From 4a8bdb9c5b9feca8a08c34af2ff8454b2296d259 Mon Sep 17 00:00:00 2001 From: Stephen Date: Tue, 11 Jun 2024 14:53:00 +0200 Subject: [PATCH] sidenotes added --- .DS_Store | Bin 0 -> 8196 bytes .gitignore | 5 +- ada/index.md | 2 +- aglaia/thesis.md | 60 +- introduction/index.md | 5 +- print/booklet.template.html | 3 +- print/index.html | 1939 ++++++++++++++++++----------------- print/print_style.css | 15 +- print/section-order.txt | 2 +- pyvenv.cfg | 5 + 10 files changed, 1024 insertions(+), 1012 deletions(-) create mode 100644 .DS_Store create mode 100644 pyvenv.cfg diff --git a/.DS_Store b/.DS_Store new file mode 100644 index 0000000000000000000000000000000000000000..10d7329a59e3a1d33d9db510e5d1371de6cf9cb8 GIT binary patch literal 8196 zcmeHM&2G~`5T0$CCJm?*B&13R$uEFKxN$R8df>nXUV!+gsa2M4Amk51V!El*$- z_*7?URj0T*>|jGfP#`D}6bK3g1%d+qhXQzKa~W@W@9Vpv4hjSX?xX_ze28$cO^j`| zl}86ENdaJY(JTe$^6?KFaRY2(Y^yC=P?V;^YN|3RhBCQ>(sbNU48GM?(@9Cs@MC&b zCPPss^-z((NhR8bIw%kn=qkXu`+(+@)BJVi$>8dJE0T~GCHS~xXP%Y#_d==^_&gBDe1yPefCgec&*{HhUYWXKK{FhAJQqK=+f_h zXW=0qV%P*6p*7+nGXCF*N`O^F(xEH(D2k@ep|^%&<@eng^*%{TyR1>YHZn2SOU zS~h5z(n~is(duU07xdiYvU)e=PCYKGXmcNJjk&=nc=uoxxjsZ!+s6n#c+c^!#tgb> z(e<09>qxN7=$SLo)J8wXOz|#UncWo&dx>j)%yF+|O?<<^ZM>yW&;KI08TcMzmbR1UFaoAsf7~(tv clsSp9t+r@E`R6|bSYHd_{V!7xsynE_Pu`)FEdT%j literal 0 HcmV?d00001 diff --git a/.gitignore b/.gitignore index ba28150..b9601a4 100644 --- a/.gitignore +++ b/.gitignore @@ -1 +1,4 @@ -images/ \ No newline at end of file +lib/ +bin/ +include/ +images/ diff --git a/ada/index.md b/ada/index.md index d52a8f4..097012e 100644 --- a/ada/index.md +++ b/ada/index.md @@ -31,4 +31,4 @@ Now the stories are here, each of them a cake with a filling that tells a story, The play ends as all plays do. The curtains close, the website stays but the stories will never sound the same. For the final act, I give you the stories. It's one last game, one last joke to ask my question again. Digital intimacies about the digital, our bodies and the cakes we eat. For the last act, I ask you to eat digital stories. To eat a comment, to eat a digital intimacy. Sharing an act of physical intimacy with yourself and with me, by eating sweets together. Sweets about digital intimacies that never had a body. There is no moral, no bow to wrap the story in. A great big mess of transcendence into the digital, of intimacy and of bodies. The way it always is. Thankfully.\ -![Accept My Cookies, biscuits and bows for the performance.](biscuits.png) \ No newline at end of file +![Accept My Cookies, biscuits and bows for the performance.](biscuits.png) diff --git a/aglaia/thesis.md b/aglaia/thesis.md index 2412731..89baa93 100644 --- a/aglaia/thesis.md +++ b/aglaia/thesis.md @@ -9,15 +9,15 @@ author: Aglaia ### i n t r o d u c t i o n -This thesis is an assemblage(1) 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? +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? -The eastern Mediterranean borderland(2), I happened to come from, proves to be one of Europe’s deadly borders towards specific ethnic groups. The embodied experience of borders and practices of (im)mobility change radically depending on the various identities of the people crossing them. As I moved to the Netherlands I started more actively perceiving bureaucracy as another multi-layered border. I was wondering how this situation is shifted and transformed moving towards the European North. What is the role of bureaucracy and how it could be perceived as a mechanism of repulsion for some bodies - a camouflaged border? +The eastern Mediterranean borderlandI use the word borderland to refer to Greece as a (mostly) transit zone in the migrants’ and refugees’ route towards Europe., I happened to come from, proves to be one of Europe’s deadly borders towards specific ethnic groups. The embodied experience of borders and practices of (im)mobility change radically depending on the various identities of the people crossing them. As I moved to the Netherlands I started more actively perceiving bureaucracy as another multi-layered border. I was wondering how this situation is shifted and transformed moving towards the European North. What is the role of bureaucracy and how it could be perceived as a mechanism of repulsion for some bodies - a camouflaged border? But what is my starting point and where does my precarious body fit within the borders that I am touching? The language of the administrative document is rigid and hurtful but myself lies between the margins of these lines. -This thesis does not consist of an excessive inquiry about the profoundly complex concepts of borders and bureaucracy. On the contrary, it is initiated by personal concerns, awareness and my positioning. I choose to structure my argument and talk through a personal process that is being unfolded in parallel with the writing period. Accordingly, these words are dynamically being reshaped due to the material constraints of the bureaucratic timeline. A more distant approach became personal and tangible with auto-ethnographical(3) elements as I was trying to squish myself and my urgencies under these thresholds and fit the A4 document lines. +This thesis does not consist of an excessive inquiry about the profoundly complex concepts of borders and bureaucracy. On the contrary, it is initiated by personal concerns, awareness and my positioning. I choose to structure my argument and talk through a personal process that is being unfolded in parallel with the writing period. Accordingly, these words are dynamically being reshaped due to the material constraints of the bureaucratic timeline. A more distant approach became personal and tangible with auto-ethnographicalI perceive auto-ethnography as a way to place myself, my lived experiences, my identities, reflections in the (artistic) research and talk through them about structures and within the structures of social, cultural, political frameworks. elements as I was trying to squish myself and my urgencies under these thresholds and fit the A4 document lines. -I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe barrier(4). I do not intend in any respect to compare my case to the lived experiences and struggles of migrants and refugees. I utilize the paperwork interface of my smaller-scale story in order to unravel and foreground the aforementioned questions. +I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe barrier“Passports still function as a technology to control movement. Technologies like RFID chips and face recognition are part of a control system for digital state surveillance. Designing a passport is relative to design a surveillance tool. The analysis of passport designs rarely looks at the social consequences of identification, control, and restriction of movement, which can have violent consequences.” (Ruben Pater, 2021). I do not intend in any respect to compare my case to the lived experiences and struggles of migrants and refugees. I utilize the paperwork interface of my smaller-scale story in order to unravel and foreground the aforementioned questions. This thesis is very much indebted to some text-vehicles that mobilized my reflections and nourished the writing process. "Illegal Traveller, an autoethnography of borders" and "Waiting, a Project in conversation" both written by Shahram Khosravi as well as "The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy" by the anarchist anthropologist David Graeber. Graeber initiated his research utilizing the horrendous prolonged bureaucratic processes he had to follow in order to place his sick mother in a nursing home. In parallel, Khosravi’s work is itself the outgrowth of his own 'embodied experience of borders', of ethnographic fieldwork among undocumented migrants. I found valuable and inspiring in both texts the personal filter through which they articulate their positioning and develop critique. @@ -27,7 +27,7 @@ In the first chapter, I touch the concept of borders in relation to migration. I In the second chapter, I unpack bureaucracy and focus on its bordering function. From migration ghost bureaucracies to the educational bureaucracies of my surroundings to even smaller components of this apparatus. I end up analyzing the document as a unit within this complex network. Through the "interrogation" of the form as an artifact are emerging issues related to language, graphic design and transparency, universality, and underlying violence. -In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. Talking documents(5) are performative bureaucratic text inspections, vocal and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible vulnerability. +In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. Talking documents are performative bureaucratic text inspections, vocal and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible vulnerability. ----------------------------------------- @@ -88,17 +88,17 @@ When someone opens their house to a guest, a stranger, someone in need, means th Conditional hospitality is tied to a sense of offering back to the home-land-nation-state-country as a way to win or trade your permission to enter and enjoy the hospitality of a place. Coming from specific places in comparison to others, having to offer some special skills or your labor - if it is asked for - can be possible conditions that may allow somebody to receive hospitality. I would say that an efficient check of these conditions is regularly facilitated through bureaucratic channels. The concept of unconditional-conditional hospitality is closely related to exchange. When you do not have something to offer according to the needs or expectations of a “household”, you may not receive the gift of hospitality. -The notion of hospitality is excessively instrumentalized within the Greek context portrayed as an “ideal” intertwined with the nation-building narrative and as a foundational quality - product by the Greek tourist industry. However, the Greek sea has been an endless refugee graveyard and the eastern Aegean islands a “warehouse of souls”(6) for the last many years. In this case, conditional hospitality applies primarily to those who invest in and consume. +The notion of hospitality is excessively instrumentalized within the Greek context portrayed as an “ideal” intertwined with the nation-building narrative and as a foundational quality - product by the Greek tourist industry. However, the Greek sea has been an endless refugee graveyard and the eastern Aegean islands a “warehouse of souls”For further reading: https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/ for the last many years. In this case, conditional hospitality applies primarily to those who invest in and consume. Hospitality can function as a filtration mechanism that permits access – lets in – the ones who deserve it, those who have “passports, valid visas, adequate bank statements, or invitations” (Khosravi, 2010). By doing this, unproductive hospitality is being avoided due to sovereign state’s border regulations and checks. Conditional hospitality, is about worthiness, is directed towards migrants deemed good and productive – skilled and capable for assimilation- or a tiny minority of vulnerable and marginalized asylum seekers who lack representation. Only in a world where the nation-state’s boundaries have been dismantled and where the undocumented, stateless, non-citizens are unconditionally accepted, only at this moment, we are able to imagine the “political and ethical survival of humankind” (Agamben, 2000). Hospitality does not seem a matter of choice but a profound urgency, if humanity desires to foster a future together. #### “ t h e r i g h t t o h a v e r i g h t s ” (Arendt, as cited by Khosravi, 2010, p.121) -What about the crossers who managed to travel and reach the desirable “there”, the ones who transcended the borders and the control checks of the ministries of defense(7), the ones who enter but do not own papers, the paperless? What does it mean to be documented and what is inefficiently documented within a territory? They are threatened if they get caught by authorities and also according to the official narrative, they threaten. Since the physical mechanisms of bordering did not succeed in repulsing them, the bureaucratic border appears as an additional layer of filtration. The undocumented are non-citizens, they might be crossers or burners(8), both, or even none. “Undocumented migrants and unauthorized border crossers are polluted and polluting because of their very unclassifiability” (Borelli, Poy, Rué, 2023). The loss of citizenship, denaturalisation, makes somebody denaturalised, they are rendered unnatural. “Citizenship has become the nature of being human” (Koshravi, 2010). +What about the crossers who managed to travel and reach the desirable “there”, the ones who transcended the borders and the control checks of the ministries of defenseOne of the tactics for regulating or preventing the so-called unproductive hospitality is border control checks. According to the website of the Ministry of Defense of the Netherlands, “the Royal Netherlands Marechaussee (RNLM) combats cross-border crime and makes an important contribution to national security. Checks are still performed at the external borders of the Schengen area. In the Netherlands, this means guarding the European external border at airports and seaports, and along the coast. By participating in Frontex, the European border control agency, the RNLM makes an important contribution to the control of Europe’s external borders in other EU member states. There is one single EU external border.” (Border Controls, 2017), the ones who enter but do not own papers, the paperless? What does it mean to be documented and what is inefficiently documented within a territory? They are threatened if they get caught by authorities and also according to the official narrative, they threaten. Since the physical mechanisms of bordering did not succeed in repulsing them, the bureaucratic border appears as an additional layer of filtration. The undocumented are non-citizens, they might be crossers or burnersI would like to refer to the practice of Harragas introduced by my friend Rabab as a counter-act of dealing or breaking or burning the multilayered borders. The burners or Harragas is a term alluding to the migrants’ practice of burning their identity papers and personal documents in order to prevent identification by authorities in Europe. Crucially this moving out is in defiance of the bureaucratic rules and their elaborate visa systems. Those who engage in harraga, ‘burn’ borders to enter European territories. “They do not, however, burn the bridges to the people and places they depart from. To these, they keep all kinds of links. For, as they burn borders, they don’t move away from their place of origin. Harraga is about expanding living space” (M’charek, 2020)., both, or even none. “Undocumented migrants and unauthorized border crossers are polluted and polluting because of their very unclassifiability” (Borelli, Poy, Rué, 2023). The loss of citizenship, denaturalisation, makes somebody denaturalised, they are rendered unnatural. “Citizenship has become the nature of being human” (Koshravi, 2010). 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) -“…(9) 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 *(10) 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(11). 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. 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." ----------------------------------------- @@ -107,7 +107,7 @@ 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”(12). “In these bordering processes, we can detect the “coloniality of asylum”(13) (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. 