From 5c98c45d6c0b59935dba7de59a74cde7871d2c64 Mon Sep 17 00:00:00 2001 From: ada <> Date: Thu, 20 Jun 2024 14:16:36 +0200 Subject: [PATCH] new html files --- ada/index.html | 78 +++-- ada/thesis.html | 32 +- aglaia/index.html | 76 ++--- aglaia/thesis.html | 134 +++++---- introduction/index.html | 26 +- irmak/index.html | 133 +++++---- irmak/thesis.html | 547 +++++++++++++++++++--------------- leslie/index.html | 44 +++ reviews/index.html | 85 ++++++ specialissue19/index.html | 100 +++---- specialissue20/index.html | 65 ++-- specialissue21/index.html | 148 ++++----- specialissuesintro/index.html | 4 +- stephen/index.html | 18 +- stephen/thesis.html | 39 +-- 15 files changed, 890 insertions(+), 639 deletions(-) create mode 100644 leslie/index.html create mode 100644 reviews/index.html diff --git a/ada/index.html b/ada/index.html index d27b5c0..9b2a61b 100644 --- a/ada/index.html +++ b/ada/index.html @@ -33,25 +33,41 @@

Backplaces

-

ada, 2024

- -

project website
+

vulnerable-interfaces.xpub.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.

-

Hi.
-I made this play for you; it’s a question to keep us alive together. Is all intimacy about bodies? What happens when our bodies distance intimacy from us? -Backplaces is a web-based play. A short anthology of poems and stories about vulnerability, intimacy, and the internet. It explores the internet as a place for holding big feelings and intimacy when it is unbearable. As a homage to those who have been vulnerable with me, I created "backplaces". They are tender online spaces for relief and acknowledgement of societal pain. -Some of these stories may evoke memories of pain. As you sit in the audience, know I am with you. If it feels overwhelming, you can step out, take a break, or leave. This isn't choreographed, and I care for you. -I hope you see what I saw in these stories. Sweet dreams now, and I'll talk to you soon. -

-love, Ada +

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

-This is the Index, the stage of my play. Each felted item is an act.
-

This is the first act of this play, Solar Sibling. It reimagines user comments from TikTok videos about sibling relationships. To do this, I have taken the feelings behind the comments, found where they met my own, and used our shared words to write poems. Solar Sibling celebrates the vulnerabilities nurtured in online communities and invites you to share anonymously on the complexities of sibling relationships. Once you have whispered your sibling feelings to me, they will stay with me and I will never use nor share them.
+

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

The fillable comment where you can whisper your feelings to me.
-

Hermit Fantasy is a short story about a bot and a hermit. It started when I conducted a survey about receiving emotional support on the internet. This is an imagined response to an email I received. The story explores the loneliness of both being online and offline. As an act, it's a series of letters, click by click. -
+

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.
-The last letter. - +The second letter. +
-

Cake Intimacies is a performance that took a year to bring together. It is a small selection of stories people told me that I held to memory and rewrote here. The stories come from two performances I hosted. -
-In the first, I asked participants to eat cake, sitting facing or away from each other, and share stories about cake and the internet. I hosted the second performance at the Art Meets Radical Openness Festival. There I predicted participants' future internet lives using felted archetypes. In return, I received stories about feeling strong emotions on the internet.
+

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.

+alt="The first two stories and their memory illustrations." />
- +
@@ -104,10 +132,10 @@ 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 for the performance. - +
diff --git a/ada/thesis.html b/ada/thesis.html index bfb0f90..da38624 100644 --- a/ada/thesis.html +++ b/ada/thesis.html @@ -34,7 +34,8 @@

<?water bodies>

A -narrative exploration of divergent digital intimacies

+narrative exploration of
divergent digital intimacies +

Water, stories, the body,
all the things we do, are
@@ -109,6 +110,7 @@ and it chooses
not to drown me.”
(Yun, 2020)

+

a. what is a digital body?

A digital body is a body on the Internet. A body outside the internet is simply a body. On the internet, discussions about corporeality @@ -365,15 +367,20 @@ bodies, and identity. They invite us to question the rigid binaries and hierarchies that structure our society and to embrace the fluidity and possibility inherent in the human experience.

1.DIGITAL COMFORT

+

The only laws: Be radiant. Be heavy. Be green.

+
+

Tonight, the dead light up your mind like an image of your mind on a scientist’s screen. ‘The scientists don’t know – and too much.’

+

“In the town square, in the heart of night (a delicacy like the heart of an artichoke), a man dances cheek-to-cheek with the infinite blue.”
(Schwartz, 2022)

+

a. comfort care

Let’s care for this digital body. I’ll feed it virtual vegetables while you wipe away the wear of battery fatigue. And why not encourage @@ -647,14 +654,15 @@ stand it. It ruins both of us to be seen this way and we need it so desperately. It has to exist and yet it can’t for long.

I leave even though I love all of your digital bodies. I leave because I love you, little digital body and you are me.

-

2. A LIFE TO BE HAD

-

Was this the end of this story? In the -epilogue, you sit your body down and enter your computer. The air coming -in from the window smells wet and earthy, new. The sun shines low on the -horizon. You log in to the internet and realize you are being told a -story. You start to listen, carefully and, full of love, touch the story -to let it know you are there. Delicate-fingered, curious like a child -holding a fallen bird. I hold you and the story tentatively.

+

2. A LIFE TO BE HAD11

+
+

Was this the end of this story? In the epilogue, you sit your body +down and enter your computer. The air coming in from the window smells +wet and earthy, new. The sun shines low on the horizon. You log in to +the internet and realize you are being told a story. You start to +listen, carefully and, full of love, touch the story to let it know you +are there. Delicate-fingered, curious like a child holding a fallen +bird. I hold you and the story tentatively.

I don’t know if I am touching you, to tell you the truth. Digital bodies are stories, like physical bodies are, like dreams are, and like water is.

@@ -695,9 +703,9 @@ 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.

-

You pack up your things: the pie I made you, a love letter, two hands -made out of felt, a star, a door, a stuffed animal; and you leave -again.

+You pack up your things: the pie I made you, a love letter, two hands +made out of felt, a star, a door, a stuffed animal; and you leave again. +

references

Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers: Deviant communities, relationships, and selves’, Symbolic Interaction, diff --git a/aglaia/index.html b/aglaia/index.html index 670e86e..e38ee28 100644 --- a/aglaia/index.html +++ b/aglaia/index.html @@ -35,83 +35,76 @@

Talking Documents

-WDKA- Winjhaven Building- February 2024- reading of act0 and act1

This project appeared as a need to explore potential bureaucratic -dramaturgies within the educational institution I was part of as a student. +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 - my eviction on the -31st of January 2024 - made central my personal struggles which then unfolded -in parallel with the making period. I ended up conducting accidental -auto-ethnography as the project was dynamically reshaped due to -the material constraints of a bureaucratic timeline.

+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 utilised the paperwork interface of my smaller-scale story +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 a less material border and as a regulatory mechanism +bureaucracy as less material border and as a regulatory mechanism reflecting narratives, ideologies, policies.

-

A central element of this project is a seven-act scenario that -constructs my personal paperwork story, unravelling the actual struggles +

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 that I documented and archived throughout this period. I +of Rotterdam I documented and archived throughout this period. I preserved the sequence of the given sentences and by discarding the graphic design of the initial forms, I structured and repurposed the text into a playable scenario.

-Act 2 “Call with the municipality about the rejection of my application”
-

+

-Act 7 “Confirmation document of my deregistration”
-

+

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 artefacts and highlight the shrouded performative elements of these processes.

