
+Is all intimacy about bodies? What is it about our bodies that makes intimacy? What happens when our bodies distance intimacy from us? This small anthology of poems and short stories lives with these questions---about having a body without intimacy and intimacy without a body. This project is also a homage to everyone who has come before and alongside me, sharing their vulnerability and emotions on the Internet. I called the places where these things happen backplaces. They are small, tender online rooms where people experiencing societally uncomfortable pain can find relief, ease, and transcendence.\
 
-I made three backplaces for you to see, click, and feel: Solar Sibling, Hermit Fantasy, and Good Pie. Each of these is the result of its own unique performance or project. Some of the stories I will share carry memories of pain---both physical and emotional. As you sit in the audience, know I am with you, holding your hand through each scene. If the performance feels overwhelming at any point, you have my full permission to step out, take a break, or leave. This is not choreographed, and I care deeply for you.
+I made three backplaces for you to see, click, and feel: Solar Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the result of its own unique performance or project. Some of the stories I will share carry memories of pain---both physical and emotional. As you sit in the audience, know I am with you, holding your hand through each scene. If the performance feels overwhelming at any point, you have my full permission to step out, take a break, or leave. This is not choreographed, and I care deeply for you.\
+![This is the Index, the stage of my play. Each felted item is an act.](index.png)
 
-Solar Sibling is an online performance of shared loss and the complex pain that siblings can sometimes bring. This project uses comments people left on TikTok poetry. I extracted the emotions from these comments, mixed them with my own, and crafted them into poems. It is an ongoing performance, ending only when your own feelings are secretly whispered to me.
+Solar Sibling is an online performance of shared loss about leaving and siblings. This project used comments people left on TikTok poetry. I extracted the emotions from these comments, mixed them with my own, and crafted them into poems. It is an ongoing performance, ending only when your feelings are secretly whispered to me. When you do, by typing into the comment box, your feelings are sent to me and the first act closes as the sun rises.\
+![The initial comment shaped poems and their sun count. ](solar-1.png)
+![The fillable comment where you can whisper your feelings to me.](solar-2.png)
 
-Hermit Fantasy is a short story about a bot who wants to be a hermit. Inspired by an email response from a survey I conducted about receiving emotional support on the Internet, this story explores the contradiction of being online while wanting to disconnect. It is a web play inviting you to navigate both of these feelings.
+Hermit Fantasy is a short story about a bot who wants to be a hermit. Inspired by an email response from a survey I conducted about receiving emotional support on the Internet, this story explores the contradiction of being online while wanting to disconnect. As an act it's a series of letters, click by click.\
 
-Cake Intimacies is a performance that took a year to bring together. It is a small selection of stories people told me and I held to memory and rewrote here. The stories come from two perfomances I hosted. In the first, I asked participants to eat cake, sitting facing or away from each other and sharing their stories about cake and the Internet. The second perfomance was hosted at the Art Meets Radical Openness Festival, as part of the Turning of the Internet workshop. For this performance I predicted participants' future lives on the Internet using felted archetypes and received stories from their Internet past in return. 
-Now the stories are here, each of them a cake with a filling that tells a story, merging the bodily with the digital and making a mess of it all.
+![The first letter.](one.png)
+![The second letter.](two.png)
 
-I love you and hope you see what I saw in these stories.
+Cake Intimacies is a performance that took a year to bring together. It is a small selection of stories people told me and I held to memory and rewrote here. The stories come from two performances I hosted. First, I asked participants to eat cake, sitting facing or away from each other and sharing their stories about cake and the Internet. The second performance was hosted at the Art Meets Radical Openness Festival, as part of the Turning of the Internet workshop. For this performance, I predicted participants' future lives on the Internet using felted archetypes and received stories from their Internet past in return. 
+Now the stories are here, each of them a cake with a filling that tells a story, merging the bodily with the digital and making a mess of it all.\
 
-Safe dreams now. I will talk to you soon.
+![The first two stories and their memory illustrations.](pie.png)
+![The second stories in the way they were meant to be experienced.](phone-pie.png)
 
+The play ends as all plays do. The curtains close, the website stays but the stories will never sound the same. For the final act, I give you the stories. It's one last game, one last joke to ask my question again. Digital intimacies about the digital, our bodies and the cakes we eat. For the last act, I ask you to eat digital stories. To eat a comment, to eat a digital intimacy. Sharing an act of physical intimacy with yourself and with me, by eating sweets together. Sweets about digital intimacies that never had a body.
+There is no moral, no bow to wrap the story in. A great big mess of transcendence into the digital, of intimacy and of bodies. The way it always is. Thankfully.\
+![Accept My Cookies, biscuits and bows for the performance.](biscuits.png)

ada/thesis.html

@@ -10,16 +10,16 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><h1
-id="ltwater-bodiesgt-a-narrative-exploration-of-divergent-digital-intimacies">&amp;lt?water
-bodies&amp;gt : A narrative exploration of divergent digital
-intimacies</h1>
+<div id="content"><h1 id="water-bodies">&lt;?water bodies&gt;</h1>
+<h3 id="a-narrative-exploration-of-divergent-digital-intimacies">A
+narrative exploration of divergent digital intimacies</h3>
 <p>Water, stories, the body, all the things we do, are mediums that hide
 and show what’s hidden. (Rumi, 1995 translation)</p>
 <h2 id="for-you">꙳for you</h2>
@@ -153,7 +153,9 @@ legitimacy of his connections, finding no way to do so except by
 emphasizing their tangible bodily experiences. The community’s claim to
 authenticity thus had to lie in the physical experiences of its members—
 the visible bodies and hearable voices, the weddings, births, and
-funerals (1993). <sup><span class="margin-note">  You’re dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>.</p>
+funerals (1993).<sup><span class="margin-note"> You’re dreaming again,
+good. <br>Would you feel closer to me if you could hear my voice?<br> Is
+my voice a sound? Could it be a feeling?</span></sup>.</p>
 <p>Even then, and even by people with no interest in undermining the
 value of the virtual, the distinction between physical and virtual was
 confusing. Rheingold himself reinforces the boundary of body relations
@@ -414,7 +416,12 @@ integral role in human aesthetics, all harmonic series diverge,
 perpetually expanding without ever concluding. They embody a richness
 that transcends conventional boundaries, blending into one another
 infinitely.</p>
-<p>[Figure 1 - Harmonic Series to 32 (Hyacint,2017).]</p>
+<figure>
+<img src="../images/Harmonic-series.png"
+alt="Figure 1 - Harmonic Series to 32 (Hyacint,2017)." />
+<figcaption aria-hidden="true">Figure 1 - Harmonic Series to 32
+(Hyacint,2017).</figcaption>
+</figure>
 <p>By likening digital bodies to divergent series, we embrace the
 complexity and infinite possibilities arising from their
 interconnectedness and deviation from the norm. However, it’s crucial to
@@ -694,7 +701,7 @@ cybercommunities’, Journal of Sociology, 51(4), pp. 950–967.
 doi:10.1177/1440783313486220.</p>
 <p>Yun, J. (2020) ‘The Leaving Season’, in Some Are Always Hungry.
 University of Nebraska Press.</p>
-<p>&amp;lt?/water bodies&amp;gt</p>
+<h1 id="water-bodies-1">&lt;?/water bodies&gt;</h1>
 </div>
 </body>
 </html>

ada/thesis.md

@@ -1,10 +1,12 @@
 ---
-title: &lt?water bodies&gt  A narrative exploration of divergent digital intimacies
+title: \<?water bodies\>  
 author: Ada
 
 ---
 
-# &lt?water bodies&gt : A narrative exploration of divergent digital intimacies
+# &lt;?water bodies&gt;
+
+### A narrative exploration of divergent digital intimacies
 
 Water, stories, the body,
 all the things we do, are
@@ -205,7 +207,7 @@ his connections, finding no way to do so except by
 emphasizing their tangible bodily experiences.
 The community’s claim to authenticity thus had to lie in the physical experiences of its members— the visible
 bodies and hearable voices, the weddings, births, and
-funerals (1993).<sup><div element="note" class="margin note">  You’re dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>.
+funerals (1993).<sup><span class="margin-note">You’re dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>
 
 Even then, and even by people with no interest in
 undermining the value of the virtual, the distinction
@@ -216,7 +218,20 @@ computer relations by referring to his family as a
 “unfamiliar faces” (1993). Constantly interplaying
 digital connections with the physical characteristics of
 the kind of connections people valued before the
-internet. (2)
+internet.<sup><span class="margin-note">I will be honest
+with you, I have little
+patience for this
+recurring line of
+thought that seeks to
+distinguish people’s
+noses from their
+hearts, as if there
+was a physical love
+that is the valuable
+one and a virtual
+imaginary one that is
+feeble and
+unworthy.</span></sup>
 
 In any case, his primary interest seemed to be to
 emphasize computer relations as valid forms of
@@ -267,7 +282,13 @@ relationship, flew to California to marry him. The
 community was a witness and is now an archive of his
 declining wit as cancer spread to his brain and his
 famously articulate and scathing comments got
-shorter, fearful, and more tender. (3)
+shorter, fearful, and more tender.<sup><span class="margin-note">Initially, when a
+member he often argued with offered to pray for him Mandel had
+replied: “You can shovel your self-aggrandizing sentiments up you
+wide ass sideways for the duration as far as I'm concerned." Later,
+as the cancer progressed: “I ain't nearly as brave as you all think. I am
+scared silly of the pain of dying this way. I am not very good at playing
+saint. Pray for me, please.</span></sup>
 
 Before he posted his final goodbye, he chose to do one
 last thing. Together with another member, they
@@ -295,7 +316,19 @@ what he later called his grieving for the community,
 with which he could not play anymore once his own
 body died. By doing so, he was starting to blend the
 boundaries of intimacy through computers and bodies,
-driven by his love and grief. (4)
+driven by his love and grief.<sup><span class="margin-note">It’s out of care
+and not lack of
+relevance that I am
+not showing you
+Mandel’s goodbye
+message. It’s enough
+to know he was deep
+in the grief of having
+to leave a
+community he loved
+and cared for and
+that pain was felt in
+every word.</span></sup>
 
 When he talked about the bot in previous messages, it
 sounded almost like a joke. A caring haunting of the
@@ -329,7 +362,29 @@ human behavior online, simulating how a physical body
 might act, what it would click on, and what would it
 say. On social media, bots engage in a kind of
 interpretative dance of human interaction, performing
-based on instructions provided by humans. (5)
+based on instructions provided by humans.<sup><span class="margin-note">The first bot
+communities on the
+internet are now
+born, half-
+mistakenly. They are
+always spiritual
+communities posting
+religious images
+created by artificial
+intelligence, all the
+comments echoing
+choirs of bots
+praising. Amen,
+amen, amen. I am
+not naive, I know
+they are built by
+humans but it is this
+performance of
+religiosity that I am
+interested in, and
+how little humanity
+is shown in it. It is
+something else.</span></sup>
 
 Unlike an internet body, which represents the virtual
 embodiment of a person, a bot doesn’t seek to be a
@@ -370,7 +425,8 @@ rather than an affective experience, works just the
 same.
 
