diff --git a/.DS_Store b/.DS_Store index 73ff905..49bfa31 100644 Binary files a/.DS_Store and b/.DS_Store differ diff --git a/ada/index.md b/ada/index.md index a085fd1..d3a78d0 100644 --- a/ada/index.md +++ b/ada/index.md @@ -4,6 +4,14 @@ author: Ada --- +--- + +--- + +--- + +--- + # Backplaces vulnerable-interfaces.xpub.nl/backplaces diff --git a/aglaia/.DS_Store b/aglaia/.DS_Store index 8e922e2..54de7e4 100644 Binary files a/aglaia/.DS_Store and b/aglaia/.DS_Store differ diff --git a/aglaia/index.md b/aglaia/index.md index fb674c1..c9a9015 100644 --- a/aglaia/index.md +++ b/aglaia/index.md @@ -6,10 +6,6 @@ author: Aglaia # Talking Documents ---- - -### - ![WDKA- Winjhaven Building- February 2024- reading of act0 and act1](../aglaia/wijnhaven.JPG){.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. @@ -31,8 +27,6 @@ I perceive the document as a unit and as the fundamental symbolic interface of t I see the collective readings of these scenarios as a way of instant publishing and as a communal tool of inspecting bureaucratic bordering infrastructures. How can these re-enactments be situated in different institutional contexts and examine their structures? I organized a series of performative readings of my own bureaucratic literature in different spaces and contexts, pubic and semi-public WDKA, Art Meets Radical Openness Festival in Linz, the City Hall of Rotterdam where I invited people to perform the play together, like a tiny theater. ---- - ![Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent](../aglaia/AMRO_all.jpg){.half-image} ![ ](../aglaia/AMRO_kamo.jpg){.image-80} @@ -48,7 +42,7 @@ I documented and recorded these public acts and I re-created the collectively vo ![City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6](../aglaia/gemeente_front.jpg) -![The statue in the garden of Gemeente is reading the scenario](../aglaia/statue_garden.jpg){.full-image} +![The statue in the garden of Gemeente is reading the scenario](../aglaia/statue_garden.jpg){.full-image .white-caption} --- diff --git a/aglaia/passport.png b/aglaia/passport.png new file mode 100644 index 0000000..613de86 Binary files /dev/null and b/aglaia/passport.png differ diff --git a/aglaia/passport1.png b/aglaia/passport1.png deleted file mode 100644 index 468148d..0000000 Binary files a/aglaia/passport1.png and /dev/null differ diff --git a/aglaia/thesis.md b/aglaia/thesis.md index 65d3a7b..2665f4f 100644 --- a/aglaia/thesis.md +++ b/aglaia/thesis.md @@ -10,15 +10,17 @@ author: Aglaia
+
+ ## introduction This thesis is an assemblageI 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. 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? -The eastern Mediterranean borderlandI use the word borderland to refer to Greece as a (mostly) transit zone in the migrants’ and refugees’ route towards Europe., I happened to come from, proves to be one of Europe’s deadly borders towards specific ethnic groups. The embodied experience of borders and practices of (im)mobility change radically depending on the various identities of the people crossing them. As I moved to the Netherlands I started more actively perceiving bureaucracy as another multi-layered border. I was wondering how this situation is shifted and transformed moving towards the European North. What is the role of bureaucracy and how it could be perceived as a mechanism of repulsion for some bodies - a camouflaged border? +The eastern Mediterranean borderland,I use the word borderland to refer to Greece as a (mostly) transit zone in the migrants’ and refugees’ route towards Europe. I happened to come from, proves to be one of Europe’s deadly borders towards specific ethnic groups. The embodied experience of borders and practices of (im)mobility change radically depending on the various identities of the people crossing them. As I moved to the Netherlands I started more actively perceiving bureaucracy as another multi-layered border. I was wondering how this situation is shifted and transformed moving towards the European North. What is the role of bureaucracy and how it could be perceived as a mechanism of repulsion for some bodies - a camouflaged border? But what is my starting point and where does my precarious body fit within the borders that I am touching? The language of the administrative document is rigid and hurtful but myself lies between the margins of these lines. This thesis does not consist of an excessive inquiry about the profoundly complex concepts of borders and bureaucracy. On the contrary, it is initiated by personal concerns, awareness and my positioning. I choose to structure my argument and talk through a personal process that is being unfolded in parallel with the writing period. Accordingly, these words are dynamically being reshaped due to the material constraints of the bureaucratic timeline. A more distant approach became personal and tangible with auto-ethnographicalI perceive auto-ethnography as a way to place myself, my lived experiences, my identities, reflections in the (artistic) research and talk through them about structures and within the structures of social, cultural, political frameworks. elements as I was trying to squish myself and my urgencies under these thresholds and fit the A4 document lines. -I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe barrier“Passports still function as a technology to control movement. Technologies like RFID chips and face recognition are part of a control system for digital state surveillance. Designing a passport is relative to design a surveillance tool. The analysis of passport designs rarely looks at the social consequences of identification, control, and restriction of movement, which can have violent consequences.” (Ruben Pater, 2021). I do not intend in any respect to compare my case to the lived experiences and struggles of migrants and refugees. I utilize the paperwork interface of my smaller-scale story in order to unravel and foreground the aforementioned questions. +I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe barrier“Passports still function as a technology to control movement. Technologies like RFID chips and face recognition are part of a control system for digital state surveillance. Designing a passport is relative to design a surveillance tool. The analysis of passport designs rarely looks at the social consequences of identification, control, and restriction of movement, which can have violent consequences.” (Pater, 2021). I do not intend in any respect to compare my case to the lived experiences and struggles of migrants and refugees. I utilize the paperwork interface of my smaller-scale story in order to unravel and foreground the aforementioned questions. This thesis is very much indebted to some text-vehicles that mobilized my reflections and nourished the writing process. "Illegal Traveller, an autoethnography of borders" and "Waiting, a Project in conversation" both written by Shahram Khosravi as well as "The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy" by the anarchist anthropologist David Graeber. Graeber initiated his research utilizing the horrendous prolonged bureaucratic processes he had to follow in order to place his sick mother in a nursing home. In parallel, Khosravi’s work is itself the outgrowth of his own 'embodied experience of borders', of ethnographic fieldwork among undocumented migrants. I found valuable and inspiring in both texts the personal filter through which they articulate their positioning and develop critique. @@ -26,8 +28,9 @@ I follow a zoom-in approach in mapping my thoughts beginning from the large-scal In the second chapter, I unpack bureaucracy and focus on its bordering function. From migration ghost bureaucracies to the educational bureaucracies of my surroundings to even smaller components of this apparatus. I end up analyzing the document as a unit within this complex network. Through the "interrogation" of the form as an artifact are emerging issues related to language, graphic design and transparency, universality, and underlying violence. -In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. Talking documents(5) are performative bureaucratic text inspections, vocal and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible vulnerability. +In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. Talking documents are performative bureaucratic text inspections, vocal and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible vulnerability. +--- > “on the other side is the river > and I cannot cross it @@ -36,7 +39,7 @@ In the third and last chapter, I bridge the written text with the ongoing projec > (Anzaldua, 1987) -## borders +### 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. @@ -76,7 +79,9 @@ Waiting can be considered as a dramaturgical means embedded in bureaucratic proc Contemporary border practices mirror past colonial practices, as they exploit migrants' time by keeping them in prolonged waiting, “like the way colonial capitalism transformed lands to wastelands to plunder the wealth underneath” (Khosravi, 2021). The current border regime, known by extended waiting periods and constant delays, is part of a larger project aimed at taking away wealth, labor, and time through colonial accumulation and immediate expulsion. -When someone opens their house to a guest, a stranger, someone in need, means that they open their property to someone. Hospitality is interweaved with a sense of ownership over something. Expanding the concept of hospitality to a nation-scale, we could say that the nation-building process involves people asserting artificial ownership over a territory even if they do not own any property within this land. +When someone opens their house to a guest, a stranger, someone in need, means that they open their property to someone. Hospitality is interweaved with a sense of ownership over something. Expanding the concept of hospitality to a nation-scale, we could say that the nation-building process involves people asserting