diff --git a/ada/index.md b/ada/index.md index f7d05a7..7a124a8 100644 --- a/ada/index.md +++ b/ada/index.md @@ -16,7 +16,7 @@ Is all intimacy about bodies? What is it about our bodies that makes intimacy? W 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.\ -![This is the Index, the stage of my play. Each felted item is an act.](index.png) +![This is the Index, the stage of my play. Each felted item is an act.](index.png){.half-image} 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.\ @@ -28,16 +28,16 @@ Hermit Fantasy is a short story about a bot who wants to be a hermit. Inspired b ![The first letter.](one.png) -![The second letter.](two.png) +![The second letter.](two.png){.image-80} 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.\ ![The first two stories and their memory illustrations.](pie.png) -![The second stories in the way they were meant to be experienced.](phone-pie.png) +![The second stories in the way they were meant to be experienced.](phone-pie.png){.full-image} The play ends as all plays do. The curtains close, the website stays but the stories will never sound the same. For the final act, I give you the stories. It's one last game, one last joke to ask my question again. Digital intimacies about the digital, our bodies and the cakes we eat. For the last act, I ask you to eat digital stories. To eat a comment, to eat a digital intimacy. Sharing an act of physical intimacy with yourself and with me, by eating sweets together. Sweets about digital intimacies that never had a body. There is no moral, no bow to wrap the story in. A great big mess of transcendence into the digital, of intimacy and of bodies. The way it always is. Thankfully.\ -![Accept My Cookies, biscuits for the performance.](biscuit.png) +![Accept My Cookies, biscuits for the performance.](biscuit.png){.image-95} diff --git a/aglaia/index.md b/aglaia/index.md index 2bcceb7..11c2106 100644 --- a/aglaia/index.md +++ b/aglaia/index.md @@ -28,9 +28,10 @@ I perceive the document as a unit and as the fundamental symbolic interface of t I see the collective readings of these scenarios as a way of instant 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, 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. +![ ](../aglaia/AMRO_kamo.jpg){.image-80} + ![Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent](../aglaia/AMRO_all.jpg){.half-image} -![ ](../aglaia/AMRO_kamo.jpg){.image-80} 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 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 school’s building, in the main hall, at the square right across, outside of the municipality building. diff --git a/specialissue19/index.md b/specialissue19/index.md index 2ab7c9e..d00ce34 100644 --- a/specialissue19/index.md +++ b/specialissue19/index.md @@ -4,8 +4,12 @@ author: --- +--- + # Garden Leeszaal +--- + ### Special Issue XIX Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the spine, or an electronic file gathered together with digital binding. A library could be an accumulated stack of printed books, a modular collection of software packages, a method of distributing e-books, a writing machine. diff --git a/stephen/index.md b/stephen/index.md index 0768a1a..9e42b1e 100644 --- a/stephen/index.md +++ b/stephen/index.md @@ -25,9 +25,10 @@ For the past year I have spoken with designers, artists and makers finding out h ![Keyboard of things designers have said. Our feelings about work.](../stephen/keyboard24.jpeg){.image-95} -![The messages on the keys were gathered using experimental interview methods and questions.](../stephen/keyboard25.jpeg){.image-80} +![The messages on the keys were gathered using experimental interview methods and questions.](../stephen/keyboard25.jpeg){.image-95} + +![Except "it's ok": my brother said that to me on the phone one day.](../stephen/keyboard26.jpeg){.image-45} -![Except "it's ok": my brother said that to me on the phone one day.](../stephen/keyboard26.jpeg){.image-55}
@@ -41,12 +42,11 @@ For the past year I have spoken with designers, artists and makers finding out h ![Re-enacting dreams about work at Piet Zwart Institute, Rotterdam. ](../stephen/peecee.jpg){.desaturate .image-45} -![Collective dream re-enactment at Art Meets Radical Openness, Linz. ](../stephen/amro.jpeg){.desaturate .half-image} +![Collective dream re-enactment at Art Meets Radical Openness, Linz. ](../stephen/amro.jpeg){.desaturate} -![Where do dreams come from?](../stephen/dizzy.jpeg){.full-image} +![Where do dreams come from?](../stephen/dizzy.jpeg){.image-80} -### Licensing information -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 [vulnerable-interfaces.xpub.nl/license](vulnerable-interfaces.xpub.nl/license){.ext}. +. diff --git a/stephen/thesis.md b/stephen/thesis.md index f089430..07565a4 100644 --- a/stephen/thesis.md +++ b/stephen/thesis.md @@ -32,33 +32,22 @@ 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. -
+![The Cadaster of Orange, unknown ⊞er, c. 100 CE.](orange.jpg){.image-45} -![Shams al-Ma'arif, Ahmad al-Buni Almalki, circa -1200.](albuni2.jpg) +![Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981](Niggli-Grid-systems-in-graphic-design-7.jpg){.image-95} -![Cartesian Geometry, Rene Descartes, -1637.](Simple_carthesian_coordinate_system.svg) +![Shams al-Ma'arif, Ahmad al-Buni Almalki, circa 1200.](albuni2.jpg){.image-95} -![Homage to the Square, Josef Albers, -1954.](art-josef-albers-study-for-homage-to-the-square-69.1917.jpg) +![Cartesian Geometry, Rene Descartes, 1637.](Simple_carthesian_coordinate_system.svg){.image-95} -![Counter Composition VI, -Theo Van Doesburg, -1925.](TheoVAnDoesburgCounterCompositionVI.jpg) +![Homage to the Square, Josef Albers, 1954.](art-josef-albers-study-for-homage-to-the-square-69.1917.jpg){.image-95} -
-The Po Valley, The Roman Empire, 268 BCE. -
+![Counter Composition VI, Theo Van Doesburg, 1925.](TheoVAnDoesburgCounterCompositionVI.jpg){.image-45} -![Monogram, Piet Zwart, c. 1968.](pietzwart.jpg) +![The Po Valley, The Roman Empire, 268 BCE.](po-valley2.png){.image-95} + +![Monogram, Piet Zwart, c. 1968.](pietzwart.jpg){.image-45} ---