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</nav>
<div id="content"><h1 id="backplaces">Backplaces</h1>
<h2 id="ada-2024">ada, 2024</h2>
<p><a href="../backplaces">project website</a><br />
<p>vulnerable-interfaces.xpub.nl/backplaces</p>
<p>Hi.<br />
I made this play for you. It is a question, for us to hold together.</p>
<p>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.<br />
</p>
<p>Hi.<br/>
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.
<br> <br>
love, Ada
<p>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.<br />
</p>
<figure>
<img src="index.png"
<img src="index.png" class="half-image"
alt="This is the Index, the stage of my play. Each felted item is an act." />
<figcaption aria-hidden="true">This is the Index, the stage of my play.
Each felted item is an act.</figcaption>
</figure>
<p> 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. <br/>
<p>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.<br />
</p>
<figure>
<img src="solar1.png"
@ -65,30 +81,42 @@ alt="The fillable comment where you can whisper your feelings to me." />
<figcaption aria-hidden="true">The fillable comment where you can
whisper your feelings to me.</figcaption>
</figure>
<p>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.
<br/>
<p>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.<br />
</p>
<figure>
<img src="hermit1.png" alt="The first letter." />
<figcaption aria-hidden="true">The first letter.</figcaption>
</figure>
<figure>
<img src="hermit2.png" alt="The last letter." />
<figcaption aria-hidden="true">The last letter.</figcaption>
<img src="hermit2.png" class="image-80" alt="The second letter." />
<figcaption aria-hidden="true">The second letter.</figcaption>
</figure>
<p>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.
<br>
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.<br />
<p>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.<br />
</p>
<figure>
<img src="cake1.png"
alt="The first story and its memory illustrations." />
alt="The first two stories and their memory illustrations." />
<figcaption aria-hidden="true">The first two stories and their memory
illustrations.</figcaption>
</figure>
<figure>
<img src="cake2.png"
alt="Another story on a phone." />
<img src="cake2.png" class="full-image"
alt="The second stories in the way they were meant to be experienced." />
<figcaption aria-hidden="true">The second stories in the way they were
meant to be experienced.</figcaption>
</figure>
@ -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.<br />
</p>
<figure>
<img src="biscuit.png"
<img src="biscuit.png" class="image-95"
alt="Accept My Cookies, biscuits for the performance." />
<figcaption aria-hidden="true">An early prototype of Accept My Cookies, biscuits for
the performance.</figcaption>
<figcaption aria-hidden="true">Accept My Cookies, biscuits for the
performance.</figcaption>
</figure>
</div>
</body>

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</nav>
<div id="content"><h1 id="water-bodies">&lt;?water bodies&gt;</h1>
<h3 id="a-narrative-exploration-of-divergent-digital-intimacies">A
narrative exploration of divergent digital intimacies</h3>
narrative exploration of <br>divergent digital intimacies</h3>
<hr />
<blockquote>
<p>Water, stories, the body,<br />
all the things we do, are<br />
@ -109,6 +110,7 @@ and it chooses<br />
not to drown me.”<br />
(Yun, 2020)</p>
</blockquote>
<hr />
<h3 id="a.-what-is-a-digital-body">a. what is a digital body?</h3>
<p>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.</p>
<h2 id="digital-comfort">1.DIGITAL COMFORT</h2>
<blockquote>
<p>The only laws: Be radiant. Be heavy. Be green.</p>
</blockquote>
<blockquote>
<p>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.’</p>
</blockquote>
<blockquote>
<p>“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.”<br />
(Schwartz, 2022)</p>
</blockquote>
<hr />
<h3 id="a.-comfort-care">a. comfort care</h3>
<p>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.</p>
<p>I leave even though I love all of your digital bodies. I leave
because I love you, little digital body and you are me.</p>
<h2 id="a-life-to-be-had">2. A LIFE TO BE HAD</h2>
<p><sup><span class="margin-note">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.</p>
<h2 id="a-life-to-be-had11">2. A LIFE TO BE HAD<sup>11</sup></h2>
<div class="fake-margin-note">
<p>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.</p>
<p>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.</p>
@ -695,9 +703,9 @@ https://vulnerable-interfaces.xpub.nl/backplaces/.</p>
<p>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.</p>
<p>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.</span></sup></p>
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.
</div>
<h2 id="references">references</h2>
<p>Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers:
Deviant communities, relationships, and selves’, Symbolic Interaction,

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<div id="content"><h1 id="talking-documents">Talking Documents</h1>
<h3 id="section"></h3>
<figure>
<img src="../aglaia/wijnhaven.JPG"
<img src="../aglaia/wijnhaven.JPG" class="half-image"
alt="WDKA- Winjhaven Building- February 2024- reading of act0 and act1" />
<figcaption aria-hidden="true">WDKA- Winjhaven Building- February 2024-
reading of act0 and act1</figcaption>
</figure>
<p>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.</p>
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.</p>
<p>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.</p>
<p>A central element of this project is a seven-act scenario that
constructs my personal paperwork story, unravelling the actual struggles
<p>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.</p>
<figure>
<img src="../aglaia/call1.png"
<img src="../aglaia/call1.png" class="full-image"
alt="Act 2 “Call with the municipality about the rejection of my application”" />
<figcaption aria-hidden="true">Act 2 “Call with the municipality about
the rejection of my application”</figcaption>
</figure>
<p><img src="../aglaia/call2.png" /></p>
<p><img src="../aglaia/call2.png" class="full-image" /></p>
<figure>
<img src="../aglaia/dereg1.png"
<img src="../aglaia/dereg1.png" class="full-image"
alt="Act 7 “Confirmation document of my deregistration”" />
<figcaption aria-hidden="true">Act 7 “Confirmation document of my
deregistration”</figcaption>
</figure>
<p><img src="../aglaia/dereg2.png" /></p>
<p><img src="../aglaia/dereg2.png" class="full-image" /></p>
<p>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.</p>
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.</p>
<p>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.</p>
invited people to perform the play together, like a tiny theater.</p>
<p><img src="../aglaia/AMRO_kamo.jpg" class="image-80" /></p>
<figure>
<img src="../aglaia/AMRO_all.jpg"
<img src="../aglaia/AMRO_all.jpg" class="half-image"
alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
<figcaption aria-hidden="true">Art Meets Radical Openness Festival –
Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
tent</figcaption>
</figure>
<p><img src="../aglaia/AMRO_kamo.jpg" /></p>
<figure>
<img src="../aglaia/gemeente_front.jpg"
alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
<figcaption aria-hidden="true">City Hall Rotterdam - May 2024 - Reading
of Act 5 and Act 6</figcaption>
</figure>
<figure>
<img src="../aglaia/statue_garden.jpg" alt="The garden of Gemeente" />
<figcaption aria-hidden="true">The garden of Gemeente</figcaption>
</figure>
<p>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.</p>
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.</p>
<figure>
<img src="../aglaia/gemeente_front.jpg"
alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
<figcaption aria-hidden="true">City Hall Rotterdam - May 2024 - Reading
of Act 5 and Act 6</figcaption>
</figure>
<figure>
<img src="../aglaia/statue_garden.jpg" class="full-image"
alt="The garden of Gemeente" />
<figcaption aria-hidden="true">The garden of Gemeente</figcaption>
</figure>
</div>
</body>
</html>

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<div id="content"><h1 id="performing-the-bureaucratic-borderlines">Performing the
Bureaucratic Border(line)s</h1>
<hr />
<div class="reset-margin-notes">
</div>
<h2 id="introduction">introduction</h2>
<p>This thesis is an assemblage<sup><span class="margin-note">I live
somewhere in the margins of scattered references, footnotes, citations,
@ -142,6 +145,7 @@ on the other side is the sea<br />
I cannot bridge it”<br />
(Anzaldua, 1987)</p>
</blockquote>
<hr />
<h2 id="borders">borders</h2>
<p>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.</p>
<h4 id="the-right-to-have-rights">“the right to have rights”</h4>
<p>(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).</p>
<h4
id="the-right-to-have-rightsarendt-as-cited-by-khosravi-2010-p.121">“the
right to have rights”<sup><span class="margin-note">(Arendt, as cited by
Khosravi, 2010, p.121)</span></sup></h4>
<p>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).</p>
<p>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)</p>
my phone during a protest on migration at Dam Square in Amsterdam. I
insert part of the speech of a Palestinian woman addressing the matter
