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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
narrative exploration of divergent digital intimacies</h3>
<p>Water, stories, the body, all the things we do, are mediums that hide
and show what’s hidden. (Rumi, 1995 translation)</p>
<h2id="for-you">꙳for you</h2>
@ -153,7 +153,9 @@ legitimacy of his connections, finding no way to do so except by
emphasizing their tangible bodily experiences. The community’s claim to
authenticity thus had to lie in the physical experiences of its members—
the visible bodies and hearable voices, the weddings, births, and
funerals (1993). <sup><spanclass="margin-note"> You’re dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>.</p>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
</nav>
<divid="content"><h1id="performing-the-bureaucratic-borderlines">Performing the
@ -629,9 +630,10 @@ such acts are not expected to be performed, evoked contradictory
feelings or thoughts. Over-identifying with a role was being
instrumentalized as an “interrogation” of one’s own involvement in the
reproduction of social discourses, power, authority, hegemony.</p>
<p>[ Participants, during Leeszaal event, are waiting in a queue (18) to
collect the application forms and sign1 ] [ One of the forms that the
audience had to fill out during the Lesszaal event ]</p>
<p>[Leeszaal West Rotterdam - November 2023 – People queuing(18) to
receive their documents and sign ]</p>
<p>[ One of the forms that the audience had to fill out during the
Lesszaal event ]</p>
<h4id="section-2">3.</h4>
<p>Title: “Passport Reading Session” When: January 2024 Where: XML –
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<divid="content"><p>Act 1. Scene 1.</p>
@ -41,10 +42,10 @@ during…</p>
<p>the reader: we?</p>
<p>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’
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
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.</p>
<p>the reader (sarcastically): do you have a tissue, im soooo
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<p>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 elementary school children.
</p>
<p>Working as a children's literature editor for years, I came to a realisation that picture books were turning into another object that kids read and consume on daily basis. At least this is what I observed in Turkey. Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book. As a young person in the publishing sector, I believe there should be more options for children as there is for adults; such as ebooks, audiobooks etc. But moreover a "book" that can be redefined, reread or be interacted with. So I revisited an old story I wrote, translated to English and named it, "Bee Within". </p>
<p>Bee Within, is a story about grief and it is based on my experiences throughout the years. I erased it, rewrote it, edited it, destroyed it multiple times over the past years, simultaneously with new experiences of loss. In the end, I believe the story turned out to be an ode to
remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting
which I now think is a great and sweet battle between death and life. I think it is an important subject to touch upon, especially for children dealing with trauma in many parts of the world.
</p>
<p>Over the past two years, experimenting with storytelling techniques, interactivity options and workshops with children and adults, around reading and doing various exercises on Bee Within, I improved the story to be a more playful and interactive one which can be re-read, re-played and eventually re-formed non digitally to be reachable for all children. Here is some documentation from the beggining of this journey towards making accesible interactive narratives... </p>
@ -16,16 +16,16 @@ wrote and am making into an interactive experience, in relation to my research.
Through this bight of the thesis, I feel the necessity to clarify my intention of using knots as a
“thinking and writing object” throughout my research journey. Although knots are physical objects
and technically crucial in many fields of labor and life, they are also objects of thought and
and technically crucial in many fields of labor and life, they are also objects of thought and
are open for wide minds’ appreciation. Throughout history, knots have been used to connect, stop,
secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if
the invention of flying -which required a wing that was supported using certain types of knotswas
secure, bind, protect, decorate, record data, punish, contain, fly and many other purposes. So if
the invention of flying -which required a wing that was supported using certain types of knotswas
initiated with the knowledge of how to use strings to make things, why wouldn’t a research
paper make use of this wonderful art as an inspiration for writing and interactive reading?
## KNOTS AS OBJECTS TO THINK WITH
There is a delicate complexity of thinking of and with knots, which ignites layers of simultaneous
connections to one’s specific experience; where one person may associate the knots with struggles
connections to one’s specific experience; where one person may associate the knots with struggles
they face, another may think of connecting or thriving times. In a workshop in Rotterdam, I
asked participants to write three words that comes to mind when they think of knots. There were
some words in common like strong, chaotic, confusing and anxious. On the other hand, there
@ -35,7 +35,7 @@ a diff erence in how you understand the same text.
Seeing how these words, interpretations of a physical object were so diff erent to each other was
transcendental. In this thesis, I am excited to share my understanding of knots with you. My three
words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented
words for knots are resistance, imagination and infinity. Keeping these in mind, I experimented
with certain reading modes as you will see later on.