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. #### h i g h e r e d u c a t i o n ‘s e x p a n d i n g b u r e a u c r a c y While I had this inherent concern about borders and bureaucratic structures in relation to migration, I decided to start zooming in and explore my own bureaucratic surroundings through my personal lens. As a student, I was eager to understand and dig into the educational institutions’ bureaucratic mechanisms being driven by smaller-scale bureaucratic struggles and peers’ narratives, stories and experiences. How can higher education in a European country reflect policies around migration and border control less profoundly. How can education filter and distinguish, how it can reproduce efficiently itself? @@ -141,7 +141,7 @@ The bureaucratic apparatus can be considered as something more than an infrastru #### t h e m y t h o f u n i v e r s a l i t y One of the great powers of bureaucracies is their ability to render themselves transparent. It seems that bureaucracy does not have to say anything more beyond itself, is self-referential and self-contained. It is boring or most likely is supposed to be boring. “One can describe the ritual surrounding it. One can observe how people talk about or react to it” (Graeber, 2015). The supposed universality of the form which is carefully constructed can be partly attributed to the individuality and impersonality of many bureaucratic processes. “Bureaucracies operate through an assemblage of hierarchy, impersonality, and procedure in order to complete organizational tasks with maximum efficiency” (Weber, as cited by Cunningham, 2017, p. 307). -I had to open a discussion with students from non-EEA (non European Economic Area) countries in order to understand that they have to conduct tuberculosis x-rays(14) when they arrive in the Netherlands. It seems that for the Dutch state, their bodies might be more threatening than bodies coming from a European country. The relativization in the quality and the quantity of paperwork requested from different “groups” of applicants in a specific context deconstructs the myth of the universality of the bureaucratic form. +I had to open a discussion with students from non-EEA (non European Economic Area) countries in order to understand that they have to conduct tuberculosis x-rays“To keep the Residence Permit, some non-European students need to visit the Dutch Public Health Authority (GGD) after they arrived in the Netherlands. They will undergo a medical test for tuberculosis (TB). This is a requirement from the IND (Dutch Immigration Office)”. (Introduction days, 2021) when they arrive in the Netherlands. It seems that for the Dutch state, their bodies might be more threatening than bodies coming from a European country. The relativization in the quality and the quantity of paperwork requested from different “groups” of applicants in a specific context deconstructs the myth of the universality of the bureaucratic form. Undoubtedly the success of bureaucracy is drawn from its efficiency in relation to schematization as an efficient material quality. “Whether it’s a matter of forms, rules, statistics, or questionnaires, it is always a matter of simplification (Cunningham, 2017)”. Bureaucracies ignore the social existence of a person and fragment, classify and define them under specific perspectives. Why do they ask for this information instead of others? “Why place of birth and not, say, place where you went to grade school? What’s so important about the signature?” (Graeber, 2015) @@ -158,7 +158,7 @@ One month ago (from the writing present), my friend Chae made for my birthday th “to alter the physical form of the artifacts is to change the act of reading and understanding but mostly you transform the metaphoric and symbolic network that structures the relation of world to world. To change the material artifacts is to transform the context and circumstances for interacting with the words, which inevitably change the meaning of the word itself. This transformation of meaning is especially possible when the words interact with the inscription technologies that produce them” (Hayles, 2002). -In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards them(15). Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors. +In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards themI am referring to those people subjecting others to bureaucratic circles shaped by structurally violent situations as well as people in positions of privilege who deliberately ignore these facts.. Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors. ![The birthday biscuit that Chae made, re-creating the Dutch government form](../aglaia/chae_form.jpg) @@ -170,7 +170,7 @@ An administrative decision on a case may not seem necessarily hurtful in linguis A bureaucratic text does not just describe a reality, a decision, a case or an action, but on the contrary, it is capable of changing the reality or the order of things that is described via these words. Bureaucratic official documents are inherently performative. These texts regulate and bring situations into being. -My intention in transforming bureaucratic texts into “playable” scenarios is to explore how embodying these texts in public through collective speech(16) can provoke different forms of interpretations and open tiny conceptual holes. “The meaning of a performative act is to be found in this apparent coincidence of signifying and enacting” (Butler, 1997). The performative bureaucratic utterances - the vocal documents - attempt to bring into existence -by overidentifying, exaggerating, acting- the discomfort, the threat, the violence which is mainly condemned into private individual spheres. +My intention in transforming bureaucratic texts into “playable” scenarios is to explore how embodying these texts in public through collective speechI imagine the theatrical play as a “human microphone”, a low-tech amplification device. A group of people performs the bureaucratic scenario in chorus, out loud, in the corridor of the school’s building, in the main hall, at the square right across, outside of the municipality building. The term is borrowed from the protests of the Occupy Wall Street Movement in 2011. People were gathered around the speaker repeating what the speaker was saying in order to ensure that everyone could hear the announcements during large assemblies. Human bodies became a hack in order to replace the forbidden technology. In New York it is required to ask for permission from authorities to use “amplified sound” in public space. can provoke different forms of interpretations and open tiny conceptual holes. “The meaning of a performative act is to be found in this apparent coincidence of signifying and enacting” (Butler, 1997). The performative bureaucratic utterances - the vocal documents - attempt to bring into existence -by overidentifying, exaggerating, acting- the discomfort, the threat, the violence which is mainly condemned into private individual spheres. How performing a collection of small bureaucratic stories can function as an instant micro intervention and potentially produce a public discourse. Where do we perform this speech, where and when does the “theater” take place? Who is the audience? I am particularly interested in the site-specificity of these “acts”. How can these re-enactments be situated in an educational context and examine its structures? Is it possible for this small-scale publics to provoke the emergence of temporal spaces of marginal vulnerable voicings? According to the agonistic approach of the political theorist Chantal Mouffe, critical art is art that provokes dissensus, that makes visible what the dominant narrative tends to undermine and displace. “It is constituted by a multiplicity of artistic practices aiming at giving a voice to all those who are silenced within the framework of the existing hegemony” (Mouffe, 2008). @@ -196,7 +196,7 @@ These 'rituals' are components of a larger “culture of evidence”, serving as #### 2. Title: “Department of Bureaucracy and Administration Customs Enforcement” When: November 2023 -Where: Leeszaal(17) +Where: LeeszaalCommunity Library in Rotterdam West Who: XPUB peers, tutors, friends, alumni Description: During the first public moment at Leeszaal, I decided to embody and enact the traditional role of a bureaucrat in a graphic and possibly absurd way performing a small “theatrical play”. I prepared a 3-page and a 1-page document incorporating bureaucratic-form aesthetics and requesting applicants’ fake data and their answers for questions related to educational bureaucracy. People receiving an applicant number at the entrance of Leeszaal, queuing to collect their documents from the administration “office”, filling forms, waiting, receiving stamps, giving fingerprints and signing, waiting again were the main components of this act. @@ -204,7 +204,7 @@ Description: During the first public moment at Leeszaal, I decided to embody and Reflections-Thoughts: Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene. The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony. -![Leeszaal West Rotterdam - November 2023 – People queuing(18) to receive their documents and sign](../aglaia/queue.jpg) +![Leeszaal West Rotterdam - November 2023 – People queuingI was thinking of queues as a spatial oppressive tool used often by (bureaucratic) authorities. The naturalized image of bodies-in-a-line waiting for “something” to happen at “some point” under the public gaze in an efficiently defined area. to receive their documents and sign](../aglaia/queue.jpg) ![One of the forms that the audience had to fill out during the Lesszaal event](../aglaia/mitsi.jpg) @@ -216,7 +216,7 @@ Who: Ada, Aglaia, Stephen, Joseph Description: This prototype is a collective passport reading session. I asked my classmates to bring their passports or IDs and sitting in a circular set up we attempted to “scan” our documents. Every contributor took some time to browse, annotate verbally, interpret, understand, analyze, vocalize their thoughts on these artifacts, approaching them from various perspectives. The three passports and one ID card were all coming from European countries. -Reflections-Thoughts: For the first time I observed this object so closely. The documentation medium was a recording device, Ada’s mobile phone. The recording was transcribed by vosk(19) and myself and a small booklet of our passport readings was created. +Reflections-Thoughts: For the first time I observed this object so closely. The documentation medium was a recording device, Ada’s mobile phone. The recording was transcribed by voskVosk is an offline open-source speech recognition toolkit. and myself and a small booklet of our passport readings was created. “So the object here is like not by random it comes from the history of nation-states and how nation-states and nationalities created like a form of identity. So nation-state is actually a recent invention that came into existence over the last two hundred fifty years in the form as we know it nowadays, in the form of democratic capitalism, before like monarchies and so on and each citizen of such a nation-state got also kind of a particular identity”, Joseph says about his ID card. @@ -254,35 +254,9 @@ My intention is to facilitate a series of collective performative readings of bu [ ](../aglaia/objection2.png) -#### “we didn’t cross the border, the border crossed us”(20) +#### “we didn’t cross the border, the border crossed us”US Immigrant Rights Movement Slogan (Keshavarz, 2016). As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able to pass through smoothly, carrying my magical object through which I embody power- at least within this context. However, I yearn for a reality where we stop looking at those bodies that cross the multifaceted borders and get crossed and entrenched by them, but on the contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful. - -### s i d e n o t e s -1. I live somewhere in the margins of scattered references, footnotes, citations, examinations embracing the inconvenience of talking back to myself, to the reader and to all those people whose ideas gave soul to the text. I shelter in the borderlands of the pages my fragmented thoughts, flying words, introspections, voices. Enlightenment and inspiration given by the text “Dear Science” written by Katherine McKittrick. -2. I use the word borderland to refer to Greece as a (mostly) transit zone in the migrants’ and refugees’ route towards Europe. -3. I perceive auto-ethnography as a way to place myself, my lived experiences, my identities, reflections in the (artistic) research and talk through them about structures and within the structures of social, cultural, political frameworks. -4. “Passports still function as a technology to control movement. Technologies like RFID chips and face recognition are part of a control system for digital state surveillance. Designing a passport is relative to design a surveillance tool. The analysis of passport designs rarely looks at the social consequences of identification, control, and restriction of movement, which can have violent consequences.” (Ruben Pater, 2021) -5. Working title of the project -6. For further reading: https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/ -7. One of the tactics for regulating or preventing the so-called unproductive hospitality is border control checks. According to the website of the Ministry of Defense of the Netherlands, “the Royal Netherlands Marechaussee (RNLM) combats cross-border crime and makes an important contribution to national security. Checks are still performed at the external borders of the Schengen area. In the Netherlands, this means guarding the European external border at airports and seaports, and along the coast. By participating in Frontex, the European border control agency, the RNLM makes an important contribution to the control of Europe’s external borders in other EU member states. There is one single EU external border.” (Border Controls, 2017) -8. I would like to refer to the practice of Harragas introduced by my friend Rabab as a counter-act of dealing or breaking or burning the multilayered borders. The burners or Harragas is a term alluding to the migrants’ practice of burning their identity papers and personal documents in order to prevent identification by authorities in Europe. Crucially this moving out is in defiance of the bureaucratic rules and their elaborate visa systems. Those who engage in harraga, ‘burn’ borders to enter European territories. “They do not, however, burn the bridges to the people and places they depart from. To these, they keep all kinds of links. For, as they burn borders, they don’t move away from their place of origin. Harraga is about expanding living space” (M’charek, 2020). -9. 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. -10. “*” means undecipherable -11. Immigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service -12. I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries. -13. 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. -14. “To keep the Residence Permit, some non-European students need to visit the Dutch Public Health Authority (GGD) after they arrived in the Netherlands. They will undergo a medical test for tuberculosis (TB). This is a requirement from the IND (Dutch Immigration Office)”. (Introduction days, 2021) -15. I am referring to those people subjecting others to bureaucratic circles shaped by structurally violent situations as well as people in positions of privilege who deliberately ignore these facts. -16. I imagine the theatrical play as a “human microphone”, a low-tech amplification device. A group of people performs the bureaucratic scenario in chorus, out loud, in the corridor of the school’s building, in the main hall, at the square right across, outside of the municipality building. -The term is borrowed from the protests of the Occupy Wall Street Movement in 2011. People were gathered around the speaker repeating what the speaker was saying in order to ensure that everyone could hear the announcements during large assemblies. Human bodies became a hack in order to replace the forbidden technology. In New York it is required to ask for permission from authorities to use “amplified sound” in public space. -17. Community Library in Rotterdam West -18. I was thinking of queues as a spatial oppressive tool used often by (bureaucratic) authorities. The naturalized image of bodies-in-a-line waiting for “something” to happen at “some point” under the public gaze in an efficiently defined area. -19. Vosk is an offline open-source speech recognition toolkit -20. US Immigrant Rights Movement Slogan (Keshavarz, 2016) - - - ### r e f e r e n c e s Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, MN: University of Minnesota Press. Anzaldua, G. (1987) Borderlands - la Frontera: The new mestiza. 2nd ed. San Francisco, CA: Aunt Lute Books. @@ -304,4 +278,4 @@ Malichudis, S. (2020) How the Aegean islands became a warehouse of souls, Solomo McKittrick, K. (2021) Dear science and other stories. Durham, NC: Duke University Press. Mouffe, C. (2008) ‘Art and Democracy: Art as an Agonistic Internvention’. Open:14 Art as a Public Issue, No.14 (2008), p.4 Pater, R. (2021) Caps lock: How capitalism took hold of graphic design, and how to escape from it. Amsterdam, Netherlands: Valiz. -Picozza, F. (2021). The coloniality of asylum : mobility, autonomy and solidarity in the wake of Europe’s refugee crisis. London: Rowman & Littlefield Publishers. \ No newline at end of file +Picozza, F. (2021). The coloniality of asylum : mobility, autonomy and solidarity in the wake of Europe’s refugee crisis. London: Rowman & Littlefield Publishers. diff --git a/introduction/index.md b/introduction/index.md index d0f3d2a..1ebfa6b 100644 --- a/introduction/index.md +++ b/introduction/index.md @@ -3,8 +3,9 @@ title: Introduction author: --- -Act 1. -Scene 1. +# 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. diff --git a/print/booklet.template.html b/print/booklet.template.html index 6d93f49..874a231 100644 --- a/print/booklet.template.html +++ b/print/booklet.template.html @@ -10,6 +10,7 @@
+

