Vulnerable Interfaces Four soft, silly and loud ways to tell heavy -stories. (on the cover)
-Act 1. Scene 1.
+Act 1. Scene 1.
Internal. A reader holds a book in their hands. The first page of the book is opened, the reader holds it to their face and smells the paper, touches it. The book touches them back.
diff --git a/introduction/index.md b/introduction/index.md index 4c731b0..d6b7382 100644 --- a/introduction/index.md +++ b/introduction/index.md @@ -10,7 +10,7 @@ the reader: Interfaces? the book: -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. +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. the reader (confused): What do you mean a collection, like a catalogue? @@ -22,10 +22,11 @@ the reader: we? the book: -...I mean the four of us, the students of Experimental Publishing at the Piet Zwart Institute. From 2022 until today, June 2024, we published three special issues together. We wrote four theses' and made four graduation projects. We grew our hair out and cut it and grew it again and dyed it. We cared and cried for each other, we brewed muddy coffee and bootlegged books. (the book tears up) 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. +...I mean the four of us, the students of Experimental Publishing at the Piet Zwart Institute. From 2022 until today, June 2024, we published three special issues together. We wrote four theses and made four graduation projects. We grew our hair out and cut it and grew it again and dyed it. We cared and cried for each other, we brewed muddy coffee and bootlegged books. (The book tears up) 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. the reader (sarcastically): - do you have a tissue, im soooo touched. +do you have a tissue, im soooo touched. the book: -malaka, just read me already! \ No newline at end of file +malaka, just read me already! + diff --git a/print/index.html b/print/index.html index 2a26678..82ad5d4 100644 --- a/print/index.html +++ b/print/index.html @@ -2535,39 +2535,80 @@ and I was in the studio and we were in the studio and we were in the studio and we were in the studio and we were in the![](../stephen/keylogger.jpeg)
Practice-led artistic research into the 21st century phenomenon of +the graphic designer. I held graphic design in my hands using +ethnography, toolmaking and performance as research methods. I examined +how designers spend their time in everyday life, this designer, me, as +well as you, what are we doing? What are our worldviews, belief systems, +mythologies and ideologies?
![](../stephen/email.jpg)
![](../stephen/laziness.jpg)
++Secondly, during my studies at XPUB, I plan to combine different +strands of my practices (design, music, programming, theatre). Being a +designer is an important part of my identity, and I am keen to make work +true to who I am.
+
Excerpt from xpub application letter, March 15th 2022.
![](../stephen/peecee.jpg)
![](../stephen/amro.jpeg)
![Where do dreams come from?](../stephen/dizzy.jpeg)
![](../stephen/form.png)
![](../stephen/wood-keyboard.jpeg)
“A sane person”, says Zeno, “doesn’t analyse himself, doesn’t look in -the mirror”
2023-11-24 17:52:55,103 - Key.tab
2023-11-24 17:52:57,175 - Key.alt_l
2023-11-24 17:52:57,368 - Key.tab
@@ -2947,99 +2988,20 @@ the mirror”
2024-06-06 15:55:33,281 - Key.cmd
2024-06-06 15:55:33,617 - ‘e’ -
-
-
An investigation into the practices and ideologies of graphic design -in 2023–24 though practice-led artistic research and ethnographic -methods. I held graphic design in my hands using ethnography, toolmaking -and performance as research methods. I examined how a designer spends -their time in everyday life, this designer, me, as well as you, what are -we doing? What are our worldviews, belief systems, mythologies and -ideologies?
-What do graphic designers do all day and why do they do it and -what does “graphic design” even mean?!????!!1!? is an assessment of -what the term “graphic design” means to its practitioners today. Through -experimental ethnographic research methods and the development of -reflexive tools, the project highlights and questions the boundaries -that exist around this apparent category. The research focuses on my own -practices as well as other people and groups that identify with “graphic -designer” as a label. The research was both conducted by and shared with -interested parties in the form of the tools themselves, as well as a -series of performances. There is no strict distinction between the -research and its publication. The tools were released in an iterative -cycle throughout the process of the project, and the research is -conducted through the performative use and development of these -tools.
-This research is carried out in three intersecting methods: -experimental ethnographic research, reflexive tools, and performative -research. Keylogging, performance of personal work habits, interviews -about the manual work of “immaterial labourers”, and dream analysis are -combined in order to uncover less obvious and less discussed aspects of -what a designer is and does in their daily life, as entry points to -their worldviews, belief systems, mythologies or ideologies. The methods -were developed in an iterative process that reflected on findings from -the previous prototypes. The research took into account its own -publication as part of one process.