 McGlotten uses a conceptualization of the virtual
-based on the philosopher Deleuze’s, (6) which can be
+based on the philosopher Deleuze’s,<sup><span class="margin-note">A step in a step in
+a step, sorry.</span></sup> which can be
 used to refer to a virtual body as well.
 The virtual is in this case a cluster of waiting,
 dreaming, and remembering, embodying potential.
@@ -474,7 +530,30 @@ If care is offered, it's often only with a desire to
 assimilate the divergent body back into expected
 standards of normalcy and ability. This leaves those
 with non-conforming bodies isolated, ashamed, and
-yearning for connection and acceptance (7)
+yearning for connection and acceptance.<sup><span class="margin-note">I am talking here
+about the distress
+caused by mental
+health issues that
+have direct
+connections to
+physicality—self-
+injuring in any direct
+form; food, drugs,
+pain. The culturally
+uncomfortable
+diseases, the it’s-
+personal-
+responsibility, and
+just-stop disorders.
+This is a hidden
+topic of this text
+because I cared
+more about the pain
+surrounding them
+and the reasons to
+hide rather than the
+grim physicality of
+them all.</span></sup>
 
 In the depths of isolation and confusion, marginalized
 bodies often look for belonging and understanding
@@ -560,7 +639,20 @@ Individuals who forge and inhabit these communities,
 fostering tender, intimate connections amongst
 themselves, are not deviant but rather divergent.
 Deviance involves bifurcation, a split estuary from the
-river of appropriate cultural behavior. (8)
+river of appropriate cultural behavior.<sup><span class="margin-note">Of course, the
+river itself is not a
+river; it’s many
+confused streams
+that believe
+themselves both the
+same and separate. I
+don’t know where
+I’m going with this, I
+just don’t love the
+river of normativity
+and I’d rather go
+swim in the ocean of
+dreams with you.</span></sup>
 
 Divergence can be so much more than that.
 In mathematics, a divergent series extends infinitely
@@ -586,7 +678,7 @@ expanding without ever concluding. They embody a
 richness that transcends conventional boundaries,
 blending into one another infinitely.
 
-![Figure 1 - Harmonic Series to 32 (Hyacint,2017).](Harmonic_series.png)
+![Figure 1 - Harmonic Series to 32 (Hyacint,2017).](../images/Harmonic-series.png)
 
 By likening digital bodies to divergent series, we
 embrace the complexity and infinite possibilities
@@ -611,7 +703,33 @@ nourishment, or thriving. What does comfort mean for
 a body whose whole existence is uncomfortable?
 Moreover, what if the comfort care performed for
 these divergent bodies makes them too comfortable
-being in their pained state of self? Could they be? (9)
+being in their pained state of self? Could they be?<sup><span class="margin-note">I heard the idea of
+living questions for
+the first time in
+“Letters to A Young
+Poet” by Rainer
+Maria Rilke and then
+again on the podcast
+On Being with Krista
+Tippet. It may be a
+bit transparent but
+this entire text is
+informed by the
+concept of keeping
+the unsolved in your
+heart and learning to
+love it. Not
+searching for the
+answers for we
+cannot live them yet.
+The point is to live it
+all. It could be that
+at some point we will
+live our way to an
+answer but it is
+feeling the questions
+alive within us that is
+important. Do you?</span></sup>
 
 Caring for a digital body involves providing it with
 space to live, giving its experimental bot-feelings
@@ -740,7 +858,11 @@ Berlant denotes that intimacy itself always requires
 hopeful imagination. It requires belief in the existence
 of an ideal other who is emotionally attuned to one's
 own experiences and fantasies, conditioned by the
-same longings and with willing reciprocity (2008). (10)
+same longings and with willing reciprocity (2008).<sup><span class="margin-note">If we were to be
+honest, the entire
+exercise of writing
+this for you requires
+this very faith.</span></sup>
 
 In the context of the intimacy of a Backplace, where
 divergent digital bodies have formed a community
@@ -791,175 +913,8 @@ I leave even though I love all of your digital bodies.
 I leave because I love you, little digital body and you
 are me.
 
-## 2. A LIFE TO BE HAD 11
-
-## sidenotes
-
-1. You’re dreaming
-again, good.
-Would you feel
-closer to me if you
-could hear my
-voice?
-Is my voice a sound?
-Could it be a
-feeling?
-
-2. I will be honest
-with you, I have little
-patience for this
-recurring line of
-thought that seeks to
-distinguish people’s
-noses from their
-hearts, as if there
-was a physical love
-that is the valuable
-one and a virtual
-imaginary one that is
-feeble and
-unworthy.
-
-3. Initially, when a
-member he often
-argued with o ered
-to pray for him
-Mandel had
-replied: “You can
-shovel your self-
-aggrandizing
-sentiments up you
-wide ass sideways
-for the duration as
-far as I'm
-concerned." Later,
-as the cancer
-progressed: “I ain't
-nearly as brave as
-you all think. I am
-scared silly of the
-pain of dying this
-way. I am not very
-good at playing
-saint. Pray for me,
-please.
-
-4. It’s out of care
-and not lack of
-relevance that I am
-not showing you
-Mandel’s goodbye
-message. It’s enough
-to know he was deep
-in the grief of having
-to leave a
-community he loved
-and cared for and
-that pain was felt in
-every word.
-
-5. The first bot
-communities on the
-internet are now
-born, half-
-mistakenly. They are
-always spiritual
-communities posting
-religious images
-created by artificial
-intelligence, all the
-comments echoing
-choirs of bots
-praising. Amen,
-amen, amen. I am
-not naive, I know
-they are built by
-humans but it is this
-performance of
-religiosity that I am
-interested in, and
-how little humanity
-is shown in it. It is
-something else.
-
-6. A step in a step in
-a step, sorry.
-
-7. I am talking here
-about the distress
-caused by mental
-health issues that
-have direct
-connections to
-physicality—self-
-injuring in any direct
-form; food, drugs,
-pain. The culturally
-uncomfortable
-diseases, the it’s-
-personal-
-responsibility, and
-just-stop disorders.
-This is a hidden
-topic of this text
-because I cared
-more about the pain
-surrounding them
-and the reasons to
-hide rather than the
-grim physicality of
-them all.
-
-8. Of course, the
-river itself is not a
-river; it’s many
-confused streams
-that believe
-themselves both the
-same and separate. I
-don’t know where
-I’m going with this, I
-just don’t love the
-river of normativity
-and I’d rather go
-swim in the ocean of
-dreams with you.
-
-9. I heard the idea of
-living questions for
-the first time in
-“Letters to A Young
-Poet” by Rainer
-Maria Rilke and then
-again on the podcast
-On Being with Krista
-Tippet. It may be a
-bit transparent but
-this entire text is
-informed by the
-concept of keeping
-the unsolved in your
-heart and learning to
-love it. Not
-searching for the
-answers for we
-cannot live them yet.
-The point is to live it
-all. It could be that
-at some point we will
-live our way to an
-answer but it is
-feeling the questions
-alive within us that is
-important. Do you?
-
-10. If we were to be
-honest, the entire
-exercise of writing
-this for you requires
-this very faith.
-
-11. Was this the end of this story?
+## 2. A LIFE TO BE HAD
+<sup><span class="margin-note">Was this the end of this story?
 In the epilogue, you sit your body down and enter your
 computer. The air coming in from the window smells wet and
 earthy, new. The sun shines low on the horizon.
@@ -1022,7 +977,7 @@ You try not to panic, but you know you have been detected.
 
 You pack up your things: the pie I made you, a love letter, two
 hands made out of felt, a star, a door, a stuffed animal; and
-you leave again.
+you leave again.</span></sup>
 
 ## references
 
@@ -1088,5 +1043,4 @@ doi:10.1177/1440783313486220.
 Yun, J. (2020) ‘The Leaving Season’, in Some Are
 Always Hungry. University of Nebraska Press.
 
-
-&lt?/water bodies&gt 
+# &lt;?/water bodies&gt;