artificial ownership over a territory + +even if they do not own any property within this land. Conditional hospitality is tied to a sense of offering back to the home-land-nation-state-country as a way to win or trade your permission to enter and enjoy the hospitality of a place. Coming from specific places in comparison to others, having to offer some special skills or your labor - if it is asked for - can be possible conditions that may allow somebody to receive hospitality. I would say that an efficient check of these conditions is regularly facilitated through bureaucratic channels. The concept of unconditional-conditional hospitality is closely related to exchange. When you do not have something to offer according to the needs or expectations of a “household”, you may not receive the gift of hospitality. @@ -86,11 +91,13 @@ Hospitality can function as a filtration mechanism that permits access – lets #### “the right to have rights”(Arendt, as cited by Khosravi, 2010, p.121) -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). +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 defenseOne of the tactics for regulating or preventing the so-called unproductive hospitality is border control checks. According to the website of the Ministry of Defense of the Netherlands, “the Royal Netherlands Marechaussee (RNLM) combats cross-border crime and makes an important contribution to national security. Checks are still performed at the external borders of the Schengen area. In the Netherlands, this means guarding the European external border at airports and seaports, and along the coast. By participating in Frontex, the European border control agency, the RNLM makes an important contribution to the control of Europe’s external borders in other EU member states. There is one single EU external border.” (Border Controls, 2017), 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 burnersI would like to refer to the practice of Harragas introduced by my friend Rabab as a counter-act of dealing or breaking or burning the multilayered borders. The burners or Harragas is a term alluding to the migrants’ practice of burning their identity papers and personal documents in order to prevent identification by authorities in Europe. Crucially this moving out is in defiance of the bureaucratic rules and their elaborate visa systems. Those who engage in harraga, ‘burn’ borders to enter European territories. “They do not, however, burn the bridges to the people and places they depart from. To these, they keep all kinds of links. For, as they burn borders, they don’t move away from their place of origin. Harraga is about expanding living space” (M’charek, 2020)., 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) -> “…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 undecipherableI 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 INDImmigratie- en Naturalisatiedienst - Dutch Immigration and Naturalisation Service. 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." +> “…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 undecipherableI 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 INDDutch Immigration and Naturalisation Service. 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." ## bureaucracy as immaterial border @@ -109,6 +116,8 @@ I gradually started perceiving the bureaucratic apparatus as an omnipresent imma The contradiction embedded in many cultural and educational institutions lies in the level of unawareness regarding surveillance via multiple bureaucratic rituals that (re)produce docile behaviors. How these mechanisms are masked and standing in the margins of the visible nonvisible sphere. +--- + > “This is what makes it possible, for example, for graduate students to be able to spend days in the stacks of university libraries poring over Foucault-inspired theoretical tracts about the declining importance of coercion as a factor in modern life without ever reflecting on that fact that, had they insisted their right to enter the stacks without showing a properly stamped and validated ID, armed men would have been summoned to physically remove them, using whatever force might be required.” > (Graeber, 2015) @@ -121,10 +130,14 @@ The genuine essence of education is not bureaucratic at all, neither does it hav From fences and armed police to nation-state mechanism of less-material bordering to bureaucracy to the elements of bureaucracy to the document itself as the minimum unit of an apparatus. Understanding and unhiding the violence of a form -violence materialized and at the same time camouflaged by the language structure, the vocabulary, the graphic design, their ability to render subjectivities that fit and don’t fit within the controlled territory of the lines of the form. A language that fragments, classifies, places and un-places. Thus bureaucratic apparatus is something more than a metaphor it is also a symbol. It is hard to see that there are many more layers beneath the purpose it propagates. A metaphor that is so perfectly materialized as well as naturalized that you cannot even see it. +--- + #### bureaucracy as textual institution The bureaucratic apparatus can be considered as something more than an infrastructure that organizes institutions, markets, states, etc. It can constitute itself an institution, a textual institution. As the factory generates commodities and sets them within a circuit of motion, bureaucracy generates documents and sets them throughout a communicative circuitry (Cunningham, 2017). An institution that organizes and (infra)structures other institutions and similarly reproduces itself through text. The materiality of a text document reflects the ideology of the interconnected institutions and their underlying bureaucratic systems. Language occupies a dual contradictory role as the foundational element of bureaucracy. Language can become a shroud to conceal the violence and reinforce hierarchical structures and simultaneously can be transformed into the rigid rational cell itself. They shape their own narratives, they reflect the institutional narratives. +--- + #### the myth of universality One of the great powers of bureaucracies is their ability to render themselves transparent. It seems that bureaucracy does not have to say anything more beyond itself, is self-referential and self-contained. It is boring or most likely is supposed to be boring. “One can describe the ritual surrounding it. One can observe how people talk about or react to it” (Graeber, 2015). The supposed universality of the form which is carefully constructed can be partly attributed to the individuality and impersonality of many bureaucratic processes. “Bureaucracies operate through an assemblage of hierarchy, impersonality, and procedure in order to complete organizational tasks with maximum efficiency” (Weber, as cited by Cunningham, 2017, p. 307). @@ -223,7 +236,7 @@ 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). -![Part of the A6 booklet of the transcription of the passport readings session](../aglaia/passport1.png){.full-image} +![ . ](../aglaia/passport.png){.full-image .white-caption} --- @@ -259,12 +272,14 @@ My intention is to facilitate a series of collective performative readings of bu --- -#### “we didn’t cross the border, the border crossed us” +#### “we didn’t cross the border, the border crossed us”US Immigrant Rights Movement Slogan (Keshavarz, 2016) As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able to pass through smoothly, carrying my magical object through which I embody power- at least within this context. However, I yearn for a reality where we stop looking at those bodies that cross the multifaceted borders and get crossed and entrenched by them, but on the contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful. --- +
+
## Bibliography diff --git a/colophon/index.md b/colophon/index.md index 9de0afc..71f64c4 100644 --- a/colophon/index.md +++ b/colophon/index.md @@ -6,6 +6,8 @@ author: Stephen and Ada
+--- + # Colophon vulnerable-interfaces.xpub.nl diff --git a/introduction/index.md b/introduction/index.md index be55aa4..32eef33 100644 --- a/introduction/index.md +++ b/introduction/index.md @@ -5,6 +5,8 @@ author: --- --- +--- + # Introduction ## Act 1. ### Scene 1. @@ -22,7 +24,7 @@ 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)** -What do you mean a collection, like a catalogue? +What do you mean, like a catalogue?
**the book:** diff --git a/print/fairleads.css b/print/fairleads.css index 7359753..12b9cd2 100644 --- a/print/fairleads.css +++ b/print/fairleads.css @@ -47,6 +47,42 @@ display: none; } .loops .note-marker::before{ -display: none; + display: none; } +.but-not-loops{ + background-image: none; + .margin-note{ + color: var(--spot-color-1); + padding: 0 5mm 0 0; + margin-top: 0mm; + margin-bottom: 0mm; + margin-left: 10mm; + } + .pagedjs_right_page .margin-note{ + margin-top: 0mm; + margin-bottom: 0mm; +} +} +.but-not-loops .note-marker::before, +.but-not-loops .note-call{ + display: inline; +} +.but-not-loops blockquote{ +margin: var(--baseline) 0; +} +body .loops.but-not-loops .margin-note.wide-margin-note{ + width: 80mm; + margin-top: 10mm; + height: 90mm; + background: none; +} +.but-not-loops figure{ +margin-left: -40mm; +} +.but-not-loops figure{ +margin-left: -40mm; +} +.pagedjs_right_page .but-not-loops figure{ +margin-left: -15mm; +} diff --git a/print/index.html b/print/index.html index af351a3..a7bf98f 100644 --- a/print/index.html +++ b/print/index.html @@ -18,35 +18,35 @@ -
  • Backplaces
    • +
  • <?water bodies>
    • -
  • <?water bodies>
    • +
  • Backplaces
    • -
  • Talking Documents
    • +
  • Performing the Bureaucratic Border(line)s
    • -
  • Performing the Bureaucratic Border(line)s
    • +
  • Talking Documents
    • -
  • Wink!
    • +
  • Fair Leads
    • -
  • Fair Leads
    • +
  • Wink!
    • -
  • Do you ever dream about work?
    • +
  • ⊞
    • -
  • ⊞
    • +
  • Do you ever dream about work?
    • @@ -81,6 +81,7 @@
    +