--
-
Experimental ethnographic research methods: I documented my own -practices as a graphic designer for nine months. Sometimes based on -technical observations of my interaction with my tools, primarily my -laptop computer and the software on it. I conducted interviews with -designers. I recorded the interviews. I had prompts to open the -discussion such as reading material and weird tools to try with them. I -will carry out auto-ethnographic research using experimental methods -such as mouse tracking and unusual annotation methods. I shared the -results of this research as a series of interactive publications (tools) -with a small but selected audience of people who are involved in these -processes and who would benefit from it.
-Reflexive tools: Software and hardware tools that explore the -boundaries of “graphic design” as a category. For example at the -boundaries between graphic design and other disciplines. At the -boundaries between work and play, or between design and art. These tools -malfunction in order to explore what it even means to be working. The -tools aim to highlight what a graphic designer does by interacting with -their user in ways that the designers standard tools do not (for example -an interface to connect musical instruments to the designers workflow), -or conversely by amplifying how the designer usually interacts with -their tools (for example a keylogger to celebrate and focus on the use -of the keyboard). The tools are digital in nature and involve software -and hardware interventions into the graphic designers work.
-Performative research: I see all the methods above as having a -performative element. For example the ethnographic-slash-performative -act of answering my emails on a large screen in front of an audience, -research which was carried out as part of this project at Leeszaal, -Rotterdam West on November 7th 2023. By showing directly the work -practices of graphic designers to an audience, or their interaction with -the tools mentioned above, I am publishing through performance the daily -activities of designers and my aim is to show these practices without -the conventional lenses they are seen through. To be contrasted for -example with how graphic design is presented on behance.net or in a -bookshop, this performative approach will highlight the mythologies and -practices of the graphic designer.
-
I made this to explore why designers make design, based on Clifford -Geertz’s ideas of why humans make culture: “to affirm it, defend it, -celebrate it, justify it and just plain bask in it” (Geertz, 1973). This -exploration will also involve less constructive actions like -participating, dissociating, questioning, protesting, destroying and -disregarding. There is a disconnect between the narratives about -“graphic design” and the effects it is known to have on its audiences, -practitioners, and society in more general terms. I am attempting to -“loosen the object” of graphic design (Berlant, 2022), to make the -definition less defined and maybe more useful or easier to engage with. -This shit could be better. Its urgent for the people being exploited by -it, to break the inequalities it serves to maintain, to expose what it -hides, to improve things that are definitely working but not in a good -way. Design can hide and reproduce inequalities in its output and also -dominate workers in its practices. This research starts primarily from -the bodies and actions of the practitioners so will primarily engage -with the effects on and by these bodies.
+ diff --git a/print/print_style.css b/print/print_style.css index 43b5eb1..3ccf28d 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -110,6 +110,8 @@ figure{ width: 133mm; margin: -13mm 0 0 -30mm; position: relative; + + object-fit: cover; } .full-image figure{ margin: 0; @@ -132,6 +134,7 @@ figure{ img{ width: 100%; + break-before: page; } h1,h2,h3,h4,h5,h6{ diff --git a/print/section-order.txt b/print/section-order.txt index 19588f1..300af2b 100644 --- a/print/section-order.txt +++ b/print/section-order.txt @@ -1,4 +1,4 @@ -start-matter +contents introduction leslie ada @@ -10,4 +10,5 @@ specialissue19 specialissue20 specialissue21 license -colophon \ No newline at end of file +colophon +reviews \ No newline at end of file diff --git a/reviews/michael.jpeg b/reviews/michael.jpeg new file mode 100644 index 0000000..53c0c09 Binary files /dev/null and b/reviews/michael.jpeg differ diff --git a/specialissue19/index.md b/specialissue19/index.md index c47908f..de49c85 100644 --- a/specialissue19/index.md +++ b/specialissue19/index.md @@ -15,20 +15,23 @@ Libraries as complex social infrastructures. The release of the Special Issue 19 was a momentary snapshot of the current state of a library seen through the metaphor of gardening; pruning, gleaning, growing, grafting and harvesting. Garden Leeszaal is an open conversation; a collective writing tool, a cooperative collage and an archive. We asked everyone to think of the library as a garden. For us, being a gardener means caring; caring for the people and books that form this space. -During the collective moment in Leeszaal people started diving into recycle bins, grab books, tear pages apart, drawing, pen plotting, weaving words together, cutting words, removing words, overwriting, printing, scanning. It was magical having an object in the end. A whole book made by all of us in that evening. Stations, machines, a cloud of cards, a sleeve that warms up THE BOOK. - -![Bobi's station - Name of the Station