diff --git a/ada/index.md b/ada/index.md
index 8303450..35d29f2 100644
--- a/ada/index.md
+++ b/ada/index.md
@@ -1,12 +1,11 @@
---
-title: Project
+title: Backplaces
author: Ada
---
-# Title
+# Backplaces
-### Grad project Description
Hi.\
I made this play for you. It is a question, for us to hold together.
diff --git a/ada/thesis.md b/ada/thesis.md
index d2dfd0c..da9cd51 100644
--- a/ada/thesis.md
+++ b/ada/thesis.md
@@ -1,10 +1,12 @@
---
-title: <?water bodies> A narrative exploration of divergent digital intimacies
+title: \
author: Ada
---
-# <?water bodies> : A narrative exploration of divergent digital intimacies
+#
+
+### A narrative exploration of divergent digital intimacies
Water, stories, the body,
all the things we do, are
@@ -586,7 +588,7 @@ expanding without ever concluding. They embody a
richness that transcends conventional boundaries,
blending into one another infinitely.
-![Figure 1 - Harmonic Series to 32 (Hyacint,2017).](Harmonic_series.png)
+![Figure 1 - Harmonic Series to 32 (Hyacint,2017).](../images/Harmonic-series.png)
By likening digital bodies to divergent series, we
embrace the complexity and infinite possibilities
diff --git a/aglaia/index.md b/aglaia/index.md
index 30e449f..6847637 100644
--- a/aglaia/index.md
+++ b/aglaia/index.md
@@ -1,5 +1,5 @@
---
-title: Project
+title: Talking Documents
author: Aglaia
---
@@ -7,7 +7,7 @@ author: Aglaia
# Talking Documents
###
-![WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”](../aglaia/wijhaven.JPG)
+![WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”](../aglaia/wijnhaven.JPG)
This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. I was curious about educational bureaucratic mechanisms being driven by smaller-scale paperwork struggles and peers’ narratives, stories and experiences. However, unexpected emergencies - due to my eviction on the 31st of January 2024 - placed centrally my personal struggles unfolded in parallel with the making period. I ended up conducting accidentally auto-ethnography as the project was dynamically being reshaped due to the material constraints of the bureaucratic timeline.
diff --git a/generate-print.py b/generate-print.py
index b8ce64b..a1638aa 100644
--- a/generate-print.py
+++ b/generate-print.py
@@ -11,11 +11,13 @@ print("---------")
print("Generating print html")
print("---------")
+
+image_location = "../images/"
all_html = []
# new way using folder list
folders = open('./print/section-order.txt').read().splitlines()
-stoplist = ["print", "spin-wheel"]
+stoplist = ["print", "images"]
# print(folders)
titles = []
@@ -51,6 +53,10 @@ for folder in folders:
html_data = subprocess.check_output(pandoc_command, shell=True, text=True,encoding="utf-8")
print("html has been generated woooooooo!")
+
+ s1 = '
-
-
- {{ content[0] }}
-
-
Contents
{% for title in titles %}
- {% if loop.index > 1 %}
+ {% if loop.index > 0 %}
- {% if (loop.index == 2) or (loop.index == 18) or (loop.index == 22) %}
-
- {% endif %}
{% endif %}
{% endfor %}
+
+
+ {{ content[0] }}
+
{% for section in content %}
{% if loop.index > 1 %}
-
Title
-
Grad project Description
+
Backplaces
Hi.
I made this play for you. It is a question, for us to hold together.
Is all intimacy about bodies? What is it about our bodies that makes
@@ -161,14 +162,13 @@ all.
-
-
<?water
-bodies> : A narrative exploration of divergent digital
-intimacies
+
+
A
+narrative exploration of divergent digital intimacies
Water, stories, the body, all the things we do, are mediums that hide
and show what’s hidden. (Rumi, 1995 translation)
꙳for you
@@ -566,7 +566,7 @@ perpetually expanding without ever concluding. They embody a richness
that transcends conventional boundaries, blending into one another
infinitely.
-Figure 1 - Harmonic Series to 32
(Hyacint,2017).
@@ -856,14 +856,14 @@ University of Nebraska Press.
-
Talking Documents
-WDKA- Winjhaven Building- February 2024-
reading of act0 “” and act1 “”
@@ -892,9 +892,9 @@ of Rotterdam I documented and archived throughout this period. I
preserved the sequence of the given sentences and by discarding the
graphic design of the initial forms, I structured and repurposed the
text into a playable scenario.
-
-
I perceive the document as a unit and as the fundamental symbolic
interface of the bureaucratic network. The transformation of the
@@ -910,21 +910,21 @@ different spaces and contexts, pubic and semi-public WDKA, Art Meets
Radical Openness Festival in Linz, the City Hall of Rotterdam where I
invited people to perform the play together, like a tiny theater.