Contents

    {% for title in titles %} {% if loop.index > 0 %} @@ -35,4 +36,4 @@ - \ No newline at end of file + diff --git a/print/index.html b/print/index.html index 6d1d727..554df97 100644 --- a/print/index.html +++ b/print/index.html @@ -10,6 +10,7 @@
    +

    Contents

    -

    Act 1. Scene 1.

    +

    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.

    @@ -112,91 +115,10 @@ touched.

    - -
    -

    Backplaces

    -

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

    -

    Is all intimacy about bodies? What is it about our bodies that makes -intimacy? What happens when our bodies distance intimacy from us? This -small anthology of poems and short stories lives with these -questions—about having a body without intimacy and intimacy without a -body. This project is also a homage to everyone who has come before and -alongside me, sharing their vulnerability and emotions on the Internet. -I called the places where these things happen backplaces. They are -small, tender online rooms where people experiencing societally -uncomfortable pain can find relief, ease, and transcendence.
    -

    -

    I made three backplaces for you to see, click, and feel: Solar -Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the -result of its own unique performance or project. Some of the stories I -will share carry memories of pain—both physical and emotional. As you -sit in the audience, know I am with you, holding your hand through each -scene. If the performance feels overwhelming at any point, you have my -full permission to step out, take a break, or leave. This is not -choreographed, and I care deeply for you.
    -

    -

    Solar Sibling is an online performance of shared loss about leaving -and siblings. This project used comments people left on TikTok poetry. I -extracted the emotions from these comments, mixed them with my own, and -crafted them into poems. It is an ongoing performance, ending only when -your feelings are secretly whispered to me. When you do, by typing into -the comment box, your feelings are sent to me and the first act closes -as the sun rises.
    -

    -

    Hermit Fantasy is a short story about a bot who wants to be a hermit. -Inspired by an email response from a survey I conducted about receiving -emotional support on the Internet, this story explores the contradiction -of being online while wanting to disconnect. As an act it’s a series of -letters, click by click.
    -

    -

    The first letter.

    -

    Cake Intimacies is a performance that took a year to bring together. -It is a small selection of stories people told me and I held to memory -and rewrote here. The stories come from two performances I hosted. -First, I asked participants to eat cake, sitting facing or away from -each other and sharing their stories about cake and the Internet. The -second performance was hosted at the Art Meets Radical Openness -Festival, as part of the Turning of the Internet workshop. For this -performance, I predicted participants’ future lives on the Internet -using felted archetypes and received stories from their Internet past in -return. Now the stories are here, each of them a cake with a filling -that tells a story, merging the bodily with the digital and making a -mess of it all.
    -

    -

    -

    The play ends as all plays do. The curtains close, the website stays -but the stories will never sound the same. For the final act, I give you -the stories. It’s one last game, one last joke to ask my question again. -Digital intimacies about the digital, our bodies and the cakes we eat. -For the last act, I ask you to eat digital stories. To eat a comment, to -eat a digital intimacy. Sharing an act of physical intimacy with -yourself and with me, by eating sweets together. Sweets about digital -intimacies that never had a body. There is no moral, no bow to wrap the -story in. A great big mess of transcendence into the digital, of -intimacy and of bodies. The way it always is. Thankfully.
    -

    - -
    - - - - -
    +

    <?water bodies>

    A narrative exploration of divergent digital intimacies

    @@ -829,7 +751,7 @@ body, is yet to be told.

    each other stories just outside the room. We don’t have so much time left. I have made you something, to tell your digital body the stories of the leaving and loving body. It is a webpage, the address is -adadesign.nl/backplaces.

    +https://vulnerable-interfaces.xpub.nl/backplaces/.

    You open the page, and you are asked to write the characters you see in a captcha. E5qr7. eSq9p. 8oc8y. Fuck. You try not to panic, but you know you have been detected.

    @@ -882,130 +804,118 @@ University of Nebraska Press.

    -
    -

    Talking Documents

    -

    -
    - - -
    -

    This project appeared as a need to explore potential bureaucratic -dramaturgies within the educational institution I was part as a student. -I was curious about educational bureaucratic mechanisms being driven by -smaller-scale paperwork struggles and peers’ narratives, stories and -experiences. However, unexpected emergencies - due to my eviction on the -31st of January 2024 - placed centrally my personal struggles unfolded -in parallel with the making period. I ended up conducting accidentally -auto-ethnography as the project was dynamically being reshaped due to -the material constraints of the bureaucratic timeline.

    -

    Talking Documents are performative bureaucratic text inspections that -intend to create temporal public interventions through performative -readings. I utilized the paperwork interface of my smaller-scale story -in order to unravel and foreground questions related to the role of -bureaucracy as less material border and as a regulatory mechanism -reflecting narratives, ideologies, policies.

    -

    Central element of this project is a seven-act scenario that -construct my personal paperwork story, unraveling the actual struggles -of my communication with the government. The body of the text of the -“theatrical” script is sourced from the original documents, email -threads as well as recordings of the conversations with the municipality -of Rotterdam I documented and archived throughout this period. I -preserved the sequence of the given sentences and by discarding the -graphic design of the initial forms, I structured and repurposed the -text into a playable scenario.

    -
    - - -
    -

    -
    - - -
    -

    -

    I perceive the document as a unit and as the fundamental symbolic -interface of the bureaucratic network. The transformation of the -materiality of a document into a scenario to be enacted collectively in -public aims to examine these artifacts and highlight the shrouded -performative elements of these processes.

    -

    I see the collective readings of these scenarios as a way of instant -publishing and as a communal tool of inspecting bureaucratic bordering -infrastructures. How can these re-enactments be situated in different -institutional contexts and examine their structures? I organized a -series of performative readings of my own bureaucratic literature in -different spaces and contexts, pubic and semi-public WDKA, Art Meets -Radical Openness Festival in Linz, the City Hall of Rotterdam where I -invited people to perform the play together, like a tiny theater.

    -
    - - -
    -

    -
    - - -
    -
    -The garden of Gemeente - -
    -

    The marginal voices of potential applicants are embodying and -enacting a role. “The speech does not only describe but brings things -into existence”(Austin, 1975). My intention was to stretch the limits of -dramaturgical speech through vocalizing a document and turn individual -administrative cases into public ones. How do the inscribed words in the -documents are not descriptive but on the contrary “are instrumentalized -in getting things done”(Butler,1997). Words as active agents. Bodies as -low-tech “human microphones”. A group of people performs the -bureaucratic scenario in chorus, out loud, in the corridor of the -school’s building, in the main hall, at the square right across, outside -of the municipality building.

    -

    I documented and recorded these public acts and I re-created the -collectively voiced scenario. This audio piece is a constellation of -different recordings and soundscapes of these public moments, a vocal -archive, published in the graduation exhibition of XPUB in 2024.