and Description](imagename.png) -![Irmak's and Aglaia's station - Name of the Station and Description](imagename.png) -![Stephen's station name- Name of the Station and Description](imagename.png) -![Ada's Station - Name of the Station and Description](imagename.png) -![Cara's station name- Name of the Station and Description](imagename.png) -![Book recycle bins description](imagename.png) -![Cloud of gards with instructions to be performed into the books](imagename.png) -![inside page of the final book](imagename.png) -![Photo of the book - cover and sleeve](imagename.png) -![How to play leeszal as a process image to how the cards evolved](imagename.png) -![image from social practice library about librarying](imagename.png) -![map of leeszaal also can be there](imagename.png) +During the collective moment in Leeszaal people started diving into recycle bins, grabbing books, tearing pages apart, drawing, pen plotting, weaving words together, cutting words, removing words, 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. + + +![Irmak's and Aglaia's Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix.](pruning.jpg) +![Cloud of cards with instructions to be performed on the books](card-cloud-leeszaal.jpg) +![The final book produced that evening, the cover was made from hand-stiched covers of discarded books. ](final-book.jpg) +![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.](mint-scan.jpg) +![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.](drawn-book.jpg) +![Page of the final book containing scans of edited books, a hand and coins.](hand-scan.jpg) +![Page of the second edition, containing scans of edited books and instruction cards.](second-edition-open.jpg) +![The second edition of the final book from the event.](second-edition.jpg) +![People choosing books from the discarded books bins, behind the instructions cards cloud.](people-bins.jpg) +![Part of the Pruning process, the editing of a book page.](editing.jpg) +![Bin of discarded books from Leeszal.](open-bin.jpg) +![The binding of the scans into the final book at the end of the evening.](binding.jpg) + + diff --git a/specialissue20/index.md b/specialissue20/index.md index 8a16408..be76bf1 100644 --- a/specialissue20/index.md +++ b/specialissue20/index.md @@ -10,18 +10,16 @@ Console is an oracle; an emotional first aid kit that helps you help yourself. C Special Issue XX was co-published by xpub and Page Not Found, Den Haag. With guest editors Lídia Pereira ♈︎and Artemis Gryllaki ♐ we unraveled games and rituals, mapping the common characteristics and the differences between games and rituals in relation to ideology and counter-hegemony. We practiced, performed and annotated rituals, connected (or not) with our cultural backgrounds while we questioned the magic circle. We dived into the worlds of text adventure games and clicking games while drinking coffee. We talked about class, base, superstructure, (counter)hegemony, ideology and materialism. We discussed how games and rituals can function as reproductive technologies of the culture industries. We annotated games, focusing on the role of ideology and social reproduction. We reinterpreted bits of the world and created stories from it (modding, fiction, narrative) focusing on community, interaction, relationships, grief and healing. -![Console box with instruction book, games and ritual objects, produced in an edition of XX.](imagename.jpg) -![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. ](imagename.jpg) -![Screenprinted book cover, from The Upside Down Oracolotto card.](imagename.jpg) -![Fiction Friction gameplay at Page Not Found](imagename.jpg) - -![Oracolotto readings at Page Not Found.](imagename.jpg) -![Wheel of Fortune healing exercise at Page Not Found.](imagename.jpg) -![Holographic Oracle Deck](imagename.jpg) -![Page of book open on something else not mentioned: youtube tarot, fortnite, papa louie?](imagename.jpg) - -![Page of book open on Tetris Fantasies](imagename.jpg) -![Nighttime Ritual: Guided meditation from cardboardlamb](imagename.jpg) -![Worry Doll](imagename.jpg) -![Inscribed quote from Silvia Federici](imagename.jpg) +![Holographic Oracle Deck](holographic.jpg) +![Reading with the Oracolotto cards.](oracolotto.jpg) +![Worry Dolls](worrydolls.jpg) +![Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card.](console-book.jpg) +![Nighttime Ritual: Guided meditation from cardboardlamb](cara-ritual.jpg) +![Imagined tarot cards based on YouTube comments](youtube-tarot.jpg) +![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.](federici.jpg) +![Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight.](console-open.jpg) +![Screenprinted cover of the Console box.](console-front.jpg) +![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. ](license-reading.jpg) +![Fiction Friction gameplay during the launch at Page Not Found.](fiction-friction.jpg) +![Modified tetris fantasies](tetris.jpg) diff --git a/stephen/dizzy.jpeg b/stephen/dizzy.jpeg new file mode 100644 index 0000000..84830c4 Binary files /dev/null and b/stephen/dizzy.jpeg differ diff --git a/stephen/form.png b/stephen/form.png new file mode 100644 index 0000000..e46874b Binary files /dev/null and b/stephen/form.png differ diff --git a/stephen/index.html b/stephen/index.html index 73376b3..0d74fde 100644 --- a/stephen/index.html +++ b/stephen/index.html @@ -20,6 +20,12 @@ id="what-do-graphic-designers-do-all-day-and-why-do-they-do-it-and-what-does-graphic-design-even-mean1">What do graphic designers do all day and why do they do it and what does “graphic design” even mean?!????!!1!? +![](../stephen/its-ok.jpg)
