diff --git a/aglaia/.thesis.md.swp b/aglaia/.thesis.md.swp deleted file mode 100644 index c8e93c5..0000000 Binary files a/aglaia/.thesis.md.swp and /dev/null differ diff --git a/introduction/index.md b/introduction/index.md index 1ebfa6b..c87138b 100644 --- a/introduction/index.md +++ b/introduction/index.md @@ -7,32 +7,36 @@ author: ## Act 1. ### Scene 1. -Internal. A reader holds a book in their hands. The first page of the book is opened, the reader holds it to their face and smells the paper, touches it. The book touches them back. +*Internal. A reader holds a book in their hands. The first page of the book is opened, the reader holds it to their face and smells the paper, touches it. The book touches them back.* -the book (whispering in the reader's ear): +**the book (whispering in the reader's ear):** Being vulnerable means being transparent, open and brave, trusting others to handle stories with care. By publicly sharing and processing our narratives, we take ownership of our experiences while contributing to a collective voice. Even when we incorporate stories from others, our names remain attached to this collective creation: Ada, Aglaia, Irmak, Stephen. We have created interfaces highlighting the balance between communal sharing, individual responsibility and awareness. -the reader: +**the reader:** Interfaces? -the book: +**the book:** Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces. -the reader (confused): +**the reader (confused):** What do you mean a collection, like a catalogue? -the book: +**the book:** Yeah I guess. I weave the words and the works we created during... -the reader: +**the reader:** we? -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 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 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. +**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 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 reader (sarcastically): +(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. + +**the reader (sarcasm):** do you have a tissue, im soooo touched. -the book: -malaka, just read me already! +**the book:** +malaka, just read me. diff --git a/print/booklet.template.html b/print/booklet.template.html index 874a231..4708f5a 100644 --- a/print/booklet.template.html +++ b/print/booklet.template.html @@ -15,23 +15,21 @@ {% for title in titles %} {% if loop.index > 0 %}
  • {{ title }}
    • + {% if (loop.index == 1) or (loop.index == 9) %} +
    +
    + {% endif %} {% endif %} {% endfor %}
    -
    - {{ content[0] }} - - {% for section in content %} - {% if loop.index > 1 %} - -
    - {{ section }} -
    - {% endif %} + {% for section in content %} + {% if loop.index > 0 %} +
    + {{ section }} +
    + {% endif %} {% endfor %}
    diff --git a/print/index.html b/print/index.html index fe8e482..9b3d65e 100644 --- a/print/index.html +++ b/print/index.html @@ -15,111 +15,131 @@
  • Introduction
    • + +
    +
    +
  • <?water bodies>
    • +
  • Backplaces
    • +
  • Performing the Bureaucratic Border(line)s
    • +
  • Talking Documents
    • +
  • Fair Leads
    • +
  • Wink!
    • +
  • ⊞
    • +
  • What do graphic designers do all day and why do they do it and what does “graphic design” even mean?!????!!1!?
    • + +
    +
    +
  • Special Issues
    • +
  • Garden Leeszaal
    • +
  • Console
    • +
  • TTY
    • +
  • Colophon
    • +
    -
    -

    Introduction

    + + +
    +

    Introduction

    Act 1.

    Scene 1.

    -

    Internal. A reader holds a book in their hands. The first page of the -book is opened, the reader holds it to their face and smells the paper, -touches it. The book touches them back.

    -

    the book (whispering in the reader’s ear): Being vulnerable means -being transparent, open and brave, trusting others to handle stories -with care. By publicly sharing and processing our narratives, we take -ownership of our experiences while contributing to a collective voice. -Even when we incorporate stories from others, our names remain attached -to this collective creation: Ada, Aglaia, Irmak, Stephen. We have -created interfaces highlighting the balance between communal sharing, -individual responsibility and awareness.

    -

    the reader: Interfaces?

    -

    the book: Interfaces are boundaries that connect and separate. -They’re the spaces that fill the void between us. An interface can be an -act, a story, a keyboard, a cake; It allows us to be vulnerable -together, to share our stories with and through each other. I am a -collection of these interfaces.