of undocumentedness. Date and time of the recording 18th of June 2023,
15:05.</span></sup> I am here for the rights of the children which
haven’t be in the taking part in the education since they have
undocumented mothers and they are more than
<em><sup><span class="margin-note">“</em>” means
undecipherable</span></sup> years. I am here to represent mothers who
are looking for a place to have a sense of belonging or how long are you
trying to continue humiliating them and the female gender. I am here to
express my frustration with IND<sup><span
class="margin-note">Immigratie- en Naturalisatiedienst - Dutch
Immigration and Naturalisation Service</span></sup>. So frustrated. And
I will not stop talking about democracy. Democracy is the rule of law
where everybody feels included. Democracy is a rule of law where
everybody feels * We, undocumented people, we don’t feel a sense of
belonging from the system.”</p>
15:05. “✶” means undecipherable</span></sup>I am here for the rights of
the children which haven’t be in the taking part in the education since
they have undocumented mothers and they are more than ✶ years. I am here
to represent mothers who are looking for a place to have a sense of
belonging or how long are you trying to continue humiliating them and
the female gender. I am here to express my frustration with
IND<sup><span class="margin-note">Immigratie- en Naturalisatiedienst -
Dutch Immigration and Naturalisation Service</span></sup>. So
frustrated. And I will not stop talking about democracy. Democracy is
the rule of law where everybody feels included. Democracy is a rule of
law where everybody feels * We, undocumented people, we don’t feel a
sense of belonging from the system.”</p>
</blockquote>
<hr />
<h2 id="bureaucracy-as-immaterial-border">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”<sup><span
class="margin-note">I am referring to the desirable potential
destinations of migrants and refugees corresponding mainly to Global
North countries.</span></sup>. “In these bordering processes, we can
detect the “coloniality of asylum”<sup><span class="margin-note">In this
text they insert the concept of the “coloniality of asylum” introduced
by Picozza, which talks about how asylum systems are intertwined with
colonial legacies and power dynamics. These systems are often colonial
structures reinforcing hierarchies between nations and reproducing
patterns of domination and oppression. In this framework, asylum is not
just about offering protection but also about regulating and managing
populations in a way that reflects colonial relationships.</span></sup>
(Borelli, Poy, Rué, 2023). Bureaucracies in practice act as filters,
determining who, from an institutional standpoint, deserves to receive
protection and who does not. They operate as systems that classify
non-citizens and place them in a social hierarchy of disproportionate
unequal obligations, lack of rights and access to institutional
support.</p>
of the Global North.<sup><span class="margin-note">I am referring to the
desirable potential destinations of migrants and refugees corresponding
mainly to Global North countries.</span></sup> It is as if they could
never manage to eventually arrive and shelter their lives within the
desirable “there”. “In these bordering processes, we can detect the
“coloniality of asylum” (Borelli, Poy, Rué, 2023).<sup><span
class="margin-note">In this text they insert the concept of the
“coloniality of asylum” introduced by Picozza, which talks about how
asylum systems are intertwined with colonial legacies and power
dynamics. These systems are often colonial structures reinforcing
hierarchies between nations and reproducing patterns of domination and
oppression. In this framework, asylum is not just about offering
protection but also about regulating and managing populations in a way
that reflects colonial relationships.</span></sup> Bureaucracies in
practice act as filters, determining who, from an institutional
standpoint, deserves to receive protection and who does not. They
operate as systems that classify non-citizens and place them in a social
hierarchy of disproportionate unequal obligations, lack of rights and
access to institutional support.</p>
<h3 id="higher-educations-expanding-bureaucracy">higher education’s
expanding bureaucracy</h3>
<p>While I had this inherent concern about borders and bureaucratic
@ -565,11 +569,12 @@ facts.</span></sup>. Bureaucracies are not stupid inherently rather they
manage and coerce processes that reproduce docile and stupid
behaviors.</p>
<figure>
<img src="../aglaia/chae_form.jpg"
<img src="../aglaia/chae_form.jpg" class="image-95"
alt="The birthday biscuit that Chae made, re-creating the Dutch government form" />
<figcaption aria-hidden="true">The birthday biscuit that Chae made,
re-creating the Dutch government form</figcaption>
</figure>
<hr />
<h2 id="vocal-archives-talking-documents">vocal archives-talking
documents</h2>
<p>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.</p>
<hr />
<figure>
<img src="../aglaia/quality.jpg"
<img src="../aglaia/quality.jpg" class="full-image"
alt="The linguistic experiment of the Quality Assurance Questionnaire Document" />
<figcaption aria-hidden="true">The linguistic experiment of the Quality
Assurance Questionnaire Document</figcaption>
@ -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.</p>
<figure>
<img src="../aglaia/queue.jpg"
<img src="../aglaia/queue.jpg" class="half-image"
alt="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." />
<figcaption aria-hidden="true">Leeszaal West Rotterdam - November 2023 –
People queuing to receive their documents and sign. I was thinking of
@ -720,8 +726,9 @@ 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.</figcaption>
</figure>
<hr />
<figure>
<img src="../aglaia/mitsi.jpg"
<img src="../aglaia/mitsi.jpg" class="full-image"
alt="One of the forms that the audience had to fill out during the Lesszaal event" />
<figcaption aria-hidden="true">One of the forms that the audience had to
fill out during the Lesszaal event</figcaption>
@ -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).</p>
<figure>
<img src="../aglaia/passport1.png"
alt="Part of the A6 booklet of the transcription of the passport readings session" />
<figcaption aria-hidden="true">Part of the A6 booklet of the
transcription of the passport readings session</figcaption>
</figure>
<p><img src="../aglaia/passport2.png" /></p>
<hr />
<p><img src="../aglaia/passport1.png" class="full-image" /> ![Part of
the A6 booklet of the transcription of the passport readings
session]</p>
<hr />
<h4 id="section-3">4.</h4>
<p><strong>Title:</strong> “Postal Address Application Scenario”<br />
@ -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.</p>
<hr />
<figure>
<img src="../aglaia/postal.png"
<img src="../aglaia/postal.png" class="full-image"
alt="A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers" />
<figcaption aria-hidden="true">A6 booklet of the first chapter of the
“theatrical” scenario created out of the Postal Address Application
@ -862,8 +867,9 @@ border crossers, stressed expired document holders or just curious
people to share, vocalize, talk through, read out loud, amplify,
(un)name, unplace, dismantle the injurious words of these artifacts.</p>
<hr />
<p><img src="../aglaia/objection1.png" /> <img
src="../aglaia/objection2.png" /></p>
<p><img src="../aglaia/objection1.png" class="full-image" /></p>
<hr />
<p><img src="../aglaia/objection2.png" class="full-image" /></p>
<hr />
<h4 id="we-didnt-cross-the-border-the-border-crossed-us20">“we didn’t
cross the border, the border crossed us”(20)</h4>

26
introduction/index.html
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@ -35,10 +35,12 @@
<div id="content"><h1 id="introduction">Introduction</h1>
<h2 id="act-1.">Act 1.</h2>
<h3 id="scene-1.">Scene 1.</h3>
<p><em>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.</em></p>
<p><strong>the book (whispering in the reader’s ear):</strong> Being
<h5
id="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."><em>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.</em></h5>
<p><strong>the book: (whispering in the reader’s ear)</strong> Being
vulnerable means being transparent, open and brave, trusting others to
handle stories with care. By publicly sharing and processing our
narratives, we take ownership of our experiences while contributing to a
@ -47,13 +49,14 @@ names remain attached to this collective creation: Ada, Aglaia, Irmak,
Stephen. We have created interfaces highlighting the balance between
communal sharing, individual responsibility and awareness.</p>
<p><strong>the reader:</strong> Interfaces?</p>
<p><strong>the book:</strong> Interfaces are boundaries that connect and
separate. They’re the spaces that fill the void between us. An interface
can be an act, a story, a keyboard, a cake; It allows us to be
vulnerable together, to share our stories with and through each other. I
am a collection of these interfaces.</p>
<p><strong>the reader (confused):</strong> What do you mean a
<p><strong>the book:</strong> Interfaces are boundaries that<br />
connect and separate. They’re the spaces that fill the void between us.
