From 898d0a80078e787dc709d5b70adcf084ad683203 Mon Sep 17 00:00:00 2001 From: Stephen Date: Wed, 19 Jun 2024 12:06:34 +0200 Subject: [PATCH] irmak thesis --- .DS_Store | Bin 10244 -> 10244 bytes irmak/index.md | 2 + irmak/thesis.md | 9 +- print/index.html | 1700 +++++++++++++++++++++-------------------- print/print_style.css | 8 + print/theatre.css | 13 - 6 files changed, 868 insertions(+), 864 deletions(-) diff --git a/.DS_Store b/.DS_Store index 582c7b71b6e24f70b819443bc8799c5084cebc08..ea291fd44ef2de2db7285e1c94a922f708fdd438 100644 GIT binary patch delta 53 zcmZn(XbG6$LAU^hRb)@B|7We$E51A|%}g=z~+104l3GsDex63dx4tIIrKp4i~D JnO)&8I{==+577Vs delta 94 zcmZn(XbG6$jIU^hRb_GTUdWsb?sVosY2B}$mh1sO^h5*czBvKcZN@)*(?;u%sH x@)?pDN*Qt)Qh_2R48@)~`N>H+`AG~63<3-cOjj8g82L8el77v+nO)&8I{>H47`Xrd diff --git a/irmak/index.md b/irmak/index.md index 85029e4..bc04485 100644 --- a/irmak/index.md +++ b/irmak/index.md @@ -8,6 +8,8 @@ author: Irmak # 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. diff --git a/irmak/thesis.md b/irmak/thesis.md index 0ad9b1e..c678208 100644 --- a/irmak/thesis.md +++ b/irmak/thesis.md @@ -161,7 +161,8 @@ Every reader starts from 1 and continues until 12, with a consecutive numeric or alt="knot words from Leeszaal" /> -## Working End +
+## Working End ### Loop 1 ### Why am I doing this? @@ -661,7 +662,9 @@ Taking a step to make Wink and using the story I wrote and feel is important in 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, @@ -707,4 +710,4 @@ Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ codes-in-knots-sensing-digital-memories/. - \ No newline at end of file + diff --git a/print/index.html b/print/index.html index 5832154..4ceefad 100644 --- a/print/index.html +++ b/print/index.html @@ -22,42 +22,42 @@ -
  • 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?


    • @@ -143,117 +143,6 @@ touched.

    -

    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. - -
    -
    -The second 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

    @@ -965,105 +854,118 @@ University of Nebraska Press.

    -
    -

    Talking Documents

    -

    +
    +

    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.
    +

    - - + +
    -

    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.

    +

    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.
    +

    - - + +
    -

    - - + +
    -

    -

    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.

    +

    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. +
    -

    - - +The second 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 garden of Gemeente - + + +
    +
    + + +
    +

    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.
    +

    +
    + +
    -

    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.

    -
    +

    Performing the Bureaucratic Border(line)s

    @@ -1973,128 +1875,105 @@ 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.

    -
    -

    Working as a children’s literature editor for years, I came to a -realisation that picture books were turning into another object that -kids read and consume on daily basis. At least this is what I observed -in Turkey. Teachers and parents were finding it difficult to find new -books constantly or were tired of rereading the same book.

    -
    - - -
    -

    {.half image}

    -
    - - -
    -
    - - -
    -
    -’’ - -
    -
    -’’ - -
    -

    As a young person in the publishing sector, I believe there should be -more options for children as there is for adults; such as ebooks, -audiobooks etc. But moreover a “book” that can be redefined, reread or -be interacted with. So I revisited an old story I wrote, translated to -English and named it, “Bee Within”.

    -

    Bee Within, is a story about grief and it is based on my experiences -throughout the years. I erased it, rewrote it, edited it, destroyed it -multiple times over the past years, simultaneously with new experiences -of loss. In the end, I believe the story turned out to be an ode to -remembering or might I say an ode to not being able to forget or an ode -to the fear of forgetting which I now think is a great and sweet battle -between death and life. I think it is an important subject to touch -upon, especially for children dealing with trauma in many parts of the -world.