I cut my thumb so every time I type i can feel it in my nerve endings. Not true, it’s my left thumb so I don’t type with it. Not true, I feel it anyway. Why are most of the function keys on the left of the @@ -33,114 +39,486 @@ night I’m writing this on my phone. If I had a dream this is when I would be writing it. The memory is fuzzy: either I don’t remember or it didn’t make sense in the first place. It was something to do with fuzziness and memory no wait. Phones don’t have keyboards in real life -third doesn’t make sense. I’m trying to type but I don’t think I can get +this doesn’t make sense. I’m trying to type but I don’t think I can get it on the way to the office for the weekend and I think it was a good idea to do it and I was thinking about you and I was thinking of you and -the kids in the morning and I was thinking about you and I was in the -same place as a friend of mine and I was in the car park and we were in -the car park and we were in the car park and we were in the car park and -we were in the
-
-
-
-
-
-
-
An investigation into the practices and ideologies of graphic design -in 2023–24 though practice-led artistic research and ethnographic -methods. I held graphic design in my hands using ethnography, toolmaking -and performance as research methods. I examined how a designer spends -their time in everyday life, this designer, me, as well as you, what are -we doing? What are our worldviews, belief systems, mythologies and -ideologies?
-What do graphic designers do all day and why do they do it and -what does “graphic design” even mean?!????!!1!? is an assessment of -what the term “graphic design” means to its practitioners today. Through -experimental ethnographic research methods and the development of -reflexive tools, the project highlights and questions the boundaries -that exist around this apparent category. The research focuses on my own -practices as well as other people and groups that identify with “graphic -designer” as a label. The research was both conducted by and shared with -interested parties in the form of the tools themselves, as well as a -series of performances. There is no strict distinction between the -research and its publication. The tools were released in an iterative -cycle throughout the process of the project, and the research is -conducted through the performative use and development of these -tools.
-This research is carried out in three intersecting methods: -experimental ethnographic research, reflexive tools, and performative -research. Keylogging, performance of personal work habits, interviews -about the manual work of “immaterial labourers”, and dream analysis are -combined in order to uncover less obvious and less discussed aspects of -what a designer is and does in their daily life, as entry points to -their worldviews, belief systems, mythologies or ideologies. The methods -were developed in an iterative process that reflected on findings from -the previous prototypes. The research took into account its own -publication as part of one process.
--
-
Experimental ethnographic research methods: I documented my own -practices as a graphic designer for nine months. Sometimes based on -technical observations of my interaction with my tools, primarily my -laptop computer and the software on it. I conducted interviews with -designers. I recorded the interviews. I had prompts to open the -discussion such as reading material and weird tools to try with them. I -will carry out auto-ethnographic research using experimental methods -such as mouse tracking and unusual annotation methods. I shared the -results of this research as a series of interactive publications (tools) -with a small but selected audience of people who are involved in these -processes and who would benefit from it.
-Reflexive tools: Software and hardware tools that explore the -boundaries of “graphic design” as a category. For example at the -boundaries between graphic design and other disciplines. At the -boundaries between work and play, or between design and art. These tools -malfunction in order to explore what it even means to be working. The -tools aim to highlight what a graphic designer does by interacting with -their user in ways that the designers standard tools do not (for example -an interface to connect musical instruments to the designers workflow), -or conversely by amplifying how the designer usually interacts with -their tools (for example a keylogger to celebrate and focus on the use -of the keyboard). The tools are digital in nature and involve software -and hardware interventions into the graphic designers work.
-Performative research: I see all the methods above as having a -performative element. For example the ethnographic-slash-performative -act of answering my emails on a large screen in front of an audience, -research which was carried out as part of this project at Leeszaal, -Rotterdam West on November 7th 2023. By showing directly the work -practices of graphic designers to an audience, or their interaction with -the tools mentioned above, I am publishing through performance the daily -activities of designers and my aim is to show these practices without -the conventional lenses they are seen through. To be contrasted for -example with how graphic design is presented on behance.net or in a -bookshop, this performative approach will highlight the mythologies and -practices of the graphic designer.