aglaia/index.html

@@ -10,87 +10,101 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
 <div id="content"><h1 id="talking-documents">Talking Documents</h1>
 <h3 id="section"></h3>
-<p>Talking Documents are performative bureaucratic text inspections
-using auto-ethnographical means that intend to create temporal public
-interventions through performative readings.</p>
-<p>While I had this inherent concern about borders and bureaucratic
-structures in relation to migration, I decided to start zooming in and
-explore my own bureaucratic surroundings through my personal lens. As a
-student, I was eager to understand and dig into the educational
-institutions’ bureaucratic mechanisms being driven by smaller-scale
-bureaucratic struggles and peers’ narratives, stories and experiences.
-My starting point were concerns and a need to explore potential
-bureaucratic dramaturgies within the educational institution I am
-currently part as a student. However, unexpected emergencies placed
-centrally my personal bureaucratic struggles that were being unfolded in
-parallel with the making period. Accordingly, this project was
-dynamically being reshaped due to the material constraints of the
-bureaucratic timeline. I utilized the paperwork interface of my
-smaller-scale story in order to unravel and foreground questions related
-to the role of bureaucracy as less material border and as a mechanism of
-regulation that reflects narratives, ideologies, policies of the
-state.</p>
-<p>The scenario Central element of this project is a seven-act scenario
-that construct my personal paperwork story, unraveling the actual
-struggles of my communication with the government due my recent eviction
-on the 31st of January 2024. The body of the text of the “theatrical”
-script is sourced from the original documents, email threads as well as
-recordings of the conversations with the municipality of Rotterdam that
-I documented and archived throughout this period. I preserved the
-sequence of the given sentences and by discarding the graphic design of
-the initial forms, I structured and repurposed the text into a playable
-scenario. I perceive the document as a unit and the primary interface of
-the bureaucratic network. The embedded performativity of “real”
-bureaucratic rituals establishes and empowers (bureaucratic)
-institutions through repetitive acts. The transformation of the
+<figure>
+<img src="../aglaia/wijnhaven.JPG"
+alt="WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”" />
+<figcaption aria-hidden="true">WDKA- Winjhaven Building- February 2024-
+reading of act0 “” and act1 “”</figcaption>
+</figure>
+<p>This project appeared as a need to explore potential bureaucratic
+dramaturgies within the educational institution I was part as a student.
+I was curious about educational bureaucratic mechanisms being driven by
+smaller-scale paperwork struggles and peers’ narratives, stories and
+experiences. However, unexpected emergencies - due to my eviction on the
+31st of January 2024 - placed centrally my personal struggles unfolded
+in parallel with the making period. I ended up conducting accidentally
+auto-ethnography as the project was dynamically being reshaped due to
+the material constraints of the bureaucratic timeline.</p>
+<p>Talking Documents are performative bureaucratic text inspections that
+intend to create temporal public interventions through performative
+readings. I utilized the paperwork interface of my smaller-scale story
+in order to unravel and foreground questions related to the role of
+bureaucracy as less material border and as a regulatory mechanism
+reflecting narratives, ideologies, policies.</p>
+<p>Central element of this project is a seven-act scenario that
+construct my personal paperwork story, unraveling the actual struggles
+of my communication with the government. The body of the text of the
+“theatrical” script is sourced from the original documents, email
+threads as well as recordings of the conversations with the municipality
+of Rotterdam I documented and archived throughout this period. I
+preserved the sequence of the given sentences and by discarding the
+graphic design of the initial forms, I structured and repurposed the
+text into a playable scenario.</p>
+<p><img src="../aglaia/call_scenario.png"
+alt="Act 2 “Call with the municipality about the rejection of my application”" />
+<img src="../aglaia/deregistration1.png"
+alt="Act 7 “Confirmation document of my deregistration”" /></p>
+<p>I perceive the document as a unit and as the fundamental symbolic
+interface of the bureaucratic network. The transformation of the
 materiality of a document into a scenario to be enacted collectively in
-public attempts to examine these artifacts and highlight the shrouded
+public aims to examine these artifacts and highlight the shrouded
 performative elements of these processes.</p>
-<p>The public readings of the scenario I see the collective readings of
-these scenarios as a way of instant publishing and as a communal tool of
-inspecting bureaucratic bordering infrastructures. How can these
-re-enactments be situated in different institutional contexts and
-examine their structures? I am particularly interested in the
-site-specificity of these “acts”. I organized a series of performative
-readings of my own bureaucratic literature in different spaces and
-contexts, pubic and semi-public, like Leeszaal, WDKA, Art Meets Radical
-Openness Festival in Linz, the City Hall of Rotterdam where I invited
-people to perform the play together, like a theater. The marginal voices
-of potential applicants are embodying and enacting a role. “The speech
-does not only describe but brings things into existence”(Austin, 1975).
-My intention was to stretch the limits of dramaturgical speech through
-vocalizing a document and turn individual administrative cases into
-public ones. How do the inscribed words in the documents are not
-descriptive but on the contrary “are instrumentalized in getting things
-done”(Butler,1997). Words as active agents. Bodies as low-tech “human
-microphones”. A group of people performs the bureaucratic scenario in
-chorus, out loud, in the corridor of the school’s building, in the main
-hall, at the square right across, outside of the municipality
-building.</p>
+<p>I see the collective readings of these scenarios as a way of instant
+publishing and as a communal tool of inspecting bureaucratic bordering
+infrastructures. How can these re-enactments be situated in different
+institutional contexts and examine their structures? I organized a
+series of performative readings of my own bureaucratic literature in
+different spaces and contexts, pubic and semi-public WDKA, Art Meets
+Radical Openness Festival in Linz, the City Hall of Rotterdam where I
+invited people to perform the play together, like a tiny theater.</p>
+<figure>
+<img src="../aglaia/AMRO_all.jpg"
+alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
+<figcaption aria-hidden="true">Art Meets Radical Openness Festival –
+Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
+tent</figcaption>
+</figure>
+<p><img src="../aglaia/AMRO_kamo.jpg" /></p>
+<figure>
+<img src="../aglaia/gemeente_front.jpg"
+alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
+<figcaption aria-hidden="true">City Hall Rotterdam - May 2024 - Reading
+of Act 5 and Act 6</figcaption>
+</figure>
+<figure>
+<img src="../aglaia/statue_garden.jpg" alt="The garden of Gemeente" />
+<figcaption aria-hidden="true">The garden of Gemeente</figcaption>
+</figure>
+<p>The marginal voices of potential applicants are embodying and
+enacting a role. “The speech does not only describe but brings things
+into existence”(Austin, 1975). My intention was to stretch the limits of
+dramaturgical speech through vocalizing a document and turn individual
+administrative cases into public ones. How do the inscribed words in the
+documents are not descriptive but on the contrary “are instrumentalized
+in getting things done”(Butler,1997). Words as active agents. Bodies as
+low-tech “human microphones”. A group of people performs the
+bureaucratic scenario in chorus, out loud, in the corridor of the
+school’s building, in the main hall, at the square right across, outside
+of the municipality building.</p>
 <p>I documented and recorded these public acts and I re-created the
-collectively vocalised and transformed scenario. This audio piece is a
-constellation of different recordings and soundscapes of these public
-moments that I edited and collaged into a single story that could
-constitute a vocal archive.</p>
-<p>I am inviting past and future applicants, traumatized students,
-injured bearers, bureaucratic border crossers, stressed expired document
-holders to share, vocalize, read out loud, amplify, (un)name, dismantle
-the injurious words of these artifacts.</p>
-<p>[images] [Leeszaal West Rotterdam - 7th of November 2023 – People
-queuing to receive their documents] [WDKA- Winjhaven Building- 5th of
-February 2024- reading of act0 “” and act1 “”] [Art Meets Radical
-Openness Festival – Linz, Austria - 11th of May 2024 - Reading act 2””
-and act3 “” in the tent] x2 [City Hall Rotterdam- 30th of May 2024 -
-Reading of act 5 “” and act 6 “”] x2 [XML at XPUB studio - January 2024
-- Passport Reading Session] [BOOKLET 1] [BOOKLET 2]</p>
+collectively voiced scenario. This audio piece is a constellation of
+different recordings and soundscapes of these public moments, a vocal
+archive, published in the graduation exhibition of XPUB in 2024.</p>
+<figure>
+<img src="../aglaia/passport1.png"
+alt="XML at XPUB studio – January 2024 - Passport Reading Session" />
+<figcaption aria-hidden="true">XML at XPUB studio – January 2024 -
+Passport Reading Session</figcaption>
+</figure>
 </div>
 </body>
 </html>

aglaia/index.md

@@ -1,5 +1,5 @@
 ---
-title: Project
+title: Talking Documents
 author: Aglaia
 
 ---
@@ -7,7 +7,7 @@ author: Aglaia
 # Talking Documents
 
 ### 
-![WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”](../aglaia/wijhaven.JPG)
+![WDKA- Winjhaven Building- February 2024- reading of act0 and act1](../aglaia/wijnhaven.JPG)
 
 This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. I was curious about  educational bureaucratic mechanisms being driven by smaller-scale paperwork struggles and peers’ narratives, stories and experiences. However, unexpected emergencies - due to my eviction on the 31st of January 2024 - placed centrally my personal struggles unfolded in parallel with the making period. I ended up conducting accidentally auto-ethnography as the project was dynamically being reshaped due to the material constraints of the bureaucratic timeline.
 
@@ -15,8 +15,13 @@ Talking Documents are performative bureaucratic text inspections that intend to
 
 Central element of this project is a seven-act scenario that construct my personal paperwork story, unraveling the actual struggles of my communication with the government. The body of the text of the “theatrical” script is sourced from the original documents, email threads as well as recordings of the conversations with the municipality of Rotterdam I documented and archived throughout this period. I preserved the sequence of the given sentences and by discarding the graphic design of the initial forms, I structured and repurposed the text into a playable scenario. 
 
-![Act 2 "Call with the municipality about the rejection of my application"](../aglaia/call_scenario.png)
-![Act 7 "Confirmation document of my deregistration"](../aglaia/deregistration1.png)
+![Act 2 "Call with the municipality about the rejection of my application"](../aglaia/call1.png)
+
+![ ](../aglaia/call2.png)
+
+![Act 7 "Confirmation document of my deregistration"](../aglaia/dereg1.png)
+
+![ ](../aglaia/dereg2.png)
 
 I perceive the document as a unit and as the fundamental symbolic interface of the bureaucratic network. The transformation of the materiality of a document into a scenario to be enacted collectively in public aims to examine these artifacts and highlight the shrouded performative elements of these processes.
 
@@ -27,7 +32,7 @@ I organized a series of performative readings of my own bureaucratic literature
 
 ![ ](../aglaia/AMRO_kamo.jpg) 
 
-![City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6](../aglaia/gemeente_front.png)
+![City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6](../aglaia/gemeente_front.jpg)
 
 ![The garden of Gemeente](../aglaia/statue_garden.jpg)
 
@@ -35,4 +40,4 @@ The marginal voices of potential applicants are embodying and enacting a role.
 
 I documented and recorded these public acts and I re-created the collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024. 
 
-![XML at XPUB studio – January 2024 - Passport Reading Session](../aglaia/passport1.png)
+

aglaia/thesis.html

@@ -10,10 +10,11 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
 <div id="content"><h1 id="performing-the-bureaucratic-borderlines">Performing the
@@ -629,9 +630,10 @@ such acts are not expected to be performed, evoked contradictory
 feelings or thoughts. Over-identifying with a role was being
 instrumentalized as an “interrogation” of one’s own involvement in the
 reproduction of social discourses, power, authority, hegemony.</p>
-<p>[ Participants, during Leeszaal event, are waiting in a queue (18) to
-collect the application forms and sign1 ] [ One of the forms that the
-audience had to fill out during the Lesszaal event ]</p>
+<p>[Leeszaal West Rotterdam - November 2023 – People queuing(18) to
+receive their documents and sign ]</p>
+<p>[ One of the forms that the audience had to fill out during the
+Lesszaal event ]</p>
 <h4 id="section-2">3.</h4>
 <p>Title: “Passport Reading Session” When: January 2024 Where: XML –
 XPUB studio Who: Ada, Aglaia, Stephen, Joseph</p>

aglaia/thesis.md

@@ -120,26 +120,14 @@ The contradiction embedded in many cultural and educational institutions lies in
 
 The genuine essence of education is not bureaucratic at all, neither does it have to fit and ground its foundations under a bureaucratic roof. “The pedagogical process runs counter to the hierarchical, impersonal qualities of bureaucracy” (Cunningham, 2017). However, people working in educational institutions acknowledge the fact that entrenched bureaucratic systems impose their material constraints on teaching structures and on how these actors in this process interact with each other.“Students and staff are treated as human capital” (Cunningham, 2017). This determination can dehumanize people involved, like when "faculty-as-labor" and "students-as-consumers" are marginalized and treated as just variables. 
 
------------------
-|…………………*…………………|
-|………………………………………|
-|………………………………………|
-|………………………………………|
-|………………………………………|
-|………………………………………|
-|………………………………………|
-|               |
-|  ...       +  |
------------------
-
-“t h e r e  i s  n o 
-D O C U M E N T
-o f 
-c i v i l i s a t i o n
-w h i c h  i s  n o t 
-a t  t h e  s a m e  t i m e 
-a  d o c u m e n t
-o f  b a r b a r i s m”
+
+“there is no 
+document 
+of civilisation
+which is not 
+at the same time 
+a document
+of barbarism”
 -Walter Benjamin-
 (Pater, 2021)
 
@@ -172,9 +160,8 @@ One month ago (from the writing present), my friend Chae made for my birthday th
 
 In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards them(15). Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors. 
 