An interface can be an act, a story, a keyboard, a cake; It allows us to
be vulnerable together, to share our stories with and through each
other. I am a collection of these interfaces.</p>
<p><strong>the reader: (confused)</strong> What do you mean a
collection, like a catalogue?</p>
<div class="xpub3">
<p><strong>the book:</strong> Yeah I guess. I weave the words and the
works we created during…</p>
<p><strong>the reader:</strong> we?</p>
@ -67,9 +70,10 @@ we brewed muddy coffee and bootlegged books.</p>
<p>Finishing a Master’s is a bit of a heavy moment for us and this book
is a gentle archive, a memory of things that have been beautiful to
us.</p>
<p><strong>the reader (sarcasm):</strong> do you have a tissue, im soooo
<p><strong>the reader: (sarcasm)</strong> do you have a tissue, im soooo
touched.</p>
<p><strong>the book:</strong> malaka, just read me.</p>
</div>
</div>
</body>
</html>

133
irmak/index.html
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@ -32,71 +32,84 @@
</div>
</nav>
<div id="content"><h1 id="wink">Wink!</h1>
<h3 id="a-prototype-for-interactive-childrens-literature">
A Prototype for Interactive Children’s Literature</h3>
<div id="content"><hr />
<h1 id="wink">Wink!</h1>
<hr />
<h3 id="a-prototype-for-interactive-childrens-literature">A Prototype
for Interactive Children’s Literature</h3>
<p>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.</p>
<figure>
<img src="../irmak/improv.JPG"
alt="“a tag made by a participant in the public moment at XPUB studio. Trying to understand different approaches to certain emotions/states for a bee”" />
<figcaption aria-hidden="true">“a tag made by a participant in the
public moment at XPUB studio. Trying to understand different approaches
to certain emotions/states for a bee”</figcaption>
</figure>
<figure>
<img src="../irmak/leeszaalknotpoems.jpg"
alt="“From the event at Leeszaal West, experimenting with knots and poetry. How can we see movement in text?”" />
<figcaption aria-hidden="true">“From the event at Leeszaal West,
experimenting with knots and poetry. How can we see movement in
text?”</figcaption>
<img src="../irmak/twine.png" class="half-image"
alt="“The twine map of text based story, reachable from Bee Within.”" />
<figcaption aria-hidden="true">“The twine map of text based story,
reachable from Bee Within.”</figcaption>
</figure>
<p>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.</p>
<figure>
<img src="../irmak/knotpoems2.jpg"
alt="“From the event at Leeszaal West. Some of the results of knotting text”" />
<figcaption aria-hidden="true">“From the event at Leeszaal West. Some of
the results of knotting text”</figcaption>
<img src="../irmak/cg.png" class="image-95"
alt="“Click game story of the Queen Bee.”" />
<figcaption aria-hidden="true">“Click game story of the Queen
Bee.”</figcaption>
</figure>
<p>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”.</p>
<p>Teachers and parents were finding it difficult to find new books
constantly or were tired of rereading the same book.</p>
<figure>
<img src="../irmak/print3.jpg"
<img src="../irmak/printp33.jpg" class="image-95"
alt="“Example page from the print version of the picture book.”" />
<figcaption aria-hidden="true">“Example page from the print version of
the picture book.”</figcaption>
</figure>
<figure>
<img src="../irmak/print4.jpg"
<img src="../irmak/printp3.jpg" class="image-95"
alt="“Example page from the print version of the picture book.”" />
<figcaption aria-hidden="true">“Example page from the print version of
the picture book.”</figcaption>
</figure>
<p>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.</p>
<figure>
<img src="../irmak/print1p.jpg"
<img src="../irmak/printp44.jpg" class="image-95" alt="’’" />
<figcaption aria-hidden="true">’’</figcaption>
</figure>
<figure>
<img src="../irmak/printp4.jpg" class="image-95" alt="’’" />
<figcaption aria-hidden="true">’’</figcaption>
</figure>
<p>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”.</p>
<p>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.</p>
<figure>
<img src="../irmak/printp1.jpg" class="half-image"
alt="“example page from the picture book”" />
<figcaption aria-hidden="true">“example page from the picture
book”</figcaption>
</figure>
<figure>
<img src="../irmak/printp2.jpg"
<img src="../irmak/printp22.jpg" class="image-95"
alt="“example page from the picture book”" />
<figcaption aria-hidden="true">“example page from the picture
book”</figcaption>
</figure>
<figure>
<img src="../irmak/printp2.jpg" class="image-95"
alt="“example page from the picture book”" />
<figcaption aria-hidden="true">“example page from the picture
book”</figcaption>
@ -105,34 +118,38 @@ book”</figcaption>
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.</p>
<figure>
<img src="../irmak/twine.png"
alt="“The twine map of text based story, reachable from Bee Within by clicking to hear more about Gray the tree.”" />
<figcaption aria-hidden="true">“The twine map of text based story,
reachable from Bee Within by clicking to hear more about Gray the
tree.”</figcaption>
<img src="../irmak/improv.JPG" class="half-image"
alt="“a tag made by a participant in the public moment at XPUB studio. Trying to understand different approaches to certain emotions/states for a bee”" />
<figcaption aria-hidden="true">“a tag made by a participant in the
public moment at XPUB studio. Trying to understand different approaches
to certain emotions/states for a bee”</figcaption>
</figure>
<figure>
<img src="clickgame.png"
alt="“Click game story of the Queen Bee that is reachable within Maya’s main storyline.”" />
<figcaption aria-hidden="true">“Click game story of the Queen Bee that
is reachable within Maya’s main storyline.”</figcaption>
<img src="../irmak/leeszaalknotpoems.jpg" class="image-95"
alt="“From the event at Leeszaal West, experimenting with knots and poetry. How can we see movement in text?”" />
<figcaption aria-hidden="true">“From the event at Leeszaal West,
experimenting with knots and poetry. How can we see movement in
text?”</figcaption>
</figure>
<figure>
<img src="../irmak/knotpoems2.jpg" class="image-95"
alt="“From the event at Leeszaal West. Some of the results of knotting text”" />
<figcaption aria-hidden="true">“From the event at Leeszaal West. Some of
the results of knotting text”</figcaption>
</figure>
<p>Here is some documentation from the beginning of this journey
towards making accessible interactive narratives…</p>
<figure>
<img src="../irmak/animationseq.png"
<img src="../irmak/animationseq.png" class="image-95"
alt="“A small sequence of onclick animation for Bee Within”" />
<figcaption aria-hidden="true">“A small sequence of onclick animation
for Bee Within”</figcaption>
</figure>
<figure>
<img src="../irmak/fictionfriction.CR3"
alt="“Fiction Friction cards from SI20, working on storytelling of collective traumas”" />
<figcaption aria-hidden="true">“Fiction Friction cards from SI20,
working on storytelling of collective traumas”</figcaption>
<img src="../irmak/45.png" class="half-image"
alt="“A screenshot from Wink!”" />
<figcaption aria-hidden="true">“A screenshot from Wink!”</figcaption>
</figure>
</div>
</body>

547
irmak/thesis.html
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@ -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.</h3>
I would like to clarify and introduce some terms for you in order to
<hr />
<p>I would like to clarify and introduce some terms for you in order to
read this text in the desired way. For a while, we will stay in the
bight of this journey as we move into forming loops, theories and ideas
on how interactive picture books can be used to foster curiosity for
reading and creativity for children. I am building a web platform called
Wink that aims to contain a children’s story I wrote and am making into
an interactive experience, in relation to my research.
