This thesis is an assemblage<sup><spanclass="margin-note">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.</span></sup> 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)
> “…<sup><spanclass="margin-note">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.</span></sup>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 *<sup><span class="margin-note">“*” means undecipherable</span></sup> 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 IND<sup><spanclass="margin-note">Immigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service</span></sup>. 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."
> “…<sup><spanclass="margin-note">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 undecipherable</span></sup>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 ✶ 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 IND<sup><spanclass="margin-note">Immigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service</span></sup>. 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”<sup><spanclass="margin-note">I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries.</span></sup>. “In these bordering processes, we can detect the “coloniality of asylum”<sup><spanclass="margin-note">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.</span></sup> (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.<sup><spanclass="margin-note">I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries.</span></sup> 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).<sup><spanclass="margin-note">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.</span></sup> 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.
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, <br>
Wijnhaven 61, <br>
4th floor, <br>
3011 WJ Rotterdam, <br>
The Netherlands.<br>
### 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.
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.
---
{.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.
{.half-image}
{.image-95}
{.half image}
Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book.
{.image-95}
@ -30,9 +30,10 @@ Working as a children's literature editor for years, I came to a realisation tha
{.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.
{.half-image}
@ -50,5 +51,5 @@ Over the past two years, experimenting with storytelling techniques, interactivi
{.image-95}
{.image-95}
{.half-image}
I would like to clarify and introduce some terms for you in order to read this text in the desired way. For a while, we will stay in the bight of this journey as we move into forming loops, theories and ideas on how interactive picture books can be used to foster curiosity for reading and creativity for children. I am building a web platform called Wink that aims to contain a children’s story I wrote and am making into an interactive experience, in relation to my research.
<figure>
<imgsrc="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Through this bight of the thesis, I feel the necessity to clarify my intention of using knots as a “thinking and writing object” throughout my research journey. Although knots are physical objects and technically crucial in many fields of labor and life, they are also objects of thought and are open for wide minds’ appreciation. Throughout history, knots have been used to connect, stop, secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if the invention of flying -which required a wing that was supported using certain types of knotswas
initiated with the knowledge of how to use strings to make things, why wouldn’t a research paper make use of this wonderful art as an inspiration for writing and interactive reading?
{.image-80}
Through this bight of the thesis, I feel the necessity to clarify my intention of using knots as a “thinking and writing object” throughout my research journey. Although knots are physical objects and technically crucial in many fields of labor and life, they are also objects of thought and are open for wide minds’ appreciation. Throughout history, knots have been used to connect, stop, secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if the invention of flying -which required a wing that was supported using certain types of knots was initiated with the knowledge of how to use strings to make things, why wouldn’t a research paper make use of this wonderful art as an inspiration for writing and interactive reading?
## KNOTS AS OBJECTS TO THINK WITH
There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous connections to one’s specific experience; where one person may associate the knots with struggles they face, another may think of connecting or thriving times. In a workshop in Rotterdam, I asked participants to write three words that comes to mind when they think of knots. There were some words in common like strong, chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the practice of reading would make
a difference in how you understand the same text.
<figure>
<imgsrc="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
<br>
<figure>
<imgsrc="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you. My three words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented
with certain reading modes as you will see later on.
Knots are known to be used 15 to 17 thousand years ago for multiple
purposes. These purposes were often opposing each other. For example, it
could be used to let something loose or to restrain it; for pleasure or
pain; for going high above or down below… I believe this diversity of
uses can also be seen in how people approach knots as an idea or a
metaphor. One can think it represents chaos where someone else might see
it as a helpful mark. Essentially, this diversity is what got me
interested in knots years ago and since then, I have found ways to
implement this “loop of thought” in my daily life and research
methods.