-[ The birthday biscuit that Chae made, re-creating the Dutch government form ]
+![The birthday biscuit that Chae made, re-creating the Dutch government form](../aglaia/chae_form.jpg)
 
------------------------------------------
 
 ### v o c a l   a r c h i v e s  –  t a l k i n g   d o c u m e n t s
 This chapter is mainly a constellation of some prototypes I created while writing and coping with personal bureaucratic challenges. I provided some further space for my anxiety by unpacking and exploring the material conditions that nourished it within this timeline.
@@ -203,7 +190,8 @@ Reflections-Thoughts: This experiment was my first attempt to start interrogatin
 
 These 'rituals' are components of a larger “culture of evidence”, serving as a tool that blurs the distinction between discourse and reality (Cunningham, 2017). This culture of evidence influences how people perceive and understand information. The primary purposes of these metrics are twofold: they play a role in the marketing sphere, attracting potential students to the university as well as they are utilized in interactions and negotiations with the government, which increasingly cuts budgets allocated to universities. 
 
-[ The linguistic experiment of the Quality Assurance Questionnaire Document ]
+![The linguistic experiment of the Quality Assurance Questionnaire Document](../aglaia/quality.jpg)
+
 
 #### 2.
 Title: “Department of Bureaucracy and Administration Customs Enforcement”
@@ -216,10 +204,9 @@ Description: During the first public moment at Leeszaal, I decided to embody and
 Reflections-Thoughts: Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene.
 The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role  was being instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony. 
 
-[Leeszaal West Rotterdam - November 2023 – People queuing(18) to receive their documents and sign ] 
+![Leeszaal West Rotterdam - November 2023 – People queuing(18) to receive their documents and sign](../aglaia/queue.jpg)
 
-
-[ One of the forms that the audience had to fill out during the Lesszaal event ]
+![One of the forms that the audience had to fill out during the Lesszaal event](../aglaia/mitsi.jpg)
 
 #### 3.
 Title: “Passport Reading Session”
@@ -235,7 +222,9 @@ Reflections-Thoughts: For the first time I observed this object so closely. The
 
 We read the embedded signs, symbols, categories, texts, magical numbers in our passports that construct our profiles. Seeing someone's passport, ID cards, visas, travel documents might mean that you are able to understand how easy or not is for them to move, what are their travel paths, how departure or arrival is smooth or cruel. Are there emotions along the way? For some people these are documents “that embody power — minimal or no waiting, peaceful departure, warm and confident arrival” (Khosravi, 2021). 
 
-[ Part of the A6 booklet of the transcription of the passport readings session ] x2
+[Part of the A6 booklet of the transcription of the passport readings session](../aglaia/passport1.png)
+
+[ ](../aglaia/passport2.png)
 
 #### 4.
 Title: “Postal Address Application Scenario”
@@ -249,26 +238,26 @@ The first and the last moment of the performance was during a semi-public tryout
 
 Reflections-Thoughts: Vocalizing and embodying the bureaucratic questions was quite useful in acknowledging the government’s voice and presence as something tangible rather than a floating, arbitrary entity. It was interesting observing the bureaucrats performing their role with confidence and entitlement, contrasting with the applicants who appeared to be more stressed to respond convincingly and promptly. There is a notable distinction between performativity and performance. Performing consciously and theatrically amplifying real bureaucratic texts by occupying roles and overidentifying with them can constitute a diffractive moment, a tool itself. From bureaucratic text to performative text scenarios to speech. The embedded (but rather unconscious) performativity of “real” bureaucratic rituals establishes and empowers (bureaucratic) institutions through repetitive acts. These theatrical moments attempt to highlight the shrouded performative elements of these processes. 
 
-[ A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers ] x2
+[A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers](../aglaia/postal.png)
 
------------------------------------------
 
-### (instead of)  c o n c l u s i o n 
+### c o n c l u s i o n 
 
-#### (next chapters of the case with reference number A.B.2024.4.03188)
+#### next chapters of the case with reference number A.B.2024.4.03188
 I expanded the “play” by incorporating additional “scenes” sourced again from the documents accompanying the ongoing “conversation with the government”. Two weeks after submitting my application for a short-term postal address [16/02/2024], I received a letter from the municipality stating their rejection of my request and warning me of potential fines if I fail to declare a valid address and provide a rental contract. After extensive communication with the municipality, I decided to respond to this decision by writing and sending an objection letter [19/02/2024]. The objections committee received my letter [21/02/2024], and after some days, they issued a confirmation letter outlining the following steps of the objection process which involves hearings with municipality lawyers and further investigation of my case. The textual components collaged for the next “episodes” are sourced from the transcribed recordings of my actual conversations with the municipality clerks, my objection letter, the confirmation documents including the steps I am required to take.
 
 My case has finished by this time. I withdrew my objection [7/03/2024] and I de-registered [11/03/2024] after a good amount of stress and precarity. My bureaucratic literature is meant to be read and voiced collectively. People’s bureaucratic literatures should be read and voiced collectively.
 
 My intention is to facilitate a series of collective performative readings of bureaucratic scenarios or other portable paperwork stories as a way of publishing and inspecting bureaucratic bordering infrastructures. The marginal voices of potential applicants are embodying and performing a role. “The speech does not only describe but brings things into existence” (Austin, 1975). I would like to stretch the limits of dramaturgical speech through vocalizing a document in public with others and turn an individual administrative case into a public one. How do the inscribed words in the documents are not descriptive but on the contrary “are instrumentalized in getting things done” (Butler, 1997). Words as active agents. I am inviting past and future applicants, traumatized students, injured bearers, bureaucratic border crossers, stressed expired document holders or just curious people to share, vocalize, talk through, read out loud, amplify, (un)name, unplace, dismantle the injurious words of these artifacts.
 
-[ Part of A6 booklet scenarios of the next chapters of my bureaucratic story aimed to be performed ] x2
+[ ](../aglaia/objection1.png)
+[ ](../aglaia/objection2.png)
 
------------------------------------------
 
 #### “we didn’t cross the border, the border crossed us”(20)
 As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able to pass through smoothly, carrying my magical object through which I embody power- at least within this context. However, I yearn for a reality where we stop looking at those bodies that cross the multifaceted borders and get crossed and entrenched by them, but on the contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful.
 
+
 ### s i d e n o t e s
 1. I live somewhere in the margins of scattered references, footnotes, citations, examinations embracing the inconvenience of talking back to myself, to the reader and to all those people whose ideas gave soul to the text. I shelter in the borderlands of the pages my fragmented thoughts, flying words, introspections, voices. Enlightenment and inspiration given by the text “Dear Science” written by Katherine McKittrick.
 2. I use the word borderland to refer to Greece as a (mostly) transit zone in the migrants’ and refugees’ route towards Europe.
@@ -292,7 +281,7 @@ The term is borrowed from the protests of the Occupy Wall Street Movement in 201
 19. Vosk is an offline open-source speech recognition toolkit
 20. US Immigrant Rights Movement Slogan (Keshavarz, 2016)
 
------------------------------------------
+
 
 ### r e f e r e n c e s
 Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, MN: University of Minnesota Press.

generate-print.py

@@ -11,11 +11,13 @@ print("---------")
 print("Generating print html")
 print("---------")
 
+
+image_location = "../images/"
 all_html = []
 
 # new way using folder list
 folders = open('./print/section-order.txt').read().splitlines()
-stoplist = ["print", "spin-wheel"]
+stoplist = ["print", "images"]
 # print(folders)
 titles = []
 
@@ -51,6 +53,13 @@ for folder in folders:
 			html_data = subprocess.check_output(pandoc_command, shell=True, text=True,encoding="utf-8")
 			print("html has been generated woooooooo!")
 
+
+			s1 = '<img src="'
+			s2 = '<img src="' + image_location
+			html_data = html_data.replace(s1, s2)
+			
+			html_data = html_data.replace(s1, s2)
+
 			all_html.append(html_data)
 
 			#Images no longer copying, that time has passed.

index.html

@@ -4,4 +4,5 @@
 <body>
     Experimental Publishing 2024
     The index for the website
+    test
 </body>

introduction/index.html

@@ -10,10 +10,11 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
 <div id="content"><p>Act 1. Scene 1.</p>
@@ -41,10 +42,10 @@ during…</p>
 <p>the reader: we?</p>
 <p>the book: …I mean the four of us, the students of Experimental
 Publishing at the Piet Zwart Institute. From 2022 until today, June
-2024, we published three special issues together. We wrote four theses’
+2024, we published three special issues together. We wrote four theses
 and made four graduation projects. We grew our hair out and cut it and
 grew it again and dyed it. We cared and cried for each other, we brewed
-muddy coffee and bootlegged books. (the book tears up) Finishing a
+muddy coffee and bootlegged books. (The book tears up) Finishing a
 Master’s is a bit of a heavy moment for us and this book is a gentle
 archive, a memory of things that have been beautiful to us.</p>
 <p>the reader (sarcastically): do you have a tissue, im soooo

introduction/index.md

@@ -1,3 +1,8 @@
+---
+title: Introduction
+author: 
+
+---
 Act 1.
 Scene 1. 
 

irmak/index.html

@@ -10,23 +10,50 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-    <div id="content"><h1 id="title">Wink!</h1>
-        <h3 id="grad-project-description">Grad project Description</h3>
-        <p>Wink is a prototype for an interactive picture book platform. This platform aims
-        to make reading into a mindfull and thought provoking process by using interactive and playful elements, multiple stories within one narrative and sound elements. Especially today where consumerism and low attention span is a rising issue especially amongst young readers, this was an important task to tackle. The thought of Wink emerged to find a more sustainable and creative way of reading for elementary school children.
-        </p>
-        <p>Working as a children's literature editor for years, I came to a realisation that picture books were turning into another object that kids read and consume on daily basis. At least this is what I observed in Turkey. Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book. As a young person in the publishing sector, I believe there should be more options for children as there is for adults; such as ebooks, audiobooks etc. But moreover a "book" that can be redefined, reread or be interacted with. So I revisited an old story I wrote, translated to English and named it, "Bee Within". </p>
-        <p>Bee Within, is a story about grief and it is based on my experiences throughout the years. I erased it, rewrote it, edited it, destroyed it multiple times over the past years, simultaneously with new experiences of loss. In the end, I believe the story turned out to be an ode to
-        remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting
-        which I now think is a great and sweet battle between death and life. I think it is an important subject to touch upon, especially for children dealing with trauma in many parts of the world.  
-        </p>
-        <p>Over the past two years, experimenting with storytelling techniques, interactivity options and workshops with children and adults, around reading and doing various exercises on Bee Within, I improved the story to be a more playful and interactive one which can be re-read, re-played and eventually re-formed non digitally to be reachable for all children. Here is some documentation from the beggining of this journey towards making accesible interactive narratives... </p>
-        </div>
+<div id="content"><h1 id="wink">Wink!</h1>
+<h3 id="a-prototype-for-interactive-childrens-literature">A Prototype
+for Interactive Children’s Literature</h3>
+<p>Wink is a prototype for an interactive picture book platform. This
+platform aims to make reading into a mindfull and thought provoking
+process by using interactive and playful elements, multiple stories
+within one narrative and sound elements. Especially today where
+consumerism and low attention span is a rising issue especially amongst
+young readers, this was an important task to tackle. The thought of Wink
+emerged to find a more sustainable and creative way of reading for
+elementary school children.</p>
+<p>Working as a children’s literature editor for years, I came to a
+realisation that picture books were turning into another object that
+kids read and consume on daily basis. At least this is what I observed
+in Turkey. Teachers and parents were finding it difficult to find new
+books constantly or were tired of rereading the same book. As a young
+person in the publishing sector, I believe there should be more options
+for children as there is for adults; such as ebooks, audiobooks etc. But
+moreover a “book” that can be redefined, reread or be interacted with.
+So I revisited an old story I wrote, translated to English and named it,
+“Bee Within”.</p>
+<p>Bee Within, is a story about grief and it is based on my experiences
+throughout the years. I erased it, rewrote it, edited it, destroyed it
+multiple times over the past years, simultaneously with new experiences
+of loss. In the end, I believe the story turned out to be an ode to
+remembering or might I say an ode to not being able to forget or an ode
+to the fear of forgetting which I now think is a great and sweet battle
+between death and life. I think it is an important subject to touch
+upon, especially for children dealing with trauma in many parts of the
+world.</p>
+<p>Over the past two years, experimenting with storytelling techniques,
+interactivity options and workshops with children and adults, around
+reading and doing various exercises on Bee Within, I improved the story
+to be a more playful and interactive one which can be re-read, re-played
+and eventually re-formed non digitally to be reachable for all children.
+Here is some documentation from the beggining of this journey towards
+making accesible interactive narratives…</p>
+</div>
 </body>
 </html>