<figure>
<img src="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaption aria-hidden="true">
knot words from Leeszaal
</figcaption>
</figure>
<p>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?</p>
an interactive experience, in relation to my research. <img
src="../irmak/unnamed.png" class="image-80" alt="“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?</p>
<h2 id="knots-as-objects-to-think-with">KNOTS AS OBJECTS TO THINK
WITH</h2>
There is a delicate complexity of thinking of and with knots, which
<p>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.</p>
<figure>
<img src="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaption aria-hidden="true">
knot words from Leeszaal
</figcaption>
<img src="../irmak/knot1.jpeg" class="image-95"
alt="“Knot words from Leeszaal West.”" />
<figcaption aria-hidden="true">“Knot words from Leeszaal
West.”</figcaption>
</figure>
<br>
<figure>
<img src="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaption aria-hidden="true">
knot words from Leeszaal
</figcaption>
<img src="../irmak/knot2.jpeg" class="image-95"
alt="“Knot words from Leeszaal West.”" />
<figcaption aria-hidden="true">“Knot words from Leeszaal
West.”</figcaption>
</figure>
<p>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.</p>
<p>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.</p>
implement this “loop of thought” in my daily life and research methods.
<section class="loops">
<p>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…</p>
<p>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.</p>
<p><sup><span
class="margin-note"><img src="../irmak/slipknot.png">Slipknot is widely
used for catching small animals like rabbits and snares. It is also
commonly used to tie packages.</span></sup>What if instead of a slip
knot a bowline was on the string, would that represent something else in
the story because of its usage in practice. A Bowline is commonly used
to form a fixed loop at the end of a string; it’s strong but easy to
tie, untie. Due to these qualities, we can imagine the bowline<sup><span
class="margin-note"><img src="../irmak/bowline.png">Bowline is known to
be used since 1627. Some believe it was used in Ancient Egypt because a
knot resembling it was discovered in the tomb of pharaoh Cheops. Even
after it’s used and very tight, bowline is still easy to untie, which
makes it commonly used.</span></sup> to represent the conclusion in a
story. What if we have a Square Knot, how would that change the course
of a narrative? Square knot is used to bundle objects and make the two
ends of the same string connect. From just this, we can use it to
represent the connection between the beginning and end of a story. My
point is, there are limitless implementations on how to use knots in
literature because of their versatile purposes and the narrative
vocabulary they create. Topologists are still trying to identify
seemingly infinite numbers of combinations which we simply call “knots”
and I see this as an inspiration to keep writing.</p>
<p>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.</p>
North-American Yakama people to show life events and family
affairs.<sup><span
class="margin-note"><img src="../irmak/square.png">Square knot is one of
the oldest knots. Romans knew it as Hercules knot. A roman scholar
claimed that it speeds up healing when used to secure a bandage. It is
often used to tie belts and shoe laces.</span></sup></p>
<p>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?”</p>
<h2 id="weaving-into-the-text">WEAVING INTO THE TEXT</h2>
<p>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.</p>
<sup><span class="margin-note"><img src="../irmak/broken.png">Broken
knots are knots that aren’t tied well, done with a wrong material or was
under more pressure than it could take.</span></sup>option to have a
mode of reading, where you will be guided by strings to This thesis
expects participation from its reader. You have the option to have a
mode of reading, where you will be guided by strings to start reading
from a certain section according to the type of reader you are and read
the loops one by one until the end, weaving through the text. To
determine the string or mode of reading, there are some simple questions
to answer. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">Bends are joining
knots. They attach two strings together. The bend above is a sheet bend
and it works well when koining two different strings and can take
stress.</span></sup></p>
<p>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.</p>
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.</p>
<p>Bear in mind that you can choose to read this thesis from beginning
to end as a single string too if you wish so.</p>
<p>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.</p>
<p>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!</p>
a “traditional” lead to reading. <sup><span
class="margin-note"><img src="../irmak/hitch.png">Hitches are used to
tie strings to a standing solid object.</span></sup> Alongside the
different strings to follow the text, there will be little drawings in
the margins as seen above, which will have different representations
like in a Quipu. Certain knots represent the experiences that raise
interesting opportunities for research and distinct events I went
through while making the project and underneath the drawing you can find
the relation to the knot itself explained. For example if I couldn’t
manage to do something I planned to do, this will be represented with a
broken knot. Bend knots which are used to connect two strings, will be
representing the relation between theories and my own
experiences/motivations. Hitches which are knots that are formed around
a solid object, such as a spar, post, or ring will be representing the
evidence or data I have collected on the subject. We move on now with
the working end and make some loops!</p>
<h2 id="how-to-choose-your-string">HOW TO CHOOSE YOUR STRING</h2>
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.