There are two main reasons to why I chose to write this essay in a
“knotted” format. One is that I would like to share my process and
progress of research on this project and this involves “thinking with an
object”, in this case types of knots. In Evocative Objects, Sherry
Turkle, who is a sociologist and the founder of MIT initiative of
technology and self, refers to the object in the exercise of thinking as
emotional and intellectual companions that anchor memory, sustain
relationships and provoke new ideas. I completely agree with this
statement through personal experience. The second reason is that I see
this as an opportunity to experiment if I can use knots as an
interactive (which is not in knots’ nature since they are mainly
practiced in solo) and playful element in writing. This is also why I
would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in
specific.
For Turkle and Seymour Papert, who is a mathematician, computer
scientist and educator that did remarkable research on constructivism,
being able to make a reading experience tangible, or even physically
representable makes the process of thought more concrete. Concrete
thinking in this sense is a way of thinking that I adapted to in the
past years, where you think with the object and imagine it vividly
during the process and address meanings to it as you read or write
along. This way it’s easier to compartmentalize or attribute certain
parts of a text to an imagined or real physical item which makes the
mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself
as the journey and the slip knot (which is a type of stopper knot) as a
representation of an antagonist because of its specific use in hunting,
would this change your approach to reading this story? I believe so…
What if instead of a slip knot a Bowline was on the string, would
that represent something else in the story because of its usage in
practice. A Bowline is commonly used to form a fixed loop at the end of
a string; it’s strong but easy to tie, untie. Due to these qualities, we
can imagine the bowline to represent the conclusion in a story. What if
we have a Square Knot, how would that change the course of a narrative?
Square knot is used to bundle objects and make the two ends of the same
string connect. From just this, we can use it to represent the
connection between the beginning and end of a story. My point is, there
are limitless implementations on how to use knots in literature because
of their versatile purposes and the narrative vocabulary they create.
Topologists are still trying to identify seemingly infinite numbers of
combinations which we simply call “knots” and I see this as an
inspiration to keep writing.
One example of the wondrous versatility and potential of knots is how
they are used to archive and encrypt information. Incan people from the
Andes region recorded information on Quipus, dating back to 700 CE.
Quipus are textile devices consisting of several rows of cotton and/or
camelid string that would be knotted in a specific way to record, store
and transmit information ranging from accounting and census data to
communicate complex mathematical and narrative information (Medrano,
Urton, 2018). Another example is the Yakima Time Ball, which was used by
North-American Yakama people to show life events and family aff airs.
This is why I humbly decided to document my research process with a
Quipu of my own. I am trying to symbolize the twists, decisions and
practices throughout this year with knots of my choosing. I was inspired
by Nayeli Vega’s question, “What can a knot become and what can become a
knot?”
{.image-95}
{.image-95}
Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you.
My three words for knots are resistance, imagination and infinity. Keeping these in mind,
I experimented with certain reading modes as you will see later on.
Knots are known to be used 15 to 17 thousand years ago for multiple purposes. These purposes
were often opposing each other. For example, it could be used to let something loose or
to restrain it; for pleasure or pain; for going high above or down below… I believe this diversity
of uses can also be seen in how people approach knots as an idea or a metaphor. One can think it represents chaos where someone else might see it as a helpful mark. Essentially, this diversity
is what got me interested in knots years ago and since then, I have found ways to implement this
“loop of thought” in my daily life and research methods.
<sectionclass="loops">
There are two main reasons to why I chose to write this essay in a “knotted” format. One is that
I would like to share my process and progress of research on this project and this involves
“thinking with an object”, in this case types of knots. In Evocative Objects, Sherry Turkle,
who is a sociologist and the founder of MIT initiative of technology and self, refers to the object in the exercise of thinking as emotional and intellectual companions that anchor memory, sustain relationships and provoke new ideas. I completely agree with this statement through personal experience. The second reason is that I see this as an opportunity to experiment if I can use knots as an interactive (which is not in knots’ nature since they are mainly practiced in solo) and playful element in writing.
This is also why I would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in specific.
