I made this play for you; it’s a question to keep us alive together. Is all intimacy about bodies? What happens when our bodies distance intimacy from us?
Backplaces is a web-based play. A short anthology of poems and stories about vulnerability, intimacy, and the internet. It explores the internet as a place for holding big feelings and intimacy when it is unbearable. As an homage to those who have been vulnerable with me I created "backplaces". They are tender online spaces for relief and acknowledgement of societal pain.
Backplaces is a web-based play. A short anthology of poems and stories about vulnerability, intimacy, and the internet. It explores the internet as a place for holding big feelings and intimacy when it is unbearable. As a homage to those who have been vulnerable with me, I created "backplaces". They are tender online spaces for relief and acknowledgement of societal pain.
Some of these stories may evoke memories of pain. As you sit in the audience, know I am with you. If it feels overwhelming, you can step out, take a break, or leave. This isn't choreographed, and I care for you.
I hope you see what I saw in these stories. Sweet dreams now, and I'll talk to you soon.
<br><br>
@ -78,7 +78,7 @@ whisper your feelings to me.</figcaption>
</figure>
<p>Cake Intimacies is a performance that took a year to bring together. It is a small selection of stories people told me that I held to memory and rewrote here. The stories come from two performances I hosted.
<br>
In the first, I asked participants to eat cake, sitting facing or away from each other, and share stories about cake and the internet. I hosted the second performance at the Art Meets Radical Openness Festival. There I predicted participants' future internet lives using felted archetypes. In return I received stories about feeling strong emotions on the internet.<br/>
In the first, I asked participants to eat cake, sitting facing or away from each other, and share stories about cake and the internet. I hosted the second performance at the Art Meets Radical Openness Festival. There I predicted participants' future internet lives using felted archetypes. In return, I received stories about feeling strong emotions on the internet.<br/>
</p>
<figure>
<imgsrc="cake1.png"
@ -110,5 +110,5 @@ alt="Accept My Cookies, biscuits for the performance." />
@ -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.\
{.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
{.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.\
{.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.\
{.image-95}
@ -41,26 +41,26 @@ alt="WDKA- Winjhaven Building- February 2024- reading of act0 and act1" />
reading of act0 and act1</figcaption>
</figure>
<p>This project appeared as a need to explore potential bureaucratic
dramaturgies within the educational institution I was part as a student.
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.</p>
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.</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
construct my personal paperwork story, unraveling the actual struggles
<p>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.</p>
@ -79,18 +79,15 @@ deregistration”</figcaption>
</figure>
<p><imgsrc="../aglaia/dereg2.png"/></p>
<p>I perceive the document as a unit and as the fundamental symbolic
interface of the bureaucratic network. The transformation of the
materiality of a document into a scenario to be enacted collectively in
public aims to examine these artifacts and highlight the shrouded
performative elements of these processes.</p>
interface of the bureaucratic network. The transformation of the materiality of a document into a scenario to be enacted collectively in public aims to examine these artefacts and highlight the shrouded performative elements of these processes.</p>
<p>I see the collective readings of these scenarios as a way of instant
publishing and as a communal tool of inspecting bureaucratic bordering
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 theater.</p>
invited people to perform the play together, like a tiny theatre.</p>
<figure>
<imgsrc="../aglaia/AMRO_all.jpg"
alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
@ -112,9 +109,9 @@ of Act 5 and Act 6</figcaption>
<p>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
dramaturgical speech through vocalizing a document and turning individual
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
@ -126,4 +123,4 @@ different recordings and soundscapes of these public moments, a vocal
archive, published in the graduation exhibition of XPUB in 2024.</p>
{.half-image}
This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part 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.
@ -15,29 +15,33 @@ Talking Documents are performative bureaucratic text inspections that intend to
Central element of this project is a seven-act scenario that construct my personal paperwork story, unraveling 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 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.
{.full-image}
{.full-image}
{.full-image}
{.full-image}
I perceive the document as a unit and as the fundamental symbolic interface of the bureaucratic network. The transformation of the materiality of a document into a scenario to be enacted collectively in public aims to examine these artifacts and highlight the shrouded performative elements of these processes.
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.
{.image-80}
{.half-image}
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.
I documented and recorded these public acts and I re-created the collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024.
{.full-image}
This thesis is an assemblage<sup><spanclass="margin-note">I live somewhere in the margins of scattered references, footnotes, citations, examinations embracing the inconvenience of talking back to myself, to the reader and to all those people whose ideas gave soul to the text. I shelter in the borderlands of the pages my fragmented thoughts, flying words, introspections, voices. Enlightenment and inspiration given by the text “Dear Science” written by Katherine McKittrick.</span></sup> of thoughts, experiences, interpretations, intuitive explorations of what borders are, attempting to unleash a conversation concerning the entangled relation between material injurious borders and bureaucracy. I unravel empirically the thread of how borders as entities are manifested and (de)established. How does the lived experience of crossing multiple borders change and under what conditions?
@ -32,14 +34,16 @@ In the third and last chapter, I bridge the written text with the ongoing projec
---
## borders
> “on the other side is the river
> and I cannot cross it
> on the other side is the sea
> I cannot bridge it”
> (Anzaldua, 1987)
---
## borders
How a border is defined? How, as an entity, does it define? How is it performed? I used to think of borders in a material concrete way, coming from a country of the European South that constitutes a rigid, violent border that repulses and kills thousands of migrants and refugees. In the following chapter, I will attempt to explore the terrain of material borders in relation to bureaucracy as another multi-layered filter.