-
I made this to explore why designers make design, based on Clifford -Geertz’s ideas of why humans make culture: “to affirm it, defend it, -celebrate it, justify it and just plain bask in it” (Geertz, 1973). This -exploration will also involve less constructive actions like -participating, dissociating, questioning, protesting, destroying and -disregarding. There is a disconnect between the narratives about -“graphic design” and the effects it is known to have on its audiences, -practitioners, and society in more general terms. I am attempting to -“loosen the object” of graphic design (Berlant, 2022), to make the -definition less defined and maybe more useful or easier to engage with. -This shit could be better. Its urgent for the people being exploited by -it, to break the inequalities it serves to maintain, to expose what it -hides, to improve things that are definitely working but not in a good -way. Design can hide and reproduce inequalities in its output and also -dominate workers in its practices. This research starts primarily from -the bodies and actions of the practitioners so will primarily engage -with the effects on and by these bodies.
+I was thinking about you and I was in the same place as a friend of mine +and I was in the studio and we were in the studio and we were in the +studio and we were in the studio and we were in the +![](../stephen/keylogger.jpeg)
Practice-led artistic research into the 21st century phenomenon of +the graphic designer. I held graphic design in my hands using +ethnography, toolmaking and performance as research methods. I examined +how designers spend their time in everyday life, this designer, me, as +well as you, what are we doing? What are our worldviews, belief systems, +mythologies and ideologies?
+![](../stephen/email.jpg)
![](../stephen/laziness.jpg)
++Secondly, during my studies at XPUB, I plan to combine different +strands of my practices (design, music, programming, theatre). Being a +designer is an important part of my identity, and I am keen to make work +true to who I am.
+
Excerpt from xpub application letter, March 15th 2022.
+![](../stephen/peecee.jpg)
![](../stephen/amro.jpeg)
![Where do dreams come from?](../stephen/dizzy.jpeg)
![](../stephen/form.png)
![](../stephen/wood-keyboard.jpeg)
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+2024-06-06 15:53:07,196 - Key.ctrl_l
+2024-06-06 15:53:07,228 - Key.ctrl_l
+2024-06-06 15:53:07,250 - ‘’
+2024-06-06 15:53:08,753 - Key.enter
+2024-06-06 15:53:08,881 - Key.enter
+2024-06-06 15:53:08,937 - Key.ctrl_l
+2024-06-06 15:53:09,058 - ‘’
+2024-06-06 15:53:10,218 - Key.up
+2024-06-06 15:53:10,441 - Key.backspace
+2024-06-06 15:53:10,970 - Key.down
+2024-06-06 15:53:11,169 - Key.down
+2024-06-06 15:53:11,577 - Key.left
+2024-06-06 15:53:11,777 - Key.enter
+2024-06-06 15:53:11,921 - Key.enter
+2024-06-06 15:53:27,769 - Key.alt_l
+2024-06-06 15:53:27,882 - Key.tab
+2024-06-06 15:53:28,585 - Key.tab
+2024-06-06 15:53:28,833 - Key.tab
+2024-06-06 15:53:31,809 - ‘z’
+2024-06-06 15:53:32,090 - ‘e’
+2024-06-06 15:53:32,682 - ‘n’
+2024-06-06 15:53:32,753 - ‘o’
+2024-06-06 15:53:38,450 - Key.space