irmak/index.md

@@ -1,13 +1,13 @@
 ---
-title: Project
-author: Stephen
+title: Wink!
+author: Irmak
 
 ---
 
-# Title
-Wink!
-A Prototype for Interactive Children's Literature
-### Grad project Description
+# Wink!
+
+### A Prototype for Interactive Children's Literature
+
 Wink is a prototype for an interactive picture book platform. This platform aims
 to make reading into a mindfull and thought provoking process by using interactive and playful elements, multiple stories within one narrative and sound elements. Especially today where consumerism and low attention span is a rising issue especially amongst young readers, this was an important task to tackle. The thought of Wink emerged to find a more sustainable and creative way of reading for elementary school children.
 

print/booklet.template.html

@@ -9,23 +9,19 @@
     <link rel="stylesheet" type="text/css" href="print_style.css">
 </head>
 <body>
-    <div id="contenteo">
-        <section class="section" id="start-matter"></section>
-        {{ content[0] }}
-    </section>
     <section class="toc">
-        <h3>Contents</h3>
         <ul>
             {% for title in titles %}
-            {% if loop.index > 1 %}
+            {% if loop.index > 0 %}
             <li class="toc-title"><a href="#section-{{ loop.index + 1 }}">{{ title }}</a></li>
-            {% if (loop.index == 2) or (loop.index == 18) or (loop.index == 22) %}
-            <br>
-            {% endif %}
             {% endif %}
             {% endfor %}
         </ul>
     </section>
+    <div id="contenteo">
+        <section class="section" id="start-matter"></section>
+        {{ content[0] }}
+    </section>
     {% for section in content %}
     {% if loop.index > 1 %}
     <!-- <section class="header-page" id="{{ titles[loop.index] }}">

print/images.css

@@ -1,5 +1,7 @@
 /* Image sizes */
-
+img{
+    width: 100%;
+}
 figure{
     margin: 5mm 0;
 }

print/print_style.css

@@ -3,7 +3,7 @@
 
 :root {
     /* --spot-color-1: #53018e; */
-    --spot-color-1: #000;
+    --spot-color-1: #00f;
     --baseline: 4mm;
     --margin-left: 10mm;
 }
@@ -11,17 +11,27 @@
 @font-face {
     font-family: 'Platypi';
     src: url('../fonts/webfonts/Platypi-Regular.woff2');
-    font-weight: normal;
+    font-style: normal;
 }
 
 @font-face {
     font-family: 'Platypi';
     src: url('../fonts/webfonts/Platypi-Italic.woff2');
+<<<<<<< HEAD
     font-weight: italic;
 }
 
 @media print {
     @page {
+=======
+    font-style: italic;
+}
+notes{
+    position: note(sidenotes);
+}
+@media print{
+    @page{
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed
         size: 130mm 180mm;
         marks: crop; /* can also add cross */
         bleed: 3mm;
@@ -35,6 +45,7 @@
             position: relative;
             text-align: left;
             font-size: 7pt;
+<<<<<<< HEAD
         }
 
         @left-top {
@@ -49,6 +60,9 @@
             width: 42mm;
             margin-right: -30mm;
         }
+=======
+        } 
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed
     }
 
     @page:left {
@@ -83,6 +97,7 @@ a {
     text-decoration: none;
     color: #000;
 }
+<<<<<<< HEAD
 
 .sidenote {
     position: note(sidenote);
@@ -91,11 +106,32 @@ a {
 }
 
 .margin-note {
+=======
+.margin-note{
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed
     font-size: 7pt;
     line-height: 3mm;
     text-align: left;
-    width: 35mm;
     display: inline-block;
+    text-align-last: initial;
+    box-sizing: border-box;
+    float: left;
+    margin: 5mm 5mm 5mm -15mm;
+    color: var(--spot-color-1);
+}
+body .pagedjs_left_page .margin-note{
+    width: 35mm;
+}
+body .pagedjs_right_page .margin-note{
+    width: 35mm;
+        float:right;
+        margin: 5mm -15mm 5mm 5mm;
+}
+body .margin-note{
+    /* This is overriding position absolute in the plugin, 
+    it breaks side notes that are too close to the bottom 
+    of the page which is sad */
+    position: static;
 }
 
 .code pre {
@@ -103,9 +139,14 @@ a {
     line-height: 1.1;
     white-space: pre-wrap; 
 }
+<<<<<<< HEAD
 
 #contenteo {
     font-family: 'Platypi-Regular', 'platypi';
+=======
+body{
+    font-family: 'Platypi-Regular','platypi' ;
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed
     line-height: 1.3;
     font-size: 9pt;
     letter-spacing: -0.1px;
@@ -173,13 +214,28 @@ section {
     padding: 0;
     margin: 0;
 }
+<<<<<<< HEAD
 
 .toc-title {
     break-before: none;
     break-after: none;
+=======
+.toc-title{
+    font-size: 24pt;
+    font-weight: medium;
+    line-height: 8mm;
+    display: inline;
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed
 }
 
 .toc-title a::after {
     content: target-counter(attr(href url), page);
+<<<<<<< HEAD
     float: right;
 }
+=======
+    font-size: 9pt;
+    color: var(--spot-color-1);
+    padding: 0 1rem;
+}
+>>>>>>> 55ed7a48c770886295d8b817569fea3813c769ed

print/section-order.txt

@@ -5,7 +5,7 @@ ada
 aglaia
 irmak
 stephen
-SINTRO
+specialissuesintro
 specialissue19
 specialissue20
 specialissue21

specialissue19/index.html

@@ -10,14 +10,15 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><h1 id="garden-leeszaal-special-issue-xix">Garden Leeszaal: Special
-Issue XIX</h1>
+<div id="content"><h1 id="garden-leeszaal">Garden Leeszaal</h1>
+<h3 id="special-issue-xix">Special Issue XIX</h3>
 <p>Public libraries are more than just access points to knowledge. They
 are social sites where readers cross over while reading together,
 annotating, organising and structuring. A book could be bound at the
@@ -49,31 +50,85 @@ and an archive. We asked everyone to think of the library as a garden.
 For us, being a gardener means caring; caring for the people and books
 that form this space.</p>
 <p>During the collective moment in Leeszaal people started diving into
-recycle bins, grab books, tear pages apart, drawing, pen plotting,
-weaving words together, cutting words, removing words, overwriting,
-printing, scanning. It was magical having an object in the end. A whole
-book made by all of us in that evening. Stations, machines, a cloud of
-cards, a sleeve that warms up THE BOOK.</p>
-<p><img src="imagename.png"
-alt="Bobi’s station - Name of the Station and Description" /> <img
-src="imagename.png"
-alt="Irmak’s and Aglaia’s station - Name of the Station and Description" />
-<img src="imagename.png"
-alt="Stephen’s station name- Name of the Station and Description" />
-<img src="imagename.png"
-alt="Ada’s Station - Name of the Station and Description" /> <img
-src="imagename.png"
-alt="Cara’s station name- Name of the Station and Description" /> <img
-src="imagename.png" alt="Book recycle bins description" /> <img
-src="imagename.png"
-alt="Cloud of gards with instructions to be performed into the books" />
-<img src="imagename.png" alt="inside page of the final book" /> <img
-src="imagename.png" alt="Photo of the book - cover and sleeve" /> <img
-src="imagename.png"
-alt="How to play leeszal as a process image to how the cards evolved" />
-<img src="imagename.png"
-alt="image from social practice library about librarying" /> <img
-src="imagename.png" alt="map of leeszaal also can be there" /></p>
+recycle bins, grabbing books, tearing pages apart, drawing, pen
+plotting, weaving words together, cutting words, removing words,
+overwriting, printing, and scanning. It was magical having an object in
+the end. A whole book was made by all of us that evening. Stations,
+machines, a cloud of cards, a sleeve that warms up THE BOOK.</p>
+<figure>
+<img src="pruning.jpg"
+alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix." />
+<figcaption aria-hidden="true">Irmak’s and Aglaia’s Pruning station,
+where people edited punctuation and text, scanned it then printed it
+with a dot matrix.</figcaption>
+</figure>
+<figure>
+<img src="card-cloud-leeszaal.jpg"
+alt="Cloud of cards with instructions to be performed on the books" />
+<figcaption aria-hidden="true">Cloud of cards with instructions to be
+performed on the books</figcaption>
+</figure>
+<figure>
+<img src="final-book.jpg"
+alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
+<figcaption aria-hidden="true">The final book produced that evening, the
+cover was made from hand-stiched covers of discarded books.</figcaption>
+</figure>
+<figure>
+<img src="mint-scan.jpg"
+alt="Page of the final book containing scans of the edited book, an instruction card, a pen-plotted bookmark with a quote from the book and a sprig of mint." />
+<figcaption aria-hidden="true">Page of the final book containing scans
+of the edited book, an instruction card, a pen-plotted bookmark with a
+quote from the book and a sprig of mint.</figcaption>
+</figure>
+<figure>
+<img src="drawn-scan.jpg"
+alt="Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book." />
+<figcaption aria-hidden="true">Page of the final book containing scans
+of a drawn on book, an instruction card and a pen-plotted bookmark with
+a quote from the book.</figcaption>
+</figure>
+<figure>
+<img src="hand-scan.jpg"
+alt="Page of the final book containing scans of edited books, a hand and coins." />
+<figcaption aria-hidden="true">Page of the final book containing scans
+of edited books, a hand and coins.</figcaption>
+</figure>
+<figure>
+<img src="second-edition-open.jpg"
+alt="Page of the second edition, containing scans of edited books and instruction cards." />
+<figcaption aria-hidden="true">Page of the second edition, containing
+scans of edited books and instruction cards.</figcaption>
+</figure>
+<figure>
+<img src="second-edition.jpg"
+alt="The second edition of the final book from the event." />
+<figcaption aria-hidden="true">The second edition of the final book from
+the event.</figcaption>
+</figure>
+<figure>
+<img src="people-bins.jpg"
+alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
+<figcaption aria-hidden="true">People choosing books from the discarded
+books bins, behind the instructions cards cloud.</figcaption>
+</figure>
+<figure>
+<img src="editing.jpg"
+alt="Part of the Pruning process, the editing of a book page." />
+<figcaption aria-hidden="true">Part of the Pruning process, the editing
+of a book page.</figcaption>
+</figure>
+<figure>
+<img src="open-bin.jpg" alt="Bin of discarded books from Leeszal." />
+<figcaption aria-hidden="true">Bin of discarded books from
+Leeszal.</figcaption>
+</figure>
+<figure>
+<img src="binding.jpg"
+alt="The binding of the scans into the final book at the end of the evening." />
+<figcaption aria-hidden="true">The binding of the scans into the final
+book at the end of the evening.</figcaption>
+</figure>
 </div>
 </body>
 </html>

specialissue19/index.md

@@ -4,7 +4,9 @@ author:
 