What constitutes a border? Is it a wall, a line, a fence, a machine, a door, an armed body or a wound on the land? When somebody crosses a border are they consciously aware of the act of crossing? I am crossing the pedestrian street and walking on the white stripes to reach the pedestrian route right across. Are the white stripes a border or a territory to be crossed to reach another situation? Does the way I perform my walking when I step onto the white stripes change? Is there any embodied knowledge about what could be classified as border? Under which circumstances does this knowledge become canonical? I hop over a fence that separates one garden from another. What if instead of assuming that the fence is a device or a furniture or a material of enclosure, it is just part of the same land? The process or act of jumping a fence can be itself a moment of segregation and a moment of re-establishing or demonstrating the bordering function of it.
@ -86,15 +90,13 @@ The notion of hospitality is excessively instrumentalized within the Greek conte
Hospitality can function as a filtration mechanism that permits access – lets in – the ones who deserve it, those who have “passports, valid visas, adequate bank statements, or invitations” (Khosravi, 2010). By doing this, unproductive hospitality is being avoided due to sovereign state’s border regulations and checks. Conditional hospitality, is about worthiness, is directed towards migrants deemed good and productive – skilled and capable for assimilation- or a tiny minority of vulnerable and marginalized asylum seekers who lack representation. Only in a world where the nation-state’s boundaries have been dismantled and where the undocumented, stateless, non-citizens are unconditionally accepted, only at this moment, we are able to imagine the “political and ethical survival of humankind” (Agamben, 2000). Hospitality does not seem a matter of choice but a profound urgency, if humanity desires to foster a future together.
#### “the right to have rights”
(Arendt, as cited by Khosravi, 2010, p.121)
#### “the right to have rights”<sup><spanclass="margin-note">(Arendt, as cited by Khosravi, 2010, p.121)</span></sup>
What about the crossers who managed to travel and reach the desirable “there”, the ones who transcended the borders and the control checks of the ministries of defense(7), the ones who enter but do not own papers, the paperless? What does it mean to be documented and what is inefficiently documented within a territory? They are threatened if they get caught by authorities and also according to the official narrative, they threaten. Since the physical mechanisms of bordering did not succeed in repulsing them, the bureaucratic border appears as an additional layer of filtration. The undocumented are non-citizens, they might be crossers or burners(8), both, or even none. “Undocumented migrants and unauthorized border crossers are polluted and polluting because of their very unclassifiability” (Borelli, Poy, Rué, 2023). The loss of citizenship, denaturalisation, makes somebody denaturalised, they are rendered unnatural. “Citizenship has become the nature of being human” (Koshravi, 2010).
According to Hannah Arendt, the right to have rights and claim somebody else’s rights is the only human right (Arendt, as cited by Khosravi, 2010, p. 121). The foundational issue with the Universal Declaration of Human Rights is its dependence on the nation-state system. Since human rights are grounded on civil rights, which are essentially citizens’ rights, human rights are tied to the nation-state system. Consequently, human rights can be materialized only in a political community. “Loss of citizenship also means loss of human rights” (Khosravi, 2010)
> “…<sup><spanclass="margin-note">This is a transcribed recording of my phone during a protest on migration at Dam Square in Amsterdam. I insert part of the speech of a Palestinian woman addressing the matter of undocumentedness. Date and time of the recording 18th of June 2023, 15:05.</span></sup>I am here for the rights of the children which haven't be in the taking part in the education since they have undocumented mothers and they are more than *<sup><span class="margin-note">“*” means undecipherable</span></sup> years. I am here to represent mothers who are looking for a place to have a sense of belonging or how long are you trying to continue humiliating them and the female gender. I am here to express my frustration with IND<sup><spanclass="margin-note">Immigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service</span></sup>. So frustrated. And I will not stop talking about democracy. Democracy is the rule of law where everybody feels included. Democracy is a rule of law where everybody feels * We, undocumented people, we don't feel a sense of belonging from the system."
> “…<sup><spanclass="margin-note">This is a transcribed recording of my phone during a protest on migration at Dam Square in Amsterdam. I insert part of the speech of a Palestinian woman addressing the matter of undocumentedness. Date and time of the recording 18th of June 2023, 15:05. “✶” means undecipherable</span></sup>I am here for the rights of the children which haven't be in the taking part in the education since they have undocumented mothers and they are more than ✶ years. I am here to represent mothers who are looking for a place to have a sense of belonging or how long are you trying to continue humiliating them and the female gender. I am here to express my frustration with IND<sup><spanclass="margin-note">Immigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service</span></sup>. So frustrated. And I will not stop talking about democracy. Democracy is the rule of law where everybody feels included. Democracy is a rule of law where everybody feels * We, undocumented people, we don't feel a sense of belonging from the system."
---
@ -104,7 +106,7 @@ Apart from the rigid visible borders, bureaucracy related to migrants, refugees
Bureaucratic documents especially those related to migration, can become territories or should be interpreted “as sites where social interactions happen, where power relations unfold and are contested” (Cretton, Geoffrion, 2021). When these bureaucratic objects are used and manipulated, they can constitute sites of “confrontation, reproduction, negotiation and performance” (Cretton, Geoffrion, 2021) shaping social relations and producing meaning.