    +
    +

    Backplaces

    +

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

    +

    Is all intimacy about bodies? What is it about our bodies that makes +intimacy? What happens when our bodies distance intimacy from us? This +small anthology of poems and short stories lives with these +questions—about having a body without intimacy and intimacy without a +body. This project is also a homage to everyone who has come before and +alongside me, sharing their vulnerability and emotions on the Internet. +I called the places where these things happen backplaces. They are +small, tender online rooms where people experiencing societally +uncomfortable pain can find relief, ease, and transcendence.
    +

    +

    I made three backplaces for you to see, click, and feel: Solar +Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the +result of its own unique performance or project. Some of the stories I +will share carry memories of pain—both physical and emotional. As you +sit in the audience, know I am with you, holding your hand through each +scene. If the performance feels overwhelming at any point, you have my +full permission to step out, take a break, or leave. This is not +choreographed, and I care deeply for you.
    +

    +

    Solar Sibling is an online performance of shared loss about leaving +and siblings. This project used comments people left on TikTok poetry. I +extracted the emotions from these comments, mixed them with my own, and +crafted them into poems. It is an ongoing performance, ending only when +your feelings are secretly whispered to me. When you do, by typing into +the comment box, your feelings are sent to me and the first act closes +as the sun rises.
    +

    +

    Hermit Fantasy is a short story about a bot who wants to be a hermit. +Inspired by an email response from a survey I conducted about receiving +emotional support on the Internet, this story explores the contradiction +of being online while wanting to disconnect. As an act it’s a series of +letters, click by click.
    +

    +

    The first letter.

    +

    Cake Intimacies is a performance that took a year to bring together. +It is a small selection of stories people told me and I held to memory +and rewrote here. The stories come from two performances I hosted. +First, I asked participants to eat cake, sitting facing or away from +each other and sharing their stories about cake and the Internet. The +second performance was hosted at the Art Meets Radical Openness +Festival, as part of the Turning of the Internet workshop. For this +performance, I predicted participants’ future lives on the Internet +using felted archetypes and received stories from their Internet past in +return. Now the stories are here, each of them a cake with a filling +that tells a story, merging the bodily with the digital and making a +mess of it all.
    +

    +

    +

    The play ends as all plays do. The curtains close, the website stays +but the stories will never sound the same. For the final act, I give you +the stories. It’s one last game, one last joke to ask my question again. +Digital intimacies about the digital, our bodies and the cakes we eat. +For the last act, I ask you to eat digital stories. To eat a comment, to +eat a digital intimacy. Sharing an act of physical intimacy with +yourself and with me, by eating sweets together. Sweets about digital +intimacies that never had a body. There is no moral, no bow to wrap the +story in. A great big mess of transcendence into the digital, of +intimacy and of bodies. The way it always is. Thankfully.
    +

    - -
    +

    Performing the Bureaucratic Border(line)s

    i n t r o d u c t i o n

    -

    This thesis is an assemblage(1) 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?

    -

    The eastern Mediterranean borderland(2), I happened to come from, -proves to be one of Europe’s deadly borders towards specific ethnic -groups. The embodied experience of borders and practices of (im)mobility -change radically depending on the various identities of the people -crossing them. As I moved to the Netherlands I started more actively -perceiving bureaucracy as another multi-layered border. I was wondering -how this situation is shifted and transformed moving towards the -European North. What is the role of bureaucracy and how it could be -perceived as a mechanism of repulsion for some bodies - a camouflaged -border?

    +

    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?

    +

    The eastern Mediterranean borderlandI +use the word borderland to refer to Greece as a (mostly) transit zone in +the migrants’ and refugees’ route towards Europe., I +happened to come from, proves to be one of Europe’s deadly borders +towards specific ethnic groups. The embodied experience of borders and +practices of (im)mobility change radically depending on the various +identities of the people crossing them. As I moved to the Netherlands I +started more actively perceiving bureaucracy as another multi-layered +border. I was wondering how this situation is shifted and transformed +moving towards the European North. What is the role of bureaucracy and +how it could be perceived as a mechanism of repulsion for some bodies - +a camouflaged border?

    But what is my starting point and where does my precarious body fit within the borders that I am touching? The language of the administrative document is rigid and hurtful but myself lies between the @@ -1017,18 +927,29 @@ choose to structure my argument and talk through a personal process that is being unfolded in parallel with the writing period. Accordingly, these words are dynamically being reshaped due to the material constraints of the bureaucratic timeline. A more distant approach became -personal and tangible with auto-ethnographical(3) elements as I was -trying to squish myself and my urgencies under these thresholds and fit -the A4 document lines.

    +personal and tangible with auto-ethnographicalI perceive auto-ethnography as a way to place +myself, my lived experiences, my identities, reflections in the +(artistic) research and talk through them about structures and within +the structures of social, cultural, political frameworks. +elements as I was trying to squish myself and my urgencies under these +thresholds and fit the A4 document lines.

    I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe -barrier(4). I do not intend in any respect to compare my case to the -lived experiences and struggles of migrants and refugees. I utilize the -paperwork interface of my smaller-scale story in order to unravel and -foreground the aforementioned questions.

    +barrier“Passports still function as a +technology to control movement. Technologies like RFID chips and face +recognition are part of a control system for digital state surveillance. +Designing a passport is relative to design a surveillance tool. The +analysis of passport designs rarely looks at the social consequences of +identification, control, and restriction of movement, which can have +violent consequences.” (Ruben Pater, 2021). I do not intend +in any respect to compare my case to the lived experiences and struggles +of migrants and refugees. I utilize the paperwork interface of my +smaller-scale story in order to unravel and foreground the +aforementioned questions.

    This thesis is very much indebted to some text-vehicles that mobilized my reflections and nourished the writing process. “Illegal Traveller, an autoethnography of borders” and “Waiting, a Project in @@ -1062,8 +983,8 @@ transparency, universality, and underlying violence.

    In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. -Talking documents(5) are performative bureaucratic text inspections, -vocal and non-vocal, that intend to create temporal public interventions +Talking documents are performative bureaucratic text inspections, vocal +and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible @@ -1079,7 +1000,7 @@ from a country of the European South that constitutes a rigid, violent border that repulses and kills thousands of migrants and refugees. In the following chapter, I will attempt to explore the terrain of material borders in relation to bureaucracy as another multi-layered filter.

    -

    [Front-facing camera at self-counter in LIDL]

    +

    ![Front-facing camera at self-counter in LIDL]

    What constitutes a border? Is it a wall, a line, a fence, a machine, a door, an armed body or a wound on the land? When somebody crosses a border are they consciously aware of the act of crossing? I am crossing @@ -1196,8 +1117,10 @@ Greek context portrayed as an “ideal” intertwined with the nation-building narrative and as a foundational quality - product by the Greek tourist industry. However, the Greek sea has been an endless refugee graveyard and the eastern Aegean islands a “warehouse of -souls”(6) for the last many years. In this case, conditional hospitality -applies primarily to those who invest in and consume.

    +souls”For further reading: +https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/ +for the last many years. In this case, conditional hospitality applies +primarily to those who invest in and consume.

    Hospitality can function as a filtration mechanism that permits access – lets in – the ones who deserve it, those who have “passports, valid visas, adequate bank statements, or invitations” (Khosravi, 2010). @@ -1217,15 +1140,38 @@ a v e r i g h t s ”

    (Arendt, as cited by Khosravi, 2010, p.121) What about the crossers who managed to travel and reach the desirable “there”, the ones who transcended the borders and the control checks of the ministries of -defense(7), the ones who enter but do not own papers, the paperless? -What does it mean to be documented and what is inefficiently documented -within a territory? They are threatened if they get caught by -authorities and also according to the official narrative, they threaten. -Since the physical mechanisms of bordering did not succeed in repulsing -them, the bureaucratic border appears as an additional layer of -filtration. The undocumented are non-citizens, they might be crossers or -burners(8), both, or even none. “Undocumented migrants and unauthorized -border crossers are polluted and polluting because of their very +defenseOne of the tactics for regulating +or preventing the so-called unproductive hospitality is border control +checks. According to the website of the Ministry of Defense of the +Netherlands, “the Royal Netherlands Marechaussee (RNLM) combats +cross-border crime and makes an important contribution to national +security. Checks are still performed at the external borders of the +Schengen area. In the Netherlands, this means guarding the European +external border at airports and seaports, and along the coast. By +participating in Frontex, the European border control agency, the RNLM +makes an important contribution to the control of Europe’s external +borders in other EU member states. There is one single EU external +border.” (Border Controls, 2017), the ones who enter but do +not own papers, the paperless? What does it mean to be documented and +what is inefficiently documented within a territory? They are threatened +if they get caught by authorities and also according to the official +narrative, they threaten. Since the physical mechanisms of bordering did +not succeed in repulsing them, the bureaucratic border appears as an +additional layer of filtration. The undocumented are non-citizens, they +might be crossers or burnersI would like +to refer to the practice of Harragas introduced by my friend Rabab as a +counter-act of dealing or breaking or burning the multilayered borders. +The burners or Harragas is a term alluding to the migrants’ practice of +burning their identity papers and personal documents in order to prevent +identification by authorities in Europe. Crucially this moving out is in +defiance of the bureaucratic rules and their elaborate visa systems. +Those who engage in harraga, ‘burn’ borders to enter European +territories. “They do not, however, burn the bridges to the people and +places they depart from. To these, they keep all kinds of links. For, as +they burn borders, they don’t move away from their place of origin. +Harraga is about expanding living space” (M’charek, 2020)., +both, or even none. “Undocumented migrants and unauthorized border +crossers are polluted and polluting because of their very unclassifiability” (Borelli, Poy, Rué, 2023). The loss of citizenship, denaturalisation, makes somebody denaturalised, they are rendered unnatural. “Citizenship has become the nature of being human” (Koshravi, @@ -1239,16 +1185,24 @@ 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)

    -

    “…(9) 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 (10) 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(11). 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. 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.”

    b u r e a u c r a c y a s i m m a t e r i a l b o r d e r

    @@ -1276,8 +1230,18 @@ 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”(12). “In -these bordering processes, we can detect the “coloniality of asylum”(13) +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 @@ -1373,11 +1337,16 @@ order to complete organizational tasks with maximum efficiency” (Weber, as cited by Cunningham, 2017, p. 307).

    I had to open a discussion with students from non-EEA (non European Economic Area) countries in order to understand that they have to -conduct tuberculosis x-rays(14) when they arrive in the Netherlands. It -seems that for the Dutch state, their bodies might be more threatening -than bodies coming from a European country. The relativization in the -quality and the quantity of paperwork requested from different “groups” -of applicants in a specific context deconstructs the myth of the +conduct tuberculosis x-rays“To keep the +Residence Permit, some non-European students need to visit the Dutch +Public Health Authority (GGD) after they arrived in the Netherlands. +They will undergo a medical test for tuberculosis (TB). This is a +requirement from the IND (Dutch Immigration Office)”. (Introduction +days, 2021) when they arrive in the Netherlands. It seems +that for the Dutch state, their bodies might be more threatening than +bodies coming from a European country. The relativization in the quality +and the quantity of paperwork requested from different “groups” of +applicants in a specific context deconstructs the myth of the universality of the bureaucratic form.

    Undoubtedly the success of bureaucracy is drawn from its efficiency in relation to schematization as an efficient material quality. “Whether @@ -1444,9 +1413,13 @@ relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning -but on the contrary creates “willful blindness” towards them(15). -Bureaucracies are not stupid inherently rather they manage and coerce -processes that reproduce docile and stupid behaviors.

    +but on the contrary creates “willful blindness” towards themI am referring to those people subjecting others to +bureaucratic circles shaped by structurally violent situations as well +as people in positions of privilege who deliberately ignore these +facts.. Bureaucracies are not stupid inherently rather they +manage and coerce processes that reproduce docile and stupid +behaviors.

    The birthday biscuit that Chae made, re-creating the Dutch government form @@ -1472,13 +1445,24 @@ Bureaucratic official documents are inherently performative. These texts regulate and bring situations into being.

    My intention in transforming bureaucratic texts into “playable” scenarios is to explore how embodying these texts in public through -collective speech(16) can provoke different forms of interpretations and -open tiny conceptual holes. “The meaning of a performative act is to be -found in this apparent coincidence of signifying and enacting” (Butler, -1997). The performative bureaucratic utterances - the vocal documents - -attempt to bring into existence -by overidentifying, exaggerating, -acting- the discomfort, the threat, the violence which is mainly -condemned into private individual spheres.