</section>
<figure>
<img src="../irmak/map.png"
alt="knot words from Leeszaal" />
<img src="../irmak/map.png" alt="“”" />
<figcaption aria-hidden="true">“”</figcaption>
</figure>
<h2 id="working-end">Working End <sup><span class="margin-note"></h2>
<section class="loops">
<p><sup><span class="margin-note loop-note">1 1
1<img src="../irmak/loop.png"></span></sup></p>
<h2 id="working-end">Working End</h2>
<h3 id="loop-1">Loop 1</h3>
<h3 id="why-am-i-doing-this">Why am I doing this?</h3>
<p>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.</p>
<p>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.</p>
ever existed in the first place. <sup><span
class="margin-note"><img src="../irmak/broken.png">I wrote and deleted
and rewrote the story 3 times already.</span></sup> Last year when two
earthquakes hit Syria and Turkey, I was drowned like everyone I know, by
a collective trauma and grief. Then this horrible feeling flared up by
neglect and desperation. It was and still is impossible to mourn so many
strangers at the same time. I lost two dear friends, I was 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.</p>
<p>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.</p>
<p>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</p>
being able to forget or an ode to the fear of forgetting. <sup><span
class="margin-note loop-note">11 7
4<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-2">Loop 2</h3>
<p>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.</p>
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.</p>
<p>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 &amp; 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.</p>
<p>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.</p>
these three emotions. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">Multiliteracy
theory helped me ground my passion of using multimedia for children’s
literature.</span></sup> Interactive storytelling reminds everyone but
especially children that there are limitless endings to a story that is
solely up to the maker’s creation. Learning to think this way instead of
knowing or assuming an end to a story, I think influences the children’s
decision making abilities and sense of 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.</p>
<p>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?</p>
<p>What is it defined as? How can we design an interactive reading
environment without confusing children?</p>
<p><sup><span class="margin-note loop-note">8 9
5<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-3">Loop 3</h3>
<p>Diff erences and similarities between interactive e-books and
storytelling games</p>
<p>Differences and similarities between interactive e-books and
storytelling games.</p>
<p>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.</p>
<p>Another diff erence is that the visual world in an interactive e-book
<p>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.</p>
<p>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
<p>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.</p>
ambition, which is a good start to foster the love for reading.
<sup><span class="margin-note loop-note">5 4
11<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-4">Loop 4</h3>
<p>Ways of using interactivity in digital platforms</p>
<p>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.</p>
story. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">CASA framework
helped me understand the key elements in designing for
children.</span></sup></p>
<p>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.</p>
<p>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.</p>
<p>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. <sup><span
class="margin-note"><img src="../irmak/unnamed-1.png">CCI was a theory
that helped me decide on the interactive elements.</span></sup> There
are multiple ways to use digital gestures in storytelling to make the
experience more intriguing. These are usually elements such as sound,
animations, voice-overs that are ignited with a click or tap by the
reader. For children younger than 5, its usually just tapping over the
page and 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.</p>
<p>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.</p>
research. <sup><span class="margin-note loop-note">4 3
2<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-5">Loop 5</h3>
<p>What is the target age group for the designated prototype and
why?</p>
@ -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.</p>
<p><sup><span class="margin-note"><img src="../irmak/hitch.png">This
data about school age children was a starting point to choose the age
group to have the workshops with.</span></sup></p>
<p>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.</p>
of confusing children. <sup><span class="margin-note loop-note">3 10
7<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-6">Loop 6</h3>
<p>Limits of interactivity in narratives for children and why do we have
less modes of reading and writing for children?</p>
@ -469,9 +508,13 @@ less modes of reading and writing for children?</p>
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.</p>
complicated as an experience. <sup><span
class="margin-note"><img src="../irmak/elbow.png">This is the elbow of
our strings. Elbows are created when an additional twist is added to a
loop. In this case, it represents the counter argument in the
string.</span></sup></p>
<p>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.</p>
possible for them. <sup><span class="margin-note loop-note">9 11
8<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-7">Loop 7</h3>
<p>Interactive reading and writing examples and surveys done with kids
As an improvisation theater enthusiast myself, I tried to engage the
<p>Interactive reading and writing examples and surveys done with
kids.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
surveying with kids has very different methods and complications.
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
broken knot here because I ended up not doing a survey with children at
the workshops.</span></sup> Most kids either really like or really
dislike things. Finding the in between emotions with a survey, ends up
being vague. Most surveys done with kids use emoticons as representation
of a good or bad or average time. Instead, I chose to observe the
environment and understand how much empathy kids can offer in an
interactive reading or playing environment. <sup><span
class="margin-note loop-note">6 2
6<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-8">Loop 8</h3>
<p>What does the joy of destruction and the awe eff ect have to do with
<p>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.</p>
nourishing a new way of storytelling. <sup><span
class="margin-note loop-note">7 5
3<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-9">Loop 9</h3>
<p>Interactivity in reading and writing in history. What changed?</p>
<p>Interactivity has always been an experimental area in literature from
@ -568,27 +619,27 @@ storytelling.</p>
<p>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.</p>
<p>The 21st century off ers a combination of text and illustrations in
annotation and margin texts.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
heading. <sup><span class="margin-note loop-note">10 8
10<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-10">Loop 10</h3>
<p>Experimentation of creative exercises to be used in WINK. Exercises
of storytelling with words, images, drawing, sound and gestures.</p>
@ -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.</p>
but I made some helpful observations from my time there. <sup><span
class="margin-note"><img src="../irmak/hitch.png">This loop is all about
the observations I made during the workshops and the decisions I made,
according to the results.</span></sup></p>
<p>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.</p>
<p>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).</p>
<p>Overall only 2 groups used the option to say a sentence which were,
&gt; “I want to go on an adventure”<br />
&gt; “I don’t wanna leave Gray(the tree)”</p>
<em>“I want to go on an adventure”</em><br />
<em>“I don’t wanna leave Gray(the tree)”</em></p>
<p>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.</p>
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.</p>
<p>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.</p>
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.</p>
<p>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.</p>
see them own their imaginary characters enough to draw them with joy.
<sup><span class="margin-note"><img src="../irmak/broken.png">There is a
broken knot here because I changed my mind about adding motional
elements to the tree character. Kids seemed to see the tree as
stationary.</span></sup></p>
<p>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.</p>
<p>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.</p>
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.</p>
<p>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.</p>
@ -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.</p>
itself. <sup><span class="margin-note loop-note">2 6
9<img src="../irmak/loop.png"></span></sup></p>
<h3 id="loop-11">Loop 11</h3>
<p>The diff erences of these exercises in WINK than the already existing
<p>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.</p>
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.</p>
<p>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.</p>
<h3 id="loop-12">Loop 12</h3>
<h2 id="standing-end">Standing End</h2>
<p>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.</p>
<p><sup><span class="margin-note loop-note">12 12
12<img src="../irmak/loop.png"></span></sup> 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.</p>
<p>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.</p>
<p>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.</p>
<p>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. </span></sup> ## 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. <br> Dettore, E. (2002) “Children’s
emotional GrowthAdults’ role as emotional archaeologists,” Childhood
education, 78(5), pp. 278–281. doi: 10.1080/00094056.2002.10522741. <br>
Ingold, T. (2015) The life of lines.London, England: Routledge. <br>
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.</p>
</section>
<h2 id="bibliography">Bibliography</h2>
<p>Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies,
new learning’, Pedagogies: An International Journal, 4(3), pp. 164–195.
doi:10.1080/15544800903076044.</p>
<p>Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as
emotional archaeologists,” Childhood education, 78(5), pp. 278–281. doi:
10.1080/00094056.2002.10522741.</p>
<p>Ingold, T. (2015) The life of lines.London, England: Routledge.</p>
<p>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.<br />
<br> Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children,
computers, and powerful ideas. London, England: Basic Books. <br> 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. <br> 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. <br> Strohecker, C. (ed.) (1978) Why
knot? MIT. <br> The Effect of Multimodality in Increasing Motivation and
Collaboration among 4th CSE EFL Students (no date). <br> Turkle, S.