Bureaucracy related to asylum seekers reveals the profound bordering nature of these practices, as a continuous process of producing otherness. Accordingly, I see bureaucracy as a practice that raises material and symbolic walls for specific groups of people who are rendered unwanted and unwelcome because they dared to cross the borders of the Global North. It is as if they could never manage to eventually arrive and shelter their lives within the desirable “there”<sup><spanclass="margin-note">I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries.</span></sup>. “In these bordering processes, we can detect the “coloniality of asylum”<sup><spanclass="margin-note">In this text they insert the concept of the “coloniality of asylum” introduced by Picozza, which talks about how asylum systems are intertwined with colonial legacies and power dynamics. These systems are often colonial structures reinforcing hierarchies between nations and reproducing patterns of domination and oppression. In this framework, asylum is not just about offering protection but also about regulating and managing populations in a way that reflects colonial relationships.</span></sup> (Borelli, Poy, Rué, 2023). Bureaucracies in practice act as filters, determining who, from an institutional standpoint, deserves to receive protection and who does not. They operate as systems that classify non-citizens and place them in a social hierarchy of disproportionate unequal obligations, lack of rights and access to institutional support.
Bureaucracy related to asylum seekers reveals the profound bordering nature of these practices, as a continuous process of producing otherness. Accordingly, I see bureaucracy as a practice that raises material and symbolic walls for specific groups of people who are rendered unwanted and unwelcome because they dared to cross the borders of the Global North.<sup><spanclass="margin-note">I am referring to the desirable potential destinations of migrants and refugees corresponding mainly to Global North countries.</span></sup> It is as if they could never manage to eventually arrive and shelter their lives within the desirable “there”. “In these bordering processes, we can detect the “coloniality of asylum” (Borelli, Poy, Rué, 2023).<sup><spanclass="margin-note">In this text they insert the concept of the “coloniality of asylum” introduced by Picozza, which talks about how asylum systems are intertwined with colonial legacies and power dynamics. These systems are often colonial structures reinforcing hierarchies between nations and reproducing patterns of domination and oppression. In this framework, asylum is not just about offering protection but also about regulating and managing populations in a way that reflects colonial relationships.</span></sup> Bureaucracies in practice act as filters, determining who, from an institutional standpoint, deserves to receive protection and who does not. They operate as systems that classify non-citizens and place them in a social hierarchy of disproportionate unequal obligations, lack of rights and access to institutional support.
### higher education's expanding bureaucracy
@ -143,6 +145,7 @@ Undoubtedly the success of bureaucracy is drawn from its efficiency in relation
There is a great materiality in bureaucracies. Bureaucratic procedures are often compared to a labyrinth which appears as a similarly complex structure constituted by simple geometrical shapes (Weber, as cited by Cunningham, 2017, p.310). Bureaucratic documents can be complicated and multiple due to this infinite accumulation of really simple but at the same time contradictory elements. A constant juxtaposition of letters, symbols, stamps, signatures, paper, ink, barcodes, QR codes within a circuit of workers, interweaved and interconnected offices, repetitive performative tasks and rituals.
Underneath every bureaucratic document, there is a good amount of graphic design labor. What kind of visual strategy is embedded in administrative objects that the design aspect of these artifacts appears to be invisible? The material decisions applied as well as the material constraints attributed to the document can transform or produce different textual meanings and consequently understandings.
> “This does not mean that constraints limit meaning, but on the contrary, constitute it; meaning cannot appear where freedom is absolute or nonexistent: the stem of meaning is that of a supervised freedom”
> (Roland Barthes, 1983)
@ -155,9 +158,8 @@ One month ago (from the writing present), my friend Chae made for my birthday th
In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards them<sup><spanclass="margin-note">I am referring to those people subjecting others to bureaucratic circles shaped by structurally violent situations as well as people in positions of privilege who deliberately ignore these facts.</span></sup>. Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors.
---
{.image-95}
---
@ -194,7 +196,7 @@ These 'rituals' are components of a larger “culture of evidence”, serving as
---
{.full-image}
---
@ -210,11 +212,11 @@ These 'rituals' are components of a larger “culture of evidence”, serving as
**Reflections-Thoughts:** Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene.
The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where 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.
{.half-image}
---
{.full-image}
---
@ -234,15 +236,10 @@ The provided context of this “play” was a social library hosting a masters c
We read the embedded signs, symbols, categories, texts, magical numbers in our passports that construct our profiles. Seeing someone's passport, ID cards, visas, travel documents might mean that you are able to understand how easy or not is for them to move, what are their travel paths, how departure or arrival is smooth or cruel. Are there emotions along the way? For some people these are documents “that embody power — minimal or no waiting, peaceful departure, warm and confident arrival” (Khosravi, 2021).
---
---
{.full-image}
![Part of the A6 booklet of the transcription of the passport readings session]
---
@ -261,7 +258,7 @@ The first and the last moment of the performance was during a semi-public tryout
---
{.full-image}
---
@ -277,11 +274,11 @@ My intention is to facilitate a series of collective performative readings of bu
Vulnerable Interfaces is a catalogue of work producted within the context of the Master of Arts in Fine art and Design: Experimental Publishing (XPUB) at the Piet Zwart Insititute, Willem de Kooning Academy, Rotterdam. Special thanks goes to the XPUB staff for their expert help and guidance. More information available at vulnerable-interfaces.xpub.nl
# Colophon
### Special thanks to
Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia Pereira, Leslie Robbins, Steve Rushton, Kimmy Spreeuwenberg, Marloes de Valk.
vulnerable-interfaces.xpub.nl
### Research, editing and production
Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year 2022-2024)
Special thanks goes to the XPUB staff for their expert help and guidance: Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia Pereira, Steve Rushton, Kimmy Spreeuwenberg, Marloes de Valk and in particular Leslie Robbins for her years of inexplicable exceptionalism.