+2024-06-06 15:53:38,713 - ‘q’
+2024-06-06 15:53:38,858 - ‘u’
+2024-06-06 15:53:38,937 - ‘o’
+2024-06-06 15:53:39,082 - ‘t’
+2024-06-06 15:53:39,129 - ‘e’
+2024-06-06 15:53:39,201 - Key.enter
+2024-06-06 15:53:44,858 - ‘w’
+2024-06-06 15:53:44,953 - ‘i’
+2024-06-06 15:53:45,129 - ‘k’
+2024-06-06 15:53:45,250 - ‘i’
+2024-06-06 15:53:48,817 - Key.enter
+2024-06-06 15:53:55,257 - Key.ctrl_l
+2024-06-06 15:53:55,513 - ‘’
+2024-06-06 15:53:56,418 - ‘z’
+2024-06-06 15:53:56,642 - ‘e’
+2024-06-06 15:53:56,882 - ‘n’
+2024-06-06 15:53:56,946 - ‘o’
+2024-06-06 15:54:05,473 - Key.alt_l
+2024-06-06 15:54:05,609 - Key.tab
+2024-06-06 15:54:08,185 - Key.shift
+2024-06-06 15:54:08,693 - Key.shift
+2024-06-06 15:54:08,723 - Key.shift
+2024-06-06 15:54:08,754 - Key.shift
+2024-06-06 15:54:08,786 - Key.shift
+2024-06-06 15:54:08,831 - Key.shift
+2024-06-06 15:54:08,862 - Key.shift
+2024-06-06 15:54:08,893 - Key.shift
+2024-06-06 15:54:08,923 - Key.shift
+2024-06-06 15:54:08,952 - Key.shift
+2024-06-06 15:54:08,983 - Key.shift
+2024-06-06 15:54:09,010 - ‘A’
+2024-06-06 15:54:09,177 - Key.space
+2024-06-06 15:54:09,778 - ‘s’
+2024-06-06 15:54:09,842 - ‘a’
+2024-06-06 15:54:10,026 - ‘n’
+2024-06-06 15:54:10,130 - ‘e’
+2024-06-06 15:54:10,242 - Key.space
+2024-06-06 15:54:10,634 - ‘p’
+2024-06-06 15:54:10,754 - ‘e’
+2024-06-06 15:54:10,850 - ‘r’
+2024-06-06 15:54:11,281 - ‘s’
+2024-06-06 15:54:11,442 - ‘o’
+2024-06-06 15:54:11,538 - ‘n’
+2024-06-06 15:54:13,689 - Key.shift
+2024-06-06 15:54:13,818 - ‘“’
+2024-06-06 15:54:14,225 - Key.left
+2024-06-06 15:54:14,731 - Key.left
+2024-06-06 15:54:14,760 - Key.left
+2024-06-06 15:54:14,791 - Key.left
+2024-06-06 15:54:14,839 - Key.left
+2024-06-06 15:54:14,869 - Key.left
+2024-06-06 15:54:14,899 - Key.left
+2024-06-06 15:54:14,930 - Key.left
+2024-06-06 15:54:14,962 - Key.left
+2024-06-06 15:54:14,992 - Key.left
+2024-06-06 15:54:15,023 - Key.left
+2024-06-06 15:54:15,055 - Key.left
+2024-06-06 15:54:15,281 - Key.left
+2024-06-06 15:54:15,513 - Key.left
+2024-06-06 15:54:15,625 - Key.shift
+2024-06-06 15:54:15,705 - ‘“’
+2024-06-06 15:54:16,009 - Key.right
+2024-06-06 15:54:16,514 - Key.right
+2024-06-06 15:54:16,546 - Key.right
+2024-06-06 15:54:16,576 - Key.right
+2024-06-06 15:54:16,623 - Key.right
+2024-06-06 15:54:16,653 - Key.right
+2024-06-06 15:54:16,684 - Key.right
+2024-06-06 15:54:16,715 - Key.right
+2024-06-06 15:54:16,746 - Key.right
+2024-06-06 15:54:16,777 - Key.right
+2024-06-06 15:54:16,809 - Key.right
+2024-06-06 15:54:16,840 - Key.right
+2024-06-06 15:54:16,886 - Key.right
+2024-06-06 15:54:16,916 - Key.right
+2024-06-06 15:54:17,289 - Key.space
+2024-06-06 15:54:18,058 - ‘s’
+2024-06-06 15:54:18,130 - ‘a’
+2024-06-06 15:54:18,314 - ‘y’
+2024-06-06 15:54:18,394 - ‘s’
+2024-06-06 15:54:19,242 - Key.space
+2024-06-06 15:54:19,409 - Key.shift
+2024-06-06 15:54:19,634 - ‘Z’
+2024-06-06 15:54:19,866 - ‘e’
+2024-06-06 15:54:20,034 - ‘n’
+2024-06-06 15:54:20,114 - ‘o’
+2024-06-06 15:54:20,336 - Key.alt_l
+2024-06-06 15:54:20,441 - Key.tab
+2024-06-06 15:54:21,433 - Key.alt_l
+2024-06-06 15:54:21,521 - Key.tab
+2024-06-06 15:54:22,586 - ‘,’
+2024-06-06 15:54:22,665 - Key.left
