diff --git a/.DS_Store b/.DS_Store
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diff --git a/ada/thesis.md b/ada/thesis.md
index 96699de..dd6712c 100644
--- a/ada/thesis.md
+++ b/ada/thesis.md
@@ -6,7 +6,7 @@ author: Ada
# <?water bodies>
-### A narrative exploration of divergent digital intimacies
+### A narrative exploration of
divergent digital intimacies
---
@@ -17,7 +17,7 @@ that hide and show what’s
> hidden.
> (Rumi, 1995 translation)
----
+
## ꙳for you
@@ -903,8 +903,9 @@ 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
-Was this the end of this story?
+## 2. A LIFE TO BE HAD11
+
+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.
@@ -967,7 +968,7 @@ 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.
## references
diff --git a/aglaia/.DS_Store b/aglaia/.DS_Store
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diff --git a/aglaia/thesis.md b/aglaia/thesis.md
index 0b556d5..c178e4a 100644
--- a/aglaia/thesis.md
+++ b/aglaia/thesis.md
@@ -8,6 +8,8 @@ author: Aglaia
---
+
+
## introduction
This thesis is an assemblageI 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. of thoughts, experiences, interpretations, intuitive explorations of what borders are, attempting to unleash a conversation concerning the entangled relation between material injurious borders and bureaucracy. I unravel empirically the thread of how borders as entities are manifested and (de)established. How does the lived experience of crossing multiple borders change and under what conditions?
@@ -94,7 +96,7 @@ What about the crossers who managed to travel and reach the desirable “there
According to Hannah Arendt, the right to have rights and claim somebody else’s rights is the only human right (Arendt, as cited by Khosravi, 2010, p. 121). The foundational issue with the Universal Declaration of Human Rights is its dependence on the nation-state system. Since human rights are grounded on civil rights, which are essentially citizens’ rights, human rights are tied to the nation-state system. Consequently, human rights can be materialized only in a political community. “Loss of citizenship also means loss of human rights” (Khosravi, 2010)
-> “…This is a transcribed recording of my phone during a protest on migration at Dam Square in Amsterdam. I insert part of the speech of a Palestinian woman addressing the matter of undocumentedness. Date and time of the recording 18th of June 2023, 15:05. I am here for the rights of the children which haven't be in the taking part in the education since they have undocumented mothers and they are more than *“*” means undecipherable years. I am here to represent mothers who are looking for a place to have a sense of belonging or how long are you trying to continue humiliating them and the female gender. I am here to express my frustration with INDImmigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service. So frustrated. And I will not stop talking about democracy. Democracy is the rule of law where everybody feels included. Democracy is a rule of law where everybody feels * We, undocumented people, we don't feel a sense of belonging from the system."
+> “…This is a transcribed recording of my phone during a protest on migration at Dam Square in Amsterdam. I insert part of the speech of a Palestinian woman addressing the matter of undocumentedness. Date and time of the recording 18th of June 2023, 15:05. “✶” means undecipherableI am here for the rights of the children which haven't be in the taking part in the education since they have undocumented mothers and they are more than ✶ years. I am here to represent mothers who are looking for a place to have a sense of belonging or how long are you trying to continue humiliating them and the female gender. I am here to express my frustration with INDImmigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service. So frustrated. And I will not stop talking about democracy. Democracy is the rule of law where everybody feels included. Democracy is a rule of law where everybody feels * We, undocumented people, we don't feel a sense of belonging from the system."
---
@@ -104,7 +106,7 @@ Apart from the rigid visible borders, bureaucracy related to migrants, refugees
Bureaucratic documents especially those related to migration, can become territories or should be interpreted “as sites where social interactions happen, where power relations unfold and are contested” (Cretton, Geoffrion, 2021). When these bureaucratic objects are used and manipulated, they can constitute sites of “confrontation, reproduction, negotiation and performance” (Cretton, Geoffrion, 2021) shaping social relations and producing meaning.