(ed.) (2014) Evocative objects: Things we think with. MIT Press. <br>
Urton, M. M. &amp;. (2018) The khipu code: the knotty mystery of the
10.1002/ace.20177.</p>
<p>Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children,
computers, and powerful ideas. London, England: Basic Books.</p>
<p>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.</p>
<p>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.</p>
<p>Strohecker, C. (ed.) (1978) Why knot? MIT.</p>
<p>The Effect of Multimodality in Increasing Motivation and
Collaboration among 4th CSE EFL Students (no date).</p>
<p>Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT
Press.</p>
<p>Urton, M. M. &amp;. (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.
<br> 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.</p>
<p>Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole
Life. Available at: https://wholelife.hkw.de/
codes-in-knots-sensing-digital-memories/.</p>
<h2 id="Acknowledgements">Acknowledgements</h2>
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!"
<h2 id="acknowledgements">Acknowledgements</h2>
<p>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.</p>
<p>Thank you XPUB friends for funny, hectic and memorable moments we
made together.</p>
<p>Thanks to my family and especially Kemal, my brother, who supported
me in my studies and encouraged me to do better, always…</p>
<p><em>So long and thanks for all the fish!</em></p>
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</nav>
<div id="content"><h1 id="garden-leeszaal">Garden Leeszaal</h1>
<div id="content"><hr />
<h1 id="garden-leeszaal">Garden Leeszaal</h1>
<hr />
<h3 id="special-issue-xix">Special Issue XIX</h3>
<p>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.</p>
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.</p>
<p>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.</p>
<figure>
<img src="card-cloud-leeszaal.jpg" class="half-image"
alt="Cloud of cards with instructions to be performed on the books" />
<figcaption aria-hidden="true">Cloud of cards with instructions to be
performed on the books</figcaption>
</figure>
<p>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.</p>
<figure>
<img src="pruning.jpg"
alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix." />
<figcaption aria-hidden="true">Irmak’s and Aglaia’s Pruning station,
where people edited punctuation and text, scanned it, then printed it
with a dot matrix.</figcaption>
</figure>
<figure>
<img src="card-cloud-leeszaal.jpg"
alt="Cloud of cards with instructions to be performed on the books" />
<figcaption aria-hidden="true">Cloud of cards with instructions to be
performed on the books</figcaption>
<img src="open-bin.jpg" class="full-image"
alt="Bin of discarded books from Leeszal." />
<figcaption aria-hidden="true">Bin of discarded books from
Leeszal.</figcaption>
</figure>
<figure>
<img src="final-book.jpg"
alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
<figcaption aria-hidden="true">The final book produced that evening, the
cover was made from hand-stiched covers of discarded books.</figcaption>
<img src="people-bins.jpg"
alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
<figcaption aria-hidden="true">People choosing books from the discarded
books bins, behind the instructions cards cloud.</figcaption>
</figure>
<figure>
<img src="mint-scan.jpg"
<hr />
<p><img src="mint-scan.jpg" class="image-95"
alt="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." />
<figcaption aria-hidden="true">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.</figcaption>
</figure>
<img src="drawn-scan.jpg" class="image-95"
alt="Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book." /></p>
<figure>
<img src="drawn-scan.jpg"
alt="Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book." />
<figcaption aria-hidden="true">Page of the final book containing scans
of a drawn on book, an instruction card and a pen-plotted bookmark with
a quote from the book.</figcaption>
<img src="pruning.jpg" class="image-80"
alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix." />
<figcaption aria-hidden="true">Irmak’s and Aglaia’s Pruning station,
where people edited punctuation and text, scanned it then printed it
with a dot matrix.</figcaption>
</figure>
<figure>
<img src="hand-scan.jpg"
<hr />
<p><img src="hand-scan.jpg" class="image-95"
alt="Page of the final book containing scans of edited books, a hand and coins." />
<figcaption aria-hidden="true">Page of the final book containing scans
of edited books, a hand and coins.</figcaption>
</figure>
<img src="editing.jpg" class="image-95"
alt="Part of the Pruning process, the editing of a book page." /></p>
<figure>
<img src="second-edition-open.jpg"
alt="Page of the second edition, containing scans of edited books and instruction cards." />
<figcaption aria-hidden="true">Page of the second edition, containing
scans of edited books and instruction cards.</figcaption>
</figure>
<hr />
<figure>
<img src="second-edition.jpg"
alt="The second edition of the final book from the event." />
<figcaption aria-hidden="true">The second edition of the final book from
the event.</figcaption>
</figure>
<figure>
<img src="people-bins.jpg"
alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
<figcaption aria-hidden="true">People choosing books from the discarded
books bins, behind the instructions cards cloud.</figcaption>
</figure>
<figure>
<img src="editing.jpg"
alt="Part of the Pruning process, the editing of a book page." />
<figcaption aria-hidden="true">Part of the Pruning process, the editing
of a book page.</figcaption>
</figure>
<figure>
<img src="open-bin.jpg" alt="Bin of discarded books from Leeszal." />
<figcaption aria-hidden="true">Bin of discarded books from
Leeszal.</figcaption>
</figure>
<figure>
<img src="binding.jpg"
<img src="binding.jpg" class="image-95"
alt="The binding of the scans into the final book at the end of the evening." />
<figcaption aria-hidden="true">The binding of the scans into the final
book at the end of the evening.</figcaption>
</figure>
<hr />
<figure>
<img src="final-book.jpg" class="image-95"
alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
<figcaption aria-hidden="true">The final book produced that evening, the
cover was made from hand-stiched covers of discarded books.</figcaption>
</figure>
<hr />
</div>
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</nav>
<div id="content"><h1 id="console">Console</h1>
<hr />
<h3 id="special-issue-xx">Special Issue XX</h3>
<p>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.</p>
<figure>
<img src="holographic.jpg" alt="Holographic Oracle Deck" />
<figcaption aria-hidden="true">Holographic Oracle Deck</figcaption>
</figure>
<figure>
<img src="oracolotto.jpg" alt="Reading with the Oracolotto cards." />
<figcaption aria-hidden="true">Reading with the Oracolotto
cards.</figcaption>
<img src="federici.jpg" class="half-image"
alt="Laser engraved quote from Silvia Federici, Love is the great magician, the demon that unites earth and sky and makes humans so round, so whole in their being, that once united they cannot be defeated." />
<figcaption aria-hidden="true">Laser engraved quote from Silvia
Federici, Love is the great magician, the demon that unites earth and
sky and makes humans so round, so whole in their being, that once united
they cannot be defeated.</figcaption>
</figure>
<figure>
<img src="worrydolls.jpg" alt="Worry Dolls" />
<figcaption aria-hidden="true">Worry Dolls</figcaption>
<img src="console-front.jpg" class="image-80"
alt="Screenprinted cover of the Console box." />
<figcaption aria-hidden="true">Screenprinted cover of the Console
box.</figcaption>
</figure>
<figure>
<img src="console-book.jpg"
@ -81,50 +83,49 @@ alt="Nighttime Ritual: Guided meditation from cardboardlamb" />
cardboardlamb</figcaption>
</figure>
<figure>
<img src="youtube-tarot.jpg"
<img src="youtube-tarot.jpg" class="half-image"
alt="Imagined tarot cards based on YouTube comments" />
<figcaption aria-hidden="true">Imagined tarot cards based on YouTube
comments</figcaption>
</figure>
<hr />
<p><img src="holographic.jpg" class="image-95"
alt="Holographic Oracle Deck" /> <img src="tetris.jpg" class="image-95"
alt="Modified tetris fantasies" /></p>
<figure>
<img src="federici.jpg"
alt="Laser engraved quote from Silvia Federici, Love is the great magician, the demon that unites earth and sky and makes humans so round, so whole in their being, that once united they cannot be defeated." />
<figcaption aria-hidden="true">Laser engraved quote from Silvia
Federici, Love is the great magician, the demon that unites earth and
sky and makes humans so round, so whole in their being, that once united
they cannot be defeated.</figcaption>
<img src="worrydolls.jpg" class="half-image" alt="Worry Dolls" />