+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 for inspecting bureaucratic bordering +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, the Art Meets +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 theatre.

+invited people to perform the play together, like a tiny theater.

+

-Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent
-

-
- - -
-
-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 turning individual -administrative cases into public ones. How are the inscribed words in the -documents not descriptive but on the contrary “instrumentalized +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 @@ -121,6 +114,17 @@ of the municipality building.

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.

+
+ + +
+
+ + +
- + \ No newline at end of file diff --git a/aglaia/thesis.html b/aglaia/thesis.html index 4d8a9d5..0a24338 100644 --- a/aglaia/thesis.html +++ b/aglaia/thesis.html @@ -35,6 +35,9 @@

Performing the Bureaucratic Border(line)s

+
+ +

introduction

This thesis is an assemblageI live somewhere in the margins of scattered references, footnotes, citations, @@ -142,6 +145,7 @@ on the other side is the sea
I cannot bridge it”
(Anzaldua, 1987)

+

borders

How a border is defined? How, as an entity, does it define? How is it performed? I used to think of borders in a material concrete way, coming @@ -292,23 +296,25 @@ 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.

-

“the right to have rights”

-

(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).

+

“the +right to have rights”(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).

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 @@ -323,20 +329,18 @@ rights” (Khosravi, 2010)

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.”

+15:05. “✶” means undecipherableI am here for the rights of +the children which haven’t be in the taking part in the education since +they have undocumented mothers and they are more than ✶ years. I am here +to represent mothers who are looking for a place to have a sense of +belonging or how long are you trying to continue humiliating them and +the female gender. I am here to express my frustration with +INDImmigratie- en Naturalisatiedienst - +Dutch Immigration and Naturalisation Service. So +frustrated. And I will not stop talking about democracy. Democracy is +the rule of law where everybody feels included. Democracy is a rule of +law where everybody feels * We, undocumented people, we don’t feel a +sense of belonging from the system.”

bureaucracy as immaterial @@ -364,25 +368,25 @@ 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.

+of the Global North.I am referring to the +desirable potential destinations of migrants and refugees corresponding +mainly to Global North countries. It is as if they could +never manage to eventually arrive and shelter their lives within the +desirable “there”. “In these bordering processes, we can detect the +“coloniality of asylum” (Borelli, Poy, Rué, 2023).In this text they insert the concept of the +“coloniality of asylum” introduced by Picozza, which talks about how +asylum systems are intertwined with colonial legacies and power +dynamics. These systems are often colonial structures reinforcing +hierarchies between nations and reproducing patterns of domination and +oppression. In this framework, asylum is not just about offering +protection but also about regulating and managing populations in a way +that reflects colonial relationships. Bureaucracies in +practice act as filters, determining who, from an institutional +standpoint, deserves to receive protection and who does not. They +operate as systems that classify non-citizens and place them in a social +hierarchy of disproportionate unequal obligations, lack of rights and +access to institutional support.

higher education’s expanding bureaucracy

While I had this inherent concern about borders and bureaucratic @@ -565,11 +569,12 @@ 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
+

vocal archives-talking documents

This chapter is mainly a constellation of some prototypes I created @@ -673,8 +678,9 @@ these metrics are twofold: they play a role in the marketing sphere, attracting potential students to the university as well as they are utilized in interactions and negotiations with the government, which increasingly cuts budgets allocated to universities.

+
-The linguistic experiment of the Quality Assurance Questionnaire Document @@ -711,7 +717,7 @@ 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 to receive their documents and sign. 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.
+
-One of the forms that the audience had to fill out during the Lesszaal event @@ -763,13 +770,10 @@ paths, how departure or arrival is smooth or cruel. Are there emotions along the way? For some people these are documents “that embody power — minimal or no waiting, peaceful departure, warm and confident arrival” (Khosravi, 2021).

-
- - -
-

+
+

![Part of +the A6 booklet of the transcription of the passport readings +session]

4.

Title: “Postal Address Application Scenario”
@@ -813,8 +817,9 @@ unconscious) performativity of “real” bureaucratic rituals establishes and empowers (bureaucratic) institutions through repetitive acts. These theatrical moments attempt to highlight the shrouded performative elements of these processes.

+
-A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers
-

Wink!

-

-A Prototype for Interactive Children’s Literature

+
+

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 mindful and thought-provoking +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. Today, when consumerism and low -attention span are rising issues, especially amongst young readers, -this was an important task to tackle. The thought of Wink +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.

- - + +
-

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 a 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 as many options -for children as there are for adults; such as ebooks, audiobooks etc. But -moreover, a “book” that can be redefined, reread or interacted with. -So I revisited an old story I wrote, translated it to English and named it -“Bee Within”.

+

Teachers and parents were finding it difficult to find new books +constantly or were tired of rereading the same book.

-“Example page from the print version of the picture book.”
-“Example page from the print version of the picture book.”
-

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.

-’’ + +
+
+’’ + +
+

As a young person in the publishing sector, I believe there should be +more options for children as there is for adults; such as ebooks, +audiobooks etc. But moreover a “book” that can be redefined, reread or +be interacted with… So I revisited an old story I wrote, translated to +English and called it, “Bee Within”.

+

Bee Within, is a story about grief/memory and it is based on my +experiences throughout the years. I erased it, rewrote it, edited it, +destroyed it multiple times over the past years; simultaneously with new +experiences of loss. In the end, I believe the story turned out to be an +ode to remembering or might I say an ode to not being able to forget or +an ode to the fear of forgetting which I now think is a great and sweet +battle between death and life. I think it is an important subject to +touch upon, especially for children dealing with trauma in many parts of +the world.

+
+“example page from the picture book”
- + +
+
+“example page from the picture book” @@ -105,34 +118,38 @@ book” 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 to all +and eventually re-formed non digitally to be reachable for all children.

- - + +
- - + + +
+
+ +
-

Here is some documentation from the beginning of this journey -towards making accessible interactive narratives…

-“A small sequence of onclick animation for Bee Within”
- - + +
diff --git a/irmak/thesis.html b/irmak/thesis.html index 9f8861d..db543c9 100644 --- a/irmak/thesis.html +++ b/irmak/thesis.html @@ -38,34 +38,29 @@ id="fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each- leads or Fair winds is a saying sailors and knotters use to greet each other. It comes from the working end of a string that will soon be forming a knot. -I would like to clarify and introduce some terms for you in order to +
+

I would like to clarify and introduce some terms for you in order to read this text in the desired way. For a while, we will stay in the bight of this journey as we move into forming loops, theories and ideas on how interactive picture books can be used to foster curiosity for reading and creativity for children. I am building a web platform called Wink that aims to contain a children’s story I wrote and am making into -an interactive experience, in relation to my research. -

-knot words from Leeszaal - -
-

Through this bight of the thesis, I feel the necessity to clarify my -intention of using knots as a “thinking and writing object” throughout -my research journey. Although knots are physical objects and technically -crucial in many fields of labor and life, they are also objects of -thought and are open for wide minds’ appreciation. Throughout history, -knots have been used to connect, stop, secure, bind, protect, decorate, -record data, punish, contain, fly and many other purposes. So if the -invention of flying -which required a wing that was supported using -certain types of knotswas initiated with the knowledge of how to use -strings to make things, why wouldn’t a research paper make use of this -wonderful art as an inspiration for writing and interactive reading?