### Print run
200 copies
Created by: Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year 2022–24)
### Printed and bound at
Publication Station, Willem De Kooning Academy, Rotterdam
Print run: 200 copies
### Paper
Clairefontaine Dune 80gsm, *cover paper*
Printed and bound at: Publication Station, Willem De Kooning Academy, Rotterdam
### Typefaces
Platypi by David Sargent.
Paper stock: Clairefontaine Dune 80gsm, Clairefontaine Paint-On Denim 250gsm.
### Photography and illustration
Unless otherwise stated, all photography, illustrations and other types of visualisations in this publication are created by the same authors as the text. That which is below is like that which is above, and that which is above is like that which is below, to do the miracle of one only thing.
Typeface: Platypi by David Sargent, licensed under the SIL Open Font License, Version 1.1.
### Digital tools
Writing in Etherpad. Version control in git. Design in Inkscape. Layout in paged.js. Printing in Adobe Acrobat.
Photography and illustration: Unless otherwise stated, all photography, illustrations and other types of visualisations in this publication are created by the same authors as the text.
### Licensing information
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).
Digital tools: Writing in Etherpad. Version control in git. Design in Inkscape. Layout in paged.js. Printing in Adobe Acrobat.
### Postal address
Master of Arts in Fine Art and Design: Experimental Publishing,
Piet Zwart Institute,
P.O. Box 1272,
3000 BG Rotterdam,
The Netherlands.
Licensing information: 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).
### Visiting address
Wijnhaven 61,
4th floor,
3011 WJ Rotterdam,
The Netherlands.
Experimental Publishiiiiiing, <br>
Wijnhaven 61, <br>
4th floor, <br>
3011 WJ Rotterdam, <br>
The Netherlands.<br>
### XPUB
XPUB is the Master of Arts in Fine Art and Design: Experimental Publishing of the Piet Zwart Institute. XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.
Experimental Publishing is some experiences or feelings of being in xpub for two years.
<ahref="/stephen/index.html"class=" content">What do graphic designers do all day, and why do they do it, and what does “graphic design” even mean?</a>
*Internal. A reader holds a book in their hands. The first page of the book is opened, the reader holds it to their face and smells the paper, touches it. The book touches them back.*
##### *Internal. A reader holds a book in their hands. The first page of the book is opened, the reader holds it to their face and smells the paper, touches it. The book touches them back.*
**the book (whispering in the reader's ear):**
**the book: (whispering in the reader's ear)**
Being vulnerable means being transparent, open and brave, trusting others to handle stories with care. By publicly sharing and processing our narratives, we take ownership of our experiences while contributing to a collective voice. Even when we incorporate stories from others, our names remain attached to this collective creation: Ada, Aglaia, Irmak, Stephen. We have created interfaces highlighting the balance between communal sharing, individual responsibility and awareness.
**the reader:**
Interfaces?
**the book:**
Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces.
Interfaces are boundaries that
connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces.
**the reader (confused):**
**the reader: (confused)**
What do you mean a collection, like a catalogue?
<divclass="xpub3">
**the book:**
Yeah I guess. I weave the words and the works we created during...
@ -34,9 +37,11 @@ we?
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.
A Prototype for Interactive Children’s Literature</h3>
<p>Wink is a prototype for an interactive picture book platform. This
platform aims to make reading into a mindfull and thought provoking
platform aims to make reading into a mindful 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
within one narrative and sound. Today, when consumerism and low
attention span are rising issues, 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>
<figure>
@ -63,15 +63,10 @@ alt="“From the event at Leeszaal West. Some of the results of knotting text”
<figcaptionaria-hidden="true">“From the event at Leeszaal West. Some of
the results of knotting text”</figcaption>
</figure>
<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,
<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 a 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 as many options
for children as there are for adults; such as ebooks, audiobooks etc. But
moreover, a “book” that can be redefined, reread or interacted with.
So I revisited an old story I wrote, translated it to English and named it
“Bee Within”.</p>
<figure>
<imgsrc="../irmak/print3.jpg"
@ -110,7 +105,7 @@ book”</figcaption>
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
and eventually re-formed non digitally to be reachable to all
children.</p>
<figure>
<imgsrc="../irmak/twine.png"
@ -125,8 +120,8 @@ alt="“Click game story of the Queen Bee that is reachable within Maya’s main
<figcaptionaria-hidden="true">“Click game story of the Queen Bee that
is reachable within Maya’s main storyline.”</figcaption>
</figure>
<p>Here is some more documentation from the beggining of this journey
towards making accesible interactive narratives…</p>
<p>Here is some documentation from the beginning of this journey
towards making accessible interactive narratives…</p>
<figure>
<imgsrc="../irmak/animationseq.png"
alt="“A small sequence of onclick animation for Bee Within”" />
### A Prototype for Interactive Children's Literature
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.
{.half-image}
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.
{.image-95}
Teachers and parents were finding it difficult to find new books constantly or were tired of rereading the same book.
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".
{.image-95}
{.image-95}
{.image-95}
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.
{.image-95}
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 called it, "Bee Within".
Bee Within, is a story about grief/memory 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.
{.half-image}
{.image-95}
{.image-95}
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.
{.half-image}
{.image-95}
{.image-95}
Here is some more documentation from the beggining of this journey towards making accesible interactive narratives...