    -

    the reader (confused): What do you mean a collection, like a -catalogue?

    -

    the book: Yeah I guess. I weave the words and the works we created -during…

    -

    the reader: we?

    -

    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 -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 -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.

    -

    the reader (sarcastically): do you have a tissue, im soooo +

    Internal. A reader holds a book in their hands. The first page of +the book is opened, the reader holds it to their face and smells the +paper, touches it. The book touches them back.

    +

    the book (whispering in the reader’s ear): Being +vulnerable means being transparent, open and brave, trusting others to +handle stories with care. By publicly sharing and processing our +narratives, we take ownership of our experiences while contributing to a +collective voice. Even when we incorporate stories from others, our +names remain attached to this collective creation: Ada, Aglaia, Irmak, +Stephen. We have created interfaces highlighting the balance between +communal sharing, individual responsibility and awareness.

    +

    the reader: Interfaces?

    +

    the book: Interfaces are boundaries that connect and +separate. They’re the spaces that fill the void between us. An interface +can be an act, a story, a keyboard, a cake; It allows us to be +vulnerable together, to share our stories with and through each other. I +am a collection of these interfaces.

    +

    the reader (confused): What do you mean a +collection, like a catalogue?

    +

    the book: Yeah I guess. I weave the words and the +works we created during…

    +

    the reader: we?

    +

    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 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 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.

    +

    the reader (sarcasm): do you have a tissue, im soooo touched.

    -

    the book: malaka, just read me already!

    +

    the book: malaka, just read me.

    -
    - - - + + - -
    -

    <?water bodies>

    + +
    +

    <?water bodies>

    A narrative exploration of divergent digital intimacies

    Water, stories, the body, all the things we do, are mediums that hide @@ -799,15 +819,12 @@ doi:10.1177/1440783313486220.

    University of Nebraska Press.

    <?/water bodies>

    -
    - - +
    + - -
    -

    Backplaces

    + +
    +

    Backplaces

    adadesign.nl/backplaces
    Hi.
    I made this play for you. It is a question, for us to hold together.

    @@ -880,15 +897,12 @@ intimacy and of bodies. The way it always is. Thankfully.
    Accept My Cookies, biscuits and bows for the performance.

    -
    - +
    + - - -
    -

    Performing the + +
    +

    Performing the Bureaucratic Border(line)s

    introduction

    This thesis is an assemblageI live @@ -1754,15 +1768,12 @@ Picozza, F. (2021). The coloniality of asylum : mobility, autonomy and solidarity in the wake of Europe’s refugee crisis. London: Rowman & Littlefield Publishers.

    -
    - +

    + - - -
    -

    Talking Documents

    + +
    +

    Talking Documents

    -
    - +
    + - - -
    -

    Fair Leads

    + +
    +

    Fair Leads

    Fair leads or Fair winds is a saying sailors and knotters use to greet each @@ -2629,15 +2637,12 @@ Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ codes-in-knots-sensing-digital-memories/.

    -

    - +
    + - - -
    -

    Wink!

    + +
    +

    Wink!

    A Prototype for Interactive Children’s Literature

    Wink is a prototype for an interactive picture book platform. This @@ -2695,15 +2700,12 @@ alt="“A small sequence of onclick animation for Bee Within”" /> “Fiction Friction cards from SI20, working on storytelling of collective traumas”

    -
    +
    + - - - -
    -

    ⊞

    + +
    +

    ⊞

    empty title

    Stephen Kerr

    ⊞

    @@ -3655,15 +3657,12 @@ Goblet, Sixteen Essays on Typography, London: The Sylvan Press.

    Capitalism”, Archiv für Sozialwissenschaften 20, no. 1 (1904), pp. 1–54; 21, no. 1 (1905), pp. 1–110.

    -
    +
    + - - - -
    -

    +

    What do graphic designers do all day and why do they do it and what does “graphic design” even mean?!????!!1!?