-Bureaucracy related to asylum seekers reveals the profound bordering nature of these practices, as a continuous process of producing otherness. Accordingly, I see bureaucracy as a practice that raises material and symbolic walls for specific groups of people who are rendered unwanted and unwelcome because they dared to cross the borders of the Global North. It is as if they could never manage to eventually arrive and shelter their lives within the desirable “there”I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries.. “In these bordering processes, we can detect the “coloniality of asylum”In this text they insert the concept of the “coloniality of asylum” introduced by Picozza, which talks about how asylum systems are intertwined with colonial legacies and power dynamics. These systems are often colonial structures reinforcing hierarchies between nations and reproducing patterns of domination and oppression. In this framework, asylum is not just about offering protection but also about regulating and managing populations in a way that reflects colonial relationships. (Borelli, Poy, Rué, 2023). Bureaucracies in practice act as filters, determining who, from an institutional standpoint, deserves to receive protection and who does not. They operate as systems that classify non-citizens and place them in a social hierarchy of disproportionate unequal obligations, lack of rights and access to institutional support.
+Bureaucracy related to asylum seekers reveals the profound bordering nature of these practices, as a continuous process of producing otherness. Accordingly, I see bureaucracy as a practice that raises material and symbolic walls for specific groups of people who are rendered unwanted and unwelcome because they dared to cross the borders of the Global North.I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries. It is as if they could never manage to eventually arrive and shelter their lives within the desirable “there”. “In these bordering processes, we can detect the “coloniality of asylum” (Borelli, Poy, Rué, 2023).In this text they insert the concept of the “coloniality of asylum” introduced by Picozza, which talks about how asylum systems are intertwined with colonial legacies and power dynamics. These systems are often colonial structures reinforcing hierarchies between nations and reproducing patterns of domination and oppression. In this framework, asylum is not just about offering protection but also about regulating and managing populations in a way that reflects colonial relationships. Bureaucracies in practice act as filters, determining who, from an institutional standpoint, deserves to receive protection and who does not. They operate as systems that classify non-citizens and place them in a social hierarchy of disproportionate unequal obligations, lack of rights and access to institutional support.
### higher education's expanding bureaucracy
diff --git a/colophon/index.md b/colophon/index.md
index 85f0bce..9de0afc 100644
--- a/colophon/index.md
+++ b/colophon/index.md
@@ -1,54 +1,37 @@
---
title: Colophon
-author: Stephen
+author: Stephen and Ada
---
-# 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 Academy, Rotterdam. Special thanks goes to the XPUB staff for their expert help and guidance. More information available at vulnerable-interfaces.xpub.nl
+# Colophon
-### Special thanks to
-Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia Pereira, Leslie Robbins, Steve Rushton, Kimmy Spreeuwenberg, Marloes de Valk.
+vulnerable-interfaces.xpub.nl
-### Research, editing and production
-Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year 2022-2024)
+Special thanks goes to the XPUB staff for their expert help and guidance: Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia Pereira, Steve Rushton, Kimmy Spreeuwenberg, Marloes de Valk and in particular Leslie Robbins for her years of inexplicable exceptionalism.
-### Print run
-200 copies
+Created by: Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year 2022–24)
-### Printed and bound at
-Publication Station, Willem De Kooning Academy, Rotterdam
+Print run: 200 copies
-### Paper
-Clairefontaine Dune 80gsm, *cover paper*
+Printed and bound at: Publication Station, Willem De Kooning Academy, Rotterdam
-### Typefaces
-Platypi by David Sargent.
+Paper stock: Clairefontaine Dune 80gsm, Clairefontaine Paint-On Denim 250gsm.
-### Photography and illustration
-Unless otherwise stated, all photography, illustrations and other types of visualisations in this publication are created by the same authors as the text. That which is below is like that which is above, and that which is above is like that which is below, to do the miracle of one only thing.
+Typeface: Platypi by David Sargent, licensed under the SIL Open Font License, Version 1.1.
-### Digital tools
-Writing in Etherpad. Version control in git. Design in Inkscape. Layout in paged.js. Printing in Adobe Acrobat.