{.image-95}
{.half-image}
### Fair 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 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.
<figure>
<imgsrc="../irmak/unnamed.png"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
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 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
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?
{.image-80}
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 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 knots was 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 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 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 difference in how you understand the same text.
<figure>
<imgsrc="../irmak/knot1.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
<br>
<figure>
<imgsrc="../irmak/knot2.jpeg"
alt="knot words from Leeszaal" />
<figcaptionaria-hidden="true">knot words from Leeszaal</figcaption>
</figure>
Seeing how these words, interpretations of a physical object were so 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
could be used to let something loose or to restrain it; for pleasure or
pain; for going high above or down below… I believe this diversity of
uses can also be seen in how people approach knots as an idea or a
metaphor. One can think it represents chaos where someone else might see
it as a helpful mark. Essentially, this diversity is what got me
interested in knots years ago and since then, I have found ways to
implement this “loop of thought” in my daily life and research
methods.
There are two main reasons to why I chose to write this essay in a
“knotted” format. One is that I would like to share my process and
progress of research on this project and this involves “thinking with an
object”, in this case types of knots. In Evocative Objects, Sherry
Turkle, who is a sociologist and the founder of MIT initiative of
technology and self, refers to the object in the exercise of thinking as
emotional and intellectual companions that anchor memory, sustain
relationships and provoke new ideas. I completely agree with this
statement through personal experience. The second reason is that I see
this as an opportunity to experiment if I can use knots as an
interactive (which is not in knots’ nature since they are mainly
practiced in solo) and playful element in writing. This is also why I
would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in
specific.
For Turkle and Seymour Papert, who is a mathematician, computer
scientist and educator that did remarkable research on constructivism,
being able to make a reading experience tangible, or even physically
representable makes the process of thought more concrete. Concrete
thinking in this sense is a way of thinking that I adapted to in the
past years, where you think with the object and imagine it vividly
during the process and address meanings to it as you read or write
along. This way it’s easier to compartmentalize or attribute certain
parts of a text to an imagined or real physical item which makes the
mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself
as the journey and 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 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” 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 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.
This is why I humbly decided to document my research process with a
Quipu of my own. I am trying to symbolize the twists, decisions and
practices throughout this year with knots of my choosing. I was inspired
by Nayeli Vega’s question, “What can a knot become and what can become a
knot?”
{.image-95}
{.image-95}
Seeing how these words, interpretations of a physical object were so 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 could be used to let something loose or
to restrain it; for pleasure or pain; for going high above or down below… I believe this diversity
of uses can also be seen in how people approach knots as an idea or a metaphor. One can think it represents chaos where someone else might see it as a helpful mark. Essentially, this diversity
is what got me interested in knots years ago and since then, I have found ways to implement this
“loop of thought” in my daily life and research methods.
<sectionclass="loops">
There are two main reasons to why I chose to write this essay in a “knotted” format. One is that
I would like to share my process and progress of research on this project and this involves
“thinking with an object”, in this case types of knots. In Evocative Objects, Sherry Turkle,
who is a sociologist and the founder of MIT initiative of technology and self, refers to the object in the exercise of thinking as emotional and intellectual companions that anchor memory, sustain relationships and provoke new ideas. I completely agree with this statement through personal experience. The second reason is that I see this as an opportunity to experiment if I can use knots as an interactive (which is not in knots’ nature since they are mainly practiced in solo) and playful element in writing.
This is also why I would like to take a moment to mention what happens to the interplay of
processes in which we call thought when we think with knots in specific.
For Turkle and Seymour Papert, who is a mathematician, computer scientist and educator that did
remarkable research on constructivism, being able to make a reading experience tangible, or even
physically representable makes the process of thought more concrete. Concrete thinking in this sense
is a way of thinking that I adapted to in the past years, where you think with the object and imagine
it vividly during the process and address meanings to it as you read or write along. This way it’s easier to compartmentalize or attribute certain parts of a text to an imagined or real physical item which makes the mind at ease with complex chains of thought.
Imagine you are reading a story… What if you think of the string itself as the journey and 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…
<sup><spanclass="margin-note"><imgsrc="../irmak/slipknot.png">Slipknot is widely used for catching small animals like rabbits and snares. It is also commonly used to tie packages.</span></sup>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 end of a string; it’s strong but easy to tie, untie. Due to these qualities, we can imagine the bowline<sup><spanclass="margin-note"><imgsrc="../irmak/bowline.png">Bowline is known to be used since 1627. Some believe it was used in Ancient Egypt because a knot resembling it was discovered in the tomb of pharaoh Cheops. Even after it's used and very tight, bowline is still easy to untie, which makes it commonly used.</span></sup> 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” 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 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 affairs.<sup><spanclass="margin-note"><imgsrc="../irmak/square.png">Square knot is one of the oldest knots. Romans knew it as Hercules knot. A roman scholar claimed that it speeds up healing when used to secure a bandage. It is often used to tie belts and shoe laces.</span></sup>
This is why I humbly decided to document my research process with a Quipu of my own. I am trying to symbolize the twists, decisions and practices throughout this year with knots of my choosing. I was inspired by Nayeli Vega’s question, “What can a knot become and what can become a knot?”
## WEAVING INTO THE TEXT
This thesis expects participation from its reader. You have the
option to have a mode of reading, where you will be guided by strings to
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.