Knots are known to be used 15 to 17 thousand years ago for multiple purposes. These purposes
@ -68,20 +68,20 @@ Imagine you are reading a story… What if you think of the string itself as the
slip knot (which is a type of stopper knot) as a representation of an antagonist because of its specific use in hunting, would this change your approach to reading this story? I believe so…
What if instead of a slip knot a Bowline was on the string, would that represent something else in
the story because of its usage in practice. A Bowline is commonly used to form a fixed loop at the
the story because of its usage in practice. A Bowline is commonly used to form a fixed loop at the
end of a string; it’s strong but easy to tie, untie. Due to these qualities, we can imagine the bowline
to represent the conclusion in a story. What if we have a Square Knot, how would that change the
course of a narrative? Square knot is used to bundle objects and make the two ends of the same
string connect. From just this, we can use it to represent the connection between the beginning
and end of a story. My point is, there are limitless implementations on how to use knots in literature
because of their versatile purposes and the narrative vocabulary they create. Topologists are
still trying to identify seemingly infinite numbers of combinations which we simply call “knots”
still trying to identify seemingly infinite numbers of combinations which we simply call “knots”
and I see this as an inspiration to keep writing.
One example of the wondrous versatility and potential of knots is how they are used to archive
and encrypt information. Incan people from the Andes region recorded information on Quipus,
dating back to 700 CE. Quipus are textile devices consisting of several rows of cotton and/or
camelid string that would be knotted in a specific way to record, store and transmit information
camelid string that would be knotted in a specific way to record, store and transmit information
ranging from accounting and census data to communicate complex mathematical and narrative
information (Medrano, Urton, 2018). Another example is the Yakima Time Ball, which was used
by North-American Yakama people to show life events and family aff airs.
@ -110,7 +110,7 @@ aren’t looking to connect ideas but are more focused on the motivation and pur
project. Build readers are detail oriented and academic readers who would prefer a “traditional”
lead to reading.
Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have diff erent representations like in a Quipu. Certain knots represent the experiences that raise interesting opportunities for research and distinct events I went through while making the project and underneath the drawing you can find the relation to the knot itself explained.
Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have diff erent representations like in a Quipu. Certain knots represent the experiences that raise interesting opportunities for research and distinct events I went through while making the project and underneath the drawing you can find the relation to the knot itself explained.
For example if I couldn’t manage to do something I planned to do, this will be represented with a
broken knot. Bend knots which are used to connect two strings, will be representing the relation between theories and my ownexperiences/motivations. Hitches which are knots that are formed around a
solid object, such as a spar, post, or ring will be representing the evidence or data I have collected on the subject. We move on now with the working end and make some loops!
@ -131,8 +131,8 @@ hearing a buzzing sound in my bedroom at my family’s house. I searched everywh
find the source for this noise. I asked my father and he started searching too. A couple of days
passed and the buzzing was still there.
One day I found a bee on the floor in my bedroom and realized that the bees nested on the roof
and were coming inside my room through a gap in the lamp. I was terrified because I have an
One day I found a bee on the floor in my bedroom and realized that the bees nested on the roof
and were coming inside my room through a gap in the lamp. I was terrified because I have an
allergy to bees and thought they might sting me in my sleep. This moment was when I realized I
was so determined to find this buzzing sound for some time that I forgot about dealing with the
loss I was experiencing. This made me feel very guilty and I remember thinking I betrayed the
@ -140,13 +140,13 @@ person I lost.
As funny as it may appear, I felt like I was sabotaged by these bees that I thought were here to
hurt me but in the end they made me understand that its ok to let things go and every being does
what it has to do to find its way of survival. The little habitat that they chose to create in my room
seemed like a calling or a sign that I can aff ect another living being significantly without being
what it has to do to find its way of survival. The little habitat that they chose to create in my room
seemed like a calling or a sign that I can aff ect another living being significantly without being
aware of it. This goes for everything, no matter if some people leave us in this world, they have
living matter in us that keeps pulsing. So then I started researching bees and their ecosystems. I
read Alan Watts, Alan Lightman, Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver
Sacks, Joanna Macy, Rilke, Montaigne and theories on order in chaos, correlative vision, harmony
of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly
of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly
figured out the wisdom of not knowing things.
Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive
@ -154,17 +154,17 @@ today so many times and was waiting on it because it always felt incomplete. In
will always be incomplete because of the natural ambiguity the topic carries. Years later, grief was
back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned
changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it ever existed
in the first place.
in the first place.