 ---
 
-# Garden Leeszaal: Special Issue XIX
+# Garden Leeszaal
+
+### Special Issue XIX
 
 Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the spine, or an electronic file gathered together with digital binding. A library could be an accumulated stack of printed books, a modular collection of software packages, a method of distributing e-books, a writing machine.
 
@@ -19,16 +21,27 @@ During the collective moment in Leeszaal people started diving into recycle bins
 
 
 ![Irmak's and Aglaia's Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix.](pruning.jpg)
+
 ![Cloud of cards with instructions to be performed on the books](card-cloud-leeszaal.jpg)
+
 ![The final book produced that evening, the cover was made from hand-stiched covers of discarded books. ](final-book.jpg)
+
 ![Page of the final book containing scans of the edited book, an instruction card, a pen-plotted bookmark with a quote from the book and a sprig of mint.](mint-scan.jpg)
-![Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book.](drawn-book.jpg)
+
+![Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book.](drawn-scan.jpg)
+
 ![Page of the final book containing scans of edited books, a hand and coins.](hand-scan.jpg)
+
 ![Page of the second edition, containing scans of edited books and instruction cards.](second-edition-open.jpg)
+
 ![The second edition of the final book from the event.](second-edition.jpg)
+
 ![People choosing books from the discarded books bins, behind the instructions cards cloud.](people-bins.jpg)
+
 ![Part of the Pruning process, the editing of a book page.](editing.jpg)
+
 ![Bin of discarded books from Leeszal.](open-bin.jpg)
+
 ![The binding of the scans into the final book at the end of the evening.](binding.jpg)
 
 

specialissue20/index.html

@@ -10,13 +10,15 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><h1 id="console-special-issue-xx">Console: Special Issue XX</h1>
+<div id="content"><h1 id="console">Console</h1>
+<h3 id="special-issue-xx">Special Issue XX</h3>
 <p>Console is an oracle; an emotional first aid kit that helps you help
 yourself. Console invites you to open the box and discover ways of
 healing. Console provides shelter for your dreams, memories and worries.
@@ -24,7 +26,7 @@ Face the past and encounter your fortune. Console gives you a new
 vantage point; a set of rituals and practices that help you cope and
 care. Console asks everyday questions that give magical answers.</p>
 <p>Special Issue XX was co-published by xpub and Page Not Found, Den
-Haag. With guest editors Lídia Pereira ♈︎and Artemis Gryllaki ♐ we
+Haag. With guest editors Lídia Pereira ♈︎ and Artemis Gryllaki ♐ we
 unraveled games and rituals, mapping the common characteristics and the
 differences between games and rituals in relation to ideology and
 counter-hegemony. We practiced, performed and annotated rituals,
@@ -38,25 +40,76 @@ the role of ideology and social reproduction. We reinterpreted bits of
 the world and created stories from it (modding, fiction, narrative)
 focusing on community, interaction, relationships, grief and
 healing.</p>
-<p><img src="imagename.jpg"
-alt="Console box with instruction book, games and ritual objects, produced in an edition of XX." />
-<img src="imagename.jpg"
+<figure>
+<img src="holographic.jpg" alt="Holographic Oracle Deck" />
+<figcaption aria-hidden="true">Holographic Oracle Deck</figcaption>
+</figure>
+<figure>
+<img src="oracolotto.jpg" alt="Reading with the Oracolotto cards." />
+<figcaption aria-hidden="true">Reading with the Oracolotto
+cards.</figcaption>
+</figure>
+<figure>
+<img src="worrydolls.jpg" alt="Worry Dolls" />
+<figcaption aria-hidden="true">Worry Dolls</figcaption>
+</figure>
+<figure>
+<img src="console-book.jpg"
+alt="Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card." />
+<figcaption aria-hidden="true">Screenprinted book cover of the Console
+Booklet, from The Upside Down Oracolotto card.</figcaption>
+</figure>
+<figure>
+<img src="cara-ritual.jpg"
+alt="Nighttime Ritual: Guided meditation from cardboardlamb" />
+<figcaption aria-hidden="true">Nighttime Ritual: Guided meditation from
+cardboardlamb</figcaption>
+</figure>
+<figure>
+<img src="youtube-tarot.jpg"
+alt="Imagined tarot cards based on YouTube comments" />
+<figcaption aria-hidden="true">Imagined tarot cards based on YouTube
+comments</figcaption>
+</figure>
+<figure>
+<img src="federici.jpg"
+alt="Laser engraved quote from Silvia Federici, Love is the great magician, the demon that unites earth and sky and makes humans so round, so whole in their being, that once united they cannot be defeated." />
+<figcaption aria-hidden="true">Laser engraved quote from Silvia
+Federici, Love is the great magician, the demon that unites earth and
+sky and makes humans so round, so whole in their being, that once united
+they cannot be defeated.</figcaption>
+</figure>
+<figure>
+<img src="console-open.jpg"
+alt="Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight." />
+<figcaption aria-hidden="true">Console box with Fiction Friction,
+Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a
+tealight.</figcaption>
+</figure>
+<figure>
+<img src="console-front.jpg"
+alt="Screenprinted cover of the Console box." />
+<figcaption aria-hidden="true">Screenprinted cover of the Console
+box.</figcaption>
+</figure>
+<figure>
+<img src="license-reading.jpg"
 alt="SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property." />
-<img src="imagename.jpg"
-alt="Screenprinted book cover, from The Upside Down Oracolotto card." />
-<img src="imagename.jpg"
-alt="Fiction Friction gameplay at Page Not Found" /></p>
-<p><img src="imagename.jpg"
-alt="Oracolotto readings at Page Not Found." /> <img src="imagename.jpg"
-alt="Wheel of Fortune healing exercise at Page Not Found." /> <img
-src="imagename.jpg" alt="Holographic Oracle Deck" /> <img
-src="imagename.jpg"
-alt="Page of book open on something else not mentioned: youtube tarot, fortnite, papa louie?" /></p>
-<p><img src="imagename.jpg"
-alt="Page of book open on Tetris Fantasies" /> <img src="imagename.jpg"
-alt="Nighttime Ritual: Guided meditation from cardboardlamb" /> <img
-src="imagename.jpg" alt="Worry Doll" /> <img src="imagename.jpg"
-alt="Inscribed quote from Silvia Federici" /></p>
+<figcaption aria-hidden="true">SIXX Licence reading ceremony at Page Not
+Found. The copyleft licence for this object included (in additional
+permission 4b) a term specifying the ritual absorption of intellectual
+property.</figcaption>
+</figure>
+<figure>
+<img src="fiction-friction.jpg"
+alt="Fiction Friction gameplay during the launch at Page Not Found." />
+<figcaption aria-hidden="true">Fiction Friction gameplay during the
+launch at Page Not Found.</figcaption>
+</figure>
+<figure>
+<img src="tetris.jpg" alt="Modified tetris fantasies" />
+<figcaption aria-hidden="true">Modified tetris fantasies</figcaption>
+</figure>
 </div>
 </body>
 </html>

specialissue20/index.md

@@ -1,25 +1,38 @@
 ---
-title: Console Special Issue XX
+title: Console
 author: Stephen
 
 ---
 
-# Console: Special Issue XX
+# Console
+
+### Special Issue XX
 
 Console is an oracle; an emotional first aid kit that helps you help yourself. Console invites you to open the box and discover ways of healing. Console provides shelter for your dreams, memories and worries. Face the past and encounter your fortune. Console gives you a new vantage point; a set of rituals and practices that help you cope and care. Console asks everyday questions that give magical answers. 
 
-Special Issue XX was co-published by xpub and Page Not Found, Den Haag. With guest editors Lídia Pereira ♈︎and Artemis Gryllaki ♐ we unraveled games and rituals, mapping the common characteristics and the differences between games and rituals in relation to ideology and counter-hegemony. We practiced, performed and annotated rituals, connected (or not) with our cultural backgrounds while we questioned the magic circle. We dived into the worlds of text adventure games and clicking games while drinking coffee. We talked about class, base, superstructure, (counter)hegemony, ideology and materialism. We discussed how games and rituals can function as reproductive technologies of the culture industries. We annotated games, focusing on the role of ideology and social reproduction. We reinterpreted bits of the world and created stories from it (modding, fiction, narrative) focusing on community, interaction, relationships, grief and healing.
+Special Issue XX was co-published by xpub and Page Not Found, Den Haag. With guest editors Lídia Pereira ♈︎ and Artemis Gryllaki ♐ we unraveled games and rituals, mapping the common characteristics and the differences between games and rituals in relation to ideology and counter-hegemony. We practiced, performed and annotated rituals, connected (or not) with our cultural backgrounds while we questioned the magic circle. We dived into the worlds of text adventure games and clicking games while drinking coffee. We talked about class, base, superstructure, (counter)hegemony, ideology and materialism. We discussed how games and rituals can function as reproductive technologies of the culture industries. We annotated games, focusing on the role of ideology and social reproduction. We reinterpreted bits of the world and created stories from it (modding, fiction, narrative) focusing on community, interaction, relationships, grief and healing.
 