    +collective speechI imagine the theatrical +play as a “human microphone”, a low-tech amplification device. A group +of people performs the bureaucratic scenario in chorus, out loud, in the +corridor of the school’s building, in the main hall, at the square right +across, outside of the municipality building. The term is borrowed from +the protests of the Occupy Wall Street Movement in 2011. People were +gathered around the speaker repeating what the speaker was saying in +order to ensure that everyone could hear the announcements during large +assemblies. Human bodies became a hack in order to replace the forbidden +technology. In New York it is required to ask for permission from +authorities to use “amplified sound” in public space. can +provoke different forms of interpretations and open tiny conceptual +holes. “The meaning of a performative act is to be found in this +apparent coincidence of signifying and enacting” (Butler, 1997). The +performative bureaucratic utterances - the vocal documents - attempt to +bring into existence -by overidentifying, exaggerating, acting- the +discomfort, the threat, the violence which is mainly condemned into +private individual spheres.

    How performing a collection of small bureaucratic stories can function as an instant micro intervention and potentially produce a public discourse. Where do we perform this speech, where and when does @@ -1549,8 +1533,9 @@ Assurance Questionnaire Document

    2.

    Title: “Department of Bureaucracy and Administration Customs -Enforcement” When: November 2023 Where: Leeszaal(17) Who: XPUB peers, -tutors, friends, alumni

    +Enforcement” When: November 2023 Where: LeeszaalCommunity Library in Rotterdam West +Who: XPUB peers, tutors, friends, alumni

    Description: During the first public moment at Leeszaal, I decided to embody and enact the traditional role of a bureaucrat in a graphic and possibly absurd way performing a small “theatrical play”. I prepared a @@ -1576,9 +1561,13 @@ instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony.

    +alt="Leeszaal West Rotterdam - November 2023 – People queuingI was thinking of queues as a spatial oppressive tool used often by (bureaucratic) authorities. The naturalized image of bodies-in-a-line waiting for “something” to happen at “some point” under the public gaze in an efficiently defined area. to receive their documents and sign" /> +People queuingI was thinking of queues as +a spatial oppressive tool used often by (bureaucratic) authorities. The +naturalized image of bodies-in-a-line waiting for “something” to happen +at “some point” under the public gaze in an efficiently defined +area. to receive their documents and sign

    Reflections-Thoughts: For the first time I observed this object so closely. The documentation medium was a recording device, Ada’s mobile -phone. The recording was transcribed by vosk(19) and myself and a small -booklet of our passport readings was created.

    +phone. The recording was transcribed by voskVosk is an offline open-source speech recognition +toolkit. and myself and a small booklet of our passport +readings was created.

    “So the object here is like not by random it comes from the history of nation-states and how nation-states and nationalities created like a form of identity. So nation-state is actually a recent invention that @@ -1704,8 +1695,11 @@ people to share, vocalize, talk through, read out loud, amplify, (un)name, unplace, dismantle the injurious words of these artifacts.

    -

    “we didn’t -cross the border, the border crossed us”(20)

    +

    “we +didn’t cross the border, the border crossed us”US Immigrant Rights Movement Slogan (Keshavarz, +2016).

    As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able @@ -1716,98 +1710,6 @@ multifaceted borders and get crossed and entrenched by them, but on the contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful.

    -

    s i d e n o t e s

    -
      -
    1. I live somewhere in the margins of scattered references, footnotes, -citations, examinations embracing the inconvenience of talking back to -myself, to the reader and to all those people whose ideas gave soul to -the text. I shelter in the borderlands of the pages my fragmented -thoughts, flying words, introspections, voices. Enlightenment and -inspiration given by the text “Dear Science” written by Katherine -McKittrick.
      2. -
    2. I use the word borderland to refer to Greece as a (mostly) transit -zone in the migrants’ and refugees’ route towards Europe.
      3. -
    3. I perceive auto-ethnography as a way to place myself, my lived -experiences, my identities, reflections in the (artistic) research and -talk through them about structures and within the structures of social, -cultural, political frameworks.
      4. -
    4. “Passports still function as a technology to control movement. -Technologies like RFID chips and face recognition are part of a control -system for digital state surveillance. Designing a passport is relative -to design a surveillance tool. The analysis of passport designs rarely -looks at the social consequences of identification, control, and -restriction of movement, which can have violent consequences.” (Ruben -Pater, 2021)
      5. -
    5. Working title of the project
      6. -
    6. For further reading: -https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/
      7. -
    7. One of the tactics for regulating or preventing the so-called -unproductive hospitality is border control checks. According to the -website of the Ministry of Defense of the Netherlands, “the Royal -Netherlands Marechaussee (RNLM) combats cross-border crime and makes an -important contribution to national security. Checks are still performed -at the external borders of the Schengen area. In the Netherlands, this -means guarding the European external border at airports and seaports, -and along the coast. By participating in Frontex, the European border -control agency, the RNLM makes an important contribution to the control -of Europe’s external borders in other EU member states. There is one -single EU external border.” (Border Controls, 2017)
      8. -
    8. I would like to refer to the practice of Harragas introduced by my -friend Rabab as a counter-act of dealing or breaking or burning the -multilayered borders. The burners or Harragas is a term alluding to the -migrants’ practice of burning their identity papers and personal -documents in order to prevent identification by authorities in Europe. -Crucially this moving out is in defiance of the bureaucratic rules and -their elaborate visa systems. Those who engage in harraga, ‘burn’ -borders to enter European territories. “They do not, however, burn the -bridges to the people and places they depart from. To these, they keep -all kinds of links. For, as they burn borders, they don’t move away from -their place of origin. Harraga is about expanding living space” -(M’charek, 2020).
      9. -
    9. 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.
      10. -
    10. “*” means undecipherable
      11. -
    11. Immigratie- en Naturalisatiedienst - Dutch Immigration and -Naturalisation Service
      12. -
    12. I am referring to the desirable potential destinations of migrants -and refugees corresponding mainly to Global North countries.
      13. -
    13. 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.
      14. -
    14. “To keep the Residence Permit, some non-European students need to -visit the Dutch Public Health Authority (GGD) after they arrived in the -Netherlands. They will undergo a medical test for tuberculosis (TB). -This is a requirement from the IND (Dutch Immigration Office)”. -(Introduction days, 2021)
      15. -
    15. I am referring to those people subjecting others to bureaucratic -circles shaped by structurally violent situations as well as people in -positions of privilege who deliberately ignore these facts.
      16. -
    16. I imagine the theatrical play as a “human microphone”, a low-tech -amplification device. A group of people performs the bureaucratic -scenario in chorus, out loud, in the corridor of the school’s building, -in the main hall, at the square right across, outside of the -municipality building. The term is borrowed from the protests of the -Occupy Wall Street Movement in 2011. People were gathered around the -speaker repeating what the speaker was saying in order to ensure that -everyone could hear the announcements during large assemblies. Human -bodies became a hack in order to replace the forbidden technology. In -New York it is required to ask for permission from authorities to use -“amplified sound” in public space.
      17. -
    17. Community Library in Rotterdam West
      18. -
    18. I was thinking of queues as a spatial oppressive tool used often by -(bureaucratic) authorities. The naturalized image of bodies-in-a-line -waiting for “something” to happen at “some point” under the public gaze -in an efficiently defined area.
      19. -
    19. Vosk is an offline open-source speech recognition toolkit
      20. -
    20. US Immigrant Rights Movement Slogan (Keshavarz, 2016)
      21. -

    r e f e r e n c e s

    Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, MN: University of Minnesota Press. Anzaldua, G. (1987) Borderlands - la @@ -1856,55 +1758,110 @@ crisis. London: Rowman & Littlefield Publishers.

    -
    -

    Wink!

    -

    A Prototype -for Interactive Children’s Literature

    -

    Wink is a prototype for an interactive picture book platform. This -platform aims to make reading into a mindfull and thought provoking -process by using interactive and playful elements, multiple stories -within one narrative and sound elements. Especially today where -consumerism and low attention span is a rising issue especially amongst -young readers, this was an important task to tackle. The thought of Wink -emerged to find a more sustainable and creative way of reading for -elementary school children.

    -

    Working as a children’s literature editor for years, I came to a -realisation that picture books were turning into another object that -kids read and consume on daily basis. At least this is what I observed -in Turkey. Teachers and parents were finding it difficult to find new -books constantly or were tired of rereading the same book. As a young -person in the publishing sector, I believe there should be more options -for children as there is for adults; such as ebooks, audiobooks etc. But -moreover a “book” that can be redefined, reread or be interacted with. -So I revisited an old story I wrote, translated to English and named it, -“Bee Within”.

    -

    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.

    -

    Over the past two years, experimenting with storytelling techniques, -interactivity options and workshops with children and adults, around -reading and doing various exercises on Bee Within, I improved the story -to be a more playful and interactive one which can be re-read, re-played -and eventually re-formed non digitally to be reachable for all children. -Here is some documentation from the beggining of this journey towards -making accesible interactive narratives…

    +
    +

    Talking Documents

    +

    +
    + + +
    +

    This project appeared as a need to explore potential bureaucratic +dramaturgies within the educational institution I was part as a student. +I was curious about educational bureaucratic mechanisms being driven by +smaller-scale paperwork struggles and peers’ narratives, stories and +experiences. However, unexpected emergencies - due to my eviction on the +31st of January 2024 - placed centrally my personal struggles unfolded +in parallel with the making period. I ended up conducting accidentally +auto-ethnography as the project was dynamically being reshaped due to +the material constraints of the bureaucratic timeline.

    +

    Talking Documents are performative bureaucratic text inspections that +intend to create temporal public interventions through performative +readings. I utilized the paperwork interface of my smaller-scale story +in order to unravel and foreground questions related to the role of +bureaucracy as less material border and as a regulatory mechanism +reflecting narratives, ideologies, policies.

    +

    Central element of this project is a seven-act scenario that +construct my personal paperwork story, unraveling the actual struggles +of my communication with the government. The body of the text of the +“theatrical” script is sourced from the original documents, email +threads as well as recordings of the conversations with the municipality +of Rotterdam I documented and archived throughout this period. I +preserved the sequence of the given sentences and by discarding the +graphic design of the initial forms, I structured and repurposed the +text into a playable scenario.

    +
    + + +
    +

    +
    + + +
    +

    +

    I perceive the document as a unit and as the fundamental symbolic +interface of the bureaucratic network. The transformation of the +materiality of a document into a scenario to be enacted collectively in +public aims to examine these artifacts and highlight the shrouded +performative elements of these processes.

    +

    I see the collective readings of these scenarios as a way of instant +publishing and as a communal tool of inspecting bureaucratic bordering +infrastructures. How can these re-enactments be situated in different +institutional contexts and examine their structures? I organized a +series of performative readings of my own bureaucratic literature in +different spaces and contexts, pubic and semi-public WDKA, Art Meets +Radical Openness Festival in Linz, the City Hall of Rotterdam where I +invited people to perform the play together, like a tiny theater.

    +
    + + +
    +

    +
    + + +
    +
    +The garden of Gemeente + +
    +

    The marginal voices of potential applicants are embodying and +enacting a role. “The speech does not only describe but brings things +into existence”(Austin, 1975). My intention was to stretch the limits of +dramaturgical speech through vocalizing a document and turn individual +administrative cases into public ones. How do the inscribed words in the +documents are not descriptive but on the contrary “are instrumentalized +in getting things done”(Butler,1997). Words as active agents. Bodies as +low-tech “human microphones”. A group of people performs the +bureaucratic scenario in chorus, out loud, in the corridor of the +school’s building, in the main hall, at the square right across, outside +of the municipality building.