This thesis expects participation from its reader. You have the <sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">Broken knots are knots that aren't tied well, done with a wrong material or was under more pressure than it could take.</span></sup>option to have a mode of reading, where you will be guided by strings to This thesis expects participation from its reader. You have the option to have a mode of reading, where you will be guided by strings to 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.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Bends are joining knots. They attach two strings together. The bend above is a sheet bend and it works well when koining two different strings and can take stress.</span></sup>
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 text will become in a way, non-linear by your personal
experience.
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 different colors that will get you through the text. This way, the linear text will become in a way, non-linear by your personal experience.
Bear in mind that you can choose to read this thesis from beginning to end as a single string too if you wish so.
Combine mode of reading is for readers who are more interested in the
journey and the connections between process and result. Slide mode of
reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the 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. 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!
Combine mode of reading is for readers who are more interested in the journey and the connections between process and result. Slide mode of reading is for more laid back readers who aren’t looking to connect
ideas but are more focused on the motivation and purpose of the project. Build readers are detail oriented and academic readers who would prefer a “traditional” lead to reading.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">Hitches are used to tie strings to a standing solid object.</span></sup>
Alongside the different strings to follow the text, there will be little drawings in the margins as seen above, which will have different 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 own experiences/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!
## 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.
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.
@ -194,7 +115,7 @@ will always be incomplete because of the natural ambiguity the topic carries. Ye
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.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">I wrote and deleted and rewrote the story 3 times already.</span></sup>
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
and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was
@ -209,9 +130,11 @@ story is actually a personal history of how I went through grief in diff erent s
me realise that it doesn’t have to be or even can be a perfect story.
In the end with the experience I had with loss, 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
remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting.
The effect of storytelling knowledge on kids’ development and creativity. What can
we learn from open ended and multiple ending stories?
@ -221,7 +144,7 @@ read, mimic and express their feelings over time. The more children read, write
to social environments, the more they widen their sense and ability of expressing themselves. The
language gained as kids comes in many forms and storytelling plays a crucial role in this development.
The exposure to stories prepares the kids to the era of reading and writing. Children come
to understand and value feelings through conversation (Dettore, 2002). When children are offered
to understand and value feelings through conversation (Dettore, 2002). When children are offered
to read or share stories, they also learn to understand people around them better and gain emotional
literacy.
@ -244,10 +167,10 @@ dence of constructing a world, a character or an adventure. Although this is ess
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
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has effects
world (Ryan, 2009). When we are set to create or co-create a world, the narrative has effects
on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to
keep these three emotions.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">Multiliteracy theory helped me ground my passion of using multimedia for children's literature.</span></sup>
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
@ -284,8 +207,12 @@ rest of this thesis: What is an interactive picture book? Is it a book? Is it a
What is it defined as? How can we design an interactive reading environment without confusing
children?
### Loop 3
Diff erences and similarities between interactive e-books and storytelling games
@ -319,7 +248,8 @@ in mind the limited attention span and memory factors. For children in specific,
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
the interactive elements in the story.
the interactive elements in the story.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CASA framework helped me understand the key elements in designing for children.</span></sup>
Finding the balance between making the interactive element surprising and making it easy to
interact with is the key to designing for kids in this scenario. We don’t want to make them struggle
@ -327,14 +257,14 @@ and use the limited attention span in a non-engaging way but we want to keep the
enough so they want to continue.
Digging deeper into how to do this, I found Children Computer Interaction (CCI) study very
useful. This study examines how children of different ages and developmental stages interact with
useful. This study examines how children of different ages and developmental stages interact with
digital devices and how these interactions can support their growth. This made me think about
digital gestures; how they change through generations and how to use these to design a platform
where children can navigate easily and freely. CCI suggests that when introducing a new media
to children its better to start easy and clear when they try it. Through this I think the best easy
interaction is the tap or click for children. It is easy to do, instinctive and common. So I decided to
base the interactive elements on click animations.
<sup><spanclass="margin-note"><imgsrc="../irmak/unnamed-1.png">CCI was a theory that helped me decide on the interactive elements.</span></sup>
There are multiple ways to use digital gestures in storytelling to make the experience more intriguing.
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
@ -347,6 +277,7 @@ part of a page is interactive by clicking on images. Another thing I found out i
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
What is the target age group for the designated prototype and why?
@ -357,12 +288,10 @@ day by day increasing interest in play. They can take on roles in imaginative pl
can also share and take turns more, listen and think about rules of a game. They can form friendships
and connections easily.
School age children are between the ages 6-12, which is Wink’s chosen age group is a little diff erent.
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
stories and the reading process because of the developmental phase they are in.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">This data about school age children was a starting point to choose the age group to have the workshops with.</span></sup>
School age children are between the ages 6-12, which is Wink’s chosen age group is a little different.
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 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
their parents and circumstances. But to be fair, it is often not less than 2 hours. If a child isn’t very interested in spending these hours reading a book, why not ask them: “Would you like to be a part
@ -373,6 +302,8 @@ flipping the page of a book. This is why it is fairly easy to create an interact
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.
Limits of interactivity in narratives for children and why do we have less modes of
@ -381,8 +312,9 @@ reading and writing for children?
Although there are many upsides of creating digital environments for children due to their advanced
skills in technology from early ages, there are also risks involved in this where the kid can
be overwhelmed and confused due to the autonomy they receive. Reading a story is supposed to
be effortless and a good free time activity but with interactive picture books, it is slightly more
be effortless and a good free time activity but with interactive picture books, it is slightly more
than that and more complicated as an experience.