    Introduction

    Act 1.

    Scene 1.

    @@ -103,8 +104,8 @@ 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) What do you mean a -collection, like a catalogue?

    +

    the reader: (confused) What do you mean, like a +catalogue?

    the book: Yeah I guess. I weave the words and the works we created during…

    @@ -144,119 +145,6 @@ alt="Photo by Leslie Robbins" />
    -

    Backplaces

    -

    vulnerable-interfaces.xpub.nl/backplaces

    -

    Hi.
    -I made this play for you. It is a question, for us to hold together.

    -

    Is all intimacy about bodies? What is it about our bodies that makes -intimacy? What happens when our bodies distance intimacy from us? This -small anthology of poems and short stories lives with these -questions—about having a body without intimacy and intimacy without a -body. This project is also a homage to everyone who has come before and -alongside me, sharing their vulnerability and emotions on the Internet. -I called the places where these things happen backplaces. They are -small, tender online rooms where people experiencing societally -uncomfortable pain can find relief, ease, and transcendence.
    -

    -

    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.
    -

    -
    - - -
    -

    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.
    -

    -
    - - -
    -
    - - -
    -

    Hermit Fantasy is a short story about a bot who wants to be a hermit. -Inspired by an email response from a survey I conducted about receiving -emotional support on the Internet, this story explores the contradiction -of being online while wanting to disconnect. As an act it’s a series of -letters, click by click.
    -

    -
    -The first letter. - -
    -
    - - -
    -

    Cake Intimacies is a performance that took a year to bring together. -It is a small selection of stories people told me and I held to memory -and rewrote here. The stories come from two performances I hosted. -First, I asked participants to eat cake, sitting facing or away from -each other and sharing their stories about cake and the Internet. The -second performance was hosted at the Art Meets Radical Openness -Festival, as part of the Turning of the Internet workshop. For this -performance, I predicted participants’ future lives on the Internet -using felted archetypes and received stories from their Internet past in -return. Now the stories are here, each of them a cake with a filling -that tells a story, merging the bodily with the digital and making a -mess of it all.
    -

    -
    - - -
    -
    - - -
    -

    The 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.
    -

    -
    - - -
    - -
    - - - - -

    <?water bodies>

    A narrative exploration of
    divergent digital intimacies @@ -1016,102 +904,13 @@ University of Nebraska Press.
    -<<<<<<< HEAD - -
    -

    Talking Documents

    -
    -

    -
    - - -
    -

    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.

    -

    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 -in order to unravel and foreground questions related to the role of -bureaucracy as less material border and as a regulatory mechanism -reflecting narratives, ideologies, policies.

    -

    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.

    -

    -

    -

    -

    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.

    + +
    +
    -
    - - -
    -

    -

    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.