    +

    I documented and recorded these public acts and I re-created the +collectively voiced scenario. This audio piece is a constellation of +different recordings and soundscapes of these public moments, a vocal +archive, published in the graduation exhibition of XPUB in 2024.

    - -
    +

    Fair Leads

    Fair @@ -2676,586 +2633,140 @@ codes-in-knots-sensing-digital-memories/.

    +
    +

    Wink!

    +

    A Prototype +for Interactive Children’s Literature

    +

    Wink is a prototype for an interactive picture book platform. This +platform aims to make reading into a mindfull and thought provoking +process by using interactive and playful elements, multiple stories +within one narrative and sound elements. Especially today where +consumerism and low attention span is a rising issue especially amongst +young readers, this was an important task to tackle. The thought of Wink +emerged to find a more sustainable and creative way of reading for +elementary school children. + + +Working as a children’s literature editor for years, I came to a +realisation that picture books were turning into another object that +kids read and consume on daily basis. At least this is what I observed +in Turkey. Teachers and parents were finding it difficult to find new +books constantly or were tired of rereading the same book. As a young +person in the publishing sector, I believe there should be more options +for children as there is for adults; such as ebooks, audiobooks etc. But +moreover a “book” that can be redefined, reread or be interacted with. +So I revisited an old story I wrote, translated to English and named it, +“Bee Within”.

    +

    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.

    +

    Over the past two years, experimenting with storytelling techniques, +interactivity options and workshops with children and adults, around +reading and doing various exercises on Bee Within, I improved the story +to be a more playful and interactive one which can be re-read, re-played +and eventually re-formed non digitally to be reachable for all +children.

    +

    +

    +

    Here is some more documentation from the beggining of this journey +towards making accesible interactive narratives…

    + +
    + + + +
    -

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

    +

    ⊞

    +

    empty title

    +

    Stephen Kerr

    +

    ⊞

    +

    Thesis submitted to the Department of Experimental Publishing, Piet +Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the +requirements for the final examination for the degree of Master of Arts +in Fine Art & ⊞: Experimental Publishing.

    +

    Adviser: Marloes de Valk
    +Second Reader: Joseph Knierzinger
    +Word count: 7828 words

    +

    To de-sign design, I +will assign a sign: ⊞

    +

    This symbol represents design in this writing in an attempt to avoid +the assumed meaning of the word and examine it as something unknown, to +mystify it, to examine its structure. The label ⊞ is a functional part +of a belief system involving order, structure, and rationality and I +want to break it. Removing the label is part of loosening the object, +making it avilable to transition (Berlant, 2022).

    - - +The Cadaster of Orange, unknown ⊞er, c. 100 CE. +
    -

    I cut my thumb so every time I type i can feel it in my nerve -endings. Not true, it’s my left thumb so I don’t type with it. Not true, -I feel it anyway. Why are most of the function keys on the left of the -keyboard. What’s so functional about pressing buttons. Stephen Kerr is a -designer and musician based in. Have you ever loved an instrument? The -Ctrl key broke like four times since I moved here. I have one more -replacement because I bought a bunch of them but at some point I gave up -and use an external keyboard. I dunno I’m more confused than ever. It -was something to do with dreams and working. It’s the middle of the -night I’m writing this on my phone. If I had a dream this is when I -would be writing it. The memory is fuzzy: either I don’t remember or it -didn’t make sense in the first place. It was something to do with -fuzziness and memory no wait. Phones don’t have keyboards in real life -this doesn’t make sense. I’m trying to type but I don’t think I can get -it on the way to the office for the weekend and I think it was a good -idea to do it and I was thinking about you and I was thinking of you and -I was thinking about you and I was in the same place as a friend of mine -and I was in the studio and we were in the studio and we were in the -studio and we were in the studio and we were in the

    - - +Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981. +
    -

    Practice-led artistic research into the 21st century phenomenon of -the graphic designer. I held graphic design in my hands using -ethnography, toolmaking and performance as research methods. I examined -how designers spend their time in everyday life, this designer, me, as -well as you, what are we doing? What are our worldviews, belief systems, -mythologies and ideologies?

    - - + +
    - - -
    -
    -

    Secondly, during my studies at XPUB, I plan to combine different -strands of my practices (design, music, programming, theatre). Being a -designer is an important part of my identity, and I am keen to make work -true to who I am.

    -
    -

    Excerpt from xpub application letter, March 15th 2022.

    -
    - - + +
    - - + +
    -Where do dreams come from? - + +
    - - +The Po Valley, The Roman Empire, 268 BCE. +
    - - -
    -

    2023-11-24 17:52:55,103 - Key.tab
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    -2024-06-06 15:53:06,405 - Key.ctrl_l
    -2024-06-06 15:53:06,436 - Key.ctrl_l
    -2024-06-06 15:53:06,467 - Key.ctrl_l
    -2024-06-06 15:53:06,499 - Key.ctrl_l
    -2024-06-06 15:53:06,545 - Key.ctrl_l
    -2024-06-06 15:53:06,578 - Key.ctrl_l
    -2024-06-06 15:53:06,609 - Key.ctrl_l
    -2024-06-06 15:53:06,641 - Key.ctrl_l
    -2024-06-06 15:53:06,672 - Key.ctrl_l
    -2024-06-06 15:53:06,702 - Key.ctrl_l
    -2024-06-06 15:53:06,733 - Key.ctrl_l
    -2024-06-06 15:53:06,765 - Key.ctrl_l
    -2024-06-06 15:53:06,795 - Key.ctrl_l
    -2024-06-06 15:53:06,841 - Key.ctrl_l
    -2024-06-06 15:53:06,872 - Key.ctrl_l
    -2024-06-06 15:53:06,904 - Key.ctrl_l
    -2024-06-06 15:53:06,934 - Key.ctrl_l
    -2024-06-06 15:53:06,964 - Key.ctrl_l
    -2024-06-06 15:53:06,995 - Key.ctrl_l
    -2024-06-06 15:53:07,040 - Key.ctrl_l
    -2024-06-06 15:53:07,073 - Key.ctrl_l
    -2024-06-06 15:53:07,103 - Key.ctrl_l
    -2024-06-06 15:53:07,134 - Key.ctrl_l
    -2024-06-06 15:53:07,165 - Key.ctrl_l
    -2024-06-06 15:53:07,196 - Key.ctrl_l
    -2024-06-06 15:53:07,228 - Key.ctrl_l
    -2024-06-06 15:53:07,250 - ‘’
    -2024-06-06 15:53:08,753 - Key.enter
    -2024-06-06 15:53:08,881 - Key.enter
    -2024-06-06 15:53:08,937 - Key.ctrl_l
    -2024-06-06 15:53:09,058 - ‘’
    -2024-06-06 15:53:10,218 - Key.up
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    -2024-06-06 15:53:10,970 - Key.down
    -2024-06-06 15:53:11,169 - Key.down
    -2024-06-06 15:53:11,577 - Key.left
    -2024-06-06 15:53:11,777 - Key.enter
    -2024-06-06 15:53:11,921 - Key.enter
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    -2024-06-06 15:53:27,882 - Key.tab
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    -2024-06-06 15:53:31,809 - ‘z’
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    -2024-06-06 15:53:55,257 - Key.ctrl_l
    -2024-06-06 15:53:55,513 - ‘’
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    -2024-06-06 15:54:19,634 - ‘Z’
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    -2024-06-06 15:54:29,850 - ‘l’
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    -2024-06-06 15:54:33,833 - Key.tab
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    -2024-06-06 15:54:35,898 -”’”
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    -2024-06-06 15:54:35,978 - ‘t’
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    -2024-06-06 15:55:26,338 - ‘’
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    -2024-06-06 15:55:28,267 - Key.ctrl_l
    -2024-06-06 15:55:28,298 - Key.ctrl_l
    -2024-06-06 15:55:28,330 - ‘1a’
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    -2024-06-06 15:55:33,281 - Key.cmd
    -2024-06-06 15:55:33,617 - ‘e’

    - - -
    - - - - -
    -

    ⊞

    -

    empty title

    -

    Stephen Kerr

    -

    ⊞

    -

    Thesis submitted to the Department of Experimental Publishing, Piet -Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the -requirements for the final examination for the degree of Master of Arts -in Fine Art & ⊞: Experimental Publishing.

    -

    Adviser: Marloes de Valk
    -Second Reader: Joseph Knierzinger
    -Word count: 7828 words

    -

    To de-sign design, I -will assign a sign: ⊞

    -

    This symbol represents design in this writing in an attempt to avoid -the assumed meaning of the word and examine it as something unknown, to -mystify it, to examine its structure. The label ⊞ is a functional part -of a belief system involving order, structure, and rationality and I -want to break it. Removing the label is part of loosening the object, -making it avilable to transition (Berlant, 2022).

    -
    -The Cadaster of Orange, unknown ⊞er, c. 100 CE. - -
    -
    -Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981. - -
    -
    - - -
    -
    - - -
    -
    - - -
    -
    - - -
    -
    -The Po Valley, The Roman Empire, 268 BCE. - -
    -
    -Monogram, Piet Zwart, c. 1968. - +Monogram, Piet Zwart, c. 1968. +

    empty title

    Introduction

    @@ -4147,6 +3658,518 @@ 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!?

    +
    + + +
    +

    I cut my thumb so every time I type i can feel it in my nerve +endings. Not true, it’s my left thumb so I don’t type with it. Not true, +I feel it anyway. Why are most of the function keys on the left of the +keyboard. What’s so functional about pressing buttons. Stephen Kerr is a +designer and musician based in. Have you ever loved an instrument? The +Ctrl key broke like four times since I moved here. I have one more +replacement because I bought a bunch of them but at some point I gave up +and use an external keyboard. I dunno I’m more confused than ever. It +was something to do with dreams and working. It’s the middle of the +night I’m writing this on my phone. If I had a dream this is when I +would be writing it. The memory is fuzzy: either I don’t remember or it +didn’t make sense in the first place. It was something to do with +fuzziness and memory no wait. Phones don’t have keyboards in real life +this doesn’t make sense. I’m trying to type but I don’t think I can get +it on the way to the office for the weekend and I think it was a good +idea to do it and I was thinking about you and I was thinking of you and +I was thinking about you and I was in the same place as a friend of mine +and I was in the studio and we were in the studio and we were in the +studio and we were in the studio and we were in the

    +
    + + +
    +

    Practice-led artistic research into the 21st century phenomenon of +the graphic designer. I held graphic design in my hands using +ethnography, toolmaking and performance as research methods. I examined +how designers spend their time in everyday life, this designer, me, as +well as you, what are we doing? What are our worldviews, belief systems, +mythologies and ideologies?

    +
    + + +
    +
    + + +
    +
    +

    Secondly, during my studies at XPUB, I plan to combine different +strands of my practices (design, music, programming, theatre). Being a +designer is an important part of my identity, and I am keen to make work +true to who I am.

    +
    +

    Excerpt from xpub application letter, March 15th 2022.