Last year when two earthquakes hit Syria and Turkey, I was drowned like everyone I know, by a
collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was
collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was
and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was
furious, away from home, mostly alone and remembered vividly my failed attempt to understand
or place grief in one of the piles in my mind.
Previous months, I was working on this story (yes, again) but didn’t know how to tackle the text
because it was so diff erent to what I was experiencing now, when compared to the last time I rewrote
it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept
it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept
tracing back to 2016 and step by step, remembered why, as told above. The consciousness that this
story is actually a personal history of how I went through grief in diff erent stages of my life, made
me realise that it doesn’t have to be or even can be a perfect story.
@ -176,7 +176,7 @@ remembering or might I say an ode to not being able to forget or an ode to the f
The effect of storytelling knowledge on kids’ development and creativity. What can
we learn from open ended and multiple ending stories?
ability to form basic stories or to express their emotions through fictional characters or events.
ability to form basic stories or to express their emotions through fictional characters or events.
Children are not born with a wide vocabulary of emotions and expressions. They learn how to
read, mimic and express their feelings over time. The more children read, write and are exposed
to social environments, the more they widen their sense and ability of expressing themselves. The
@ -197,21 +197,21 @@ one small story they heard or read when they were a kid, this moment we remember
the moment a certain story sparked for us.
Nowadays storytelling takes many forms. For example, some readers’ story might even begin from
here although it isn’t the beginning. Interactivity is one of the storytelling forms that can signifi-
here although it isn’t the beginning. Interactivity is one of the storytelling forms that can signifi-
cantly improve children’s creativity. This is mainly because children as readers or listeners get to
contribute and aff ect the story. This of course requires and improves creative and active thinking.
Getting the chance to choose a path for a fictional character gives the child the freedom and confi
Getting the chance to choose a path for a fictional character gives the child the freedom and confi
dence of constructing a world, a character or an adventure. Although this is essentially “writing”
as we know it, children think of this as a game, yet to discover they are actually becoming writers.
What kind of reward can we expect from active participation in a story? Narrative pleasure can
be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional
be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has eff ects
on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to
keep these three emotions.
Interactive storytelling reminds everyone but especially children that there are limitless endings to
a story that is solely up to the maker’s creation. Learning to think this way instead of knowing or
assuming an end to a story, I think influences the children’s decision making abilities and sense of
assuming an end to a story, I think influences the children’s decision making abilities and sense of
responsibility towards their creations. It is basically the same in theatre where if an actor chooses
to create an imaginary suitcase on stage, they can’t simply leave this object they created on stage
and exit the scene because the audience will wonder why the actor didn’t take the imaginary
@ -221,7 +221,7 @@ to do with it. This interactivity therefore creates a unique bond between the re
the text.
There are many theories on how to approach interactive literature for children. Multi-literacy theory
and digital literacies are some of the theories which I find relevant to my aim with Wink. Multiliteracy theory in a nutshell is an education oriented framework that aims to expand traditional
and digital literacies are some of the theories which I find relevant to my aim with Wink. Multiliteracy theory in a nutshell is an education oriented framework that aims to expand traditional
reading and writing skills. This theory was developed by the New London Group. They were a
collective of scholars and educators who addressed the changing nature of literacy in an increasingly
globalized, digital world. The theory explores multiple modes of communication consisting
@ -253,7 +253,7 @@ both centralize the narrative to engage the audience. While both of these format
tools, e-books tend to stay more in a linear narrative and format when compared to storytelling
games where the audience is commonly the main character. Reading experiences are also a way
to be in the shoes of the narrator or the character but in a storytelling game, you embody the mission
and the experience overrules the story most of the time. In the specific example of a child,
and the experience overrules the story most of the time. In the specific example of a child,
storytelling games are complicated and puzzle driven where the player has missions to complete.
Whereas in an interactive e-book, the missions are solely based on the interactive elements implemented
in the text and images.