 ![Holographic Oracle Deck](holographic.jpg)
+
 ![Reading with the Oracolotto cards.](oracolotto.jpg)
+
 ![Worry Dolls](worrydolls.jpg)
+
 ![Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card.](console-book.jpg)
+
 ![Nighttime Ritual: Guided meditation from cardboardlamb](cara-ritual.jpg)
+
 ![Imagined tarot cards based on YouTube comments](youtube-tarot.jpg)
+
 ![Laser engraved quote from Silvia Federici, Love is the great magician, the demon that unites earth and sky and makes humans so round, so whole in their being, that once united they cannot be defeated.](federici.jpg)
+
 ![Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight.](console-open.jpg)
+
 ![Screenprinted cover of the Console box.](console-front.jpg)
+
 ![SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property.  ](license-reading.jpg)
+
 ![Fiction Friction gameplay during the launch at Page Not Found.](fiction-friction.jpg)
+
 ![Modified tetris fantasies](tetris.jpg)
 

specialissue21/index.html

@@ -10,15 +10,15 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><p>z— title: tty special issue 21 author: Stephen</p>
-<hr />
-<h1 id="tty-special-issue-21">TTY: Special Issue 21</h1>
+<div id="content"><h1 id="tty">TTY</h1>
+<h3 id="special-issue-21">Special Issue 21</h3>
 <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
@@ -79,31 +79,94 @@ otherwise technical progress and computational genealogies.</p>
 editor Martino Morandi, and contributors Andrea di Serego Alighieri,
 Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and
 Zoumana Meïté.</p>
-<p><img src="imagename.png"
+<figure>
+<img src="TTY.jpg"
 alt="An inscription performance using the TeleType Model 33 and a 40m stairwell." />
-<img src="imagename.png"
+<figcaption aria-hidden="true">An inscription performance using the
+TeleType Model 33 and a 40m stairwell.</figcaption>
+</figure>
+<figure>
+<img src="tape.jpg" alt="punchtape read-writer of Teletype Machine" />
+<figcaption aria-hidden="true">punchtape read-writer of Teletype
+Machine</figcaption>
+</figure>
+<figure>
+<img src="stairs_concrete.jpg"
 alt="A reading and writing of poetry using pedestrians and vinyl quotes." />
-<img src="imagename.png"
-alt="Gesture Glossary (screenshot or gif? maybe several): how a body language is documented, how it expands, how it is capable of creating or enhancing identities." />
-<img src="imagename.png" alt="It would have been better to fuck." />
-<img src="imagename.png" alt="maybe an image at the telecom museum" />
-<img src="imagename.png"
+<figcaption aria-hidden="true">A reading and writing of poetry using
+pedestrians and vinyl quotes.</figcaption>
+</figure>
+<figure>
+<img src="gesture.png"
+alt="Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities." />
+<figcaption aria-hidden="true">Gesture Glossary : how a body language is
+documented, how it expands, how it is capable of creating or enhancing
+identities.</figcaption>
+</figure>
+<figure>
+<img src="strike.jpg"
 alt="Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki’s regular functionality." />
-<img src="imagename.png"
+<figcaption aria-hidden="true">Wiki strike screenshot: embedding hidden
+comments in a wiki to highlight the invisible labour, to provide
+comprehensive details about our intentions and the underlying ideas
+while maintaining the wiki’s regular functionality.</figcaption>
+</figure>
+<figure>
+<img src="callme_window.jpg"
 alt="Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles." />
-<img src="imagename.png"
+<figcaption aria-hidden="true">Hey Babe arduino based telephone
+experience. Callers can listen to love stories, excerpts from
+conversations at the Houweling Telecom Museum, Rotterdam, parts from the
+documentary The Phantom of the Operator and a collective reading
+experience on binary systems, time, worms and pebbles.</figcaption>
+</figure>
+<figure>
+<img src="callme_bike.jpeg"
 alt="I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”. Someone holding it in the street?" />
-<img src="imagename.png"
-alt="Encoding Convertor: the wacky world of character en-coding." /></p>
-<p><img src="imagename.png"
-alt="Overlap screenshot (or is there an image from when we were working on it in the MD room?) We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. 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." />
-<img src="imagename.png"
+<figcaption aria-hidden="true">I’ve fallen in love with you and I have
+no idea what to do about it. Phone cards inviting participation in “Hey
+Babe”. Someone holding it in the street?</figcaption>
+</figure>
+<figure>
+<img src="encoding.png"
+alt="Encoding Convertor: the wacky world of character en-coding." />
+<figcaption aria-hidden="true">Encoding Convertor: the wacky world of
+character en-coding.</figcaption>
+</figure>
+<figure>
+<img src="overlap.png"
+alt="We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. 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." />
+<figcaption aria-hidden="true">We have a bag full of planets, stars, our
+favorite moments, darkest fears, best intentions and worst feelings. 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.</figcaption>
+</figure>
+<figure>
+<img src="hexalogue.jpg"
 alt="Hexalogue booklet. A conversation for six voices is encoded and documented in a script." />
-<img src="imagename.png"
-alt="Hexalogue reading in Constant, Brussels." /> <img
-src="imagename.png" alt="The brick." /></p>
-<p><img src="imagename.png" alt="Ada’s switchboard" /> <img
-src="imagename.png" alt="wiki edit inscriptions" /></p>
+<figcaption aria-hidden="true">Hexalogue booklet. A conversation for six
+voices is encoded and documented in a script.</figcaption>
+</figure>
+<figure>
+<img src="publication.jpg"
+alt="Publications holding tiny sub-releases during SI21" />
+<figcaption aria-hidden="true">Publications holding tiny sub-releases
+during SI21</figcaption>
+</figure>
+<figure>
+<img src="calling.jpeg"
+alt="Ada’s switchboard - a call between New York and Brussels" />
+<figcaption aria-hidden="true">Ada’s switchboard - a call between New
+York and Brussels</figcaption>
+</figure>
+<figure>
+<img src="zine.jpg"
+alt="This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing" />
+<figcaption aria-hidden="true">This A6 zine is a sub-release created by
+three women sitting on the teletype machine thinking and
+performing</figcaption>
+</figure>
 </div>
 </body>
 </html>

specialissue21/index.md

@@ -1,10 +1,12 @@
-z---
-title: tty special issue 21
+---
+title: TTY
 author: Stephen
 
 ---
 
-# TTY: Special Issue 21
+# TTY
+
+### Special Issue 21
 
 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!!
 
@@ -20,21 +22,28 @@ Teletypewriters ushered in a new mode of inscription of writing: if the typewrit
 
 TTY was produced in april-june 2023 as special issue 21 with guest editor Martino Morandi, and contributors Andrea di Serego Alighieri, Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and Zoumana Meïté.
 
-![An inscription performance using the TeleType Model 33 and a 40m stairwell.](imagename.png)
-![A reading and writing of poetry using pedestrians and vinyl quotes.](imagename.png)
-![Gesture Glossary (screenshot or gif? maybe several): how a body language is documented, how it expands, how it is capable of creating or enhancing identities.](imagename.png)
-![It would have been better to fuck.](imagename.png)
-![maybe an image at the telecom museum](imagename.png)
-![Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki's regular functionality. ](imagename.png)
-![Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles. ](imagename.png)
-![I've fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in "Hey Babe". Someone holding it in the street?](imagename.png)
-![Encoding Convertor: the wacky world of character en-coding.](imagename.png)
+![An inscription performance using the TeleType Model 33 and a 40m stairwell.](TTY.jpg)
+
+![punchtape read-writer of Teletype Machine](tape.jpg)
+
+![A reading and writing of poetry using pedestrians and vinyl quotes.](stairs_concrete.jpg)
+
+![Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities.](gesture.png)
+
+![Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki's regular functionality. ](strike.jpg)
+
+![Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles. ](callme_window.jpg)
+
+![I've fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in "Hey Babe". Someone holding it in the street?](callme_bike.jpeg)
+
+![Encoding Convertor: the wacky world of character en-coding.](encoding.png)
+
+![We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. 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.](overlap.png)
+
+![Hexalogue booklet. A conversation for six voices is encoded and documented in a script.](hexalogue.jpg)
 
-![Overlap screenshot (or is there an image from when we were working on it in the MD room?) We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. 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.](imagename.png)
-![Hexalogue booklet. A conversation for six voices is encoded and documented in a script.](imagename.png)
-![Hexalogue reading in Constant, Brussels.](imagename.png)
-![The brick.](imagename.png)
+![Publications holding tiny sub-releases during SI21](publication.jpg)
 
-![Ada's switchboard](imagename.png)
-![wiki edit inscriptions](imagename.png)
+![Ada's switchboard - a call between New York and Brussels](calling.jpeg)
 
+![This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing](zine.jpg)

specialissuesintro/index.html

@@ -10,13 +10,15 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
-<div id="content"><p>Special Issues are publications thrice released by first-year XPUB
+<div id="content"><h1 id="special-issues">Special Issues</h1>
+<p>Special Issues are publications thrice released by first-year XPUB
 Master’s students. Each edition focuses on a specific theme or issue.
 The themes tie to external events and collaborations. Students and staff
 work together to explore these themes, rethinking what a publication can
@@ -24,31 +26,32 @@ be. Each edition culminates in a celebratory release party.The
 structure, tools, and workflows are reset every trimester. This reset
 allows roles to rotate among participants and fosters an adapting
 learning environment. It provides a space to experiment beyond
-traditional collaborative methods. Our inaugural Special Issue was
-number 19, in collaboration with Simon Browne. Garden Leeszaal was a
-snapshot of Leeszaal Library through the metaphor of gardening. During
-the release, we invited participants to engage with the library’s
-discarded books. We pruned, gleaned, and grafted the books using pens,
-pen-plotters, scissors, and glue. Then we harvested a book of our
-collective work. Garden Leeszaal was an open dialogue. It was a tool for
-collective writing, a group-made collage, and an archive. For us, being
-a gardener meant caring for the people and books that formed the
-library. The following Special Issue was number 20, assisted by Lìdia
-Pereira and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It
-was an oracle and an emotional first aid kit to help you help yourself.
-It invites you to delve into its contents to discover healing methods.
+traditional collaborative methods.</p>
+<p>Our inaugural Special Issue was number 19, in collaboration with
+Simon Browne. Garden Leeszaal was a snapshot of Leeszaal Library through
+the metaphor of gardening. During the release, we invited participants
+to engage with the library’s discarded books. We pruned, gleaned, and
+grafted the books using pens, pen-plotters, scissors, and glue. Then we
+harvested a book of our collective work. Garden Leeszaal was an open
+dialogue. It was a tool for collective writing, a group-made collage,
+and an archive. For us, being a gardener meant caring for the people and
+books that formed the library.</p>
+<p>The following Special Issue was number 20, assisted by Lìdia Pereira
+and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It was an
+oracle and an emotional first aid kit to help you help yourself. It
+invites you to delve into its contents to discover healing methods.
 Console offers refuge for dreams, memories, and worries. It guides you
 to face the past. You will then meet your fortune and gain a new view
 through rituals and practices. It prompts everyday questions with
-magical answers, asking: Are you ready to play? Our last special issue
-was number 21. TTY was guided by kubernētēs Martino Morandi and weekly
-guest collaborators. We started with a Model 33 Teletype machine, the
-bridge between typewriters and computer interfaces. Through guest
-contributions, we explored the intersection of historical and
-contemporary computing. The Special Issue evolved into an ever-changing
-“Exquisite Corpse Network” chasing weekly publications. Along the way,
-we created gestures, concrete vinyl poetry, phone stories, and much
-more.</p>
+magical answers, asking: Are you ready to play?</p>
+<p>Our last special issue was number 21. TTY was guided by kubernētēs
+Martino Morandi and weekly guest collaborators. We started with a Model
+33 Teletype machine, the bridge between typewriters and computer
+interfaces. Through guest contributions, we explored the intersection of
+historical and contemporary computing. The Special Issue evolved into an
+ever-changing “Exquisite Corpse Network” chasing weekly publications.
+Along the way, we created gestures, concrete vinyl poetry, phone
+stories, and much more.</p>
 </div>
 </body>
 </html>