    -
    - - -
    -
    - - -======= - -
    -

    Backplaces

    +

    Backplaces

    vulnerable-interfaces.xpub.nl/backplaces

    Hi.
    I made this play for you. It is a question, for us to hold together.

    @@ -1212,40 +1011,25 @@ story in. A great big mess of transcendence into the digital, of intimacy and of bodies. The way it always is. Thankfully.

    -<<<<<<< HEAD Accept My Cookies, biscuits for the performance. -======= -Accept My Cookies, biscuits for the performance.
    Accept My Cookies, biscuits for the performance.
    ->>>>>>> 5264c0f25c152d3370ff159766536dec0e9fc515 ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c
    -<<<<<<< HEAD - -
    -

    Performing the -Bureaucratic Border(line)s

    -=======
    -<<<<<<< HEAD

    Performing the Bureaucratic Border(line)s

    -======= -

    Performing the Bureaucratic Border(line)s

    ->>>>>>> 5264c0f25c152d3370ff159766536dec0e9fc515 ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c
    +

    introduction

    This thesis is an assemblageI live somewhere in the margins of scattered references, footnotes, citations, @@ -1260,9 +1044,9 @@ 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?

    -

    The eastern Mediterranean borderlandI +

    The eastern Mediterranean borderland,I use the word borderland to refer to Greece as a (mostly) transit zone in -the migrants’ and refugees’ route towards Europe., I +the migrants’ and refugees’ route towards Europe. I happened to come from, proves to be one of Europe’s deadly borders towards specific ethnic groups. The embodied experience of borders and practices of (im)mobility change radically depending on the various @@ -1301,9 +1085,9 @@ recognition are part of a control system for digital state surveillance. Designing a passport is relative to design a surveillance tool. The analysis of passport designs rarely looks at the social consequences of identification, control, and restriction of movement, which can have -violent consequences.” (Ruben Pater, 2021). I do not intend -in any respect to compare my case to the lived experiences and struggles -of migrants and refugees. I utilize the paperwork interface of my +violent consequences.” (Pater, 2021). I do not intend in +any respect to compare my case to the lived experiences and struggles of +migrants and refugees. I utilize the paperwork interface of my smaller-scale story in order to unravel and foreground the aforementioned questions.

    This thesis is very much indebted to some text-vehicles that @@ -1339,12 +1123,13 @@ transparency, universality, and underlying violence.

    In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. -Talking documents(5) are performative bureaucratic text inspections, -vocal and non-vocal, that intend to create temporal public interventions +Talking documents are performative bureaucratic text inspections, vocal +and non-vocal, that intend to create temporal public interventions through performative readings. The intention is to underline how the vocalization of bureaucracies as a tool can potentially reveal their territorial exclusive function and provide space for the invisible vulnerability.

    +

    “on the other side is the river
    and I cannot cross it
    @@ -1352,7 +1137,7 @@ on the other side is the sea
    I cannot bridge it”
    (Anzaldua, 1987)

    -

    borders

    +

    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 @@ -1466,8 +1251,8 @@ need, means that they open their property to someone. Hospitality is interweaved with a sense of ownership over something. Expanding the concept of hospitality to a nation-scale, we could say that the nation-building process involves people asserting artificial ownership -over a territory even if they do not own any property within this -land.

    +over a territory

    +

    even if they do not own any property within this land.

    Conditional hospitality is tied to a sense of offering back to the home-land-nation-state-country as a way to win or trade your permission to enter and enjoy the hospitality of a place. Coming from specific @@ -1508,19 +1293,44 @@ right to have rights”(Arendt, as cited by Khosravi, 2010, p.121)

    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).

    +the ministries of defenseOne of the +tactics for regulating or preventing the so-called unproductive +hospitality is border control checks. According to the website of the +Ministry of Defense of the Netherlands, “the Royal Netherlands +Marechaussee (RNLM) combats cross-border crime and makes an important +contribution to national security. Checks are still performed at the +external borders of the Schengen area. In the Netherlands, this means +guarding the European external border at airports and seaports, and +along the coast. By participating in Frontex, the European border +control agency, the RNLM makes an important contribution to the control +of Europe’s external borders in other EU member states. There is one +single EU external border.” (Border Controls, 2017), 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 +burnersI would like to +refer to the practice of Harragas introduced by my friend Rabab as a +counter-act of dealing or breaking or burning the multilayered borders. +The burners or Harragas is a term alluding to the migrants’ practice of +burning their identity papers and personal documents in order to prevent +identification by authorities in Europe. Crucially this moving out is in +defiance of the bureaucratic rules and their elaborate visa systems. +Those who engage in harraga, ‘burn’ borders to enter European +territories. “They do not, however, burn the bridges to the people and +places they depart from. To these, they keep all kinds of links. For, as +they burn borders, they don’t move away from their place of origin. +Harraga is about expanding living space” (M’charek, 2020)., +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 @@ -1541,12 +1351,11 @@ 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 -INDImmigratie- en Naturalisatiedienst - -Dutch Immigration and Naturalisation Service. 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.”

    +INDDutch Immigration and Naturalisation +Service. 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.”

    bureaucracy as immaterial border

    @@ -1614,6 +1423,7 @@ institutions lies in the level of unawareness regarding surveillance via multiple bureaucratic rituals that (re)produce docile behaviors. How these mechanisms are masked and standing in the margins of the visible nonvisible sphere.

    +

    “This is what makes it possible, for example, for graduate students to be able to spend days in the stacks of university libraries poring @@ -1654,6 +1464,7 @@ bureaucratic apparatus is something more than a metaphor it is also a symbol. It is hard to see that there are many more layers beneath the purpose it propagates. A metaphor that is so perfectly materialized as well as naturalized that you cannot even see it.

    +

    bureaucracy as textual institution

    The bureaucratic apparatus can be considered as something more than @@ -1670,6 +1481,7 @@ element of bureaucracy. Language can become a shroud to conceal the violence and reinforce hierarchical structures and simultaneously can be transformed into the rigid rational cell itself. They shape their own narratives, they reflect the institutional narratives.

    +

    the myth of universality

    One of the great powers of bureaucracies is their ability to render themselves transparent. It seems that bureaucracy does not have to say @@ -1972,10 +1784,9 @@ along the way? For some people these are documents “that embody power — minimal or no waiting, peaceful departure, warm and confident arrival” (Khosravi, 2021).

    - - + +

    4.