@ -276,7 +276,7 @@ Ways of using interactivity in digital platforms
CASA theory, also known as the Cognitive-Aff ective-Social Theory of Learning and Development,
is a framework used in educational psychology to understand how learning occurs within
the context of cognitive, aff ective, and social factors. Research on cognitive learning with keeping
in mind the limited attention span and memory factors. For children in specific, I think these are
in mind the limited attention span and memory factors. For children in specific, I think these are
very important factors to keep in mind when trying to design an interactive experience. This is because
children get bored very easily and can be disengaged because of failure of solving/understanding
something in a story. This is something I kept in mind as I wrote for children and chose
@ -300,10 +300,10 @@ There are multiple ways to use digital gestures in storytelling to make the expe
These are usually elements such as sound, animations, voice-overs that are ignited with a
click or tap by the reader. For children younger than 5, its usually just tapping over the page and
experiencing an action-reaction. For older kids between the ages 6-8, I made some workshops to
figure out which types of interactive elements are most useful in engaging them in the reading
figure out which types of interactive elements are most useful in engaging them in the reading
process.
It is true that sound and animations are very inclusive and it is engaging for kids to find out which
It is true that sound and animations are very inclusive and it is engaging for kids to find out which
part of a page is interactive by clicking on images. Another thing I found out is that kids enjoy
being a part of the story. For the prototype of Bee Within (the story I am using to test interactivity
also can be read in the appendix) I will focus on color, sound and click based animations according
@ -322,7 +322,7 @@ School age children are between the ages 6-12, which is Wink’s chosen age grou
These kids can form more rooted friendships and engage in more complex narratives. They
learn to negotiate and compromise around this time as well. This age group is desired for Wink
because kids this age are open to creative problem solving, connecting events and comprehending
slightly more complex narratives. Moreover, this age group would benefit the most from the interactive
slightly more complex narratives. Moreover, this age group would benefit the most from the interactive
stories and the reading process because of the developmental phase they are in.
The average amount of time children between these ages use on a daily basis is depending on
@ -330,7 +330,7 @@ their parents and circumstances. But to be fair, it is often not less than 2 hou
of a story?”
Today, kids from age 3 can use digital gestures successfully and experience these as simple as
flipping the page of a book. This is why it is fairly easy to create an interactive picture book which
flipping the page of a book. This is why it is fairly easy to create an interactive picture book which
kids can navigate themselves and be able to browse through with or without their parents. But for
Wink, I chose to design for older kids because I want to experiment on multi-leveled narratives
and I want to avoid the risk of confusing children.
@ -354,8 +354,8 @@ balance I tried to limit the interactive elements I used in the main story. I tr
animations limited and focused more on the storylines.
Another aspect I am concerned about after the workshop I did with the kids, is the risk of confusion
due to an undefined and multimodal design for a “book”. Kids tend to be confused when
they can’t define things or are asked to improvise without knowing the purpose.They know what a
due to an undefined and multimodal design for a “book”. Kids tend to be confused when
they can’t define things or are asked to improvise without knowing the purpose.They know what a
book is and that it is similar to what they encounter on the screen. But the method of reading and
interacting with Bee Within is diff erent than what they are used to. This concerns me because they
might prefer to just read a book or play a game instead of discovering a new thing, which they
@ -388,13 +388,13 @@ it surprises you and leaves you in awe towards something you weren’t expecting
like every reaction I give when I’m surprised, is a mirror of what I felt when I was playing freeze
and had to stop moving at any given time or when I found the last friend hiding somewhere in
hide and seek. This feeling of appreciation and unexpectedness is why most people remember
certain games, movies from their childhoods very vividly. Its an introduction to a feeling we experience maybe for the first time because we don’t necessarily learn from books how and when to
certain games, movies from their childhoods very vividly. Its an introduction to a feeling we experience maybe for the first time because we don’t necessarily learn from books how and when to
feel surprised, that is why it’s a surprise; we live it, experience it and it leaves and impression with us.
In my opinion, what drives everyone as a common denominator is amazement; because it takes
us to our childhoods or distant memories where we first felt that feeling of awe. This is the main
us to our childhoods or distant memories where we first felt that feeling of awe. This is the main
purpose behind any kind of interactive design and I think books can be an amazing medium to
experiment this with. Specifically because this ancient device can take us to numerous worlds.
experiment this with. Specifically because this ancient device can take us to numerous worlds.
For me as a millennial, books give me enough amazement as it is. But as I worked in publishing
through the years and observed, I think kids today need something more to ignite their interest.
There are so many factors in a picture book such as the image, the text and sound which can be
@ -411,9 +411,9 @@ of storytelling.
Interactivity in reading and writing in history. What changed?