+2024-06-06 15:54:23,177 - Key.left
+2024-06-06 15:54:23,207 - Key.left
+2024-06-06 15:54:23,239 - Key.left
+2024-06-06 15:54:23,270 - Key.left
+2024-06-06 15:54:23,301 - Key.left
+2024-06-06 15:54:23,332 - Key.left
+2024-06-06 15:54:23,378 - Key.left
+2024-06-06 15:54:23,409 - Key.left
+2024-06-06 15:54:23,440 - Key.left
+2024-06-06 15:54:23,577 - Key.left
+2024-06-06 15:54:23,826 - ‘,’
+2024-06-06 15:54:23,937 - Key.right
+2024-06-06 15:54:24,446 - Key.right
+2024-06-06 15:54:24,477 - Key.right
+2024-06-06 15:54:24,508 - Key.right
+2024-06-06 15:54:24,539 - Key.right
+2024-06-06 15:54:24,570 - Key.right
+2024-06-06 15:54:24,616 - Key.right
+2024-06-06 15:54:24,648 - Key.right
+2024-06-06 15:54:24,889 - Key.right
+2024-06-06 15:54:25,049 - Key.right
+2024-06-06 15:54:25,289 - Key.right
+2024-06-06 15:54:25,425 - Key.space
+2024-06-06 15:54:25,737 - Key.alt_l
+2024-06-06 15:54:25,825 - Key.tab
+2024-06-06 15:54:26,554 - Key.alt_l
+2024-06-06 15:54:26,617 - Key.tab
+2024-06-06 15:54:26,993 - Key.shift
+2024-06-06 15:54:27,506 - Key.shift
+2024-06-06 15:54:27,537 - Key.shift
+2024-06-06 15:54:27,568 - Key.shift
+2024-06-06 15:54:27,599 - Key.shift
+2024-06-06 15:54:27,610 - ‘“’
+2024-06-06 15:54:27,946 - ‘d’
+2024-06-06 15:54:28,090 - ‘o’
+2024-06-06 15:54:28,218 - ‘e’
+2024-06-06 15:54:28,322 - ‘s’
+2024-06-06 15:54:28,394 - ‘n’
+2024-06-06 15:54:28,897 -”’”
+2024-06-06 15:54:28,978 - ’t’
+2024-06-06 15:54:29,105 - Key.space
+2024-06-06 15:54:29,274 - ‘a’
+2024-06-06 15:54:29,418 - ‘n’
+2024-06-06 15:54:29,522 - ‘a’
+2024-06-06 15:54:29,850 - ‘l’
+2024-06-06 15:54:30,090 - ‘y’
+2024-06-06 15:54:30,241 - ‘s’
+2024-06-06 15:54:30,394 - ‘e’
+2024-06-06 15:54:30,609 - Key.space
+2024-06-06 15:54:30,930 - ‘h’
+2024-06-06 15:54:31,002 - ‘i’
+2024-06-06 15:54:31,137 - ‘m’
+2024-06-06 15:54:31,322 - ‘s’
+2024-06-06 15:54:31,458 - ‘e’
+2024-06-06 15:54:31,633 - ‘l’
+2024-06-06 15:54:31,730 - ‘f’
+2024-06-06 15:54:32,241 - Key.alt_l
+2024-06-06 15:54:32,353 - Key.tab
+2024-06-06 15:54:33,737 - Key.alt_l
+2024-06-06 15:54:33,833 - Key.tab
+2024-06-06 15:54:34,442 - ‘,’
+2024-06-06 15:54:34,585 - Key.space
+2024-06-06 15:54:34,834 - ‘d’
+2024-06-06 15:54:34,954 - ‘o’
+2024-06-06 15:54:35,090 - ‘e’
+2024-06-06 15:54:35,170 - ‘s’
+2024-06-06 15:54:35,298 - ‘n’
+2024-06-06 15:54:35,898 -”’”
+2024-06-06 15:54:35,954 - ‘t’
+2024-06-06 15:54:35,978 - ‘t’
+2024-06-06 15:54:36,209 - Key.space
+2024-06-06 15:54:36,378 - ‘l’
+2024-06-06 15:54:36,546 - ‘o’
+2024-06-06 15:54:36,666 - ‘o’
+2024-06-06 15:54:36,730 - ‘k’
+2024-06-06 15:54:36,881 - Key.space
+2024-06-06 15:54:37,034 - ‘i’
+2024-06-06 15:54:37,090 - ‘n’
+2024-06-06 15:54:37,257 - Key.space
+2024-06-06 15:54:37,410 - ‘t’
+2024-06-06 15:54:37,482 - ‘h’
+2024-06-06 15:54:37,586 - ‘e’
+2024-06-06 15:54:37,681 - Key.space
+2024-06-06 15:54:37,874 - ‘m’
+2024-06-06 15:54:38,017 - ‘i’
+2024-06-06 15:54:38,233 - ‘r’
+2024-06-06 15:54:38,562 - ‘r’
+2024-06-06 15:54:38,898 - ‘o’
+2024-06-06 15:54:39,210 - ‘r’
+2024-06-06 15:54:39,945 - Key.shift
+2024-06-06 15:54:40,448 - Key.shift
+2024-06-06 15:54:40,478 - Key.shift
+2024-06-06 15:54:40,525 - Key.shift
+2024-06-06 15:54:40,556 - Key.shift
