diff --git a/aglaia/index.html b/aglaia/index.html index e900973..670e86e 100644 --- a/aglaia/index.html +++ b/aglaia/index.html @@ -44,23 +44,23 @@ reading of act0 and act1 dramaturgies within the educational institution I was part of 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.

+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.

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

-

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

A central element of this project is a seven-act scenario that +constructs my personal paperwork story, unravelling the actual struggles of my communication with the government. The body of the text of the “theatrical” script is sourced from the original documents, email threads as well as recordings of the conversations with the municipality -of Rotterdam, I documented and archived throughout this period. I +of Rotterdam that 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.

@@ -85,7 +85,7 @@ publishing and as a communal tool for inspecting bureaucratic bordering infrastructures. How can these re-enactments be situated in different institutional contexts and examine their structures? I organized a series of performative readings of my own bureaucratic literature in -different spaces and contexts, pubic and semi-public WDKA, Art Meets +different spaces and contexts, pubic and semi-public WDKA, the 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.

@@ -110,8 +110,8 @@ of Act 5 and Act 6 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 do the inscribed words in the -documents are not descriptive but on the contrary “are instrumentalized +administrative cases into public ones. How are the inscribed words in the +documents not descriptive but on the contrary “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 diff --git a/specialissue19/index.html b/specialissue19/index.html index b2a7c7c..6be5712 100644 --- a/specialissue19/index.html +++ b/specialissue19/index.html @@ -45,8 +45,8 @@ writing machine.

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

Like community gardens, libraries are about tenderness and @@ -74,7 +74,7 @@ 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.
diff --git a/specialissue21/index.html b/specialissue21/index.html index 44682f4..6c5ad16 100644 --- a/specialissue21/index.html +++ b/specialissue21/index.html @@ -59,7 +59,7 @@ guest contributor who joined us in unfolding the many cultural and technical layers that we found stratified in such a machine, reading them as questions to our contemporary involvements with computing and with networks.

-

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

The format of the issue consisted of 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 @@ -86,11 +86,11 @@ 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 +the computers of today as a sort of legacy, such as the QWERTY keyboard +with control keys, the ASCII character encoding and the TTY terminal capability. We have created short-circuits that allow us to remember otherwise technical progress and computational genealogies.

-

TTY was produced in april-june 2023 as special issue 21 with guest +

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.

@@ -153,7 +153,7 @@ character en-coding. 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." />
diff --git a/specialissuesintro/index.html b/specialissuesintro/index.html index 6e1b3c6..3d542bc 100644 --- a/specialissuesintro/index.html +++ b/specialissuesintro/index.html @@ -37,13 +37,13 @@ Master’s students. Each edition focuses on a specific theme or issue. The themes tie to external events and collaborations. Students and staff work together to explore these themes, rethinking what a publication can -be. Each edition culminates in a celebratory release party.The +be. Each edition culminates in a celebratory release party. The structure, tools, and workflows are reset every trimester. This reset allows roles to rotate among participants and fosters an adapting learning environment. It provides a space to experiment beyond traditional collaborative methods.

Our inaugural Special Issue was number 19, in collaboration with -Simon Browne. Garden Leeszaal was a snapshot of Leeszaal Library through +Simon Browne. Garden Leeszaal was a snapshot of the Leeszaal community 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