diff --git a/colophon/index.md b/colophon/index.md index f34b856..85f0bce 100644 --- a/colophon/index.md +++ b/colophon/index.md @@ -33,8 +33,7 @@ Unless otherwise stated, all photography, illustrations and other types of visua Writing in Etherpad. Version control in git. Design in Inkscape. Layout in paged.js. Printing in Adobe Acrobat. ### Licensing information -This publication is free to distrubite 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 +This publication 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). ### Postal address Master of Arts in Fine Art and Design: Experimental Publishing, diff --git a/irmak/thesis.html b/irmak/thesis.html index e6d3e95..cb0df3d 100644 --- a/irmak/thesis.html +++ b/irmak/thesis.html @@ -38,13 +38,20 @@ id="fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each- leads or Fair winds is a saying sailors and knotters use to greet each other. It comes from the working end of a string that will soon be forming a knot. -

I would like to clarify and introduce some terms for you in order to +I would like to clarify and introduce some terms for you in order to read this text in the desired way. For a while, we will stay in the bight of this journey as we move into forming loops, theories and ideas on how interactive picture books can be used to foster curiosity for reading and creativity for children. I am building a web platform called Wink that aims to contain a children’s story I wrote and am making into -an interactive experience, in relation to my research.

+an interactive experience, in relation to my research. +
+knot words from Leeszaal + +

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 @@ -58,7 +65,7 @@ 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 +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 they face, another may think of connecting or thriving times. In a workshop in @@ -67,23 +74,27 @@ when they think of knots. There were some words in common like strong, chaotic, confusing and anxious. On the other hand, there were variations of connection, binding, bridge and support. Keeping these answers in mind or by coming up with your words on knots and embodying them in the -practice of reading would make a diff erence in how you understand the -same text.

+practice of reading would make a difference in how you understand the +same text.
- knot words from Leeszaal - +

- knot words from Leeszaal - +

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 +different 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 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 were often opposing each other. For example, it @@ -161,7 +172,7 @@ start reading from a certain section according to the type of reader you are and read the loops one by one until the end, weaving through the text. To determine the string or mode of reading, there are some simple questions to answer.

-

The three modes of reading are combine, slide, build . After you +

The three modes of reading are combine, slide, build. After you discover the starting point with the yes or no map in the upcoming pages, you will continue the reading journey through the strings of diff erent colors that will get you through the text. This way, the linear @@ -187,20 +198,21 @@ 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!

-

This map will reveal your mode of reading. The order of reading will -be indicated with a loop sign Please hold a string in your hand as you -read the text and make knots or loops as you weave through the reading -as an exercise for concrete thinking. See you at the standing end! and a +

HOW TO CHOOSE YOUR STRING

+This map will reveal your mode of reading. The order of reading will be +indicated with a loop sign Please hold a string in your hand as you read +the text and make knots or loops as you weave through the reading as an +exercise for concrete thinking. See you at the standing end! and a number on top of the sign with a color. This is the numeric order you should follow to read the thesis, if you choose to read with a mode. -Every reader starts from 1 and continues until 12, with a consecutive numeric -order, according to their color/mode.

+Every reader starts from 1 and continues until 12, with a consecutive +numeric order, according to their color/mode.
- knot words from Leeszaal
- -

Working End

+

Working End

+

Loop 1

Why am I doing this?

My desire to write a children’s book about grief and memory ignited when I was studying in college and doing an internship in a publishing @@ -790,56 +802,35 @@ important in my personal history as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am looking forward to making more knots on this long -and mysterious string at hand.

- -
-
-

Bibliography:

- Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: - New Literacies, new learning’, Pedagogies: An International Journal, - 4(3), pp. 164–195. doi:10.1080/15544800903076044. -
- Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as emotional archaeologists,” - Childhood education, 78(5), pp. 278–281. doi: - 10.1080/00094056.2002.10522741. -
- Ingold, T. (2015) The life of lines.London, England: Routledge. -
- Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: Teaching and learning through storytelling: - What our ancestors knew: Teaching and learning through storytelling,” - New directions for adult and continuing education, 2016(149), pp. 63–72. - doi: 10.1002/ace.20177. -
- Papert, S. and Papert, S. A. (2020) Mindstorms - (revised): Children, computers, and powerful ideas. London, England: - Basic Books. -
- Ryan, M.-L. (2009) “From narrative games to playable - stories: Toward a poetics of interactive narrative,” StoryWorlds A - Journal of Narrative Studies, 1(1), pp. 43–59. doi: 10.1353/stw.0.0003. -
- Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros and - Cons,” in Quality Reading Instruction in the Age of Common Core - Standards. International Reading Association, pp. 176–189. -
- Strohecker, C. (ed.) (1978) Why knot? MIT. -
- The Effect of Multimodality in Increasing Motivation and Collaboration among - 4th CSE EFL Students (no date). -
- Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT - Press. -
- Urton, M. M. &. (2018) The khipu code: the knotty mystery of - the Inkas’ 3D records, aeon. Available at: https:// - aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records. -
- Vega, N. (2022) Codes in Knots. - Sensing Digital Memories, The Whole - Life. Available at: https://wholelife.hkw.de/ - codes-in-knots-sensing-digital-memories/. -