-Art Meets Radical Openness Festival –
Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
tent
-
+
-City Hall Rotterdam - May 2024 - Reading
of Act 5 and Act 6
-
+The garden of Gemeente
The marginal voices of potential applicants are embodying and
@@ -943,7 +943,7 @@ 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.
-XML at XPUB studio – January 2024 -
Passport Reading Session
@@ -953,8 +953,8 @@ Passport Reading Session
-
Performing the
@@ -1050,7 +1050,7 @@ from a country of the European South that constitutes a rigid, violent
border that repulses and kills thousands of migrants and refugees. In
the following chapter, I will attempt to explore the terrain of material
borders in relation to bureaucracy as another multi-layered filter.
-
![Front-facing camera at self-counter in LIDL]
+
[Front-facing camera at self-counter in LIDL]
What constitutes a border? Is it a wall, a line, a fence, a machine,
a door, an armed body or a wound on the land? When somebody crosses a
border are they consciously aware of the act of crossing? I am crossing
@@ -1846,16 +1846,17 @@ crisis. London: Rowman & Littlefield Publishers.
-
-
Title
-
Wink! A Prototype for Interactive Children’s Literature ### Grad
-project Description Wink is a prototype for an interactive picture book
-platform. This platform aims to make reading into a mindfull and thought
-provoking process by using interactive and playful elements, multiple
-stories within one narrative and sound elements. Especially today where
+
Wink!
+
A Prototype
+for Interactive Children’s Literature
+
Wink is a prototype for an interactive picture book platform. This
+platform aims to make reading into a mindfull and thought provoking
+process by using interactive and playful elements, multiple stories
+within one narrative and sound elements. Especially today where
consumerism and low attention span is a rising issue especially amongst
young readers, this was an important task to tackle. The thought of Wink
emerged to find a more sustainable and creative way of reading for
@@ -1891,8 +1892,8 @@ making accesible interactive narratives…
-
Fair Leads
@@ -2522,8 +2523,8 @@ codes-in-knots-sensing-digital-memories/.
-
Custom keyboard mapping for efficient
design practice.
@@ -2556,7 +2557,7 @@ 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
-Keylogging research. I recorded the
buttons a graphic designer (me) presses while working, as an
@@ -2572,7 +2573,7 @@ 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?
-Email answering performance using
Google’s Gmail service. To reveal the work of the designer clearly, I
@@ -2584,7 +2585,7 @@ information for Adobe Creative Cloud subscriptions. Leeszaal, Rotterdam,
November 7th 2023.
-A performative tool that measures the
laziness of the designer as they work and graphs it on a pen plotter.
@@ -2600,7 +2601,7 @@ true to who I am.
Excerpt from xpub application letter, March 15th 2022.
-Re-enacting dreams about work at Piet
Zwart Institute, Rotterdam, Netherlands. Participants use felt dolls to
@@ -2610,7 +2611,7 @@ loved ones, we can’t stop brushing our teeth, brushing, brushing,
brushing. February 5th 2024.
-Collective dream re-enactment at Art
Meets Radical Openness, Linz, Austria. Inside a tent, a group of people
@@ -2619,11 +2620,11 @@ together. We feel like impostors, we don’t know how to work these
machines, we’re going to crash. March 11th 2024.
-
+Where do dreams come from?
-do you ever dream about work? Online
research and publication where we shared our dreams, worries, rants,
@@ -2631,7 +2632,7 @@ designs. The answers to the question are published together as a
collection of voices.
-Keyboard of things designers have said.
Our feelings about work.
@@ -3034,8 +3035,8 @@ I made this to explore why designers make design, based on Clifford Geertz's ide
-
⊞
@@ -3058,25 +3059,25 @@ of a belief system involving order, structure, and rationality and I
want to break it. Removing the label is part of loosening the object,
making it avilable to transition (Berlant, 2022).
-
+
The Cadaster of Orange, unknown ⊞er, c. 100 CE.
-
+
Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
-Shams al-Ma’arif, Ahmad al-Buni Almalki,
circa 1200.
-Cartesian Geometry, Rene Descartes,
1637.
@@ -3089,19 +3090,19 @@ alt="Homage to the Square, Josef Albers, 1954." />
1954.
-Counter Composition VI,
Theo Van Doesburg, 1925.
-
+
The Po Valley, The Roman Empire, 268 BCE.
-Monogram, Piet Zwart,
c. 1968.
@@ -4010,8 +4011,8 @@ thesis, its written specifically for you.
-
Garden Leeszaal: Special
@@ -4052,25 +4053,25 @@ 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.
-
-
-
-
-
-
-
-
-
-
Console: Special Issue XX
@@ -4106,37 +4107,35 @@ 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.