+2024-06-06 15:54:40,587 - Key.shift
+2024-06-06 15:54:40,594 - ‘“’
+2024-06-06 15:54:41,033 - Key.alt_l
+2024-06-06 15:54:41,137 - Key.tab
+2024-06-06 15:54:42,545 - Key.alt_l
+2024-06-06 15:54:42,650 - Key.tab
+2024-06-06 15:54:44,257 - Key.ctrl_l
+2024-06-06 15:54:44,466 - ‘’
+2024-06-06 15:54:45,105 - Key.alt_l
+2024-06-06 15:54:45,217 - Key.tab
+2024-06-06 15:54:46,361 - Key.tab
+2024-06-06 15:54:46,537 - Key.tab
+2024-06-06 15:54:46,729 - Key.tab
+2024-06-06 15:54:48,706 - ‘g’
+2024-06-06 15:54:48,770 - ‘e’
+2024-06-06 15:54:48,914 - ‘n’
+2024-06-06 15:54:49,034 - ‘e’
+2024-06-06 15:54:49,140 - ‘r’
+2024-06-06 15:54:49,570 - ‘a’
+2024-06-06 15:54:49,786 - ‘t’
+2024-06-06 15:54:49,866 - ‘e’
+2024-06-06 15:54:50,785 - Key.backspace
+2024-06-06 15:54:51,295 - Key.backspace
+2024-06-06 15:54:51,325 - Key.backspace
+2024-06-06 15:54:51,356 - Key.backspace
+2024-06-06 15:54:51,388 - Key.backspace
+2024-06-06 15:54:51,418 - Key.backspace
+2024-06-06 15:54:51,450 - Key.backspace
+2024-06-06 15:54:51,497 - Key.backspace
+2024-06-06 15:54:51,527 - Key.backspace
+2024-06-06 15:54:51,558 - Key.backspace
+2024-06-06 15:54:51,589 - Key.backspace
+2024-06-06 15:54:51,620 - Key.backspace
+2024-06-06 15:54:51,651 - Key.backspace
+2024-06-06 15:54:51,682 - Key.backspace
+2024-06-06 15:54:51,728 - Key.backspace
+2024-06-06 15:54:52,162 - ‘p’
+2024-06-06 15:54:52,649 - ‘y’
+2024-06-06 15:54:52,970 - ‘t’
+2024-06-06 15:54:53,082 - ‘h’
+2024-06-06 15:54:53,122 - ‘o’
+2024-06-06 15:54:53,265 - ‘n’
+2024-06-06 15:54:53,817 - Key.space
+2024-06-06 15:54:54,410 - ‘g’
+2024-06-06 15:54:54,442 - ‘e’
+2024-06-06 15:54:54,609 - ‘n’
+2024-06-06 15:54:54,714 - ‘e’
+2024-06-06 15:54:54,810 - ‘r’
+2024-06-06 15:54:55,073 - ‘a’
+2024-06-06 15:54:55,202 - ‘t’
+2024-06-06 15:54:55,306 - ‘e’
+2024-06-06 15:54:55,809 - ‘-’
+2024-06-06 15:54:56,465 - Key.tab
+2024-06-06 15:54:58,945 - Key.enter
+2024-06-06 15:55:06,353 - Key.alt_l
+2024-06-06 15:55:06,473 - Key.tab
+2024-06-06 15:55:07,265 - Key.tab
+2024-06-06 15:55:10,985 - Key.ctrl_l
+2024-06-06 15:55:11,492 - Key.ctrl_l
+2024-06-06 15:55:11,523 - Key.ctrl_l
+2024-06-06 15:55:11,554 - Key.ctrl_l
+2024-06-06 15:55:11,586 - Key.ctrl_l
+2024-06-06 15:55:11,630 - Key.ctrl_l
+2024-06-06 15:55:11,642 - ‘’
+2024-06-06 15:55:15,457 - Key.ctrl_l
+2024-06-06 15:55:15,730 - ‘’
+2024-06-06 15:55:16,210 - ‘z’
+2024-06-06 15:55:16,434 - ‘e’
+2024-06-06 15:55:16,626 - ‘n’
+2024-06-06 15:55:16,714 - ‘o’
+2024-06-06 15:55:20,953 - Key.alt_l
+2024-06-06 15:55:21,049 - Key.tab
+2024-06-06 15:55:22,681 - Key.tab
+2024-06-06 15:55:22,881 - Key.tab
+2024-06-06 15:55:23,113 - Key.tab
+2024-06-06 15:55:26,001 - Key.ctrl_l
+2024-06-06 15:55:26,338 - ‘’
+2024-06-06 15:55:27,760 - Key.ctrl_l
+2024-06-06 15:55:28,267 - Key.ctrl_l
+2024-06-06 15:55:28,298 - Key.ctrl_l
+2024-06-06 15:55:28,330 - ‘1a’
+2024-06-06 15:55:28,665 - Key.ctrl_l
+2024-06-06 15:55:28,834 - ‘’
+2024-06-06 15:55:29,441 - Key.alt_l
+2024-06-06 15:55:29,545 - Key.tab
+2024-06-06 15:55:29,945 - Key.tab
+2024-06-06 15:55:30,353 - Key.tab
+2024-06-06 15:55:30,561 - Key.tab
+2024-06-06 15:55:33,281 - Key.cmd
+2024-06-06 15:55:33,617 - ‘e’