Interactivity has always been an experimental area in literature from inscriptions to narrative
games then to playable stories and artificial intelligence. I will expand some of these examples
from the rich history of interactive fiction. When I dig a little bit into the media archaeology there
are three still relevant aspects that strike me and change/improve my approach to Wink. The first
games then to playable stories and artificial intelligence. I will expand some of these examples
from the rich history of interactive fiction. When I dig a little bit into the media archaeology there
are three still relevant aspects that strike me and change/improve my approach to Wink. The first
is the need to connect that remains untouched through centuries of human communication, the
second is how there were multiple projects concerning interactive media especially for kids that
later turned into narrative games or remained as prototypes and lastly how the integration of media
@ -421,17 +421,17 @@ and literature has been such a grand topic even before information and technolog
examples to this is music, masks, puppets, props used in storytelling.
Ancient texts with annotations such as The Odyssey, The Mahabharata are maybe the earliest
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
written interactive experiences in a historical context. They are published with notes and explanations, clarifications which make the text inhabit diff erent opinions and approaches in an engaging way where the reader can choose to hop on and off from the annotation and margin texts.
From the 70s to the present there have been many examples but I will be focusing on a few here.
One of them is, Choose your own adventure books which allowed the reader to participate in
the plot. These still exist as picture books where you are directed to certain pages according to
the choices you make throughout the story. Along with this were also board games and cards that
required interactive inputs. Some examples to this is exploding kittens or cards against humanity
where the player has the autonomy to be creative and fill in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of
computing off ered a wide space for exploring virtual worlds. In the early 80s, hypertext fiction
where the player has the autonomy to be creative and fill in the blanks to win the game. Simultaneously, text-based adventure games such as Zork and Adventure were popular. Early days of
computing off ered a wide space for exploring virtual worlds. In the early 80s, hypertext fiction
contributed to electronic literature. Hyperlinks were used as a tool to navigate a text and choose
paths of reading. This inspired me to write this thesis with diff erent modes of reading as well.
After the 80’s, Interactive fiction gained popularity as a genre of interacting with text based input.
After the 80’s, Interactive fiction gained popularity as a genre of interacting with text based input.
Dynabook by Alan Kay was prototyped during this time as a promising reading and writing device
designed for children.
@ -464,7 +464,7 @@ It also helped me draw the pictures for the book accordingly and edit the text w
in mind. Due to a privacy agreement, I couldn’t record or use any data from the workshop but I
made some helpful observations from my time there.
The first workshop I planned consisted of two main parts that made up 20 minutes. The first 10
The first workshop I planned consisted of two main parts that made up 20 minutes. The first 10
minutes we read Bee Within (attached in the appendix) together in a circle and the last 10 minutes
we played little improvisation games, focused on the three main characters in the story (the bee,
the kid and the tree). I made three groups and gave these groups the three characters. I asked
@ -472,12 +472,12 @@ them to embody a character throughout the workshop and be loyal to it. Each grou
1 minute on the stage to silently improvise their characters. They were to use one sentence if they
wanted to speak.
During the first part, I couldn’t observe as I was busy reading but their teacher kindly took notes
During the first part, I couldn’t observe as I was busy reading but their teacher kindly took notes
during this time, regarding the children’ reactions to parts of the story. I inserted the bees and
trees narrative to the reading by tossing the paper I had in my hand and picking up a new one as I
kept reading the bees and trees story. This was crucial because I wanted to see if this multiple stories in one concept would be confusing for kids. The teacher told me that they were excited about
my gesture of juggling papers as I seemingly read one story. They were intrigued and confused
at first but they did keep up with the storyline and understood all. Her notes basically said they
at first but they did keep up with the storyline and understood all. Her notes basically said they
were very focused and less interested in the kids journey. They really liked the bee and were a bit
confused with the tree.
@ -488,7 +488,7 @@ was of a classmate as a tree with his hands wide open as he was performing.
What struck me most on the second part of the workshop was how these kids used the room
so freely and in relation to their characters. Because we read the story before the improvisation
games, some of their characters were influenced by how it is in the story we read. Next workshop,
games, some of their characters were influenced by how it is in the story we read. Next workshop,
I am planning to not tell the story but to talk about it before and give context. This is because I
want to see how their understanding changes without a limitation of a story.
@ -511,15 +511,15 @@ control. No one actually attempted in using objects from the room which is a hug
the kids because they drew on their faces, used plastic bags as wings for the bee and made sounds
with their mouths as trees.
The next workshop was to discover how improv would work without reading the story first. This
The next workshop was to discover how improv would work without reading the story first. This
workshop was fruitful because it helped me realize how much information or guidance I have to
off er for children in order for them to be comfortable to participate and interact without confusion.