-
-
-
-
-
-
+
-
-
z— title: tty special issue 21 author: Stephen
-
-
TTY: Special Issue 21
+
TTY: Special Issue 21
why shd it only make use of the tips of the fingers as contact points
of flowing multi directional creativity. If I invented a word placing
machine, an “expression-scriber,” if you will, then I would have a kind
@@ -4197,30 +4196,30 @@ otherwise technical progress and computational genealogies.
editor Martino Morandi, and contributors Andrea di Serego Alighieri,
Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and
Zoumana Meïté.
-
diff --git a/print/print_style.css b/print/print_style.css
index 7930c2f..000612c 100644
--- a/print/print_style.css
+++ b/print/print_style.css
@@ -3,25 +3,19 @@
:root{
/* --spot-color-1: #53018e; */
- --spot-color-1: #000;
+ --spot-color-1: #00f;
--baseline: 4mm;
--margin-left: 10mm;
}
@font-face {
font-family: 'Platypi';
src: url('../fonts/webfonts/Platypi-Regular.woff2');
- font-weight: normal;
+ font-style: normal;
}
@font-face {
font-family: 'Platypi';
src: url('../fonts/webfonts/Platypi-Italic.woff2');
- font-weight: bold;
-}
-@note-area {
- float: bottom;
- float-reference: page;
- width: 100½;
- max-height 80%;
+ font-style: italic;
}
notes{
position: note(sidenotes);
@@ -86,7 +80,7 @@ a{
line-height: 1.1;
white-space: pre-wrap;
}
-#contenteo{
+body{
font-family: 'Platypi-Regular','platypi' ;
line-height: 1.3;
font-size: 9pt;
@@ -143,10 +137,14 @@ section{
margin: 0;
}
.toc-title{
- break-before: none;
- break-after: none;
+ font-size: 24pt;
+ font-weight: medium;
+ line-height: 8mm;
+ display: inline;
}
.toc-title a::after{
content: target-counter(attr(href url), page);
- float: right;
+ font-size: 9pt;
+ color: var(--spot-color-1);
+ padding: 0 1rem;
}
\ No newline at end of file
diff --git a/specialissue20/index.md b/specialissue20/index.md
index be76bf1..7016890 100644
--- a/specialissue20/index.md
+++ b/specialissue20/index.md
@@ -1,5 +1,5 @@
---
-title: Console Special Issue XX
+title: Console
author: Stephen
---
diff --git a/specialissue21/index.md b/specialissue21/index.md
index a1c4813..2321940 100644
--- a/specialissue21/index.md
+++ b/specialissue21/index.md
@@ -1,5 +1,5 @@
-z---
-title: tty special issue 21
+---
+title: TTY
author: Stephen
---
diff --git a/specialissuesintro/index.md b/specialissuesintro/index.md
index da1ae70..2b0e9ac 100644
--- a/specialissuesintro/index.md
+++ b/specialissuesintro/index.md
@@ -1,3 +1,8 @@
+---
+title: Special Issues
+author:
+
+---
Special Issues are publications thrice released by first-year XPUB 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 structure, tools, and workflows are reset every trimester. This reset allows roles to rotate among participants and fosters an adapting learning environment. It provides a space to experiment beyond traditional collaborative methods.
Our inaugural Special Issue was number 19, in collaboration with Simon Browne. Garden Leeszaal was a snapshot of 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 harvested a book of our collective work. Garden Leeszaal was an open dialogue. It was a tool for collective writing, a group-made collage, and an archive. For us, being a gardener meant caring for the people and books that formed the library.
The following Special Issue was number 20, assisted by Lìdia Pereira and Artemis Gryllaki. Console was 20 hand-made wooden boxes. It was an oracle and an emotional first aid kit to help you help yourself. It invites you to delve into its contents to discover healing methods. Console offers refuge for dreams, memories, and worries. It guides you to face the past. You will then meet your fortune and gain a new view through rituals and practices. It prompts everyday questions with magical answers, asking: Are you ready to play?
diff --git a/stephen/thesis.md b/stephen/thesis.md
index 03c6aa8..aa4e8cd 100644
--- a/stephen/thesis.md
+++ b/stephen/thesis.md
@@ -1,3 +1,8 @@
+---
+title: ⊞
+author: Stephen
+
+---
# ⊞
@@ -53,12 +58,12 @@ want to break it. Removing the label is part of loosening the object,
making it avilable to transition (Berlant, 2022).
-The Cadaster of Orange,
+The Cadaster of Orange,
unknown ⊞er, c. 100 CE.
-Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
+Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
![Shams al-Ma'arif, Ahmad al-Buni Almalki, circa
@@ -75,7 +80,7 @@ Theo Van Doesburg,
1925.](./images/TheoVAnDoesburgCounterCompositionVI.jpg)
-The Po Valley, The Roman Empire, 268 BCE.
+The Po Valley, The Roman Empire, 268 BCE.
![Monogram, Piet Zwart, c. 1968.](./images/pietzwart.jpg)