For Turkle and Seymour Papert, who is a mathematician, computer scientist and educator that did
remarkable research on constructivism, being able to make a reading experience tangible, or even
physically representable makes the process of thought more concrete. Concrete thinking in this sense
is a way of thinking that I adapted to in the past years, where you think with the object and imagine
it vividly during the process and address meanings to it as you read or write along. This way it’s easier to compartmentalize or attribute certain parts of a text to an imagined or real physical item which makes the mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself as the journey and the slip knot (which is a type of stopper knot) as a representation of an antagonist because of its specific use in hunting, would this change your approach to reading this story? I believe so…
<sup><spanclass="margin-note"><imgsrc="../irmak/slipknot.png">Slipknot is widely used for catching small animals like rabbits and snares. It is also commonly used to tie packages.</span></sup>What if instead of a slip knot a bowline was on the string, would that represent something else in the story because of its usage in practice. A Bowline is commonly used to form a fixed loop at the end of a string; it’s strong but easy to tie, untie. Due to these qualities, we can imagine the bowline<sup><spanclass="margin-note"><imgsrc="../irmak/bowline.png">Bowline is known to be used since 1627. Some believe it was used in Ancient Egypt because a knot resembling it was discovered in the tomb of pharaoh Cheops. Even after it's used and very tight, bowline is still easy to untie, which makes it commonly used.</span></sup> to represent the conclusion in a story. What if we have a Square Knot, how would that change the course of a narrative? Square knot is used to bundle objects and make the two ends of the same string connect. From just this, we can use it to represent the connection between the beginning and end of a story. My point is, there are limitless implementations on how to use knots in literature because of their versatile purposes and the narrative vocabulary they create. Topologists are still trying to identify seemingly infinite numbers of combinations which we simply call “knots” and I see this as an inspiration to keep writing.
One example of the wondrous versatility and potential of knots is how they are used to archive and encrypt information. Incan people from the Andes region recorded information on Quipus, dating back to 700 CE Quipus are textile devices consisting of several rows of cotton and/or camelid string that would be knotted in a specific way to record, store and transmit information ranging from accounting and census data to communicate complex mathematical and narrative information (Medrano, Urton, 2018). Another example is the Yakima Time Ball, which was used by North-American Yakama people to show life events and family affairs.<sup><spanclass="margin-note"><imgsrc="../irmak/square.png">Square knot is one of the oldest knots. Romans knew it as Hercules knot. A roman scholar claimed that it speeds up healing when used to secure a bandage. It is often used to tie belts and shoe laces.</span></sup>
This is why I humbly decided to document my research process with a Quipu of my own. I am trying to symbolize the twists, decisions and practices throughout this year with knots of my choosing. I was inspired by Nayeli Vega’s question, “What can a knot become and what can become a knot?”
## WEAVING INTO THE TEXT
This thesis expects participation from its reader. You have the
option to have a mode of reading, where you will be guided by strings to
start reading from a certain section according to the type of reader you
are and read the loops one by one until the end, weaving through the
text. To determine the string or mode of reading, there are some simple
questions to answer.
This thesis expects participation from its reader. You have the <sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">Broken knots are knots that aren't tied well, done with a wrong material or was under more pressure than it could take.</span></sup>option to have a mode of reading, where you will be guided by strings to This thesis expects participation from its reader. You have the option to have a mode of reading, where you will be guided by strings to start reading from a certain section according to the type of reader you are and read the loops one by one until the end, weaving through the text. To determine the string or mode of reading, there are some simple questions to answer.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Bends are joining knots. They attach two strings together. The bend above is a sheet bend and it works well when koining two different strings and can take stress.</span></sup>
The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in
the upcoming pages, you will continue the reading journey through the
strings of diff erent colors that will get you through the text. This
way, the linear text will become in a way, non-linear by your personal
experience.
The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in the upcoming pages, you will continue the reading journey through the strings of different colors that will get you through the text. This way, the linear text will become in a way, non-linear by your personal experience.