    @@ -2078,8 +1889,11 @@ alt="." />
    -

    “we didn’t -cross the border, the border crossed us”

    +

    “we +didn’t cross the border, the border crossed us”US Immigrant Rights Movement Slogan (Keshavarz, +2016)

    As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able @@ -2091,6 +1905,7 @@ contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful.

    +

    Bibliography

    Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, @@ -2151,130 +1966,14 @@ and solidarity in the wake of Europe’s refugee crisis. London: Rowman - -

    -
    -

    Wink!

    -
    -

    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.

    + +
    +

    Talking Documents

    -<<<<<<< HEAD WDKA- Winjhaven Building- February 2024- reading of act0 and act1 -======= -<<<<<<< HEAD - - -
    -

    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.

    -
    - - -
    -

    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 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.

    -
    - - -
    -
    - - -
    -
    - - -
    -

    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.

    -
    - - -
    -
    - - -
    -
    - - -
    -
    - - -
    -
    - - -======= -WDKA- Winjhaven Building- February 2024- reading of act0 and act1
    WDKA- Winjhaven Building- February 2024- reading of act0 and act1
    ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c

    This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. @@ -2335,7 +2034,6 @@ 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.

    -
    Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent @@ -2368,15 +2066,10 @@ alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" /> of Act 5 and Act 6
    -<<<<<<< HEAD -The statue in the garden of Gemeente is reading the scenario -======= -The statue in the garden of Gemeente is reading the scenario
    The statue in the garden of Gemeente is reading the scenario
    ->>>>>>> 5264c0f25c152d3370ff159766536dec0e9fc515 ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c
    @@ -2385,8 +2078,8 @@ reading the scenario - -
    + +

    Fair Leads

    Fair @@ -2588,13 +2281,8 @@ numeric order, according to their color/mode.

    1 1 1

    Loop 1

    -<<<<<<< HEAD

    Working End

    Why am I doing this?

    -======= -

    Why am I doing this?

    -<<<<<<< HEAD ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c

    My desire to write a children’s book about grief and memory ignited when I was studying in college and doing an internship in a publishing house in Ankara. I was struggling to process a loss I experienced at the @@ -2630,11 +2318,7 @@ because it always felt incomplete. In a way it will always be incomplete because of the natural ambiguity the topic carries. Years later, grief was back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned changed again as I attempted to rewrite it -<<<<<<< HEAD as a different version of myself with a different understanding of -======= -as a diff erent version of myself with a diff erent understanding of ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c death. And this went on… The story remained hidden and I forgot why it ever existed in the first place. I wrote and deleted @@ -2646,31 +2330,20 @@ strangers at the same time. I lost two dear friends, I was furious, away from home, mostly alone and remembered vividly my failed attempt to understand or place grief in one of the piles in my mind.

    Previous months, I was working on this story (yes, again) but didn’t -<<<<<<< HEAD know how to tackle the text because it was so different to what I was -======= -know how to tackle the text because it was so diff erent to what I was ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c experiencing now, when compared to the last time I rewrote it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept tracing back to 2016 and step by step, remembered why, as told above. The consciousness that this story is actually a personal -<<<<<<< HEAD history of how I went through grief in different stages of my life, made me realise



    that it doesn’t have to be or even can be a perfect story.

    -======= -history of how I went through grief in diff erent stages of my life, -made me realise that it doesn’t have to be or even can be a perfect -story.

    ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c

    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. 11 7 4

    -<<<<<<< HEAD

    Loop 2

    The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending @@ -2764,118 +2437,6 @@ for me that lead to the rest of this thesis: What is an interactive picture book? Is it a book? Is it a game? Is it an exercise? What is it defined as? How can we design an interactive reading environment without confusing children?

    -======= -

    Loop 2

    -

    The effect of storytelling knowledge on kids’ development and -creativity. What can we learn from open ended and multiple ending -stories?

    -

    ability to form basic stories or to express their emotions through -fictional characters or events. Children are not born with a wide -vocabulary of emotions and expressions. They learn how to read, mimic -and express their feelings over time. The more children read, write and -are exposed to social environments, the more they widen their sense and -ability of expressing themselves. The 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 read or share -stories, they also learn to understand people around them better and -gain emotional literacy.

    -

    Storytelling has been a means of communicating with others for many -centuries. It is not only a way to discuss important events, but also a -way to entertain one another (Lawrence & Paige, 2013). Stories have -been told orally, in writing or with drawings for thousands of years and -some of these stories are still alive. This is because language is a -living thing that travels through time and still remains brand new. When -necessary, it just adapts form, evolves and blends in with the changing -world. Children comprehend the idea that they have a story to tell by -hearing other stories and this ignites the imagination. We tend to -forget many things but almost everyone remembers one small story they -heard or read when they were a kid, this moment we remember is the -moment a certain story sparked for us.

    -

    Nowadays storytelling takes many forms. For example, some readers’ -story might even begin from here although it isn’t the beginning. -Interactivity is one of the storytelling forms that can signifi- cantly -improve children’s creativity. This is mainly because children as -readers or listeners get to contribute and affect the story. This of -course requires and improves creative and active thinking. Getting the -chance to choose a path for a fictional character gives the child the -freedom and confi dence of constructing a world, a character or an -adventure. Although this is essentially “writing” as we know it, -children think of this as a game, yet to discover they are actually -becoming writers. What kind of reward can we expect from active -participation in a story? Narrative pleasure can be generally described -in terms of immersions (spatial, temporal, emotional, epistemic) in a -fictional 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. Multiliteracy -theory helped me ground my passion of using multimedia for children’s -literature. 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 responsibility towards their -creations. It is basically the same in theatre where if an actor chooses -to create an imaginary suitcase on stage, they can’t simply leave this -object they created on stage and exit the scene because the audience -will wonder why the actor didn’t take the imaginary suitcase as they -left. In this case, when kids decide to choose a path or item or any -attribute for a character in a story, they feel responsible and curious -to see it through to the end or decide what to do with it. This -interactivity therefore creates a unique bond between the reader/writer -and the text.

    -

    There are many theories on how to approach interactive literature for -children. Multi-literacy theory and digital literacies are some of the -theories which I find relevant to my aim with Wink. Multiliteracy theory -in a nutshell is an education oriented framework that aims to expand -traditional reading and writing skills. This theory was developed by the -New London Group. They were a collective of scholars and educators who -addressed the changing nature of literacy in an increasingly globalized, -digital world. The theory explores multiple modes of communication -consisting The sense of storytelling settles for kids, starting from age -three. By this time, children have the of multimodal communication, -cultural and social contexts, critical inquiry, socio-cultural learning -theory and pedagogical implications. Multimodal communication focuses on -the variety of communication techniques. This was groundbreaking in the -90s because of its acknowledgment of a diverse range of literacies and -its departure from traditional approaches to literary texts. This theory -includes new media and communication studies such as visual, digital, -special and gestural literacies.