+an interactive experience, in relation to my research. “Knotatomy” Through +this bight of the thesis, I feel the necessity to clarify my intention +of using knots as a “thinking and writing object” throughout my research +journey. Although knots are physical objects and technically crucial in +many fields of labor and life, they are also objects of thought and are +open for wide minds’ appreciation. Throughout history, knots have been +used to connect, stop, secure, bind, protect, decorate, record data, +punish, contain, fly and many other purposes. So if the invention of +flying -which required a wing that was supported using certain types of +knots was initiated with the knowledge of how to use strings to make +things, why wouldn’t a research paper make use of this wonderful art as +an inspiration for writing and interactive reading?

KNOTS AS OBJECTS TO THINK WITH

-There is a delicate complexity of thinking of and with knots, which +

There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous connections to one’s specific experience; where one person may associate the knots with struggles they face, another may think of connecting or thriving times. In a workshop in @@ -75,28 +70,25 @@ chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the practice of reading would make a difference in how you understand the -same text. +same text.

-knot words from Leeszaal - + +
-
-knot words from Leeszaal - + +

Seeing how these words, interpretations of a physical object were so different to each other was transcendental. In this thesis, I am excited to share my understanding of knots with you. My three words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented with certain reading modes as you will see later on.

-

Knots are known to be used 15 to 17 thousand years ago for multiple +Knots are known to be used 15 to 17 thousand years ago for multiple purposes. These purposes were often opposing each other. For example, it could be used to let something loose or to restrain it; for pleasure or pain; for going high above or down below… I believe this diversity of @@ -104,8 +96,8 @@ uses can also be seen in how people approach knots as an idea or a metaphor. One can think it represents chaos where someone else might see it as a helpful mark. Essentially, this diversity is what got me interested in knots years ago and since then, I have found ways to -implement this “loop of thought” in my daily life and research -methods.

+implement this “loop of thought” in my daily life and research methods. +

There are two main reasons to why I chose to write this essay in a “knotted” format. One is that I would like to share my process and progress of research on this project and this involves “thinking with an @@ -136,30 +128,42 @@ itself as the journey and the slip knot (which is a type of stopper knot) as a representation of an antagonist because of its specific use in hunting, would this change your approach to reading this story? I believe so…

-

What if instead of a slip knot a Bowline was on the string, would -that represent something else in the story because of its usage in -practice. A Bowline is commonly used to form a fixed loop at the end of -a string; it’s strong but easy to tie, untie. Due to these qualities, we -can imagine the bowline to represent the conclusion in a story. What if -we have a Square Knot, how would that change the course of a narrative? -Square knot is used to bundle objects and make the two ends of the same -string connect. From just this, we can use it to represent the -connection between the beginning and end of a story. My point is, there -are limitless implementations on how to use knots in literature because -of their versatile purposes and the narrative vocabulary they create. -Topologists are still trying to identify seemingly infinite numbers of -combinations which we simply call “knots” and I see this as an -inspiration to keep writing.

+

Slipknot is widely +used for catching small animals like rabbits and snares. It is also +commonly used to tie packages.What if instead of a slip +knot a bowline was on the string, would that represent something else in +the story because of its usage in practice. A Bowline is commonly used +to form a fixed loop at the end of a string; it’s strong but easy to +tie, untie. Due to these qualities, we can imagine the bowlineBowline is known to +be used since 1627. Some believe it was used in Ancient Egypt because a +knot resembling it was discovered in the tomb of pharaoh Cheops. Even +after it’s used and very tight, bowline is still easy to untie, which +makes it commonly used. to represent the conclusion in a +story. What if we have a Square Knot, how would that change the course +of a narrative? Square knot is used to bundle objects and make the two +ends of the same string connect. From just this, we can use it to +represent the connection between the beginning and end of a story. My +point is, there are limitless implementations on how to use knots in +literature because of their versatile purposes and the narrative +vocabulary they create. Topologists are still trying to identify +seemingly infinite numbers of combinations which we simply call “knots” +and I see this as an inspiration to keep writing.

One example of the wondrous versatility and potential of knots is how they are used to archive and encrypt information. Incan people from the -Andes region recorded information on Quipus, dating back to 700 CE. +Andes region recorded information on Quipus, dating back to 700 CE Quipus are textile devices consisting of several rows of cotton and/or camelid string that would be knotted in a specific way to record, store and transmit information ranging from accounting and census data to communicate complex mathematical and narrative information (Medrano, Urton, 2018). Another example is the Yakima Time Ball, which was used by -North-American Yakama people to show life events and family aff -airs.

+North-American Yakama people to show life events and family +affairs.Square knot is one of +the oldest knots. Romans knew it as Hercules knot. A roman scholar +claimed that it speeds up healing when used to secure a bandage. It is +often used to tie belts and shoe laces.

This is why I humbly decided to document my research process with a Quipu of my own. I am trying to symbolize the twists, decisions and practices throughout this year with knots of my choosing. I was inspired @@ -167,16 +171,26 @@ by Nayeli Vega’s question, “What can a knot become and what can become a knot?”

WEAVING INTO THE TEXT

This thesis expects participation from its reader. You have the -option to have a mode of reading, where you will be guided by strings to -start reading from a certain section according to the type of reader you -are and read the loops one by one until the end, weaving through the -text. To determine the string or mode of reading, there are some simple -questions to answer.

+Broken +knots are knots that aren’t tied well, done with a wrong material or was +under more pressure than it could take.option to have a +mode of reading, where you will be guided by strings to This thesis +expects participation from its reader. You have the option to have a +mode of reading, where you will be guided by strings to start reading +from a certain section according to the type of reader you are and read +the loops one by one until the end, weaving through the text. To +determine the string or mode of reading, there are some simple questions +to answer. Bends are joining +knots. They attach two strings together. The bend above is a sheet bend +and it works well when koining two different strings and can take +stress.

The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in the upcoming -pages, you will continue the reading journey through the strings of diff -erent colors that will get you through the text. This way, the linear -text will become in a way, non-linear by your personal experience.

+pages, you will continue the reading journey through the strings of +different colors that will get you through the text. This way, the +linear text will become in a way, non-linear by your personal +experience.

Bear in mind that you can choose to read this thesis from beginning to end as a single string too if you wish so.

Combine mode of reading is for readers who are more interested in the @@ -184,20 +198,22 @@ journey and the connections between process and result. Slide mode of reading is for more laid back readers who aren’t looking to connect ideas but are more focused on the motivation and purpose of the project. Build readers are detail oriented and academic readers who would prefer -a “traditional” lead to reading.

-

Alongside the different strings to follow the text, there will be -little drawings in the margins as seen above, which will have diff erent -representations like in a Quipu. Certain knots represent the experiences -that raise interesting opportunities for research and distinct events I -went through while making the project and underneath the drawing you can -find the relation to the knot itself explained. For example if I -couldn’t manage to do something I planned to do, this will be -represented with a broken knot. Bend knots which are used to connect two -strings, will be representing the relation between theories and my -ownexperiences/motivations. Hitches which are knots that are formed -around a solid object, such as a spar, post, or ring will be -representing the evidence or data I have collected on the subject. We -move on now with the working end and make some loops!

+a “traditional” lead to reading. Hitches are used to +tie strings to a standing solid object. Alongside the +different strings to follow the text, there will be little drawings in +the margins as seen above, which will have different representations +like in a Quipu. Certain knots represent the experiences that raise +interesting opportunities for research and distinct events I went +through while making the project and underneath the drawing you can find +the relation to the knot itself explained. For example if I couldn’t +manage to do something I planned to do, this will be represented with a +broken knot. Bend knots which are used to connect two strings, will be +representing the relation between theories and my own +experiences/motivations. Hitches which are knots that are formed around +a solid object, such as a spar, post, or ring will be representing the +evidence or data I have collected on the subject. We move on now with +the working end and make some loops!