Bear in mind that you can choose to read this thesis from beginning to end as a single string too if you wish so.
Combine mode of reading is for readers who are more interested in the
journey and the connections between process and result. Slide mode of
reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project.
Build readers are detail oriented and academic readers who would prefer
a “traditional” lead to reading.
Alongside the different strings to follow the text, there will be
little drawings in the margins as seen above, which will have diff erent
representations like in a Quipu. Certain knots represent the experiences
that raise interesting opportunities for research and distinct events I
went through while making the project and underneath the drawing you can
find the relation to the knot itself explained. For example if I
couldn’t manage to do something I planned to do, this will be
represented with a broken knot. Bend knots which are used to connect two
strings, will be representing the relation between theories and my
ownexperiences/motivations. Hitches which are knots that are formed
around a solid object, such as a spar, post, or ring will be
representing the evidence or data I have collected on the subject. We
move on now with the working end and make some loops!
Combine mode of reading is for readers who are more interested in the journey and the connections between process and result. Slide mode of reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project. Build readers are detail oriented and academic readers who would prefer a “traditional” lead to reading.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">Hitches are used to tie strings to a standing solid object.</span></sup>
Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have different representations like in a Quipu. Certain knots represent the experiences
that raise interesting opportunities for research and distinct events I went through while making the project and underneath the drawing you can find the relation to the knot itself explained. For example if I
couldn’t manage to do something I planned to do, this will be represented with a broken knot. Bend knots which are used to connect two strings, will be representing the relation between theories and my own experiences/motivations. Hitches which are knots that are formed around a solid object, such as a spar, post, or ring will be representing the evidence or data I have collected on the subject. We move on now with the working end and make some loops!
## HOW TO CHOOSE YOUR STRING
This map will reveal your mode of reading. The order of reading will
be indicated with a loop sign Please hold a string in your hand as you
read the text and make knots or loops as you weave through the reading
as an exercise for concrete thinking. See you at the standing end! and a
number on top of the sign with a color. This is the numeric order you
should follow to read the thesis, if you choose to read with a mode.
This map will reveal your mode of reading. The order of reading will be indicated with a loop sign Please hold a string in your hand as you read the text and make knots or loops as you weave through the reading
as an exercise for concrete thinking. See you at the standing end! and a number on top of the sign with a color. This is the numeric order you should follow to read the thesis, if you choose to read with a mode.
Every reader starts from 1 and continues until 12, with a consecutive numeric order, according to their color/mode.
@ -189,7 +107,7 @@ living matter in us that keeps pulsing. So then I started researching bees and t
read Alan Watts, Alan Lightman, Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver
Sacks, Joanna Macy, Rilke, Montaigne and theories on order in chaos, correlative vision, harmony
of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly
figured out the wisdom of not knowing things.<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">I wrote and deleted and rewrote the story 3 times already.</span></sup>
figured out the wisdom of not knowing things.
Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive
today so many times and was waiting on it because it always felt incomplete. In a way it
@ -197,7 +115,7 @@ will always be incomplete because of the natural ambiguity the topic carries. Ye
back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned
changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it ever existed
in the first place.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">I wrote and deleted and rewrote the story 3 times already.</span></sup>
Last year when two earthquakes hit Syria and Turkey, I was drowned like everyone I know, by a
collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was
and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was
@ -212,12 +130,11 @@ story is actually a personal history of how I went through grief in diff erent s
me realise that it doesn’t have to be or even can be a perfect story.
In the end with the experience I had with loss, 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
remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting.
The effect of storytelling knowledge on kids’ development and creativity. What can
we learn from open ended and multiple ending stories?
@ -227,7 +144,7 @@ read, mimic and express their feelings over time. The more children read, write
to social environments, the more they widen their sense and ability of expressing themselves. The
language gained as kids comes in many forms and storytelling plays a crucial role in this development.