<sup><spanclass="margin-note"><imgsrc="../irmak/elbow.png">This is the elbow of our strings. Elbows are created when an additional twist is added to a loop. In this case, it represents the counter argument in the string.</span></sup>
First of all, with the story at hand, called Bee Within, there are two other stories in one. Although
the main story is about a little girl’s journey, kids get the chance to hear the Queen Bee’s story and
@ -396,14 +328,17 @@ Another aspect I am concerned about after the workshop I did with the kids, is t
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 different than what they are used to. This concerns me because they
interacting with Bee Within is different 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
are exposed to daily because they are always in a process of active learning. So one more thing to
learn might come as exhausting. Therefore, in designing, I want to make interactions as clear as
Interactive reading and writing examples and surveys done with kids
Interactive reading and writing examples and surveys done with kids.
As an improvisation theater enthusiast myself, I tried to engage the kids with the story through
some exercises and games during the workshops. My aim was to see how involved they want to
be in storytelling. Improvisation has a certain way of storytelling and interaction where there are
@ -413,15 +348,17 @@ improv games and warmups to involve the kids in the story more and see how they
characters from the picture book.
My first attempt was to make a survey at the end of workshops with kids to whether they liked it
or not, but when I researched further, surveying with kids has very different methods and complications.
or not, but when I researched further, surveying with kids has very different methods and complications.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">There is a broken knot here because I ended up not doing a survey with children at the workshops.</span></sup>
Most kids either really like or really dislike things. Finding the in between emotions with a survey,
ends up being vague. Most surveys done with kids use emoticons as representation of a good or
bad or average time. Instead, I chose to observe the environment and understand how much empathy
kids can off er in an interactive reading or playing environment.
kids can offer in an interactive reading or playing environment.
Interactivity in reading and writing in history. What changed?
@ -460,21 +399,17 @@ 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 different 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
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.
Dynabook by Alan Kay was prototyped during this time as a promising reading and writing device
designed for children.
The 21st century off ers a combination of text and illustrations in augmented reality books that
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 offered 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 different modes of reading as well. 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.
The 21st century offers a combination of text and illustrations in augmented reality books that
have animations, sound and external interactions. These are followed by digital storytelling platforms
like Wattpad and Storybird and interactive e-book apps such as Pibocco, Bookr and Tiny
Minies. Most of these apps are dedicated to education however and not solely to creativity. Their
@ -486,10 +421,11 @@ the delicacy of a narrative where you can only be a reader and the excitement of
writing and experiencing.
This is because I think the understanding and usage of media changed in the last years. Some
tools that created the awe effect for users faded and left their place to more compact designs.
tools that created the awe effect for users faded and left their place to more compact designs.
Although audio books were very welcome at some point, younger users nowadays prefer book
summary apps or podcasts to them. Of course they are still used and not outdated but there is
certainly a visible change to where media is heading.
Experimentation of creative exercises to be used in WINK. Exercises of storytelling
@ -502,6 +438,7 @@ which parts of the story the children found exiting and which ones are not so th
It also helped me draw the pictures for the book accordingly and edit the text with their reactions
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.
<sup><spanclass="margin-note"><imgsrc="../irmak/hitch.png">This loop is all about the observations I made during the workshops and the decisions I made, according to the results.</span></sup>
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
@ -533,35 +470,35 @@ want to see how their understanding changes without a limitation of a story.
Bees in the classroom that day were all very active and they used chairs, tables and windows to
position themselves in a higher perspective. Children who played the kid were usually standing
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
closer to the trees and looked very calm. Trees were all very different. One of the kids used postits
as leaves. Some of them didn’t have leaves because it is winter. Trees didn’t move at all and
the bees were buzzing all around. “The kid” usually sat near the tree, on the tree (as in the other
performers’ lap or hugged them).
Overall only 2 groups used the option to say a sentence which were,
> “I want to go on an adventure”
> “I don’t wanna leave Gray(the tree)”
*“I want to go on an adventure”*
*“I don’t wanna leave Gray(the tree)”*
This was a good feedback for me because I realized they are very perceptive of actions and facial
expressions rather than words.
The workshop we did in the studio with XPUB 2 students was harder than the session with the
kids because everyone felt so restricted to obligations and were not comfortable to let go of bodily
control. No one actually attempted in using objects from the room which is a huge difference with
control. No one actually attempted in using objects from the room which is a huge difference with
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
workshop was fruitful because it helped me realize how much information or guidance I have to
offer for children in order for them to be comfortable to participate and interact without confusion.
offer 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
different but they still got influenced by each other, which in my opinion is inevitable. Some of the
different 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 different attributions they gave to the characters.
see the different attributions they gave to the characters.
After the circle session, they separated in three groups: the kids, the bees and the trees. I asked
each group to come up, walk around randomly, embodying the character they chose. Then as I
@ -577,29 +514,30 @@ and put her red jacket on. This made me think about using color to show emotions
was good to see that they weren’t scared or discouraged by negative emotions as well. We ended
the workshop by drawing our characters. It was nice to see them own their imaginary characters
enough to draw them with joy.
<sup><spanclass="margin-note"><imgsrc="../irmak/broken.png">There is a broken knot here because I changed my mind about adding motional elements to the tree character. Kids seemed to see the tree as stationary.</span></sup>
The last workshop was dedicated to discovering the sound aspect. The tree in the story speaks
in verses so I chose one verse and read/performed it in a circle to begin with. Then I gave them
some instruments: a drum, a bell, aluminum folio, a balloon and a bubble wrap. I asked for a few
volunteers and they made sound effects as I read the verse very slowly. This went good and I saw
volunteers and they made sound effects as I read the verse very slowly. This went good and I saw
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
where they took turns to make effects for each sentence.
where they took turns to make effects for each sentence.