HOW TO CHOOSE YOUR STRING

This map will reveal your mode of reading. The order of reading will be indicated with a loop sign Please hold a string in your hand as you read @@ -207,11 +223,15 @@ number on top of the sign with a color. This is the numeric order you should follow to read the thesis, if you choose to read with a mode. Every reader starts from 1 and continues until 12, with a consecutive numeric order, according to their color/mode. +
-knot words from Leeszaal +“” +
-

Working End

+
+

1 1 +1

+

Working End

Loop 1

Why am I doing this?

My desire to write a children’s book about grief and memory ignited @@ -251,14 +271,15 @@ was back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it -ever existed in the first place.

-

Last year when two earthquakes hit Syria and Turkey, I was drowned -like everyone I know, by a collective trauma and grief. Then this -horrible feeling flared up by neglect and desperation. It was and still -is impossible to mourn so many strangers at the same time. I lost two -dear friends, I was furious, away from home, mostly alone and remembered -vividly my failed attempt to understand or place grief in one of the -piles in my mind.

+ever existed in the first place. I wrote and deleted +and rewrote the story 3 times already. Last year when two +earthquakes hit Syria and Turkey, I was drowned like everyone I know, by +a collective trauma and grief. Then this horrible feeling flared up by +neglect and desperation. It was and still is impossible to mourn so many +strangers at the same time. I lost two dear friends, I was furious, away +from home, mostly alone and remembered vividly my failed attempt to +understand or place grief in one of the piles in my mind.

Previous months, I was working on this story (yes, again) but didn’t know how to tackle the text because it was so diff erent to what I was experiencing now, when compared to the last time I rewrote it. A tutor @@ -270,7 +291,9 @@ made me realise that it doesn’t have to be or even can be a perfect story.

In the end with the experience I had with loss, I believe the story turned out to be an ode to remembering or might I say an ode to not -being able to forget or an ode to the fear of forgetting

+being able to forget or an ode to the fear of forgetting. 11 7 +4

Loop 2

The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending @@ -284,9 +307,9 @@ ability of expressing themselves. The language gained as kids comes in many forms and storytelling plays a crucial role in this development. The exposure to stories prepares the kids to the era of reading and writing. Children come to understand and value feelings through -conversation (Dettore, 2002). When children are off ered to read or -share stories, they also learn to understand people around them better -and gain emotional literacy.

+conversation (Dettore, 2002). When children are offered to read or share +stories, they also learn to understand people around them better and +gain emotional literacy.

Storytelling has been a means of communicating with others for many centuries. It is not only a way to discuss important events, but also a way to entertain one another (Lawrence & Paige, 2013). Stories have @@ -313,23 +336,25 @@ becoming writers. What kind of reward can we expect from active participation in a story? Narrative pleasure can be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional world (Ryan, 2009). When we are set to create or co-create a -world, the narrative has eff ects on us such as curiosity, suspense and +world, the narrative has effects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep -these three emotions.

-

Interactive storytelling reminds everyone but especially children -that there are limitless endings to a story that is solely up to the -maker’s creation. Learning to think this way instead of knowing or -assuming an end to a story, I think influences the children’s decision -making abilities and sense of responsibility towards their creations. It -is basically the same in theatre where if an actor chooses to create an -imaginary suitcase on stage, they can’t simply leave this object they -created on stage and exit the scene because the audience will wonder why -the actor didn’t take the imaginary suitcase as they left. In this case, -when kids decide to choose a path or item or any attribute for a -character in a story, they feel responsible and curious to see it -through to the end or decide what to do with it. This interactivity -therefore creates a unique bond between the reader/writer and the -text.

+these three emotions. Multiliteracy +theory helped me ground my passion of using multimedia for children’s +literature. Interactive storytelling reminds everyone but +especially children that there are limitless endings to a story that is +solely up to the maker’s creation. Learning to think this way instead of +knowing or assuming an end to a story, I think influences the children’s +decision making abilities and sense of responsibility towards their +creations. It is basically the same in theatre where if an actor chooses +to create an imaginary suitcase on stage, they can’t simply leave this +object they created on stage and exit the scene because the audience +will wonder why the actor didn’t take the imaginary suitcase as they +left. In this case, when kids decide to choose a path or item or any +attribute for a character in a story, they feel responsible and curious +to see it through to the end or decide what to do with it. This +interactivity therefore creates a unique bond between the reader/writer +and the text.

There are many theories on how to approach interactive literature for children. Multi-literacy theory and digital literacies are some of the theories which I find relevant to my aim with Wink. Multiliteracy theory @@ -359,9 +384,11 @@ for me that lead to the rest of this thesis: What is an interactive picture book? Is it a book? Is it a game? Is it an exercise?

What is it defined as? How can we design an interactive reading environment without confusing children?

+

8 9 +5

Loop 3

-

Diff erences and similarities between interactive e-books and -storytelling games

+

Differences and similarities between interactive e-books and +storytelling games.

Storytelling games and interactive e-books have many things in common. To begin with, they both centralize the narrative to engage the audience. While both of these formats are storytelling tools, e-books @@ -374,20 +401,22 @@ of a child, storytelling games are complicated and puzzle driven where the player has missions to complete. Whereas in an interactive e-book, the missions are solely based on the interactive elements implemented in the text and images.

-

Another diff erence is that the visual world in an interactive e-book +

Another difference is that the visual world in an interactive e-book is less cinematic and has limited movement. The imagery plays a massive -role in a storytelling game where the world created is off ered to the +role in a storytelling game where the world created is offered to the player. In an interactive e-book, the text itself is designed to be playful and ready for readers to discover.

-

The main diff erence in my opinion that separates these two methods -of storytelling is the reward. In a game, we expect to be rewarded by a +

The main difference in my opinion that separates these two methods of +storytelling is the reward. In a game, we expect to be rewarded by a victory, passing a level or unlocking something throughout the experience. In an interactive e-book, we work with the story and in return we expect a good experience and there is no reward other than that. But, the whole design of interactivity involves aspects of a game -where the reader –not the player- is captured by surprise eff ects or +where the reader –not the player- is captured by surprise effects or elements that come up on the pages. This ignites curiosity but not -ambition, which is a good start to foster the love for reading.

+ambition, which is a good start to foster the love for reading. +5 4 +11

Loop 4

Ways of using interactivity in digital platforms

CASA theory, also known as the Cognitive-Aff ective-Social Theory of @@ -400,7 +429,10 @@ trying to design an interactive experience. This is because children get bored very easily and can be disengaged because of failure of solving/understanding something in a story. This is something I kept in mind as I wrote for children and chose the interactive elements in the -story.

+story. CASA framework +helped me understand the key elements in designing for +children.

Finding the balance between making the interactive element surprising and making it easy to interact with is the key to designing for kids in this scenario. We don’t want to make them struggle and use the limited @@ -408,7 +440,7 @@ attention span in a non-engaging way but we want to keep the reading interesting enough so they want to continue.

Digging deeper into how to do this, I found Children Computer Interaction (CCI) study very useful. This study examines how children of -diff erent ages and developmental stages interact with digital devices +different ages and developmental stages interact with digital devices and how these interactions can support their growth. This made me think about digital gestures; how they change through generations and how to use these to design a platform where children can navigate easily and @@ -416,12 +448,14 @@ freely. CCI suggests that when introducing a new media to children its better to start easy and clear when they try it. Through this I think the best easy interaction is the tap or click for children. It is easy to do, instinctive and common. So I decided to base the interactive -elements on click animations.