-
+and mysterious string at hand. ## Bibliography Cope, B. +and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, new +learning’, Pedagogies: An International Journal, 4(3), pp. 164–195. +doi:10.1080/15544800903076044.
Dettore, E. (2002) “Children’s +emotional GrowthAdults’ role as emotional archaeologists,” Childhood +education, 78(5), pp. 278–281. doi: 10.1080/00094056.2002.10522741.
+Ingold, T. (2015) The life of lines.London, England: Routledge.
+Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: +Teaching and learning through storytelling: What our ancestors knew: +Teaching and learning through storytelling,” New directions for adult +and continuing education, 2016(149), pp. 63–72. doi: +10.1002/ace.20177.
+
Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, +computers, and powerful ideas. London, England: Basic Books.
Ryan, +M.-L. (2009) “From narrative games to playable stories: Toward a poetics +of interactive narrative,” StoryWorlds A Journal of Narrative Studies, +1(1), pp. 43–59. doi: 10.1353/stw.0.0003.
Smeets, D. and Bus, A. +(2013) “Picture Storybooks Go Digital: Pros and Cons,” in Quality +Reading Instruction in the Age of Common Core Standards. International +Reading Association, pp. 176–189.
Strohecker, C. (ed.) (1978) Why +knot? MIT.
The Effect of Multimodality in Increasing Motivation and +Collaboration among 4th CSE EFL Students (no date).
Turkle, S. +(ed.) (2014) Evocative objects: Things we think with. MIT Press.
+Urton, M. M. &. (2018) The khipu code: the knotty mystery of the +Inkas’ 3D records, aeon. Available at: https:// +aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records. +
Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole +Life. Available at: https://wholelife.hkw.de/ +codes-in-knots-sensing-digital-memories/.

\ No newline at end of file diff --git a/stephen/index.html b/stephen/index.html index 819ae50..91444cd 100644 --- a/stephen/index.html +++ b/stephen/index.html @@ -33,124 +33,105 @@

do you ever dream about work?

-

Stephen Kerr

-

Practice-led artistic research into the 21st century phenomenon of -the graphic designer. I held graphic design in my hands using -ethnography, toolmaking and performance as research methods. I examined -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?

-

Stephen Kerr is a designer, musician, bread-baker and occasional -tent-builder based in Rotterdam. He fidgets between making graphic -design and performances, questioning and playing with methods and tools. -Coming from a serious and realistic background in a big city on a big -island (Dublin), he is interested in making people out of designers and -a wizard out of himself. Currently he is very very busy making -technologies sillier, inefficienter, questionabler, questioneder and -collaborativer.

-

https://stephenkerrdesign.com/

+

stephen kerr, 2024

+

Reading an email in a dream and you can hear the voices of every word +you read. Or the one where you’re on a computer working, frantically +typing, late, stressed, rushed. What about that dream where you had no +idea how to do your job, everyone is going to know you’re a fake. In +this project I have made spaces for us to share our dreams about labour, +and through that allow conversations about our work, our working +conditions, and the feelings we’re left with when we fall asleep each +night.

+

For the past year I have spoken with designers, artists and makers +finding out how they spend their time in everyday life, what they +believe and how they feel. In our dreams we feel the weird bits the +most: hmm a bit uncomfortable, ooh that gave me a fright, aah so, so +sad. Through performances, online tools and storytelling, I want to hold +these dreams together, to unite our experiences. Online I have made tools to gather +stories and tools to tell them. I have facilitated group dream re-enactments (a few times), using felt dolls to share our night time +theatre.

+

stephen kerr is a graphic designer or a musician or a very weird +and long dream.

+ + +
-
-

Secondly, during my studies at XPUB, I plan to combine different -strands of my practices (design, music, programming, theatre). Being a -designer is an important part of my identity, and I am keen to make work -true to who I am.

-
-

Excerpt from xpub application letter, March 15th 2022.

-
-

I cut my thumb so every time I type i can feel it in my nerve -endings. Not true, it’s my left thumb so I don’t type with it. Not true, -I feel it anyway. Why are most of the function keys on the left of the -keyboard. What’s so functional about pressing buttons. Stephen Kerr is a -designer and musician based in. Have you ever loved an instrument? The -Ctrl key broke like four times since I moved here. I have one more -replacement because I bought a bunch of them but at some point I gave up -and use an external keyboard. I dunno I’m more confused than ever. It -was something to do with dreams and working. It’s the middle of the -night I’m writing this on my phone. If I had a dream this is when I -would be writing it. The memory is fuzzy: either I don’t remember or it -didn’t make sense in the first place. It was something to do with -fuzziness and memory no wait. Phones don’t have keyboards in real life -this doesn’t make sense. I’m trying to type but I don’t think I can get -it on the way to the office for the weekend and I think it was a good -idea to do it and I was thinking about you and I was thinking of you and -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

- - + +
- - + +
- - + +
- - + +
+Web page to share and read labour dreams. Scroll down for more. +
- + +
+Interactive dream telling. Click then type your story. +
+
+
+ +Zwart Institute, Rotterdam.
- + +Meets Radical Openness, Linz.
Where do dreams come from?
-
- - -
-
- - -
+

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.

+ + + + + + + -![Where do dreams come from?](../stephen/dizzy.jpeg) + + + + + + + + + -![do you ever dream about work? Online research and publication where we shared our dreams, worries, rants, designs. The answers to the question are published together as a collection of voices.](../stephen/form.png) -![Keyboard of things designers have said. Our feelings about work.](../stephen/wood-keyboard.jpeg) +