We made a circle and I summarized the story to the kids, acting in the middle of the circle. This
broke the ice completely because I was a part of the workshop and they thought I was funny. For
the next part, I divided the group in three and assigned a character to them. After this, I asked
them to decide on an attitude, pop in the middle and tell or act out their character. I went first
and they followed easily. They were not under the influence of the story so the performances were
diff erent but they still got influenced by each other, which in my opinion is inevitable. Some of the
them to decide on an attitude, pop in the middle and tell or act out their character. I went first
and they followed easily. They were not under the influence of the story so the performances were
diff erent but they still got influenced by each other, which in my opinion is inevitable. Some of the
kids were buzzing/running around, the “kids” were walking around, acting like they are playing
which I found very interesting. Some trees were small some were mighty and old. It was helpful to
see the diff erent attributions they gave to the characters.
@ -531,7 +531,7 @@ and scared bee one by one. They kept walking randomly and acted these feelings o
“kids”, I asked them to be angry, sad, scared, and curious. For the trees I asked them to be wise,
mad, funny and happy. The results were amazing. They adapted very quickly to the changing of
emotions which showed me that this age gap was good to work with. The trees stopped walking
as I changed the emotions and this was an affirmation to not animate the tree with movement but
as I changed the emotions and this was an affirmation to not animate the tree with movement but
more with changing of color and tiny animations. They mostly used arms and face expressions
to show the emotions, some of them ducked or made sounds. As I said mad, one of the kids ran
and put her red jacket on. This made me think about using color to show emotions for the tree. It
@ -546,7 +546,7 @@ volunteers and they made sound eff ects as I read the verse very slowly. This we
that they like to dramatize the sounds and make them funny or unexpected. They used the bubble
wrap to make sounds for snowing or aluminum folio for the volcano. They had great fun but I
think I made a mistake by making a few kids do foley at the same time because they didn’t know
how to take turns and were hesitant at first. Then quite impressively, they made their own system
how to take turns and were hesitant at first. Then quite impressively, they made their own system
where they took turns to make eff ects for each sentence.
Then I made four groups of three. 3 kids as actors and 3 kids as foley actors. They buddied up
@ -581,7 +581,7 @@ format and purpose. If we take a look at Bookr, Piboco, and Kotobee, we can see
way to tell a story but have one mode of reading. The stories are linear and can be read once,
without side quests. This is the main diff erence with what I am trying to design.
Wink acts as a tool to play with and choose paths. The story isn’t linear in the traditional way
where you interact with the pictures and finish the book but there are side stories to the main
where you interact with the pictures and finish the book but there are side stories to the main
story that they can discover or choose not to. I think this is a solid diff erence. This makes it a playable narrative, diff erent from a book.
This prototype is a good start to see how far I can get with the interactive elements and side
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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</nav>
<divid="content"><h1id="garden-leeszaal-special-issue-xix">Garden Leeszaal: Special
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.</p>
<figure>
<imgsrc="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." />
<figcaptionaria-hidden="true">Irmak’s and Aglaia’s Pruning station,
where people edited punctuation and text, scanned it then printed it
with a dot matrix.</figcaption>
</figure>
<figure>
<imgsrc="card-cloud-leeszaal.jpg"
alt="Cloud of cards with instructions to be performed on the books" />
<figcaptionaria-hidden="true">Cloud of cards with instructions to be
performed on the books</figcaption>
</figure>
<figure>
<imgsrc="final-book.jpg"
alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
<figcaptionaria-hidden="true">The final book produced that evening, the
cover was made from hand-stiched covers of discarded books.</figcaption>
</figure>
<figure>
<imgsrc="mint-scan.jpg"
alt="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." />
<figcaptionaria-hidden="true">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.</figcaption>
</figure>
<figure>
<imgsrc="drawn-scan.jpg"
alt="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." />
<figcaptionaria-hidden="true">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.</figcaption>
</figure>
<figure>
<imgsrc="hand-scan.jpg"
alt="Page of the final book containing scans of edited books, a hand and coins." />
<figcaptionaria-hidden="true">Page of the final book containing scans
of edited books, a hand and coins.</figcaption>
</figure>
<figure>
<imgsrc="second-edition-open.jpg"
alt="Page of the second edition, containing scans of edited books and instruction cards." />
<figcaptionaria-hidden="true">Page of the second edition, containing
scans of edited books and instruction cards.</figcaption>
</figure>
<figure>
<imgsrc="second-edition.jpg"
alt="The second edition of the final book from the event." />
<figcaptionaria-hidden="true">The second edition of the final book from
the event.</figcaption>
</figure>
<figure>
<imgsrc="people-bins.jpg"
alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
<figcaptionaria-hidden="true">People choosing books from the discarded
books bins, behind the instructions cards cloud.</figcaption>
</figure>
<figure>
<imgsrc="editing.jpg"
alt="Part of the Pruning process, the editing of a book page." />
<figcaptionaria-hidden="true">Part of the Pruning process, the editing
of a book page.</figcaption>
</figure>
<figure>
<imgsrc="open-bin.jpg"alt="Bin of discarded books from Leeszal."/>
<figcaptionaria-hidden="true">Bin of discarded books from
Leeszal.</figcaption>
</figure>
<figure>
<imgsrc="binding.jpg"
alt="The binding of the scans into the final book at the end of the evening." />
<figcaptionaria-hidden="true">The binding of the scans into the final
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
</nav>
<divid="content"><h1id="console-special-issue-xx">Console: Special Issue XX</h1>
<divid="content"><h1id="console">Console</h1>
<h3id="special-issue-xx">Special Issue XX</h3>
<p>Console is an oracle; an emotional first aid kit that helps you help
yourself. Console invites you to open the box and discover ways of
healing. Console provides shelter for your dreams, memories and worries.