-

There are multiple ways to use digital gestures in storytelling to -make the experience more intriguing. These are usually elements such as -sound, animations, voice-overs that are ignited with a click or tap by -the reader. For children younger than 5, its usually just tapping over -the page and experiencing an action-reaction. For older kids between the +elements on click animations. CCI was a theory +that helped me decide on the interactive elements. There +are multiple ways to use digital gestures in storytelling to make the +experience more intriguing. These are usually elements such as sound, +animations, voice-overs that are ignited with a click or tap by the +reader. For children younger than 5, its usually just tapping over the +page and experiencing an action-reaction. For older kids between the ages 6-8, I made some workshops to figure out which types of interactive elements are most useful in engaging them in the reading process.

It is true that sound and animations are very inclusive and it is @@ -430,7 +464,8 @@ clicking on images. Another thing I found out is that kids enjoy being a part of the story. For the prototype of Bee Within (the story I am using to test interactivity also can be read in the appendix) I will focus on color, sound and click based animations according to the results of my -research.

+research. 4 3 +2

Loop 5

What is the target age group for the designated prototype and why?

@@ -441,8 +476,11 @@ day increasing interest in play. They can take on roles in imaginative play scenarios. They can also share and take turns more, listen and think about rules of a game. They can form friendships and connections easily.

+

This +data about school age children was a starting point to choose the age +group to have the workshops with.

School age children are between the ages 6-12, which is Wink’s chosen -age group is a little diff erent. These kids can form more rooted +age group is a little different. These kids can form more rooted friendships and engage in more complex narratives. They learn to negotiate and compromise around this time as well. This age group is desired for Wink because kids this age are open to creative problem @@ -461,7 +499,8 @@ it is fairly easy to create an interactive picture book which kids can navigate themselves and be able to browse through with or without their parents. But for Wink, I chose to design for older kids because I want to experiment on multi-leveled narratives and I want to avoid the risk -of confusing children.

+of confusing children. 3 10 +7

Loop 6

Limits of interactivity in narratives for children and why do we have less modes of reading and writing for children?

@@ -469,9 +508,13 @@ less modes of reading and writing for children?

children due to their advanced skills in technology from early ages, there are also risks involved in this where the kid can be overwhelmed and confused due to the autonomy they receive. Reading a story is -supposed to be eff ortless and a good free time activity but with +supposed to be effortless and a good free time activity but with interactive picture books, it is slightly more than that and more -complicated as an experience.

+complicated as an experience. This is the elbow of +our strings. Elbows are created when an additional twist is added to a +loop. In this case, it represents the counter argument in the +string.

First of all, with the story at hand, called Bee Within, there are two other stories in one. Although the main story is about a little girl’s journey, kids get the chance to hear the Queen Bee’s story and @@ -489,16 +532,18 @@ kids, is the risk of confusion due to an undefined and multimodal design for a “book”. Kids tend to be confused when they can’t define things or are asked to improvise without knowing the purpose.They know what a book is and that it is similar to what they encounter on the screen. But the -method of reading and interacting with Bee Within is diff erent than -what they are used to. This concerns me because they might prefer to -just read a book or play a game instead of discovering a new thing, -which they are exposed to daily because they are always in a process of -active learning. So one more thing to learn might come as exhausting. +method of reading and interacting with Bee Within is different than what +they are used to. This concerns me because they might prefer to just +read a book or play a game instead of discovering a new thing, which +they are exposed to daily because they are always in a process of active +learning. So one more thing to learn might come as exhausting. Therefore, in designing, I want to make interactions as clear as -possible for them.

+possible for them. 9 11 +8

Loop 7

-

Interactive reading and writing examples and surveys done with kids -As an improvisation theater enthusiast myself, I tried to engage the +

Interactive reading and writing examples and surveys done with +kids.

+

As an improvisation theater enthusiast myself, I tried to engage the kids with the story through some exercises and games during the workshops. My aim was to see how involved they want to be in storytelling. Improvisation has a certain way of storytelling and @@ -509,15 +554,19 @@ several improv games and warmups to involve the kids in the story more and see how they see certain characters from the picture book.

My first attempt was to make a survey at the end of workshops with kids to whether they liked it or not, but when I researched further, -surveying with kids has very diff erent methods and complications.

-

Most kids either really like or really dislike things. Finding the in -between emotions with a survey, ends up being vague. Most surveys done -with kids use emoticons as representation of a good or bad or average -time. Instead, I chose to observe the environment and understand how -much empathy kids can off er in an interactive reading or playing -environment.

+surveying with kids has very different methods and complications. +There is a +broken knot here because I ended up not doing a survey with children at +the workshops. Most kids either really like or really +dislike things. Finding the in between emotions with a survey, ends up +being vague. Most surveys done with kids use emoticons as representation +of a good or bad or average time. Instead, I chose to observe the +environment and understand how much empathy kids can offer in an +interactive reading or playing environment. 6 2 +6

Loop 8

-

What does the joy of destruction and the awe eff ect have to do with +

What does the joy of destruction and the awe effect have to do with interactivity? Indeed, why did we ever start playing games? The most important aspect of a game for me is that it surprises you and leaves you in awe towards something you weren’t expecting happened. I feel like @@ -549,7 +598,9 @@ books and games that try to tell stories worth listening with attention. Wink is also an attempt to do this and I believe the key is to make an already engaging story enriched with interactive elements that appear to you through a click if you choose to. I think this is also the key to -nourishing a new way of storytelling.

+nourishing a new way of storytelling. 7 5 +3

Loop 9

Interactivity in reading and writing in history. What changed?

Interactivity has always been an experimental area in literature from @@ -568,27 +619,27 @@ storytelling.

Ancient texts with annotations such as The Odyssey, The Mahabharata are maybe the earliest written interactive experiences in a historical context. They are published with notes and explanations, clarifications -which make the text inhabit diff erent opinions and approaches in an +which make the text inhabit different opinions and approaches in an engaging way where the reader can choose to hop on and off from the -annotation and margin texts. From the 70s to the present there have been -many examples but I will be focusing on a few here. One of them is, -Choose your own adventure books which allowed the reader to participate -in the plot. These still exist as picture books where you are directed -to certain pages according to the choices you make throughout the story. -Along with this were also board games and cards that required -interactive inputs. Some examples to this is exploding kittens or cards -against humanity where the player has the autonomy to be creative and -fill in the blanks to win the game. Simultaneously, text-based adventure -games such as Zork and Adventure were popular. Early days of computing -off ered a wide space for exploring virtual worlds. In the early 80s, -hypertext fiction contributed to electronic literature. Hyperlinks were -used as a tool to navigate a text and choose paths of reading. This -inspired me to write this thesis with diff erent modes of reading as -well. After the 80’s, Interactive fiction gained popularity as a genre -of interacting with text based input. Dynabook by Alan Kay was -prototyped during this time as a promising reading and writing device -designed for children.

-

The 21st century off ers a combination of text and illustrations in +annotation and margin texts.

+

From the 70s to the present there have been many examples but I will +be focusing on a few here. One of them is, Choose your own adventure +books which allowed the reader to participate in the plot. These still +exist as picture books where you are directed to certain pages according +to the choices you make throughout the story. Along with this were also +board games and cards that required interactive inputs. Some examples to +this is exploding kittens or cards against humanity where the player has +the autonomy to be creative and fill in the blanks to win the game. +Simultaneously, text-based adventure games such as Zork and Adventure +were popular. Early days of computing offered a wide space for exploring +virtual worlds. In the early 80s, hypertext fiction contributed to +electronic literature. Hyperlinks were used as a tool to navigate a text +and choose paths of reading. This inspired me to write this thesis with +different modes of reading as well. After the 80’s, Interactive fiction +gained popularity as a genre of interacting with text based input. +Dynabook by Alan Kay was prototyped during this time as a promising +reading and writing device designed for children.