The exposure to stories prepares the kids to the era of reading and writing. Children come
to understand and value feelings through conversation (Dettore, 2002). When children are offered
to understand and value feelings through conversation (Dettore, 2002). When children are offered
to read or share stories, they also learn to understand people around them better and gain emotional
literacy.
@ -250,10 +167,10 @@ dence of constructing a world, a character or an adventure. Although this is ess
as we know it, children think of this as a game, yet to discover they are actually becoming writers.
What kind of reward can we expect from active participation in a story? Narrative pleasure can
be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has effects
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has effects
on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to
keep these three emotions.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Multiliteracy theory helped me ground my passion of using multimedia for children's literature.</span></sup>
Interactive storytelling reminds everyone but especially children that there are limitless endings to
a story that is solely up to the maker’s creation. Learning to think this way instead of knowing or
assuming an end to a story, I think influences the children’s decision making abilities and sense of
@ -290,8 +207,12 @@ rest of this thesis: What is an interactive picture book? Is it a book? Is it a
What is it defined as? How can we design an interactive reading environment without confusing
@ -326,6 +249,7 @@ very important factors to keep in mind when trying to design an interactive expe
children get bored very easily and can be disengaged because of failure of solving/understanding
something in a story. This is something I kept in mind as I wrote for children and chose
the interactive elements in the story.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CASA framework helped me understand the key elements in designing for children.</span></sup>
Finding the balance between making the interactive element surprising and making it easy to
interact with is the key to designing for kids in this scenario. We don’t want to make them struggle
@ -333,14 +257,14 @@ and use the limited attention span in a non-engaging way but we want to keep the
enough so they want to continue.
Digging deeper into how to do this, I found Children Computer Interaction (CCI) study very
useful. This study examines how children of different ages and developmental stages interact with
useful. This study examines how children of different ages and developmental stages interact with
digital devices and how these interactions can support their growth. This made me think about
digital gestures; how they change through generations and how to use these to design a platform
where children can navigate easily and freely. CCI suggests that when introducing a new media
to children its better to start easy and clear when they try it. Through this I think the best easy
interaction is the tap or click for children. It is easy to do, instinctive and common. So I decided to
base the interactive elements on click animations.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CCI was a theory that helped me decide on the interactive elements.</span></sup>
There are multiple ways to use digital gestures in storytelling to make the experience more intriguing.
These are usually elements such as sound, animations, voice-overs that are ignited with a
click or tap by the reader. For children younger than 5, its usually just tapping over the page and
@ -353,6 +277,7 @@ part of a page is interactive by clicking on images. Another thing I found out i
being a part of the story. For the prototype of Bee Within (the story I am using to test interactivity
also can be read in the appendix) I will focus on color, sound and click based animations according
What is the target age group for the designated prototype and why?
@ -363,12 +288,10 @@ day by day increasing interest in play. They can take on roles in imaginative pl
can also share and take turns more, listen and think about rules of a game. They can form friendships
and connections easily.
School age children are between the ages 6-12, which is Wink’s chosen age group is a little diff erent.
These kids can form more rooted friendships and engage in more complex narratives. They
learn to negotiate and compromise around this time as well. This age group is desired for Wink
because kids this age are open to creative problem solving, connecting events and comprehending
slightly more complex narratives. Moreover, this age group would benefit the most from the interactive
stories and the reading process because of the developmental phase they are in.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">This data about school age children was a starting point to choose the age group to have the workshops with.</span></sup>
School age children are between the ages 6-12, which is Wink’s chosen age group is a little different.
These kids can form more rooted friendships and engage in more complex narratives. They learn to negotiate and compromise around this time as well. This age group is desired for Wink because kids this age are open to creative problem solving, connecting events and comprehending slightly more complex narratives. Moreover, this age group would benefit the most from the interactive stories and the reading process because of the developmental phase they are in.