<figcaption aria-hidden="true">Worry Dolls</figcaption>
</figure>
<figure>
<img src="oracolotto.jpg" class="half-image"
alt="Reading with the Oracolotto cards." />
<figcaption aria-hidden="true">Reading with the Oracolotto
cards.</figcaption>
</figure>
<hr />
<figure>
<img src="console-open.jpg"
<img src="console-open.jpg" class="image-95"
alt="Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight." />
<figcaption aria-hidden="true">Console box with Fiction Friction,
Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a
tealight.</figcaption>
</figure>
<hr />
<figure>
<img src="console-front.jpg"
alt="Screenprinted cover of the Console box." />
<figcaption aria-hidden="true">Screenprinted cover of the Console
box.</figcaption>
<img src="fiction-friction.jpg" class="half-image"
alt="Fiction Friction gameplay during the launch at Page Not Found." />
<figcaption aria-hidden="true">Fiction Friction gameplay during the
launch at Page Not Found.</figcaption>
</figure>
<hr />
<figure>
<img src="license-reading.jpg"
<img src="license-reading.jpg" class="image-95"
alt="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." />
<figcaption aria-hidden="true">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.</figcaption>
</figure>
<figure>
<img src="fiction-friction.jpg"
alt="Fiction Friction gameplay during the launch at Page Not Found." />
<figcaption aria-hidden="true">Fiction Friction gameplay during the
launch at Page Not Found.</figcaption>
</figure>
<figure>
<img src="tetris.jpg" alt="Modified tetris fantasies" />
<figcaption aria-hidden="true">Modified tetris fantasies</figcaption>
</figure>
</div>
</body>
</html>

148
specialissue21/index.html
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@ -33,6 +33,7 @@
</nav>
<div id="content"><h1 id="tty">TTY</h1>
<hr />
<h3 id="special-issue-21">Special Issue 21</h3>
<p>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!!</p>
<p>Amiri Baraka, Technology &amp; Ethos,
http://www.soulsista.com/titanic/baraka.html</p>
<hr />
<figure>
<img src="TTY.jpg"
alt="An inscription performance using the TeleType Model 33 and a 40m stairwell." />
<figcaption aria-hidden="true">An inscription performance using the
TeleType Model 33 and a 40m stairwell.</figcaption>
</figure>
<figure>
<img src="stairs_concrete.jpg" class="half-image"
alt="A reading and writing of poetry using pedestrians and vinyl quotes." />
<figcaption aria-hidden="true">A reading and writing of poetry using
pedestrians and vinyl quotes.</figcaption>
</figure>
<p>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.</p>
<p>The format of the issue consisted of an on-going publishing
<p>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.</p>
<hr />
<figure>
<img src="tape.jpg" class="full-image"
alt="punchtape read-writer of Teletype Machine" />
<figcaption aria-hidden="true">punchtape read-writer of Teletype
Machine</figcaption>
</figure>
<hr />
<figure>
<img src="callme_bike.jpeg"
alt="I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”." />
<figcaption aria-hidden="true">I’ve fallen in love with you and I have
no idea what to do about it. Phone cards inviting participation in “Hey
Babe”.</figcaption>
</figure>
<figure>
<img src="callme_window.jpg" class="image-80"
alt="Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles." />
<figcaption aria-hidden="true">Hey Babe arduino based telephone
experience. Callers can listen to love stories, excerpts from
conversations at the Houweling Telecom Museum, Rotterdam, parts from the
documentary The Phantom of the Operator and a collective reading
experience on binary systems, time, worms and pebbles.</figcaption>
</figure>
<figure>
<img src="calling.jpeg" class="image-80"
alt="Ada’s switchboard - a call between New York and Brussels" />
<figcaption aria-hidden="true">Ada’s switchboard - a call between New
York and Brussels</figcaption>
</figure>
<hr />
<p>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.</p>
<p>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.</p>
<p>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.</p>
<figure>
<img src="TTY.jpg"
alt="An inscription performance using the TeleType Model 33 and a 40m stairwell." />
<figcaption aria-hidden="true">An inscription performance using the
TeleType Model 33 and a 40m stairwell.</figcaption>
</figure>
<hr />
<figure>
<img src="tape.jpg" alt="punchtape read-writer of Teletype Machine" />
<figcaption aria-hidden="true">punchtape read-writer of Teletype
Machine</figcaption>
</figure>
<figure>
<img src="stairs_concrete.jpg"
alt="A reading and writing of poetry using pedestrians and vinyl quotes." />
<figcaption aria-hidden="true">A reading and writing of poetry using
pedestrians and vinyl quotes.</figcaption>
</figure>
<figure>
<img src="gesture.png"
<img src="gesture.png" class="half-image"
alt="Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities." />
<figcaption aria-hidden="true">Gesture Glossary : how a body language is
documented, how it expands, how it is capable of creating or enhancing
identities.</figcaption>
</figure>
<figure>
<img src="strike.jpg"
<img src="strike.jpg" class="image-80"
alt="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." />
<figcaption aria-hidden="true">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.</figcaption>
</figure>
<hr />
<p>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.</p>
<p>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.</p>
<figure>
<img src="callme_window.jpg"
alt="Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles." />
<figcaption aria-hidden="true">Hey Babe arduino based telephone
experience. Callers can listen to love stories, excerpts from
conversations at the Houweling Telecom Museum, Rotterdam, parts from the
documentary The Phantom of the Operator and a collective reading
experience on binary systems, time, worms and pebbles.</figcaption>
</figure>
<figure>
<img src="callme_bike.jpeg"
alt="I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”. Someone holding it in the street?" />
<figcaption aria-hidden="true">I’ve fallen in love with you and I have
no idea what to do about it. Phone cards inviting participation in “Hey
Babe”. Someone holding it in the street?</figcaption>
</figure>
<figure>
<img src="encoding.png"
<img src="encoding.png" class="image-95"
alt="Encoding Convertor: the wacky world of character en-coding." />
<figcaption aria-hidden="true">Encoding Convertor: the wacky world of
character en-coding.</figcaption>
</figure>
<figure>
<img src="overlap.png"
<img src="overlap.png" class="full-image"
alt="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." />
<figcaption aria-hidden="true">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, it's ready for you to discover and see the
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.</figcaption>
</figure>
<figure>
<img src="hexalogue.jpg"
<img src="zine.jpg" class="image-95"
alt="This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing" />
<figcaption aria-hidden="true">This A6 zine is a sub-release created by
three women sitting on the teletype machine thinking and
performing</figcaption>
</figure>
<figure>
<img src="hexalogue.jpg" class="image-95"
alt="Hexalogue booklet. A conversation for six voices is encoded and documented in a script." />
<figcaption aria-hidden="true">Hexalogue booklet. A conversation for six
voices is encoded and documented in a script.</figcaption>
</figure>
<figure>
<img src="publication.jpg"
<img src="publication.jpg" class="image-80"
alt="Publications holding tiny sub-releases during SI21" />
<figcaption aria-hidden="true">Publications holding tiny sub-releases
during SI21</figcaption>
</figure>
<figure>
<img src="calling.jpeg"
alt="Ada’s switchboard - a call between New York and Brussels" />
<figcaption aria-hidden="true">Ada’s switchboard - a call between New
York and Brussels</figcaption>
</figure>
<figure>
<img src="zine.jpg"
alt="This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing" />
<figcaption aria-hidden="true">This A6 zine is a sub-release created by
three women sitting on the teletype machine thinking and
performing</figcaption>
</figure>
</div>
</body>
</html>

4
specialissuesintro/index.html
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@ -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.</p>
<p>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

18
stephen/index.html
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@ -74,19 +74,19 @@ research thesis)</a>
</button>
<hr />
<figure>
<img src="../stephen/keyboard24.jpeg"
<img src="../stephen/keyboard24.jpeg" class="image-95"
alt="Keyboard of things designers have said. Our feelings about work." />
<figcaption aria-hidden="true">Keyboard of things designers have said.