@ -24,7 +26,7 @@ Face the past and encounter your fortune. Console gives you a new
vantage point; a set of rituals and practices that help you cope and
care. Console asks everyday questions that give magical answers.</p>
<p>Special Issue XX was co-published by xpub and Page Not Found, Den
Haag. With guest editors Lídia Pereira ♈︎and Artemis Gryllaki ♐ we
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,
@ -38,25 +40,76 @@ 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.</p>
<p><imgsrc="imagename.jpg"
alt="Console box with instruction book, games and ritual objects, produced in an edition of XX." />
alt="Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card." />
<figcaptionaria-hidden="true">Screenprinted book cover of the Console
Booklet, from The Upside Down Oracolotto card.</figcaption>
</figure>
<figure>
<imgsrc="cara-ritual.jpg"
alt="Nighttime Ritual: Guided meditation from cardboardlamb" />
<figcaptionaria-hidden="true">Nighttime Ritual: Guided meditation from
cardboardlamb</figcaption>
</figure>
<figure>
<imgsrc="youtube-tarot.jpg"
alt="Imagined tarot cards based on YouTube comments" />
<figcaptionaria-hidden="true">Imagined tarot cards based on YouTube
comments</figcaption>
</figure>
<figure>
<imgsrc="federici.jpg"
alt="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." />
<figcaptionaria-hidden="true">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.</figcaption>
</figure>
<figure>
<imgsrc="console-open.jpg"
alt="Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight." />
<figcaptionaria-hidden="true">Console box with Fiction Friction,
Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a
tealight.</figcaption>
</figure>
<figure>
<imgsrc="console-front.jpg"
alt="Screenprinted cover of the Console box." />
<figcaptionaria-hidden="true">Screenprinted cover of the Console
box.</figcaption>
</figure>
<figure>
<imgsrc="license-reading.jpg"
alt="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." />
<imgsrc="imagename.jpg"
alt="Screenprinted book cover, from The Upside Down Oracolotto card." />
<imgsrc="imagename.jpg"
alt="Fiction Friction gameplay at Page Not Found" /></p>
<p><imgsrc="imagename.jpg"
alt="Oracolotto readings at Page Not Found." /> <imgsrc="imagename.jpg"
alt="Wheel of Fortune healing exercise at Page Not Found." /> <img
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
</nav>
<divid="content"><p>z— title: tty special issue 21 author: Stephen</p>
<hr/>
<h1id="tty-special-issue-21">TTY: Special Issue 21</h1>
<divid="content"><h1id="tty">TTY</h1>
<h3id="special-issue-21">Special Issue 21</h3>
<p>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
@ -79,31 +79,94 @@ otherwise technical progress and computational genealogies.</p>
editor Martino Morandi, and contributors Andrea di Serego Alighieri,
Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and
Zoumana Meïté.</p>
<p><imgsrc="imagename.png"
<figure>
<imgsrc="TTY.jpg"
alt="An inscription performance using the TeleType Model 33 and a 40m stairwell." />
<imgsrc="imagename.png"
<figcaptionaria-hidden="true">An inscription performance using the
TeleType Model 33 and a 40m stairwell.</figcaption>
</figure>
<figure>
<imgsrc="tape.jpg"alt="punchtape read-writer of Teletype Machine"/>
<figcaptionaria-hidden="true">punchtape read-writer of Teletype
Machine</figcaption>
</figure>
<figure>
<imgsrc="stairs_concrete.jpg"
alt="A reading and writing of poetry using pedestrians and vinyl quotes." />
<imgsrc="imagename.png"
alt="Gesture Glossary (screenshot or gif? maybe several): how a body language is documented, how it expands, how it is capable of creating or enhancing identities." />
<imgsrc="imagename.png"alt="It would have been better to fuck."/>
<imgsrc="imagename.png"alt="maybe an image at the telecom museum"/>
<imgsrc="imagename.png"
<figcaptionaria-hidden="true">A reading and writing of poetry using
pedestrians and vinyl quotes.</figcaption>
</figure>
<figure>
<imgsrc="gesture.png"
alt="Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities." />