The average amount of time children between these ages use on a daily basis is depending on
their parents and circumstances. But to be fair, it is often not less than 2 hours. If a child isn’t very interested in spending these hours reading a book, why not ask them: “Would you like to be a part
@ -379,6 +302,8 @@ flipping the page of a book. This is why it is fairly easy to create an interact
kids can navigate themselves and be able to browse through with or without their parents. But for
Wink, I chose to design for older kids because I want to experiment on multi-leveled narratives
and I want to avoid the risk of confusing children.
Limits of interactivity in narratives for children and why do we have less modes of
@ -387,8 +312,9 @@ reading and writing for children?
Although there are many upsides of creating digital environments for children due to their advanced
skills in technology from early ages, there are also risks involved in this where the kid can
be overwhelmed and confused due to the autonomy they receive. Reading a story is supposed to
be effortless and a good free time activity but with interactive picture books, it is slightly more
be effortless and a good free time activity but with interactive picture books, it is slightly more
than that and more complicated as an experience.
<sup><spanclass="margin-note"><imgsrc="../irmak/elbow.png">This is the elbow of our strings. Elbows are created when an additional twist is added to a loop. In this case, it represents the counter argument in the string.</span></sup>
First of all, with the story at hand, called Bee Within, there are two other stories in one. Although
the main story is about a little girl’s journey, kids get the chance to hear the Queen Bee’s story and
@ -402,14 +328,17 @@ Another aspect I am concerned about after the workshop I did with the kids, is t
due to an undefined and multimodal design for a “book”. Kids tend to be confused when
they can’t define things or are asked to improvise without knowing the purpose.They know what a
book is and that it is similar to what they encounter on the screen. But the method of reading and
interacting with Bee Within is different than what they are used to. This concerns me because they
interacting with Bee Within is different than what they are used to. This concerns me because they
might prefer to just read a book or play a game instead of discovering a new thing, which they
are exposed to daily because they are always in a process of active learning. So one more thing to
learn might come as exhausting. Therefore, in designing, I want to make interactions as clear as
Interactive reading and writing examples and surveys done with kids
Interactive reading and writing examples and surveys done with kids.
As an improvisation theater enthusiast myself, I tried to engage the kids with the story through
some exercises and games during the workshops. My aim was to see how involved they want to
be in storytelling. Improvisation has a certain way of storytelling and interaction where there are
@ -419,15 +348,17 @@ improv games and warmups to involve the kids in the story more and see how they
characters from the picture book.
My first attempt was to make a survey at the end of workshops with kids to whether they liked it
or not, but when I researched further, surveying with kids has very different methods and complications.
or not, but when I researched further, surveying with kids has very different methods and complications.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">There is a broken knot here because I ended up not doing a survey with children at the workshops.</span></sup>
Most kids either really like or really dislike things. Finding the in between emotions with a survey,
ends up being vague. Most surveys done with kids use emoticons as representation of a good or
bad or average time. Instead, I chose to observe the environment and understand how much empathy
kids can off er in an interactive reading or playing environment.
kids can offer in an interactive reading or playing environment.
Interactivity in reading and writing in history. What changed?
@ -466,21 +399,17 @@ and literature has been such a grand topic even before information and technolog
examples to this is music, masks, puppets, props used in storytelling.
Ancient texts with annotations such as The Odyssey, The Mahabharata are maybe the earliest
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit different opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
From the 70s to the present there have been many examples but I will be focusing on a few here.
One of them is, Choose your own adventure books which allowed the reader to participate in
the plot. These still exist as picture books where you are directed to certain pages according to
the choices you make throughout the story. Along with this were also board games and cards that
required interactive inputs. Some examples to this is exploding kittens or cards against humanity
where the player has the autonomy to be creative and fill in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of
computing off ered a wide space for exploring virtual worlds. In the early 80s, hypertext fiction
contributed to electronic literature. Hyperlinks were used as a tool to navigate a text and choose
paths of reading. This inspired me to write this thesis with diff erent modes of reading as well.