+

The 21st century offers a combination of text and illustrations in augmented reality books that have animations, sound and external interactions. These are followed by digital storytelling platforms like Wattpad and Storybird and interactive e-book apps such as Pibocco, Bookr @@ -601,12 +652,13 @@ these examples in certain ways. I am trying to combine the delicacy of a narrative where you can only be a reader and the excitement of autonomous writing and experiencing.

This is because I think the understanding and usage of media changed -in the last years. Some tools that created the awe eff ect for users +in the last years. Some tools that created the awe effect for users faded and left their place to more compact designs. Although audio books were very welcome at some point, younger users nowadays prefer book summary apps or podcasts to them. Of course they are still used and not outdated but there is certainly a visible change to where media is -heading.

+heading. 10 8 +10

Loop 10

Experimentation of creative exercises to be used in WINK. Exercises of storytelling with words, images, drawing, sound and gestures.

@@ -618,7 +670,10 @@ which parts of the story the children found exiting and which ones are not so thrilling for them. It also helped me draw the pictures for the book accordingly and edit the text with their reactions in mind. Due to a privacy agreement, I couldn’t record or use any data from the workshop -but I made some helpful observations from my time there.

+but I made some helpful observations from my time there. This loop is all about +the observations I made during the workshops and the decisions I made, +according to the results.

The first workshop I planned consisted of two main parts that made up 20 minutes. The first 10 minutes we read Bee Within (attached in the appendix) together in a circle and the last 10 minutes we played little @@ -656,26 +711,26 @@ understanding changes without a limitation of a story.

Bees in the classroom that day were all very active and they used chairs, tables and windows to position themselves in a higher perspective. Children who played the kid were usually standing closer to -the trees and looked very calm. Trees were all very diff erent. One of +the trees and looked very calm. Trees were all very different. One of the kids used postits as leaves. Some of them didn’t have leaves because it is winter. Trees didn’t move at all and the bees were buzzing all around. “The kid” usually sat near the tree, on the tree (as in the other performers’ lap or hugged them).

Overall only 2 groups used the option to say a sentence which were, -> “I want to go on an adventure”
-> “I don’t wanna leave Gray(the tree)”

+“I want to go on an adventure”
+“I don’t wanna leave Gray(the tree)”

This was a good feedback for me because I realized they are very perceptive of actions and facial expressions rather than words. The workshop we did in the studio with XPUB 2 students was harder than the session with the kids because everyone felt so restricted to obligations and were not comfortable to let go of bodily control. No one actually -attempted in using objects from the room which is a huge diff erence -with the kids because they drew on their faces, used plastic bags as -wings for the bee and made sounds with their mouths as trees.

+attempted in using objects from the room which is a huge difference with +the kids because they drew on their faces, used plastic bags as wings +for the bee and made sounds with their mouths as trees.

The next workshop was to discover how improv would work without reading the story first. This workshop was fruitful because it helped me -realize how much information or guidance I have to off er for children -in order for them to be comfortable to participate and interact without +realize how much information or guidance I have to offer for children in +order for them to be comfortable to participate and interact without confusion. We made a circle and I summarized the story to the kids, acting in the middle of the circle. This broke the ice completely because I was a part of the workshop and they thought I was funny. For @@ -683,12 +738,12 @@ the next part, I divided the group in three and assigned a character to them. After this, I asked them to decide on an attitude, pop in the middle and tell or act out their character. I went first and they followed easily. They were not under the influence of the story so the -performances were diff erent but they still got influenced by each -other, which in my opinion is inevitable. Some of the kids were -buzzing/running around, the “kids” were walking around, acting like they -are playing which I found very interesting. Some trees were small some -were mighty and old. It was helpful to see the diff erent attributions -they gave to the characters.

+performances were different but they still got influenced by each other, +which in my opinion is inevitable. Some of the kids were buzzing/running +around, the “kids” were walking around, acting like they are playing +which I found very interesting. Some trees were small some were mighty +and old. It was helpful to see the different attributions they gave to +the characters.

After the circle session, they separated in three groups: the kids, the bees and the trees. I asked each group to come up, walk around randomly, embodying the character they chose. Then as I rang the bell, I @@ -706,36 +761,39 @@ I said mad, one of the kids ran and put her red jacket on. This made me think about using color to show emotions for the tree. It was good to see that they weren’t scared or discouraged by negative emotions as well. We ended the workshop by drawing our characters. It was nice to -see them own their imaginary characters enough to draw them with -joy.

+see them own their imaginary characters enough to draw them with joy. +There is a +broken knot here because I changed my mind about adding motional +elements to the tree character. Kids seemed to see the tree as +stationary.

The last workshop was dedicated to discovering the sound aspect. The tree in the story speaks in verses so I chose one verse and read/performed it in a circle to begin with. Then I gave them some instruments: a drum, a bell, aluminum folio, a balloon and a bubble -wrap. I asked for a few volunteers and they made sound eff ects as I -read the verse very slowly. This went good and I saw that they like to +wrap. I asked for a few volunteers and they made sound effects as I read +the verse very slowly. This went good and I saw that they like to dramatize the sounds and make them funny or unexpected. They used the bubble wrap to make sounds for snowing or aluminum folio for the volcano. They had great fun but I think I made a mistake by making a few kids do foley at the same time because they didn’t know how to take turns and were hesitant at first. Then quite impressively, they made -their own system where they took turns to make eff ects for each +their own system where they took turns to make effects for each sentence.

Then I made four groups of three. 3 kids as actors and 3 kids as foley actors. They buddied up and made short scenes where one group made -sounds eff ects to the others acting on stage. This was the best part of +sounds effects to the others acting on stage. This was the best part of this workshop because they could lead the actors with the sounds they made or vice versa. This I think is very important because it shows that -they like to be a part of or be eff ective to the story itself. They -were very creative in using the objects in the room and turning them -into a tool for sound. They enjoyed to foley the bee and the other -characters not so much. Which showed me that I should focus on the sound -of the bee in the prototype.

+they like to be a part of or be effective to the story itself. They were +very creative in using the objects in the room and turning them into a +tool for sound. They enjoyed to foley the bee and the other characters +not so much. Which showed me that I should focus on the sound of the bee +in the prototype.

Overall, the workshops were very helpful for me to understand where to focus on as I develop. I realized that some of the sound, color and movement animations I planned were too complicated and I decided to make them more simplistic. I decided to animate the tree with only color -because I was eff ected by this one participant who took the red jacket +because I was effected by this one participant who took the red jacket to represent the tree was mad. For the bee I decided to focus on sound more. For the kid I decided to use more visual animations to make it more interesting.

@@ -749,20 +807,21 @@ like they needed more stimulation to be interested in that story and I though a ‘reveal the story’ click game could keep them interested. For the bee, knowing they like the character, I wanted to make it more like a game to give the kids a chance and autonomy to be a part of the story -itself.

+itself. 2 6 +9

Loop 11

-

The diff erences of these exercises in WINK than the already existing +

The differences of these exercises in WINK than the already existing interactive e-book platforms The interactive e-book apps existing today, made especially for children, are quite similar in both format and purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see they seek a new way to tell a story but have one mode of reading. The stories are linear and can be read once, without side quests. This is -the main diff erence with what I am trying to design. Wink acts as a -tool to play with and choose paths. The story isn’t linear in the -traditional way where you interact with the pictures and finish the book -but there are side stories to the main story that they can discover or -choose not to. I think this is a solid diff erence. This makes it a -playable narrative, diff erent from a book.