<figcaptionaria-hidden="true">Gesture Glossary : how a body language is
documented, how it expands, how it is capable of creating or enhancing
identities.</figcaption>
</figure>
<figure>
<imgsrc="strike.jpg"
alt="Wiki strike screenshot: embedding hidden comments in a wiki to highlight the invisible labour, to provide comprehensive details about our intentions and the underlying ideas while maintaining the wiki’s regular functionality." />
comments in a wiki to highlight the invisible labour, to provide
comprehensive details about our intentions and the underlying ideas
while maintaining the wiki’s regular functionality.</figcaption>
</figure>
<figure>
<imgsrc="callme_window.jpg"
alt="Hey Babe arduino based telephone experience. Callers can listen to love stories, excerpts from conversations at the Houweling Telecom Museum, Rotterdam, parts from the documentary The Phantom of the Operator and a collective reading experience on binary systems, time, worms and pebbles." />
<imgsrc="imagename.png"
<figcaptionaria-hidden="true">Hey Babe arduino based telephone
experience. Callers can listen to love stories, excerpts from
conversations at the Houweling Telecom Museum, Rotterdam, parts from the
documentary The Phantom of the Operator and a collective reading
experience on binary systems, time, worms and pebbles.</figcaption>
</figure>
<figure>
<imgsrc="callme_bike.jpeg"
alt="I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”. Someone holding it in the street?" />
<imgsrc="imagename.png"
alt="Encoding Convertor: the wacky world of character en-coding." /></p>
<p><imgsrc="imagename.png"
alt="Overlap screenshot (or is there an image from when we were working on it in the MD room?) 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." />
<imgsrc="imagename.png"
<figcaptionaria-hidden="true">I’ve fallen in love with you and I have
no idea what to do about it. Phone cards inviting participation in “Hey
Babe”. Someone holding it in the street?</figcaption>
</figure>
<figure>
<imgsrc="encoding.png"
alt="Encoding Convertor: the wacky world of character en-coding." />
<figcaptionaria-hidden="true">Encoding Convertor: the wacky world of
character en-coding.</figcaption>
</figure>
<figure>
<imgsrc="overlap.png"
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." />
<figcaptionaria-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
networks of our minds, make knots in the middle or intervene with what
we call is a collective memory of few xpubbers.</figcaption>
</figure>
<figure>
<imgsrc="hexalogue.jpg"
alt="Hexalogue booklet. A conversation for six voices is encoded and documented in a script." />
<imgsrc="imagename.png"
alt="Hexalogue reading in Constant, Brussels." /> <img
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
</nav>
<divid="content"><p>Special Issues are publications thrice released by first-year XPUB
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
</nav>
<divid="content"><h1id="section">⊞</h1>
@ -36,51 +37,49 @@ 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).</p>
<figure>
<imgsrc="./images/orange.jpg" style="margin-top: 95mm; width: 40mm;"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."/>
<imgsrc="orange.jpg" style="margin-top: 95mm; width: 40mm;"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."/>
<figcaptionaria-hidden="true">
The Cadaster of Orange,<br/> unknown ⊞er, c.100 CE.
</figcaption>
</figure>
<figure>
<imgsrc="./images/Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981."/>
<imgsrc="Niggli-Grid-systems-in-graphic-design-7.jpg" style="margin-top: 95mm"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981."/>
<figcaptionaria-hidden="true">
Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
</figcaption>
</figure>
<figure>
<imgsrc="./images/albuni2.jpg"
<imgsrc="albuni2.jpg"
alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200." />
<figcaptionaria-hidden="true">Shams al-Ma’arif, Ahmad al-Buni Almalki,
Stephen Kerr
2 months ago