    +
    + + +
    +
    + + +
    +
    +Where do dreams come from? + +
    +
    + + +
    +
    + + +
    +

    2023-11-24 17:52:55,103 - Key.tab
    +2023-11-24 17:52:57,175 - Key.alt_l
    +2023-11-24 17:52:57,368 - Key.tab
    +2023-11-24 17:52:57,959 - Key.tab
    +2023-11-24 17:52:58,239 - Key.tab
    +2023-11-24 17:52:59,055 - Key.cmd
    +2023-11-24 17:52:59,208 - ‘e’
    +2024-06-06 15:51:56,169 - Key.alt_l
    +2024-06-06 15:51:56,273 - Key.tab
    +2024-06-06 15:51:57,017 - Key.tab
    +2024-06-06 15:51:58,130 - Key.tab
    +2024-06-06 15:51:58,385 - Key.tab
    +2024-06-06 15:52:04,257 - Key.alt_l
    +2024-06-06 15:52:04,370 - Key.tab
    +2024-06-06 15:52:05,041 - Key.tab
    +2024-06-06 15:52:05,281 - Key.tab
    +2024-06-06 15:52:39,050 - Key.ctrl_l
    +2024-06-06 15:52:39,443 - ‘’
    +2024-06-06 15:52:53,985 - Key.ctrl_l
    +2024-06-06 15:52:54,363 - ‘’
    +2024-06-06 15:52:57,545 - Key.left
    +2024-06-06 15:52:57,761 - Key.left
    +2024-06-06 15:52:57,921 - Key.left
    +2024-06-06 15:52:58,057 - Key.left
    +2024-06-06 15:52:58,201 - Key.left
    +2024-06-06 15:52:58,337 - Key.left
    +2024-06-06 15:52:58,585 - Key.shift
    +2024-06-06 15:52:58,682 - Key.ctrl_l
    +2024-06-06 15:52:58,785 - Key.right
    +2024-06-06 15:52:59,121 - Key.right
    +2024-06-06 15:52:59,417 - Key.right
    +2024-06-06 15:53:00,530 - ‘k’
    +2024-06-06 15:53:00,626 - ‘e’
    +2024-06-06 15:53:00,890 - ‘y’
    +2024-06-06 15:53:01,370 - ‘l’
    +2024-06-06 15:53:01,546 - ‘o’
    +2024-06-06 15:53:01,754 - ‘g’
    +2024-06-06 15:53:01,882 - ‘g’
    +2024-06-06 15:53:01,994 - ‘e’
    +2024-06-06 15:53:02,162 - ‘r’
    +2024-06-06 15:53:02,778 - ‘.’
    +2024-06-06 15:53:03,146 - ‘j’
    +2024-06-06 15:53:03,394 - ‘p’
    +2024-06-06 15:53:03,562 - ‘e’
    +2024-06-06 15:53:03,818 - ‘g’
    +2024-06-06 15:53:05,569 - Key.ctrl_l
    +2024-06-06 15:53:06,079 - Key.ctrl_l
    +2024-06-06 15:53:06,110 - Key.ctrl_l
    +2024-06-06 15:53:06,140 - Key.ctrl_l
    +2024-06-06 15:53:06,172 - Key.ctrl_l
    +2024-06-06 15:53:06,203 - Key.ctrl_l
    +2024-06-06 15:53:06,235 - Key.ctrl_l
    +2024-06-06 15:53:06,282 - Key.ctrl_l
    +2024-06-06 15:53:06,313 - Key.ctrl_l
    +2024-06-06 15:53:06,344 - Key.ctrl_l
    +2024-06-06 15:53:06,374 - Key.ctrl_l
    +2024-06-06 15:53:06,405 - Key.ctrl_l
    +2024-06-06 15:53:06,436 - Key.ctrl_l
    +2024-06-06 15:53:06,467 - Key.ctrl_l
    +2024-06-06 15:53:06,499 - Key.ctrl_l
    +2024-06-06 15:53:06,545 - Key.ctrl_l
    +2024-06-06 15:53:06,578 - Key.ctrl_l
    +2024-06-06 15:53:06,609 - Key.ctrl_l
    +2024-06-06 15:53:06,641 - Key.ctrl_l
    +2024-06-06 15:53:06,672 - Key.ctrl_l
    +2024-06-06 15:53:06,702 - Key.ctrl_l
    +2024-06-06 15:53:06,733 - Key.ctrl_l
    +2024-06-06 15:53:06,765 - Key.ctrl_l
    +2024-06-06 15:53:06,795 - Key.ctrl_l
    +2024-06-06 15:53:06,841 - Key.ctrl_l
    +2024-06-06 15:53:06,872 - Key.ctrl_l
    +2024-06-06 15:53:06,904 - Key.ctrl_l
    +2024-06-06 15:53:06,934 - Key.ctrl_l
    +2024-06-06 15:53:06,964 - Key.ctrl_l
    +2024-06-06 15:53:06,995 - Key.ctrl_l
    +2024-06-06 15:53:07,040 - Key.ctrl_l
    +2024-06-06 15:53:07,073 - Key.ctrl_l
    +2024-06-06 15:53:07,103 - Key.ctrl_l
    +2024-06-06 15:53:07,134 - Key.ctrl_l
    +2024-06-06 15:53:07,165 - Key.ctrl_l
    +2024-06-06 15:53:07,196 - Key.ctrl_l
    +2024-06-06 15:53:07,228 - Key.ctrl_l
    +2024-06-06 15:53:07,250 - ‘’
    +2024-06-06 15:53:08,753 - Key.enter
    +2024-06-06 15:53:08,881 - Key.enter
    +2024-06-06 15:53:08,937 - Key.ctrl_l
    +2024-06-06 15:53:09,058 - ‘’
    +2024-06-06 15:53:10,218 - Key.up
    +2024-06-06 15:53:10,441 - Key.backspace
    +2024-06-06 15:53:10,970 - Key.down
    +2024-06-06 15:53:11,169 - Key.down
    +2024-06-06 15:53:11,577 - Key.left
    +2024-06-06 15:53:11,777 - Key.enter
    +2024-06-06 15:53:11,921 - Key.enter
    +2024-06-06 15:53:27,769 - Key.alt_l
    +2024-06-06 15:53:27,882 - Key.tab
    +2024-06-06 15:53:28,585 - Key.tab
    +2024-06-06 15:53:28,833 - Key.tab
    +2024-06-06 15:53:31,809 - ‘z’
    +2024-06-06 15:53:32,090 - ‘e’
    +2024-06-06 15:53:32,682 - ‘n’
    +2024-06-06 15:53:32,753 - ‘o’
    +2024-06-06 15:53:38,450 - Key.space
    +2024-06-06 15:53:38,713 - ‘q’
    +2024-06-06 15:53:38,858 - ‘u’
    +2024-06-06 15:53:38,937 - ‘o’
    +2024-06-06 15:53:39,082 - ‘t’
    +2024-06-06 15:53:39,129 - ‘e’
    +2024-06-06 15:53:39,201 - Key.enter
    +2024-06-06 15:53:44,858 - ‘w’
    +2024-06-06 15:53:44,953 - ‘i’
    +2024-06-06 15:53:45,129 - ‘k’
    +2024-06-06 15:53:45,250 - ‘i’
    +2024-06-06 15:53:48,817 - Key.enter
    +2024-06-06 15:53:55,257 - Key.ctrl_l
    +2024-06-06 15:53:55,513 - ‘’
    +2024-06-06 15:53:56,418 - ‘z’
    +2024-06-06 15:53:56,642 - ‘e’
    +2024-06-06 15:53:56,882 - ‘n’
    +2024-06-06 15:53:56,946 - ‘o’
    +2024-06-06 15:54:05,473 - Key.alt_l
    +2024-06-06 15:54:05,609 - Key.tab
    +2024-06-06 15:54:08,185 - Key.shift
    +2024-06-06 15:54:08,693 - Key.shift
    +2024-06-06 15:54:08,723 - Key.shift
    +2024-06-06 15:54:08,754 - Key.shift
    +2024-06-06 15:54:08,786 - Key.shift
    +2024-06-06 15:54:08,831 - Key.shift
    +2024-06-06 15:54:08,862 - Key.shift
    +2024-06-06 15:54:08,893 - Key.shift
    +2024-06-06 15:54:08,923 - Key.shift
    +2024-06-06 15:54:08,952 - Key.shift
    +2024-06-06 15:54:08,983 - Key.shift
    +2024-06-06 15:54:09,010 - ‘A’
    +2024-06-06 15:54:09,177 - Key.space
    +2024-06-06 15:54:09,778 - ‘s’
    +2024-06-06 15:54:09,842 - ‘a’
    +2024-06-06 15:54:10,026 - ‘n’
    +2024-06-06 15:54:10,130 - ‘e’
    +2024-06-06 15:54:10,242 - Key.space
    +2024-06-06 15:54:10,634 - ‘p’
    +2024-06-06 15:54:10,754 - ‘e’
    +2024-06-06 15:54:10,850 - ‘r’
    +2024-06-06 15:54:11,281 - ‘s’
    +2024-06-06 15:54:11,442 - ‘o’
    +2024-06-06 15:54:11,538 - ‘n’
    +2024-06-06 15:54:13,689 - Key.shift
    +2024-06-06 15:54:13,818 - ‘“’
    +2024-06-06 15:54:14,225 - Key.left
    +2024-06-06 15:54:14,731 - Key.left
    +2024-06-06 15:54:14,760 - Key.left
    +2024-06-06 15:54:14,791 - Key.left
    +2024-06-06 15:54:14,839 - Key.left
    +2024-06-06 15:54:14,869 - Key.left
    +2024-06-06 15:54:14,899 - Key.left
    +2024-06-06 15:54:14,930 - Key.left
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    +2024-06-06 15:54:14,992 - Key.left
    +2024-06-06 15:54:15,023 - Key.left
    +2024-06-06 15:54:15,055 - Key.left
    +2024-06-06 15:54:15,281 - Key.left
    +2024-06-06 15:54:15,513 - Key.left
    +2024-06-06 15:54:15,625 - Key.shift
    +2024-06-06 15:54:15,705 - ‘“’
    +2024-06-06 15:54:16,009 - Key.right
    +2024-06-06 15:54:16,514 - Key.right
    +2024-06-06 15:54:16,546 - Key.right
    +2024-06-06 15:54:16,576 - Key.right
    +2024-06-06 15:54:16,623 - Key.right
    +2024-06-06 15:54:16,653 - Key.right
    +2024-06-06 15:54:16,684 - Key.right
    +2024-06-06 15:54:16,715 - Key.right
    +2024-06-06 15:54:16,746 - Key.right
    +2024-06-06 15:54:16,777 - Key.right
    +2024-06-06 15:54:16,809 - Key.right
    +2024-06-06 15:54:16,840 - Key.right
    +2024-06-06 15:54:16,886 - Key.right
    +2024-06-06 15:54:16,916 - Key.right
    +2024-06-06 15:54:17,289 - Key.space
    +2024-06-06 15:54:18,058 - ‘s’
    +2024-06-06 15:54:18,130 - ‘a’
    +2024-06-06 15:54:18,314 - ‘y’
    +2024-06-06 15:54:18,394 - ‘s’
    +2024-06-06 15:54:19,242 - Key.space
    +2024-06-06 15:54:19,409 - Key.shift
    +2024-06-06 15:54:19,634 - ‘Z’
    +2024-06-06 15:54:19,866 - ‘e’
    +2024-06-06 15:54:20,034 - ‘n’
    +2024-06-06 15:54:20,114 - ‘o’
    +2024-06-06 15:54:20,336 - Key.alt_l
    +2024-06-06 15:54:20,441 - Key.tab
    +2024-06-06 15:54:21,433 - Key.alt_l
    +2024-06-06 15:54:21,521 - Key.tab
    +2024-06-06 15:54:22,586 - ‘,’
    +2024-06-06 15:54:22,665 - Key.left
    +2024-06-06 15:54:23,177 - Key.left
    +2024-06-06 15:54:23,207 - Key.left
    +2024-06-06 15:54:23,239 - Key.left
    +2024-06-06 15:54:23,270 - Key.left
    +2024-06-06 15:54:23,301 - Key.left
    +2024-06-06 15:54:23,332 - Key.left
    +2024-06-06 15:54:23,378 - Key.left
    +2024-06-06 15:54:23,409 - Key.left
    +2024-06-06 15:54:23,440 - Key.left
    +2024-06-06 15:54:23,577 - Key.left
    +2024-06-06 15:54:23,826 - ‘,’
    +2024-06-06 15:54:23,937 - Key.right
    +2024-06-06 15:54:24,446 - Key.right
    +2024-06-06 15:54:24,477 - Key.right
    +2024-06-06 15:54:24,508 - Key.right
    +2024-06-06 15:54:24,539 - Key.right
    +2024-06-06 15:54:24,570 - Key.right
    +2024-06-06 15:54:24,616 - Key.right
    +2024-06-06 15:54:24,648 - Key.right
    +2024-06-06 15:54:24,889 - Key.right
    +2024-06-06 15:54:25,049 - Key.right
    +2024-06-06 15:54:25,289 - Key.right
    +2024-06-06 15:54:25,425 - Key.space
    +2024-06-06 15:54:25,737 - Key.alt_l
    +2024-06-06 15:54:25,825 - Key.tab
    +2024-06-06 15:54:26,554 - Key.alt_l
    +2024-06-06 15:54:26,617 - Key.tab
    +2024-06-06 15:54:26,993 - Key.shift
    +2024-06-06 15:54:27,506 - Key.shift
    +2024-06-06 15:54:27,537 - Key.shift
    +2024-06-06 15:54:27,568 - Key.shift
    +2024-06-06 15:54:27,599 - Key.shift
    +2024-06-06 15:54:27,610 - ‘“’
    +2024-06-06 15:54:27,946 - ‘d’
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    +2024-06-06 15:54:28,897 -”’”
    +2024-06-06 15:54:28,978 - ’t’
    +2024-06-06 15:54:29,105 - Key.space
    +2024-06-06 15:54:29,274 - ‘a’
    +2024-06-06 15:54:29,418 - ‘n’
    +2024-06-06 15:54:29,522 - ‘a’
    +2024-06-06 15:54:29,850 - ‘l’
    +2024-06-06 15:54:30,090 - ‘y’
    +2024-06-06 15:54:30,241 - ‘s’
    +2024-06-06 15:54:30,394 - ‘e’
    +2024-06-06 15:54:30,609 - Key.space
    +2024-06-06 15:54:30,930 - ‘h’
    +2024-06-06 15:54:31,002 - ‘i’
    +2024-06-06 15:54:31,137 - ‘m’
    +2024-06-06 15:54:31,322 - ‘s’
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    +2024-06-06 15:54:31,633 - ‘l’
    +2024-06-06 15:54:31,730 - ‘f’
    +2024-06-06 15:54:32,241 - Key.alt_l
    +2024-06-06 15:54:32,353 - Key.tab
    +2024-06-06 15:54:33,737 - Key.alt_l
    +2024-06-06 15:54:33,833 - Key.tab
    +2024-06-06 15:54:34,442 - ‘,’
    +2024-06-06 15:54:34,585 - Key.space
    +2024-06-06 15:54:34,834 - ‘d’
    +2024-06-06 15:54:34,954 - ‘o’
    +2024-06-06 15:54:35,090 - ‘e’
    +2024-06-06 15:54:35,170 - ‘s’
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    +2024-06-06 15:54:35,898 -”’”
    +2024-06-06 15:54:35,954 - ‘t’
    +2024-06-06 15:54:35,978 - ‘t’
    +2024-06-06 15:54:36,209 - Key.space
    +2024-06-06 15:54:36,378 - ‘l’
    +2024-06-06 15:54:36,546 - ‘o’
    +2024-06-06 15:54:36,666 - ‘o’
    +2024-06-06 15:54:36,730 - ‘k’
    +2024-06-06 15:54:36,881 - Key.space
    +2024-06-06 15:54:37,034 - ‘i’
    +2024-06-06 15:54:37,090 - ‘n’
    +2024-06-06 15:54:37,257 - Key.space
    +2024-06-06 15:54:37,410 - ‘t’
    +2024-06-06 15:54:37,482 - ‘h’
    +2024-06-06 15:54:37,586 - ‘e’
    +2024-06-06 15:54:37,681 - Key.space
    +2024-06-06 15:54:37,874 - ‘m’
    +2024-06-06 15:54:38,017 - ‘i’
    +2024-06-06 15:54:38,233 - ‘r’
    +2024-06-06 15:54:38,562 - ‘r’
    +2024-06-06 15:54:38,898 - ‘o’
    +2024-06-06 15:54:39,210 - ‘r’
    +2024-06-06 15:54:39,945 - Key.shift
    +2024-06-06 15:54:40,448 - Key.shift
    +2024-06-06 15:54:40,478 - Key.shift
    +2024-06-06 15:54:40,525 - Key.shift
    +2024-06-06 15:54:40,556 - Key.shift
    +2024-06-06 15:54:40,587 - Key.shift
    +2024-06-06 15:54:40,594 - ‘“’
    +2024-06-06 15:54:41,033 - Key.alt_l
    +2024-06-06 15:54:41,137 - Key.tab
    +2024-06-06 15:54:42,545 - Key.alt_l
    +2024-06-06 15:54:42,650 - Key.tab
    +2024-06-06 15:54:44,257 - Key.ctrl_l
    +2024-06-06 15:54:44,466 - ‘’
    +2024-06-06 15:54:45,105 - Key.alt_l
    +2024-06-06 15:54:45,217 - Key.tab
    +2024-06-06 15:54:46,361 - Key.tab
    +2024-06-06 15:54:46,537 - Key.tab
    +2024-06-06 15:54:46,729 - Key.tab
    +2024-06-06 15:54:48,706 - ‘g’
    +2024-06-06 15:54:48,770 - ‘e’
    +2024-06-06 15:54:48,914 - ‘n’
    +2024-06-06 15:54:49,034 - ‘e’
    +2024-06-06 15:54:49,140 - ‘r’
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    +2024-06-06 15:54:49,786 - ‘t’
    +2024-06-06 15:54:49,866 - ‘e’
    +2024-06-06 15:54:50,785 - Key.backspace
    +2024-06-06 15:54:51,295 - Key.backspace
    +2024-06-06 15:54:51,325 - Key.backspace
    +2024-06-06 15:54:51,356 - Key.backspace
    +2024-06-06 15:54:51,388 - Key.backspace
    +2024-06-06 15:54:51,418 - Key.backspace
    +2024-06-06 15:54:51,450 - Key.backspace
    +2024-06-06 15:54:51,497 - Key.backspace
    +2024-06-06 15:54:51,527 - Key.backspace
    +2024-06-06 15:54:51,558 - Key.backspace
    +2024-06-06 15:54:51,589 - Key.backspace
    +2024-06-06 15:54:51,620 - Key.backspace
    +2024-06-06 15:54:51,651 - Key.backspace
    +2024-06-06 15:54:51,682 - Key.backspace
    +2024-06-06 15:54:51,728 - Key.backspace
    +2024-06-06 15:54:52,162 - ‘p’
    +2024-06-06 15:54:52,649 - ‘y’
    +2024-06-06 15:54:52,970 - ‘t’
    +2024-06-06 15:54:53,082 - ‘h’
    +2024-06-06 15:54:53,122 - ‘o’
    +2024-06-06 15:54:53,265 - ‘n’
    +2024-06-06 15:54:53,817 - Key.space
    +2024-06-06 15:54:54,410 - ‘g’
    +2024-06-06 15:54:54,442 - ‘e’
    +2024-06-06 15:54:54,609 - ‘n’
    +2024-06-06 15:54:54,714 - ‘e’
    +2024-06-06 15:54:54,810 - ‘r’
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    +2024-06-06 15:54:55,306 - ‘e’
    +2024-06-06 15:54:55,809 - ‘-’
    +2024-06-06 15:54:56,465 - Key.tab
    +2024-06-06 15:54:58,945 - Key.enter
    +2024-06-06 15:55:06,353 - Key.alt_l
    +2024-06-06 15:55:06,473 - Key.tab
    +2024-06-06 15:55:07,265 - Key.tab
    +2024-06-06 15:55:10,985 - Key.ctrl_l
    +2024-06-06 15:55:11,492 - Key.ctrl_l
    +2024-06-06 15:55:11,523 - Key.ctrl_l
    +2024-06-06 15:55:11,554 - Key.ctrl_l
    +2024-06-06 15:55:11,586 - Key.ctrl_l
    +2024-06-06 15:55:11,630 - Key.ctrl_l
    +2024-06-06 15:55:11,642 - ‘’
    +2024-06-06 15:55:15,457 - Key.ctrl_l
    +2024-06-06 15:55:15,730 - ‘’
    +2024-06-06 15:55:16,210 - ‘z’
    +2024-06-06 15:55:16,434 - ‘e’
    +2024-06-06 15:55:16,626 - ‘n’
    +2024-06-06 15:55:16,714 - ‘o’
    +2024-06-06 15:55:20,953 - Key.alt_l
    +2024-06-06 15:55:21,049 - Key.tab
    +2024-06-06 15:55:22,681 - Key.tab
    +2024-06-06 15:55:22,881 - Key.tab
    +2024-06-06 15:55:23,113 - Key.tab
    +2024-06-06 15:55:26,001 - Key.ctrl_l
    +2024-06-06 15:55:26,338 - ‘’
    +2024-06-06 15:55:27,760 - Key.ctrl_l
    +2024-06-06 15:55:28,267 - Key.ctrl_l
    +2024-06-06 15:55:28,298 - Key.ctrl_l
    +2024-06-06 15:55:28,330 - ‘1a’
    +2024-06-06 15:55:28,665 - Key.ctrl_l
    +2024-06-06 15:55:28,834 - ‘’
    +2024-06-06 15:55:29,441 - Key.alt_l
    +2024-06-06 15:55:29,545 - Key.tab
    +2024-06-06 15:55:29,945 - Key.tab
    +2024-06-06 15:55:30,353 - Key.tab
    +2024-06-06 15:55:30,561 - Key.tab
    +2024-06-06 15:55:33,281 - Key.cmd
    +2024-06-06 15:55:33,617 - ‘e’