After the 80’s, Interactive fiction gained popularity as a genre of interacting with text based input.
Dynabook by Alan Kay was prototyped during this time as a promising reading and writing device
designed for children.
The 21st century off ers a combination of text and illustrations in augmented reality books that
where the player has the autonomy to be creative and fill in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of computing offered a
wide space for exploring virtual worlds. In the early 80s, hypertext fiction contributed to electronic literature. Hyperlinks were used as a tool to navigate a text and choose paths of reading. This inspired me to write this thesis with different modes of reading as well. After the 80’s, Interactive fiction gained popularity as a genre of interacting with text based input. Dynabook by Alan Kay was prototyped during this time as a promising reading and writing device designed for children.
The 21st century offers a combination of text and illustrations in augmented reality books that
have animations, sound and external interactions. These are followed by digital storytelling platforms
like Wattpad and Storybird and interactive e-book apps such as Pibocco, Bookr and Tiny
Minies. Most of these apps are dedicated to education however and not solely to creativity. Their
@ -492,10 +421,11 @@ the delicacy of a narrative where you can only be a reader and the excitement of
writing and experiencing.
This is because I think the understanding and usage of media changed in the last years. Some
tools that created the awe effect for users faded and left their place to more compact designs.
tools that created the awe effect for users faded and left their place to more compact designs.
Although audio books were very welcome at some point, younger users nowadays prefer book
summary apps or podcasts to them. Of course they are still used and not outdated but there is
certainly a visible change to where media is heading.
Experimentation of creative exercises to be used in WINK. Exercises of storytelling
@ -508,6 +438,7 @@ which parts of the story the children found exiting and which ones are not so th
It also helped me draw the pictures for the book accordingly and edit the text with their reactions
in mind. Due to a privacy agreement, I couldn’t record or use any data from the workshop but I
made some helpful observations from my time there.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">This loop is all about the observations I made during the workshops and the decisions I made, according to the results.</span></sup>
The first workshop I planned consisted of two main parts that made up 20 minutes. The first 10
minutes we read Bee Within (attached in the appendix) together in a circle and the last 10 minutes
@ -539,35 +470,35 @@ want to see how their understanding changes without a limitation of a story.
Bees in the classroom that day were all very active and they used chairs, tables and windows to
position themselves in a higher perspective. Children who played the kid were usually standing
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
as leaves. Some of them didn’t have leaves because it is winter. Trees didn’t move at all and
the bees were buzzing all around. “The kid” usually sat near the tree, on the tree (as in the other
performers’ lap or hugged them).
Overall only 2 groups used the option to say a sentence which were,
> “I want to go on an adventure”
> “I don’t wanna leave Gray(the tree)”
*“I want to go on an adventure”*
*“I don’t wanna leave Gray(the tree)”*
This was a good feedback for me because I realized they are very perceptive of actions and facial
expressions rather than words.
The workshop we did in the studio with XPUB 2 students was harder than the session with the
kids because everyone felt so restricted to obligations and were not comfortable to let go of bodily
control. No one actually attempted in using objects from the room which is a huge difference with
control. No one actually attempted in using objects from the room which is a huge difference with
the kids because they drew on their faces, used plastic bags as wings for the bee and made sounds
with their mouths as trees.
The next workshop was to discover how improv would work without reading the story first. This
workshop was fruitful because it helped me realize how much information or guidance I have to
offer for children in order for them to be comfortable to participate and interact without confusion.
offer for children in order for them to be comfortable to participate and interact without confusion.
We made a circle and I summarized the story to the kids, acting in the middle of the circle. This
broke the ice completely because I was a part of the workshop and they thought I was funny. For
the next part, I divided the group in three and assigned a character to them. After this, I asked
them to decide on an attitude, pop in the middle and tell or act out their character. I went first
and they followed easily. They were not under the influence of the story so the performances were
different but they still got influenced by each other, which in my opinion is inevitable. Some of the
different but they still got influenced by each other, which in my opinion is inevitable. Some of the
kids were buzzing/running around, the “kids” were walking around, acting like they are playing
which I found very interesting. Some trees were small some were mighty and old. It was helpful to
see the different attributions they gave to the characters.
see the different attributions they gave to the characters.