Then I made four groups of three. 3 kids as actors and 3 kids as foley actors. They buddied up
and made short scenes where one group made sounds effects to the others acting on stage. This
and made short scenes where one group made sounds effects to the others acting on stage. This
was the best part of this workshop because they could lead the actors with the sounds they made
or vice versa. This I think is very important because it shows that they like to be a part of or be
effective to the story itself. They were very creative in using the objects in the room and turning
effective to the story itself. They were very creative in using the objects in the room and turning
them into a tool for sound. They enjoyed to foley the bee and the other characters not so much.
Which showed me that I should focus on the sound of the bee in the prototype.
Overall, the workshops were very helpful for me to understand where to focus on as I develop. I
realized that some of the sound, color and movement animations I planned were too complicated
and I decided to make them more simplistic. I decided to animate the tree with only color because
I was effected by this one participant who took the red jacket to represent the tree was mad.
I was effected by this one participant who took the red jacket to represent the tree was mad.
For the bee I decided to focus on sound more. For the kid I decided to use more visual animations
to make it more interesting.
@ -611,17 +549,19 @@ the tree because it seemed like they needed more stimulation to be interested in
though a ‘reveal the story’ click game could keep them interested. For the bee, knowing they like
the character, I wanted to make it more like a game to give the kids a chance and autonomy to be
After many loops of thought, we are here at the standing end of the thesis. There is room for
more loops and knots in the future to secure this string of thought but for now, we have come to
the dock and rest ashore.
@ -652,57 +593,68 @@ tackle the desire of making something for children.
Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t
work. Some features that I think would work very well like the choice of writing didn’t go as
planned because multiple narratives is already too much. I realized I underestimated the effect of
planned because multiple narratives is already too much. I realized I underestimated the effect of
introducing a new media to children. This is why I decided to take it step by step with the interactivity.
Taking a step to make Wink and using the story I wrote and feel is 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.
</span></sup>
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.
</section>
## 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.
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Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as emotional archaeologists,”
Childhood education, 78(5), pp.278–281. doi:
10.1080/00094056.2002.10522741.
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Ingold, T. (2015) The life of lines.London, England: Routledge.
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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,”
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.
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Papert, S. and Papert, S. A. (2020) Mindstorms
(revised): Children, computers, and powerful ideas. London, England:
Basic Books.
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stories: Toward a poetics of interactive narrative,” StoryWorlds A
Journal of Narrative Studies, 1(1), pp.43–59. doi: 10.1353/stw.0.0003.
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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.
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Strohecker, C. (ed.) (1978) Why knot? MIT.
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The Effect of Multimodality in Increasing Motivation and Collaboration among
4th CSE EFL Students (no date).
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Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT
Press.
<br>
Urton, M. M. &. (2018) The khipu code: the knotty mystery of
the Inkas’ 3D records, aeon. Available at: https://
Thank you Marloes de Valk, for your enlightening feedbacks and ideas. Thank you Michael Murtaugh, Manetta Berends, Joseph Knierzinger, Leslie Robbins and Steve Rushton for sharing your time and knowledge with me throughout these years.
Thank you XPUB friends for funny, hectic and memorable moments we made together.
Thanks to my family and especially Kemal, my brother, who supported me in my studies and encouraged me to do better, always...
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.
In the Special Issue 19, How do we library that? or alternatively 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 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 approachability. However, does every book and each person feel welcome in these spaces? Publications are empty leaves if there is no one to read them. Libraries are soulless storage rooms if there is no one to visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context.
Libraries as complex social infrastructures.
Like community gardens, libraries are about tenderness and approachability. However, does every book and each person feel welcome in these spaces? Publications are empty leaves if there is no one to read them. Libraries are soulless storage rooms if there is no one to visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context. Libraries as complex social infrastructures.
The release of the Special Issue 19 was a momentary snapshot of the current state of a library seen through the metaphor of gardening; pruning, gleaning, growing, grafting and harvesting. Garden Leeszaal is an open conversation; a collective writing tool, a cooperative collage and an archive. We asked everyone to think of the library as a garden. For us, being a gardener means caring; caring for the people and books that form this space.
During the collective moment in Leeszaal people started diving into recycle bins, grabbing books, tearing pages apart, drawing, pen 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.
{.full-image}
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{.image-95}
@ -38,9 +41,7 @@ During the collective moment in Leeszaal people started diving into recycle bins
@ -48,3 +49,5 @@ During the collective moment in Leeszaal people started diving into recycle bins
@ -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
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.</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." />
<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
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>
@ -30,20 +30,20 @@ TTY was produced in april-june 2023 as special issue 21 with guest editor Martin
@ -39,14 +40,13 @@ For the past year I have spoken with designers, artists and makers finding out h
<figcaption>Interactive dream telling. Click then type your story.</figcaption>
</figure>
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### 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}.
.
<!--  -->
@ -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).
<figure>
<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="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>
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{.image-95}
{.image-95}
<figure>
<imgsrc="po-valley2.png"style="margin-top: 95mm;"alt="The Po Valley, The Roman Empire, 268 BCE."/><figcaptionaria-hidden="true">The Po Valley, The Roman Empire, 268 BCE.</figcaption>
</figure>
{.image-45}
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{.image-45}
ada
1 month ago