    + + +
    + + + diff --git a/print/print_style.css b/print/print_style.css index beefe62..7819954 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -164,17 +164,20 @@ section { } .toc { - break-before: right; + margin-left: -10mm; + width: 100mm; +} +.toc h1{ + display: none; + break-after: none; } - .toc ul { list-style: none; padding: 0; margin: 0; } .toc-title{ - font-size: 24pt; - font-weight: medium; + font-size: 22pt; line-height: 8mm; display: inline; } @@ -183,5 +186,7 @@ section { content: target-counter(attr(href url), page); font-size: 9pt; color: var(--spot-color-1); - padding: 0 1rem; + padding: 0 0.5rem; + display: inline-block; + line-height: 0; } diff --git a/print/section-order.txt b/print/section-order.txt index 63b1e1d..6389c5a 100644 --- a/print/section-order.txt +++ b/print/section-order.txt @@ -11,4 +11,4 @@ specialissue20 specialissue21 license colophon -reviews \ No newline at end of file +reviews diff --git a/pyvenv.cfg b/pyvenv.cfg new file mode 100644 index 0000000..df0069a --- /dev/null +++ b/pyvenv.cfg @@ -0,0 +1,5 @@ +home = /usr/local/opt/python@3.12/bin +include-system-site-packages = false +version = 3.12.3 +executable = /usr/local/Cellar/python@3.12/3.12.3/Frameworks/Python.framework/Versions/3.12/bin/python3.12 +command = /usr/local/opt/python@3.12/bin/python3.12 -m venv /Users/stephen/Documents/gradshow24