Our feelings about work.</figcaption>
</figure>
<figure>
<img src="../stephen/keyboard25.jpeg"
<img src="../stephen/keyboard25.jpeg" class="image-95"
alt="The messages on the keys were gathered using experimental interview methods and questions." />
<figcaption aria-hidden="true">The messages on the keys were gathered
using experimental interview methods and questions.</figcaption>
</figure>
<figure>
<img src="../stephen/keyboard26.jpeg"
<img src="../stephen/keyboard26.jpeg" class="image-45"
alt="Except “it’s ok”: my brother said that to me on the phone one day." />
<figcaption aria-hidden="true">Except “it’s ok”: my brother said that to
me on the phone one day.</figcaption>
@ -106,7 +106,7 @@ Interactive dream telling. Click then type your story.
</figcaption>
</figure>
<figure>
<img src="../stephen/peecee.jpg" class="desaturate"
<img src="../stephen/peecee.jpg" class="desaturate image-45"
alt="Re-enacting dreams about work at Piet Zwart Institute, Rotterdam." />
<figcaption aria-hidden="true">Re-enacting dreams about work at Piet
Zwart Institute, Rotterdam.</figcaption>
@ -118,15 +118,11 @@ alt="Collective dream re-enactment at Art Meets Radical Openness, Linz." />
Meets Radical Openness, Linz.</figcaption>
</figure>
<figure>
<img src="../stephen/dizzy.jpeg" alt="Where do dreams come from?" />
<img src="../stephen/dizzy.jpeg" class="image-80"
alt="Where do dreams come from?" />
<figcaption aria-hidden="true">Where do dreams come from?</figcaption>
</figure>
<h3 id="licensing-information">Licensing information</h3>
<p>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 <a href="vulnerable-interfaces.xpub.nl/license"
class="ext">vulnerable-interfaces.xpub.nl/license</a>.</p>
<p>.</p>
<!-- ![Custom keyboard mapping for efficient design practice.](../stephen/its-ok.jpg) -->
<!-- ![Keylogging research. I recorded the buttons a graphic designer (me) presses while working, as an autoethnographic research method into what exactly it is that designers do. To celebrate this labour, I then used a pen plotter to make a series of posters. Three minutes of the designers keypresses took about eight hours to plot. October 24th 2023.](../stephen/keylogger.jpeg) -->
<!-- ![Email answering performance using Google's Gmail service. To reveal the work of the designer clearly, I performed the designer's task of answering email in front of an audience. Due to the performance happening at 7pm, out of office hours, there was extensive use of the Scheduled Email feature. Some stories emerged about our precarity including overdue rent and invalid payment information for Adobe Creative Cloud subscriptions. Leeszaal, Rotterdam, November 7th 2023.](../stephen/email.jpg) -->

39
stephen/thesis.html
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@ -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).</p>
<figure>
<img src="orange.jpg" style="margin-top: 95mm; width: 40mm;" alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." />
<figcaption aria-hidden="true">
The Cadaster of Orange,<br /> unknown ⊞er, c. 100 CE.
</figcaption>
<img src="orange.jpg" class="image-45"
alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." />
<figcaption aria-hidden="true">The Cadaster of Orange, unknown ⊞er,
c. 100 CE.</figcaption>
</figure>
<figure>
<img src="Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm" alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981." />
<figcaption aria-hidden="true">
Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
</figcaption>
<img src="Niggli-Grid-systems-in-graphic-design-7.jpg" class="image-95"
alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981" />
<figcaption aria-hidden="true">Grid Systems in Graphic ⊞, Josef
Muller-Brockmann, 1981</figcaption>
</figure>
<figure>
<img src="albuni2.jpg"
<img src="albuni2.jpg" class="image-95"
alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200." />
<figcaption aria-hidden="true">Shams al-Ma’arif, Ahmad al-Buni Almalki,
circa 1200.</figcaption>
</figure>
<figure>
<img src="Simple_carthesian_coordinate_system.svg"
<img src="Simple_carthesian_coordinate_system.svg" class="image-95"
alt="Cartesian Geometry, Rene Descartes, 1637." />
<figcaption aria-hidden="true">Cartesian Geometry, Rene Descartes,
1637.</figcaption>
</figure>
<figure>
<img src="art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"
alt="Homage to the Square, Josef Albers, 1954." />
class="image-95" alt="Homage to the Square, Josef Albers, 1954." />
<figcaption aria-hidden="true">Homage to the Square, Josef Albers,
1954.</figcaption>
</figure>
<figure>
<img src="TheoVAnDoesburgCounterCompositionVI.jpg"
<img src="TheoVAnDoesburgCounterCompositionVI.jpg" class="image-45"
alt="Counter Composition VI, Theo Van Doesburg, 1925." />
<figcaption aria-hidden="true">Counter Composition VI,<br />
Theo Van Doesburg, 1925.</figcaption>
<figcaption aria-hidden="true">Counter Composition VI, Theo Van
Doesburg, 1925.</figcaption>
</figure>
<figure>
<img src="po-valley2.png" style="margin-top: 95mm;" alt="The Po Valley, The Roman Empire, 268 BCE." />
<figcaption aria-hidden="true">
The Po Valley, The Roman Empire, 268 BCE.
</figcaption>
<img src="po-valley2.png" class="image-95"
alt="The Po Valley, The Roman Empire, 268 BCE." />
<figcaption aria-hidden="true">The Po Valley, The Roman Empire, 268
BCE.</figcaption>
</figure>
<figure>
<img src="pietzwart.jpg" alt="Monogram, Piet Zwart, c. 1968." />
<img src="pietzwart.jpg" class="image-45"
alt="Monogram, Piet Zwart, c. 1968." />
<figcaption aria-hidden="true">Monogram, Piet Zwart,
c. 1968.</figcaption>
</figure>

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