+the main difference with what I am trying to design. Wink acts as a tool +to play with and choose paths. The story isn’t linear in the traditional +way where you interact with the pictures and finish the book but there +are side stories to the main story that they can discover or choose not +to. I think this is a solid difference. This makes it a playable +narrative, different from a book.

This prototype is a good start to see how far I can get with the interactive elements and side stories without confusing or discouraging the children. There are many other aspects that can be implemented to @@ -776,10 +835,11 @@ essential to see if my technique of combining narratives is working or not.

Loop 12

Standing End

-

After many loops of thought, we are here at the standing end of the -thesis. There is room for more loops and knots in the future to secure -this string of thought but for now, we have come to the dock and rest -ashore.

+

12 12 +12 After many loops of +thought, we are here at the standing end of the thesis. There is room +for more loops and knots in the future to secure this string of thought +but for now, we have come to the dock and rest ashore.

Reading this thesis with a string, using concrete thinking as a technique to go through a research and text was a helpful exercise for me and helped me mark my thoughts and ideas. The overarching theme of @@ -794,7 +854,7 @@ approach and tackle the desire of making something for children.

Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t work. Some features that I think would work very well like the choice of writing didn’t go as planned because multiple -narratives is already too much. I realized I underestimated the eff ect +narratives is already too much. I realized I underestimated the effect of introducing a new media to children. This is why I decided to take it step by step with the interactivity.

Taking a step to make Wink and using the story I wrote and feel is @@ -802,46 +862,51 @@ important in my personal history as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am looking forward to making more knots on this long -and mysterious string at hand. ## Bibliography Cope, B. -and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, new -learning’, Pedagogies: An International Journal, 4(3), pp. 164–195. -doi:10.1080/15544800903076044.
Dettore, E. (2002) “Children’s -emotional GrowthAdults’ role as emotional archaeologists,” Childhood -education, 78(5), pp. 278–281. doi: 10.1080/00094056.2002.10522741.
-Ingold, T. (2015) The life of lines.London, England: Routledge.
-Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: -Teaching and learning through storytelling: What our ancestors knew: +and mysterious string at hand.

+
+

Bibliography

+

Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, +new learning’, Pedagogies: An International Journal, 4(3), pp. 164–195. +doi:10.1080/15544800903076044.

+

Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as +emotional archaeologists,” Childhood education, 78(5), pp. 278–281. doi: +10.1080/00094056.2002.10522741.

+

Ingold, T. (2015) The life of lines.London, England: Routledge.

+

Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: +Teaching and learning through storytelling:What our ancestors knew: Teaching and learning through storytelling,” New directions for adult and continuing education, 2016(149), pp. 63–72. doi: -10.1002/ace.20177.
-
Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, -computers, and powerful ideas. London, England: Basic Books.
Ryan, -M.-L. (2009) “From narrative games to playable stories: Toward a poetics -of interactive narrative,” StoryWorlds A Journal of Narrative Studies, -1(1), pp. 43–59. doi: 10.1353/stw.0.0003.
Smeets, D. and Bus, A. -(2013) “Picture Storybooks Go Digital: Pros and Cons,” in Quality -Reading Instruction in the Age of Common Core Standards. International -Reading Association, pp. 176–189.
Strohecker, C. (ed.) (1978) Why -knot? MIT.
The Effect of Multimodality in Increasing Motivation and -Collaboration among 4th CSE EFL Students (no date).
Turkle, S. -(ed.) (2014) Evocative objects: Things we think with. MIT Press.
-Urton, M. M. &. (2018) The khipu code: the knotty mystery of the +10.1002/ace.20177.

+

Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, +computers, and powerful ideas. London, England: Basic Books.

+

Ryan, M.-L. (2009) “From narrative games to playable stories: Toward +a poetics of interactive narrative,” StoryWorlds A Journal of Narrative +Studies, 1(1), pp. 43–59. doi: 10.1353/stw.0.0003.

+

Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros +and Cons,” in Quality Reading Instruction in the Age of Common Core +Standards. International Reading Association, pp. 176–189.

+

Strohecker, C. (ed.) (1978) Why knot? MIT.

+

The Effect of Multimodality in Increasing Motivation and +Collaboration among 4th CSE EFL Students (no date).

+

Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT +Press.

+

Urton, M. M. &. (2018) The khipu code: the knotty mystery of the Inkas’ 3D records, aeon. Available at: https:// -aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records. -
Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole +aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records.

+

Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ codes-in-knots-sensing-digital-memories/.

-

Acknowledgements

-Thank you Marloes de Valk, for your enlightening feedbacks and ideas. Thank you Michael Murtaugh, -Manetta Berends, Joseph Knierzinger, Leslie Robbins and Steve Rushton for sharing your time and -knowledge with me throughout these years. - -Thank you XPUB friends for funny, hectic and memorable moments we made together. - -Thanks to my family and especially Kemal, my brother, who supported me in my studies and encouraged me -to do better, always... -"So long and thanks for all the fish!" - +

Acknowledgements

+

Thank you Marloes de Valk, for your enlightening feedbacks and ideas. +Thank you Michael Murtaugh, Manetta Berends, Joseph Knierzinger, Leslie +Robbins and Steve Rushton for sharing your time and knowledge with me +throughout these years.

+

Thank you XPUB friends for funny, hectic and memorable moments we +made together.

+

Thanks to my family and especially Kemal, my brother, who supported +me in my studies and encouraged me to do better, always…

+

So long and thanks for all the fish!

+
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Reviews

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+ + +
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+ + +
+
+Lídia Pereira + +
+
+ + +
+
+Steve Rushton + +
+
+Boyana Stoilova + +
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+ + +
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+Simon Browne + +
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+ + \ No newline at end of file diff --git a/specialissue19/index.html b/specialissue19/index.html index 6be5712..ccdc702 100644 --- a/specialissue19/index.html +++ b/specialissue19/index.html @@ -32,7 +32,9 @@
-

Garden Leeszaal

+
+

Garden Leeszaal

+

Special Issue XIX

Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, @@ -45,8 +47,8 @@ writing machine.

Garden Leeszaal, we started re-considering the word “library” as a verb; actions that sustains the production, collection and distribution of texts. A dive into the understanding structure of libraries as systems -of producing knowledge; unpacking classification as a process that -(un)names, distinguishes, excludes, displaces, and organizes life. From the +of producing knowledge and unpacking classification as a process that +(un)names, distinguishes, excludes, displaces, organizes life. From the library to the section to the shelf to the book to the page to the text. The zooming in and zooming out process. The library as a plain text.

Like community gardens, libraries are about tenderness and @@ -57,6 +59,12 @@ visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context. Libraries as complex social infrastructures.

+
+ + +

The release of the Special Issue 19 was a momentary snapshot of the current state of a library seen through the metaphor of gardening; pruning, gleaning, growing, grafting and harvesting. Garden Leeszaal is @@ -71,79 +79,55 @@ overwriting, printing, and scanning. It was magical having an object in the end. A whole book was made by all of us that evening. Stations, machines, a cloud of cards, a sleeve that warms up THE BOOK.