+Photography and illustration: Unless otherwise stated, all photography, illustrations and other types of visualisations in this publication are created by the same authors as the text.
-### Licensing information
-This publication is free to distribute or modify under the terms of the SIXX license as published by XPUB, either version one of the SIXX License or any later version. See the SIXX License for more details. A copy of the license can be found on [vulnerable-interfaces.xpub.nl/license](vulnerable-interfaces.xpub.nl/license).
+Digital tools: Writing in Etherpad. Version control in git. Design in Inkscape. Layout in paged.js. Printing in Adobe Acrobat.
-### Postal address
-Master of Arts in Fine Art and Design: Experimental Publishing,
-Piet Zwart Institute,
-P.O. Box 1272,
-3000 BG Rotterdam,
-The Netherlands.
+Licensing information: This publication is free to distribute or modify under the terms of the SIXX license as published by XPUB, either version one of the SIXX License or any later version. See the SIXX License for more details. A copy of the license can be found on [vulnerable-interfaces.xpub.nl/license](vulnerable-interfaces.xpub.nl/license).
-### Visiting address
-Wijnhaven 61,
-4th floor,
-3011 WJ Rotterdam,
-The Netherlands.
+Experimental Publishiiiiiing,
+Wijnhaven 61,
+4th floor,
+3011 WJ Rotterdam,
+The Netherlands.
-### XPUB
-XPUB is the Master of Arts in Fine Art and Design: Experimental Publishing of the Piet Zwart Institute. XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.
-Experimental Publishing is some experiences or feelings of being in xpub for two years.
-More information available at xpub.nl
\ No newline at end of file
+
diff --git a/irmak/.thesis.md.swp b/irmak/.thesis.md.swp
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diff --git a/irmak/index.md b/irmak/index.md
index bc04485..78cf825 100644
--- a/irmak/index.md
+++ b/irmak/index.md
@@ -14,13 +14,13 @@ author: Irmak
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.
----
+!["The twine map of text based story, reachable from Bee Within."](../irmak/twine.png){.half-image}
-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.
+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.
-!["The twine map of text based story, reachable from Bee Within."](../irmak/twine.png){.half-image}
+!["Click game story of the Queen Bee."](../irmak/cg.png){.image-95}
-!["Click game story of the Queen Bee."](../irmak/cg.png){.half image}
+Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book.
!["Example page from the print version of the picture book."](../irmak/printp33.jpg){.image-95}
@@ -30,9 +30,10 @@ Working as a children's literature editor for years, I came to a realisation tha
![''](../irmak/printp4.jpg){.image-95}
-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".
+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 called it, "Bee Within".
-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.
+Bee Within, is a story about grief/memory 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.
!["example page from the picture book"](../irmak/printp1.jpg){.half-image}
@@ -50,5 +51,5 @@ Over the past two years, experimenting with storytelling techniques, interactivi
!["A small sequence of onclick animation for Bee Within"](../irmak/animationseq.png){.image-95}
-!["A screenshot from Wink!"](../irmak/45.png){.image-95}
+!["A screenshot from Wink!"](../irmak/45.png){.half-image}
diff --git a/irmak/loop.png b/irmak/loop.png
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diff --git a/irmak/thesis.html b/irmak/thesis.html
index cb0df3d..9f8861d 100644
--- a/irmak/thesis.html
+++ b/irmak/thesis.html
@@ -831,6 +831,17 @@ aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records.
Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole
Life. Available at: https://wholelife.hkw.de/
codes-in-knots-sensing-digital-memories/.
+Acknowledgements
+Thank you Marloes de Valk, for your enlightening feedbacks and ideas. Thank you Michael Murtaugh,
+Manetta Berends, Joseph Knierzinger, Leslie Robbins and Steve Rushton for sharing your time and
+knowledge with me throughout these years.
+
+Thank you XPUB friends for funny, hectic and memorable moments we made together.
+
+Thanks to my family and especially Kemal, my brother, who supported me in my studies and encouraged me
+to do better, always...
+"So long and thanks for all the fish!"
+