specialissuesintro/index.md

@@ -1,4 +1,14 @@
+---
+title: Special Issues
+author: 
+
+---
+# Special Issues
+
 Special Issues are publications thrice released by first-year XPUB Master's students. Each edition focuses on a specific theme or issue. The themes tie to external events and collaborations. Students and staff work together to explore these themes, rethinking what a publication can be. Each edition culminates in a celebratory release party.The structure, tools, and workflows are reset every trimester. This reset allows roles to rotate among participants and fosters an adapting learning environment. It provides a space to experiment beyond traditional collaborative methods. 
+
 Our inaugural Special Issue was number 19, in collaboration with Simon Browne. Garden Leeszaal was a snapshot of Leeszaal Library through the metaphor of gardening. During the release, we invited participants to engage with the library's discarded books. We pruned, gleaned, and grafted the books using pens, pen-plotters, scissors, and glue. Then we harvested a book of our collective work. Garden Leeszaal was an open dialogue. It was a tool for collective writing, a group-made collage, and an archive. For us, being a gardener meant caring for the people and books that formed the library. 
+
 The following Special Issue was number 20, assisted by Lìdia Pereira and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It was an oracle and an emotional first aid kit to help you help yourself. It invites you to delve into its contents to discover healing methods. Console offers refuge for dreams, memories, and worries. It guides you to face the past. You will then meet your fortune and gain a new view through rituals and practices. It prompts everyday questions with magical answers, asking: Are you ready to play?
+
 Our last special issue was number 21. TTY was guided by kubernētēs Martino Morandi and weekly guest collaborators. We started with a Model 33 Teletype machine, the bridge between typewriters and computer interfaces. Through guest contributions, we explored the intersection of historical and contemporary computing. The Special Issue evolved into an ever-changing "Exquisite Corpse Network" chasing weekly publications. Along the way, we created gestures, concrete vinyl poetry, phone stories, and much more.

stephen/index.html

@@ -10,10 +10,11 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
 <div id="content"><h1

stephen/thesis.html

@@ -10,10 +10,11 @@
 <!-- Nav bar -->
     <nav>
         <ul>
-            <li><a href="index.html">Home</a></li>
+            <li><a href="../index.html">Home</a></li>
             <li><a href="">About</a></li>
-            <li><a href="">Graduates</a></li>
-            <li><a href="">Special Issues</a></li>
+
+            <!-- Can this list be turned into li's like above please?
+            3 Introduction 7 Making: 9 Backplaces 19  Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design"  even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY  -->
         </ul>
     </nav>
 <div id="content"><h1 id="section">⊞</h1>
@@ -36,51 +37,49 @@ of a belief system involving order, structure, and rationality and I
 want to break it. Removing the label is part of loosening the object,
 making it avilable to transition (Berlant, 2022).</p>
 <figure>
-<img src="./images/orange.jpg" style="margin-top: 95mm; width: 40mm;" alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." />
+<img src="orange.jpg" style="margin-top: 95mm; width: 40mm;" alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." />
 <figcaption aria-hidden="true">
 The Cadaster of Orange,<br /> unknown ⊞er, c. 100 CE.
 </figcaption>
 </figure>
 <figure>
-<img src="./images/Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm" alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981." />
+<img src="Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm" alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981." />
 <figcaption aria-hidden="true">
 Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
 </figcaption>
 </figure>
 <figure>
-<img src="./images/albuni2.jpg"
+<img src="albuni2.jpg"
 alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200." />
 <figcaption aria-hidden="true">Shams al-Ma’arif, Ahmad al-Buni Almalki,
 circa 1200.</figcaption>
 </figure>
 <figure>
-<img src="./images/Simple_carthesian_coordinate_system.svg"
+<img src="Simple_carthesian_coordinate_system.svg"
 alt="Cartesian Geometry, Rene Descartes, 1637." />
 <figcaption aria-hidden="true">Cartesian Geometry, Rene Descartes,
 1637.</figcaption>
 </figure>
 <figure>
-<img
-src="./images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"
+<img src="art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"
 alt="Homage to the Square, Josef Albers, 1954." />
 <figcaption aria-hidden="true">Homage to the Square, Josef Albers,
 1954.</figcaption>
 </figure>
 <figure>
-<img src="./images/TheoVAnDoesburgCounterCompositionVI.jpg"
+<img src="TheoVAnDoesburgCounterCompositionVI.jpg"
 alt="Counter Composition VI, Theo Van Doesburg, 1925." />
 <figcaption aria-hidden="true">Counter Composition VI,<br />
 Theo Van Doesburg, 1925.</figcaption>
 </figure>
 <figure>
-<img src="./images/po-valley2.png" style="margin-top: 95mm;" alt="The Po Valley, The Roman Empire, 268 BCE." />
+<img src="po-valley2.png" style="margin-top: 95mm;" alt="The Po Valley, The Roman Empire, 268 BCE." />
 <figcaption aria-hidden="true">
 The Po Valley, The Roman Empire, 268 BCE.
 </figcaption>
 </figure>
 <figure>
-<img src="./images/pietzwart.jpg"
-alt="Monogram, Piet Zwart, c. 1968." />
+<img src="pietzwart.jpg" alt="Monogram, Piet Zwart, c. 1968." />
 <figcaption aria-hidden="true">Monogram, Piet Zwart,
 c. 1968.</figcaption>
 </figure>
@@ -969,20 +968,6 @@ Goblet, Sixteen Essays on Typography,</em> London: The Sylvan Press.</p>
 <p>Weber, M., (1905) “The Protestant Ethic and the Spirit of
 Capitalism”, <em>Archiv für Sozialwissenschaften</em> 20, no. 1 (1904),
 pp. 1–54; 21, no. 1 (1905), pp. 1–110.</p>
-<h4 id="colophon">Colophon</h4>
-<p>Written manically and edited in vexation in Etherpad. Composed
-excitedly using paged.js. Typeset confidently in Work Sans by Wei Huang.
-Digitally printed nervously at Willem de Kooning Academy Rotterdam on
-Schoellershammer 75gsm and Clairefontaine Maya 270gsm.</p>
-<p>Copyright held reluctantly by Stephen Kerr, 2024 under the SIXX
-Licence, a free, copyleft license for rituals, games, books and
-consolations in any medium, both software and hardware. For the purposes
-of this paper, licensing is understood as a responsibility towards an
-audience, towards each other and towards other people who might want to
-contribute to, use or amplify any work. The precise terms can be found
-at issue.xpub.nl/20/license</p>
-<p>If you like this colophon you should really read the rest of the
-thesis, its written specifically for you.</p>
 </div>
 </body>
 </html>

stephen/thesis.md

@@ -1,3 +1,8 @@
+---
+title: ⊞
+author: Stephen
+
+---
 # ⊞
 
   
@@ -53,32 +58,32 @@ want to break it. Removing the label is part of loosening the object,
 making it avilable to transition (Berlant, 2022).  
 
 <figure>
-<img src="./images/orange.jpg" style="margin-top: 95mm; width: 40mm;" alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." /><figcaption aria-hidden="true">The Cadaster of Orange,<br />
+<img src="orange.jpg" style="margin-top: 95mm; width: 40mm;" alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." /><figcaption aria-hidden="true">The Cadaster of Orange,<br />
 unknown ⊞er, c. 100 CE.</figcaption>
 </figure>
 
 <figure>
-<img src="./images/Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm" alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981." /><figcaption aria-hidden="true">Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.</figcaption>
+<img src="Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm" alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981." /><figcaption aria-hidden="true">Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.</figcaption>
 </figure>
 
 ![Shams al-Ma'arif, Ahmad al-Buni Almalki, circa
-1200.](./images/albuni2.jpg)
+1200.](albuni2.jpg)
 
 ![Cartesian Geometry, Rene Descartes,
-1637.](./images/Simple_carthesian_coordinate_system.svg)
+1637.](Simple_carthesian_coordinate_system.svg)
 
 ![Homage to the Square, Josef Albers,
-1954.](./images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg)
+1954.](art-josef-albers-study-for-homage-to-the-square-69.1917.jpg)
 
 ![Counter Composition VI,  
 Theo Van Doesburg,
-1925.](./images/TheoVAnDoesburgCounterCompositionVI.jpg)
+1925.](TheoVAnDoesburgCounterCompositionVI.jpg)
 
 <figure>
-<img src="./images/po-valley2.png" style="margin-top: 95mm;" alt="The Po Valley, The Roman Empire, 268 BCE." /><figcaption aria-hidden="true">The Po Valley, The Roman Empire, 268 BCE.</figcaption>
+<img src="po-valley2.png" style="margin-top: 95mm;" alt="The Po Valley, The Roman Empire, 268 BCE." /><figcaption aria-hidden="true">The Po Valley, The Roman Empire, 268 BCE.</figcaption>
 </figure>
 
-![Monogram, Piet Zwart, c. 1968.](./images/pietzwart.jpg)
+![Monogram, Piet Zwart, c. 1968.](pietzwart.jpg)
 
 ### empty title
 
@@ -1266,24 +1271,3 @@ Sixteen Essays on Typography,* London: The Sylvan Press.
 Weber, M., (1905) "The Protestant Ethic and the Spirit of Capitalism",
 *Archiv für Sozialwissenschaften* 20, no. 1 (1904), pp. 1–54; 21, no. 1
 (1905), pp. 1–110.  
-  
-  
-
-####                         Colophon
-
-  
-Written manically and edited in vexation in Etherpad. Composed excitedly
-using paged.js. Typeset confidently in Work Sans by Wei Huang. Digitally
-printed nervously at Willem de Kooning Academy Rotterdam on
-Schoellershammer 75gsm and Clairefontaine Maya 270gsm.  
-  
-Copyright held reluctantly by Stephen Kerr, 2024 under the SIXX Licence,
-a free, copyleft license for rituals, games, books and consolations in
-any medium, both software and hardware. For the purposes of this paper,
-licensing is understood as a responsibility towards an audience, towards
-each other and towards other people who might want to contribute to, use
-or amplify any work. The precise terms can be found at
-issue.xpub.nl/20/license  
-  
-If you like this colophon you should really read the rest of the thesis,
-its written specifically for you.