After the circle session, they separated in three groups: the kids, the bees and the trees. I asked
each group to come up, walk around randomly, embodying the character they chose. Then as I
@ -583,29 +514,30 @@ and put her red jacket on. This made me think about using color to show emotions
was good to see that they weren’t scared or discouraged by negative emotions as well. We ended
the workshop by drawing our characters. It was nice to see them own their imaginary characters
enough to draw them with joy.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">There is a broken knot here because I changed my mind about adding motional elements to the tree character. Kids seemed to see the tree as stationary.</span></sup>
The last workshop was dedicated to discovering the sound aspect. The tree in the story speaks
in verses so I chose one verse and read/performed it in a circle to begin with. Then I gave them
some instruments: a drum, a bell, aluminum folio, a balloon and a bubble wrap. I asked for a few
volunteers and they made sound effects as I read the verse very slowly. This went good and I saw
volunteers and they made sound effects as I read the verse very slowly. This went good and I saw
that they like to dramatize the sounds and make them funny or unexpected. They used the bubble
wrap to make sounds for snowing or aluminum folio for the volcano. They had great fun but I
think I made a mistake by making a few kids do foley at the same time because they didn’t know
how to take turns and were hesitant at first. Then quite impressively, they made their own system
where they took turns to make effects for each sentence.
where they took turns to make effects for each sentence.
Then I made four groups of three. 3 kids as actors and 3 kids as foley actors. They buddied up
and made short scenes where one group made sounds effects to the others acting on stage. This
and made short scenes where one group made sounds effects to the others acting on stage. This
was the best part of this workshop because they could lead the actors with the sounds they made
or vice versa. This I think is very important because it shows that they like to be a part of or be
effective to the story itself. They were very creative in using the objects in the room and turning
effective to the story itself. They were very creative in using the objects in the room and turning
them into a tool for sound. They enjoyed to foley the bee and the other characters not so much.
Which showed me that I should focus on the sound of the bee in the prototype.
Overall, the workshops were very helpful for me to understand where to focus on as I develop. I
realized that some of the sound, color and movement animations I planned were too complicated
and I decided to make them more simplistic. I decided to animate the tree with only color because
I was effected by this one participant who took the red jacket to represent the tree was mad.
I was effected by this one participant who took the red jacket to represent the tree was mad.
For the bee I decided to focus on sound more. For the kid I decided to use more visual animations
to make it more interesting.
@ -617,17 +549,19 @@ the tree because it seemed like they needed more stimulation to be interested in
though a ‘reveal the story’ click game could keep them interested. For the bee, knowing they like
the character, I wanted to make it more like a game to give the kids a chance and autonomy to be
After many loops of thought, we are here at the standing end of the thesis. There is room for
more loops and knots in the future to secure this string of thought but for now, we have come to
the dock and rest ashore.
@ -658,13 +593,13 @@ tackle the desire of making something for children.
Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t
work. Some features that I think would work very well like the choice of writing didn’t go as
planned because multiple narratives is already too much. I realized I underestimated the effect of
planned because multiple narratives is already too much. I realized I underestimated the effect of
introducing a new media to children. This is why I decided to take it step by step with the interactivity.
Taking a step to make Wink and using the story I wrote and feel is important in my personal history
as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of
writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am
looking forward to making more knots on this long and mysterious string at hand.
writing, reading and experiencing literature is ongoing and it was a beautiful journey so far.
I am looking forward to making more knots on this long and mysterious string at hand.
</section>
@ -672,45 +607,54 @@ looking forward to making more knots on this long and mysterious string at hand.
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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...