    -

    I kept this theory in mind as I chose the interactivity elements to -use in the picture book. I think the usage of multiple media such as -sound, image and games is a good way to start and diff erentiate from a -regular interactive e-book. The fact that this theory has an educational -perspective and is taking the rapidly changing qualities of literature -seriously, made me consider it as a guide in designing the -prototype.

    -

    Looking through the perspective of multiliteracies, questions come up -for me that lead to the rest of this thesis: What is an interactive -picture book? Is it a book? Is it a game? Is it an exercise?

    -

    What is it defined as? How can we design an interactive reading -environment without confusing children?

    -

    8 9 -5

    -======= -

    My desire to write a children’s book about grief and memory ignited when I was studying in college and doing an internship in a publishing house in Ankara. I was struggling to process a loss I experienced at the time and to find something to cling to on a daily basis. Then one day I started hearing a buzzing sound in my bedroom at my family’s house. I searched everywhere but couldn’t find the source for this noise. I asked my father and he started searching too. A couple of days passed and the buzzing was still there.

    -

    One day I found a bee on the floor in my bedroom and realized that the bees nested on the roof and were coming inside my room through a gap in the lamp. I was terrified because I have an allergy to bees and thought they might sting me in my sleep. This moment was when I realized I was so determined to find this buzzing sound for some time that I forgot about dealing with the loss I was experiencing. This made me feel very guilty and I remember thinking I betrayed the person I lost.

    -

    As funny as it may appear, I felt like I was sabotaged by these bees that I thought were here to hurt me but in the end they made me understand that its ok to let things go and every being does what it has to do to find its way of survival. The little habitat that they chose to create in my room seemed like a calling or a sign that I can aff ect another living being significantly without being aware of it. This goes for everything, no matter if some people leave us in this world, they have living matter in us that keeps pulsing. So then I started researching bees and their ecosystems. I read Alan Watts, Alan Lightman, Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver Sacks, Joanna Macy, Rilke, Montaigne and theories on order in chaos, correlative vision, harmony of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly figured out the wisdom of not knowing things.

    -

    Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive today so many times and was waiting on it because it always felt incomplete. In a way it will always be incomplete because of the natural ambiguity the topic carries. Years later, grief was back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it ever existed in the first place. I wrote and deleted and rewrote the story 3 times already. 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 furious, away from home, mostly alone and remembered vividly my failed attempt to understand or place grief in one of the piles in my mind.

    -

    Previous months, I was working on this story (yes, again) but didn’t know how to tackle the text because it was so diff erent to what I was experiencing now, when compared to the last time I rewrote it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept tracing back to 2016 and step by step, remembered why, as told above. The consciousness that this story is actually a personal history of how I went through grief in diff erent stages of my life, made me realise that it doesn’t have to be or even can be a perfect story.

    -

    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. 11 7 4

    -

    Loop 2

    -

    The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories?

    -

    ability to form basic stories or to express their emotions through fictional characters or events. Children are not born with a wide vocabulary of emotions and expressions. They learn how to read, mimic and express their feelings over time. The more children read, write and are exposed to social environments, the more they widen their sense and ability of expressing themselves. The 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 read or share stories, they also learn to understand people around them better and gain emotional literacy.

    -

    Storytelling has been a means of communicating with others for many centuries. It is not only a way to discuss important events, but also a way to entertain one another (Lawrence & Paige, 2013). Stories have been told orally, in writing or with drawings for thousands of years and some of these stories are still alive. This is because language is a living thing that travels through time and still remains brand new. When necessary, it just adapts form, evolves and blends in with the changing world. Children comprehend the idea that they have a story to tell by hearing other stories and this ignites the imagination. We tend to forget many things but almost everyone remembers one small story they heard or read when they were a kid, this moment we remember is the moment a certain story sparked for us.

    -

    Nowadays storytelling takes many forms. For example, some readers’ story might even begin from here although it isn’t the beginning. Interactivity is one of the storytelling forms that can signifi- cantly improve children’s creativity. This is mainly because children as readers or listeners get to contribute and aff ect the story. This of course requires and improves creative and active thinking. Getting the chance to choose a path for a fictional character gives the child the freedom and confi dence of constructing a world, a character or an adventure. Although this is essentially “writing” as we know it, children think of this as a game, yet to discover they are actually becoming writers. What kind of reward can we expect from active participation in a story? Narrative pleasure can be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional 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. Multiliteracy theory helped me ground my passion of using multimedia for children’s literature. 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 responsibility towards their creations. It is basically the same in theatre where if an actor chooses to create an imaginary suitcase on stage, they can’t simply leave this object they created on stage and exit the scene because the audience will wonder why the actor didn’t take the imaginary suitcase as they left. In this case, when kids decide to choose a path or item or any attribute for a character in a story, they feel responsible and curious to see it through to the end or decide what to do with it. This interactivity therefore creates a unique bond between the reader/writer and the text.

    -

    There are many theories on how to approach interactive literature for children. Multi-literacy theory and digital literacies are some of the theories which I find relevant to my aim with Wink. Multiliteracy theory in a nutshell is an education oriented framework that aims to expand traditional reading and writing skills. This theory was developed by the New London Group. They were a collective of scholars and educators who addressed the changing nature of literacy in an increasingly globalized, digital world. The theory explores multiple modes of communication consisting The sense of storytelling settles for kids, starting from age three. By this time, children have the of multimodal communication, cultural and social contexts, critical inquiry, socio-cultural learning theory and pedagogical implications. Multimodal communication focuses on the variety of communication techniques. This was groundbreaking in the 90s because of its acknowledgment of a diverse range of literacies and its departure from traditional approaches to literary texts. This theory includes new media and communication studies such as visual, digital, special and gestural literacies.

    -

    I kept this theory in mind as I chose the interactivity elements to use in the picture book. I think the usage of multiple media such as sound, image and games is a good way to start and diff erentiate from a regular interactive e-book. The fact that this theory has an educational perspective and is taking the rapidly changing qualities of literature seriously, made me consider it as a guide in designing the prototype.