- - -
-
- - + +
- - + +
-
- +

Page of the final book containing scans of the edited book, an instruction card, a pen-plotted bookmark with a quote from the book and a sprig of mint. -

-
+

- - + +
-
- +

Page of the final book containing scans of edited books, a hand and coins. -

-
+

Page of the second edition, containing scans of edited books and instruction cards.
+
- - -
-
- - -
-
- - -
-
-Bin of discarded books from Leeszal. - -
-
-The binding of the scans into the final book at the end of the evening.
+
+
+ + +
+
\ No newline at end of file diff --git a/specialissue20/index.html b/specialissue20/index.html index 078c970..45cdc2f 100644 --- a/specialissue20/index.html +++ b/specialissue20/index.html @@ -33,6 +33,7 @@

Console

+

Special Issue XX

Console is an oracle; an emotional first aid kit that helps you help yourself. Console invites you to open the box and discover ways of @@ -56,17 +57,18 @@ the world and created stories from it (modding, fiction, narrative) focusing on community, interaction, relationships, grief and healing.

-Holographic Oracle Deck - -
-
-Reading with the Oracolotto cards. - + +
-Worry Dolls - + +
Nighttime Ritual: Guided meditation from cardboardlamb cardboardlamb
-Imagined tarot cards based on YouTube comments
+
+

- - +Worry Dolls + +
+
+ +
+
-Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight.
+
- - + +
+
-SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property.
-
- - -
-
-Modified tetris fantasies - -
\ No newline at end of file diff --git a/specialissue21/index.html b/specialissue21/index.html index 6c5ad16..358560e 100644 --- a/specialissue21/index.html +++ b/specialissue21/index.html @@ -33,6 +33,7 @@

TTY

+

Special Issue 21

why shd it only make use of the tips of the fingers as contact points of flowing multi directional creativity. If I invented a word placing @@ -48,6 +49,19 @@ or carried like a speaking singing constantly communicating charm. A typewriter is corny!!

Amiri Baraka, Technology & Ethos, http://www.soulsista.com/titanic/baraka.html

+
+
+ + +
+
+ + +

This issue started from a single technical object: a Model 33 Teletype machine. The teletype is the meeting point between typewriters and computer interfaces, a first automated translator of letters into @@ -59,13 +73,44 @@ guest contributor who joined us in unfolding the many cultural and technical layers that we found stratified in such a machine, reading them as questions to our contemporary involvements with computing and with networks.

-

The format of the issue consisted of an on-going publishing +

The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release weekly bricks was wattled by a shared understanding of time into something more complex in structure, less structured in complexity.

+
+
+ + +
+
+
+ + +
+
+ + +
+
+ + +
+

Initially, the week’s caretakers were responsible for collecting materials from our guest contributions, which included lectures, collective readings, hands-on exercises, an excursion to the Houweling @@ -78,110 +123,73 @@ creating languages, plotting strikes and cherishing memories. This mode of publishing made us develop our own collective understandings of inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and futurability.

-

Teletypewriters ushered in a new mode of inscription of writing: if -the typewriter set up a grid of letters and voids of the same size, -turning the absence of a letter (the space) into a key itself (the -spacebar), the teletypewriter finished it by inscribing the space in the -very same material as all other letters: electrical zeros and ones, that -were to immediately leave the machine. The Teletype Model 33, one of the -most widely produced and distributed text-based terminals in the 1970s, -introduced multiple technological concretizations that are present in -the computers of today as a sort of legacy, such as the QWERTY keyboard -with control keys, the ASCII character encoding and the TTY terminal -capability. We have created short-circuits that allow us to remember -otherwise technical progress and computational genealogies.

-

TTY was produced in April-June 2023 as special issue 21 with guest -editor Martino Morandi, and contributors Andrea di Serego Alighieri, -Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and -Zoumana Meïté.

-
- - -
+
-punchtape read-writer of Teletype Machine - -
-
- - -
-
-Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities.
-Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki’s regular functionality.
+
+

Teletypewriters ushered in a new mode of inscription of writing: if +the typewriter set up a grid of letters and voids of the same size, +turning the absence of a letter (the space) into a key itself (the +spacebar), the teletypewriter finished it by inscribing the space in the +very same material as all other letters: electrical zeros and ones, that +were to immediately leave the machine. The Teletype Model 33, one of the +most widely produced and distributed text-based terminals in the 1970s, +introduced multiple technological concretizations that are present in +the computers of today as a sort of legacy, such as the qwerty keyboard +with control keys, the ascii character encoding and the TTY terminal +capability. We have created short-circuits that allow us to remember +otherwise technical progress and computational genealogies.

+

TTY was produced in april-june 2023 as special issue 21 with guest +editor Martino Morandi, and contributors Andrea di Serego Alighieri, +Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and +Zoumana Meïté.

- - -
-
- - -
-
-Encoding Convertor: the wacky world of character en-coding.
-We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. Our bag is now in the middle, its ready for you to discover and see the networks of our minds, make knots in the middle or intervene with what we call is a collective memory of few xpubbers.
- + +
+
+Hexalogue booklet. A conversation for six voices is encoded and documented in a script.
-Publications holding tiny sub-releases during SI21
-
- - -
-
- - -
\ No newline at end of file diff --git a/specialissuesintro/index.html b/specialissuesintro/index.html index 3d542bc..6e1b3c6 100644 --- a/specialissuesintro/index.html +++ b/specialissuesintro/index.html @@ -37,13 +37,13 @@ Master’s students. Each edition focuses on a specific theme or issue. The themes tie to external events and collaborations. Students and staff work together to explore these themes, rethinking what a publication can -be. Each edition culminates in a celebratory release party. The +be. Each edition culminates in a celebratory release party.The structure, tools, and workflows are reset every trimester. This reset allows roles to rotate among participants and fosters an adapting learning environment. It provides a space to experiment beyond traditional collaborative methods.

Our inaugural Special Issue was number 19, in collaboration with -Simon Browne. Garden Leeszaal was a snapshot of the Leeszaal community Library through +Simon Browne. Garden Leeszaal was a snapshot of Leeszaal Library through the metaphor of gardening. During the release, we invited participants to engage with the library’s discarded books. We pruned, gleaned, and grafted the books using pens, pen-plotters, scissors, and glue. Then we diff --git a/stephen/index.html b/stephen/index.html index 3dde51c..4352e16 100644 --- a/stephen/index.html +++ b/stephen/index.html @@ -74,19 +74,19 @@ research thesis)

-Keyboard of things designers have said. Our feelings about work.
-The messages on the keys were gathered using experimental interview methods and questions.
-Except “it’s ok”: my brother said that to me on the phone one day. @@ -106,7 +106,7 @@ Interactive dream telling. Click then type your story.
-Re-enacting dreams about work at Piet Zwart Institute, Rotterdam. @@ -118,15 +118,11 @@ alt="Collective dream re-enactment at Art Meets Radical Openness, Linz." /> Meets Radical Openness, Linz.
-Where do dreams come from? +
-

Licensing information

-

This work is free to distribute or modify under the terms of the SIXX -license as published by XPUB, either version one of the SIXX License or -any later version. See the SIXX License for more details. A copy of the -license can be found on vulnerable-interfaces.xpub.nl/license.

+

.

diff --git a/stephen/thesis.html b/stephen/thesis.html index f117ded..b61eac9 100644 --- a/stephen/thesis.html +++ b/stephen/thesis.html @@ -52,49 +52,50 @@ 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. - + +
-Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200.
-Cartesian Geometry, Rene Descartes, 1637.
+class="image-95" alt="Homage to the Square, Josef Albers, 1954." />
-Counter Composition VI, Theo Van Doesburg, 1925. - +
-The Po Valley, The Roman Empire, 268 BCE. - + +
-Monogram, Piet Zwart, c. 1968. +