    @@ -4169,15 +4168,12 @@ This research is carried out in three intersecting methods: experimental ethnogr I made this to explore why designers make design, based on Clifford Geertz's ideas of why humans make culture: "to affirm it, defend it, celebrate it, justify it and just plain bask in it" (Geertz, 1973). This exploration will also involve less constructive actions like participating, dissociating, questioning, protesting, destroying and disregarding. There is a disconnect between the narratives about "graphic design" and the effects it is known to have on its audiences, practitioners, and society in more general terms. I am attempting to "loosen the object" of graphic design (Berlant, 2022), to make the definition less defined and maybe more useful or easier to engage with. This shit could be better. Its urgent for the people being exploited by it, to break the inequalities it serves to maintain, to expose what it hides, to improve things that are definitely working but not in a good way. Design can hide and reproduce inequalities in its output and also dominate workers in its practices. This research starts primarily from the bodies and actions of the practitioners so will primarily engage with the effects on and by these bodies. --> -
    + + - - - -
    -

    Special Issues

    + +
    +

    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 @@ -4213,15 +4209,12 @@ ever-changing “Exquisite Corpse Network” chasing weekly publications. Along the way, we created gestures, concrete vinyl poetry, phone stories, and much more.

    -
    - - +
    + - -
    -

    Garden Leeszaal

    + +
    +

    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, @@ -4334,15 +4327,12 @@ alt="The binding of the scans into the final book at the end of the evening." /> book at the end of the evening. -

    - - +
    + - -
    -

    Console

    + +
    +

    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 @@ -4436,15 +4426,12 @@ launch at Page Not Found.

    -
    - - +
    + - -
    -

    TTY

    + +
    +

    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 @@ -4595,15 +4582,12 @@ three women sitting on the teletype machine thinking and performing -

    - - +
    + - -
    -

    Colophon

    + +
    +

    Colophon

    Vulnerable Interfaces is a catalogue of work producted within the context of the Master of Arts in Fine art and Design: Experimental Publishing (XPUB) at the Piet Zwart Insititute, Willem de Kooning @@ -4659,8 +4643,8 @@ create publics. Experimental Publishing is some experiences or feelings of being in xpub for two years. More information available at xpub.nl

    -
    - +
    +
    diff --git a/print/print_style.css b/print/print_style.css index e2a8cf6..a502df9 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -1,5 +1,5 @@ /* @import url('https://pad.xpub.nl/p/sixx-print-css/export/txt'); */ -@import "images.css"; /* Using a string */ +import "images.css"; /* Using a string */ :root { /* --spot-color-1: #53018e; */ @@ -170,9 +170,27 @@ section { background-color: var(--spot-color-1); color: #ccc; } +#section-2{ + font-family: "Courier"; +} +#section-2 p{ + width: 55mm; + margin-left: 25mm; +} +#section-2 h1{display: none;} +#section-2 h2, #section-2 h3{ + text-decoration: underline; + text-align: center; +} + +#section-2 strong{ +position: absolute; + margin-left: -25mm; + width: 25mm; +} .toc { - margin-left: -10mm; + margin: 10mm 0 0 -10mm; width: 100mm; } .toc h1{ @@ -183,13 +201,13 @@ section { list-style: none; padding: 0; margin: 0; + line-height: 8mm; } -.toc ul:first-child{ +.toc-title:first-of-type, .toc-title:nth-of-type(2), .toc-title:nth-of-type(10){ margin-left: 40mm; } .toc-title{ - font-size: 18pt; - line-height: 9mm; + font-size: 19pt; display: inline; } @@ -201,6 +219,3 @@ margin-left: 40mm; display: inline-block; line-height: 0; } -#page-168{ -background:-moz-element(#keylogger) no-repeat; -} diff --git a/print/section-order.txt b/print/section-order.txt index 6389c5a..977077b 100644 --- a/print/section-order.txt +++ b/print/section-order.txt @@ -1,4 +1,3 @@ -contents introduction leslie ada