Merge branch 'master' of https://git.xpub.nl/XPUB/gradshow24

aglaia/index.html

@@ -44,23 +44,23 @@ reading of act0 and act1</figcaption>
 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
+experiences. However, unexpected emergencies - my eviction on the
-31st of January 2024 - placed centrally my personal struggles unfolded
+31st of January 2024 - made central my personal struggles which then unfolded
-in parallel with the making period. I ended up conducting accidentally
+in parallel with the making period. I ended up conducting accidental
-auto-ethnography as the project was dynamically being reshaped due to
+auto-ethnography as the project was dynamically reshaped due to
-the material constraints of the bureaucratic timeline.</p>
+the material constraints of a bureaucratic timeline.</p>
 <p>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.</p>
-<p>Central element of this project is a seven-act scenario that
+<p>A central element of this project is a seven-act scenario that
-construct my personal paperwork story, unravelling the actual struggles
+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.</p>
@@ -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.</p>
 <figure>
@@ -110,8 +110,8 @@ of Act 5 and Act 6</figcaption>
 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
+administrative cases into public ones. How are the inscribed words in the
-documents are not descriptive but on the contrary “are instrumentalized
+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

specialissue19/index.html

@@ -45,8 +45,8 @@ 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 and unpacking classification as a process that
+of producing knowledge; unpacking classification as a process that
-(un)names, distinguishes, excludes, displaces, organizes life. From the
+(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.</p>
 <p>Like community gardens, libraries are about tenderness and
@@ -74,7 +74,7 @@ machines, a cloud of cards, a sleeve that warms up THE BOOK.</p>
 <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
+where people edited punctuation and text, scanned it, then printed it
 with a dot matrix.</figcaption>
 </figure>
 <figure>

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.</p>
-<p>The format of the issue consisted of on an on-going publishing
+<p>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
+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
+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
+<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>
@@ -153,7 +153,7 @@ character en-coding.</figcaption>
 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, its ready for you to discover and see the
+bag is now in the middle, it's 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>

specialissuesintro/index.html

@@ -43,7 +43,7 @@ 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 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