    -

    Looking through the perspective of multiliteracies, questions come up for me that lead to the rest of this thesis: What is an interactive picture book? Is it a book? Is it a game? Is it an exercise?

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    What is it defined as? How can we design an interactive reading environment without confusing children?

    -

    8 9 5

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    Loop 3

    8 9 5 Differences and similarities @@ -2910,10 +2471,6 @@ ambition, which is a good start to foster the love for reading. 11

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    Ways of using interactivity in digital platforms

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    CASA theory, also known as the Cognitive-Affective-Social Theory of Learning and Development, is a framework used in educational psychology to understand how learning occurs within the context of cognitive, @@ -2945,21 +2502,12 @@ 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. CCI was a theory -<<<<<<< HEAD that helped me decide on the interactive elements.

    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 experiencing an action-reaction. For older kids between the -======= -that helped me decide on the interactive elements. 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 experiencing an action-reaction. For older kids between the ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c ages 6-8, I made some workshops to figure out which types of interactive elements are most useful in engaging them in the reading process.

    It is true that sound and animations are very inclusive and it is @@ -2969,16 +2517,6 @@ 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 to the results of my research.

    -<<<<<<< HEAD -======= -======= -

    CASA theory, also known as the Cognitive-Aff ective-Social Theory of Learning and Development, is a framework used in educational psychology to understand how learning occurs within the context of cognitive, aff ective, and social factors. Research on cognitive learning with keeping in mind the limited attention span and memory factors. For children in specific, I think these are 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. CASA framework helped me understand the key elements in designing for children.

    -

    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 and use the limited attention span in a non-engaging way but we want to keep the reading interesting 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 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. CCI was a theory that helped me decide on the interactive elements. 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 experiencing an action-reaction. For older kids between the ages 6-8, I made some workshops to figure out which types of interactive elements are most useful in engaging them in the reading process.

    -

    It is true that sound and animations are very inclusive and it is engaging for kids to find out which part of a page is interactive by clicking on images. Another thing I found out is that kids enjoy being a part of the story. For the prototype of Bee Within (the story I am using to test interactivity also can be read in the appendix) I will focus on color, sound and click based animations according to the results of my research.

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    Loop 5

    4 3 2 What is the target age group @@ -3348,726 +2886,222 @@ also in correspondence with the workshops, I choose to test the sound and image along with one main and two small narratives.

    For future prototypes, I envision space to draw and write as a contribution to the story and maybe turning Wink into a hybrid format -with more autonomous features. For me, at this point, it’s valuable and -essential to see if my technique of combining narratives is working or -not.

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    12 12 -12

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    Loop 12

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    Standing End

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    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.

    -

    Reading this thesis with a string, using concrete thinking as a -technique to go through a research and text was a helpful exercise for -me and helped me mark my thoughts and ideas. The overarching theme of -knots and experimental approach to modes of reading was valuable for me -to share and try as an enthusiastic young writer. I like that I asked -the reader to interact with the thesis and follow paths accordingly.

    -

    It was enlightening to see the results of working with kids and be -able to see from their point of view and alter everything according to -these encounters. Using CCI and Multiliteracy theory as a guide to -approach the design and prototype was helpful in understanding how to -approach and 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 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.

    -
    -
    -

    Bibliography

    -

    Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, -new learning’, Pedagogies: An International Journal, 4(3), pp. 164–195. -doi:10.1080/15544800903076044.

    -

    Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as -emotional archaeologists,” Childhood education, 78(5), pp. 278–281. doi: -10.1080/00094056.2002.10522741.

    -

    Ingold, T. (2015) The life of lines.London, England: Routledge.

    -

    Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: -Teaching and learning through storytelling:What our ancestors knew: -Teaching and learning through storytelling,” New directions for adult -and continuing education, 2016(149), pp. 63–72. doi: -10.1002/ace.20177.

    -

    Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, -computers, and powerful ideas. London, England: Basic Books.

    -

    Ryan, M.-L. (2009) “From narrative games to playable stories: Toward -a poetics of interactive narrative,” StoryWorlds A Journal of Narrative -Studies, 1(1), pp. 43–59. doi: 10.1353/stw.0.0003.

    -

    Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros -and Cons,” in Quality Reading Instruction in the Age of Common Core -Standards. International Reading Association, pp. 176–189.

    -

    Strohecker, C. (ed.) (1978) Why knot? MIT.

    -

    The Effect of Multimodality in Increasing Motivation and -Collaboration among 4th CSE EFL Students (no date).

    -

    Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT -Press.

    -

    Urton, M. M. &. (2018) The khipu code: the knotty mystery of the -Inkas’ 3D records, aeon. Available at: https:// -aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records.

    -

    Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole -Life. Available at: https://wholelife.hkw.de/ -codes-in-knots-sensing-digital-memories/.

    -
    -

    Acknowledgements

    -

    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…

    -

    So long and thanks for all the fish!

    - -
    - - - - -
    -

    do you ever dream about -work?

    -

    stephen kerr, 2024

    -

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

    -

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

    -

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

    - - - -
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    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.

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    -Web page to share and read labour dreams. Scroll down for more. -
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    -Interactive dream telling. Click then type your story. -
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    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.

    ->>>>>>> 563e7d7a543dc75999f10235e940e55346a3738c -
    - - -
    -

    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.

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    Teachers and parents were finding it difficult to find new books -constantly or were tired of rereading the same book.

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    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.

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    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.

    -
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    -<<<<<<< HEAD - - -======= -A screenshot from Wink!
    A screenshot from Wink!
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    -

    .

    - - - - - - - - +
    + + + + +
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    Wink!

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    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.

    +
    + + +
    +

    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.

    +
    + + +
    +

    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 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.

    +
    + + +
    +
    + + +
    +
    + + +
    +
    +

    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.

    +
    + + +
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    ⊞

    @@ -5065,8 +4099,6 @@ Leslie, Manetta, Marloes, Michael, Rossi.

    -<<<<<<< HEAD -=======

    do you ever dream about @@ -5568,7 +4600,6 @@ I made this to explore why designers make design, based on Clifford Geertz's ide ->>>>>>> 5264c0f25c152d3370ff159766536dec0e9fc515

    Special Issues

    @@ -5713,16 +4744,15 @@ alt="Page of the second edition, containing scans of edited books and instructio -
    -The binding of the scans into the final book at the end of the evening.
    -The final book produced that evening, the cover was made from hand-stiched covers of discarded books. @@ -5836,6 +4866,8 @@ Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property.
    +
    +
    @@ -5858,8 +4890,7 @@ wd not be merely word or sheet, but itself, the xpression, three dimensional-able to be touched, or tasted or felt, or entered, or heard or carried like a speaking singing constantly communicating charm. A typewriter is corny!!

    -

    Amiri Baraka, Technology & Ethos, -http://www.soulsista.com/titanic/baraka.html

    +

    Amiri Baraka, Technology & Ethos

    -Encoding Convertor: the wacky world of character en-coding. @@ -6008,11 +5039,6 @@ during SI21

    Reviews

    - - -
    -
    Joseph Knierzinger @@ -6027,10 +5053,6 @@ alt="Michael Murtaugh" />
    -Steve Rushton - -
    -
    Boyana Stoilova
    @@ -6040,19 +5062,30 @@ alt="Kimmy Spreeuwenberg" />
    +Steve Rushton + +
    +
    Martino Morandi
    + + +
    +
    Simon Browne
    - - + +
    +
    +

    @@ -6060,8 +5093,9 @@ alt="Marloes de Valk" />
    -
    -

    Colophon

    +
    +
    +

    Colophon

    vulnerable-interfaces.xpub.nl

    Special thanks goes to the XPUB staff for their expert help and guidance: Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van @@ -6090,7 +5124,7 @@ License for more details. A copy of the license can be found on vulnerable-interfaces.xpub.nl/license.

    Experimental Publishiiiiiing,
    Wijnhaven 61,
    4th floor,
    3011 WJ Rotterdam,
    The Netherlands.

    -
    +
    diff --git a/print/print_style.css b/print/print_style.css index 28b78d7..5c5039f 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -92,7 +92,7 @@ body .margin-note{ /* This is overriding position absolute in the plugin, it breaks side notes that are too close to the bottom of the page which is sad */ - position: static; +/* position: static;*/ } blockquote .margin-note{ width: 45mm; @@ -160,6 +160,7 @@ h2 { } h1#colophon { + break-before: unset; break-after: unset; margin-bottom: 25mm; } diff --git a/print/stephen.css b/print/stephen.css index e7b0b69..0a19b31 100644 --- a/print/stephen.css +++ b/print/stephen.css @@ -1,11 +1,11 @@ - hr, h6{ +hr, h6{ break-before: page; display: none; - } + } #section-10{ - h1, h2, h3, h4, h5, h6{ +/* h1, h2, h3, h4, h5, h6{ break-before: page; } h3, h3 + br{display: none;} @@ -16,7 +16,7 @@ } figure{ break-before: always; - } + }*/ ul, ol{ list-style: none; margin: 0; diff --git a/reviews/index.md b/reviews/index.md index 9565f64..0b32b23 100644 --- a/reviews/index.md +++ b/reviews/index.md @@ -7,22 +7,26 @@ author: many --- -![Artemis Gryllaki](../reviews/artemis.jpg){.image-55} - ![Joseph Knierzinger](../reviews/joseph3.jpg){.image-80} ![Lídia Pereira](../reviews/lidia.jpg){.image-80} ![Michael Murtaugh](../reviews/michael3.jpg){.image-80} -![Steve Rushton](../reviews/steve.jpg){.image-80} - ![Boyana Stoilova](../reviews/bobi.jpg){.image-80} ![Kimmy Spreeuwenberg](../reviews/kimmy.jpg){.image-80} +![Steve Rushton](../reviews/steve.jpg){.image-80} + ![Martino Morandi](../reviews/martino.png){.image-80} +![Marloes de Valk](../reviews/marloes.png){.image-80} + ![Simon Browne](../reviews/simon.jpg){.image-55} -![Marloes de Valk](../reviews/marloes.png){.image-80} +![Artemis Gryllaki](../reviews/artemis.jpg){.image-55} + +--- + +--- diff --git a/specialissue19/index.md b/specialissue19/index.md index 4af2b35..f2e9f00 100644 --- a/specialissue19/index.md +++ b/specialissue19/index.md @@ -44,13 +44,12 @@ During the collective moment in Leeszaal people started diving into recycle bins ![Page of the second edition, containing scans of edited books and instruction cards.](second-edition-open.jpg) ---- -![The binding of the scans into the final book at the end of the evening.](binding.jpg){.image-95} +![The binding of the scans into the final book at the end of the evening.](binding.jpg){.half-image} --- -![The final book produced that evening, the cover was made from hand-stiched covers of discarded books. ](final-book.jpg){.image-95} +![The final book produced that evening, the cover was made from hand-stiched covers of discarded books. ](final-book.jpg){.image-80} --- diff --git a/specialissue20/.DS_Store b/specialissue20/.DS_Store new file mode 100644 index 0000000..c1e78e2 Binary files /dev/null and b/specialissue20/.DS_Store differ diff --git a/specialissue20/index.md b/specialissue20/index.md index 385f08a..34130a2 100644 --- a/specialissue20/index.md +++ b/specialissue20/index.md @@ -43,3 +43,9 @@ Special Issue XX was co-published by xpub and Page Not Found, Den Haag. With gue --- ![SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property.](license-reading.jpg){.image-95} + + +--- + +--- + diff --git a/specialissue21/index.md b/specialissue21/index.md index 462cf0f..53d9e40 100644 --- a/specialissue21/index.md +++ b/specialissue21/index.md @@ -12,7 +12,7 @@ author: Stephen why shd it only make use of the tips of the fingers as contact points of flowing multi directional creativity. If I invented a word placing machine, an “expression-scriber,” if you will, then I would have a kind of instrument into which I could step & sit or sprawl or hang & use not only my fingers to make words express feelings but elbows, feet, head, behind, and all the sounds I wanted, screams, grunts, taps, itches, I'd have magnetically recorded, at the same time, & translated into word or perhaps even the final xpressed thought/feeling wd not be merely word or sheet, but itself, the xpression, three dimensional-able to be touched, or tasted or felt, or entered, or heard or carried like a speaking singing constantly communicating charm. A typewriter is corny!! -Amiri Baraka, Technology & Ethos, http://www.soulsista.com/titanic/baraka.html +Amiri Baraka, Technology & Ethos --- @@ -46,7 +46,7 @@ Teletypewriters ushered in a new mode of inscription of writing: if the typewrit 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. -![Encoding Convertor: the wacky world of character en-coding.](encoding.png){.image-95} +![Encoding Convertor: the wacky world of character en-coding.](encoding.png){.image-80} ![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.](overlap.png){.full-image}