    -
    - - -
    -
    - - -
    +
    +

    Talking Documents

    +

    - - + +
    -

    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.

    +

    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 garden of Gemeente +
    +

    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.

    -
    +

    Fair Leads

    Fair @@ -2275,7 +2154,8 @@ numeric order, according to their color/mode. knot words from Leeszaal -

    Working End

    +
    +

    Working End

    Loop 1

    Why am I doing this?

    My desire to write a children’s book about grief and memory ignited @@ -2866,9 +2746,11 @@ 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. +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.
    @@ -2900,562 +2782,177 @@ codes-in-knots-sensing-digital-memories/.

    -
    -

    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.

    - - - +
    +
    +

    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.

    +

    Working as a children’s literature editor for years, I came to a +realisation that picture books were turning into another object that +kids read and consume on daily basis. At least this is what I observed +in Turkey. Teachers and parents were finding it difficult to find new +books constantly or were tired of rereading the same book.

    - - + +
    +

    {.half image}

    - - + +
    - - + +
    - -
    -Web page to share and read labour dreams. Scroll down for more. +’’ + +
    +
    +’’ + +
    +

    As a young person in the publishing sector, I believe there should be +more options for children as there is for adults; such as ebooks, +audiobooks etc. But moreover a “book” that can be redefined, reread or +be interacted with. So I revisited an old story I wrote, translated to +English and named it, “Bee Within”.

    +

    Bee Within, is a story about grief and it is based on my experiences +throughout the years. I erased it, rewrote it, edited it, destroyed it +multiple times over the past years, simultaneously with new experiences +of loss. In the end, I believe the story turned out to be an ode to +remembering or might I say an ode to not being able to forget or an ode +to the fear of forgetting which I now think is a great and sweet battle +between death and life. I think it is an important subject to touch +upon, especially for children dealing with trauma in many parts of the +world.

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

    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.

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

    ⊞

    +
    +

    Stephen Kerr

    +

    ⊞

    +

    Thesis submitted to the Department of Experimental Publishing, Piet +Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the +requirements for the final examination for the degree of Master of Arts +in Fine Art & ⊞: Experimental Publishing.

    +

    Adviser: Marloes de Valk
    +Second Reader: Joseph Knierzinger
    +Word count: 7828 words

    +

    To de-sign design, I +will assign a sign: ⊞

    +

    This symbol represents design in this writing in an attempt to avoid +the assumed meaning of the word and examine it as something unknown, to +mystify it, to examine its structure. The label ⊞ is a functional part +of a belief system involving order, structure, and rationality and I +want to break it. Removing the label is part of loosening the object, +making it avilable to transition (Berlant, 2022).

    +
    +The Cadaster of Orange, unknown ⊞er, c. 100 CE. +
    - -
    -Interactive dream telling. Click then type your story. +Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981. +
    - - + +
    - - + +
    - - -
    -

    Licensing information

    -

    This work is free to distribute or modify under the terms of the SIXX -license as published by XPUB, either version one of the SIXX License or -any later version. See the SIXX License for more details. A copy of the -license can be found on vulnerable-interfaces.xpub.nl/license.

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

    ⊞

    -
    -

    Stephen Kerr

    -

    ⊞

    -

    Thesis submitted to the Department of Experimental Publishing, Piet -Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the -requirements for the final examination for the degree of Master of Arts -in Fine Art & ⊞: Experimental Publishing.

    -

    Adviser: Marloes de Valk
    -Second Reader: Joseph Knierzinger
    -Word count: 7828 words

    -

    To de-sign design, I -will assign a sign: ⊞

    -

    This symbol represents design in this writing in an attempt to avoid -the assumed meaning of the word and examine it as something unknown, to -mystify it, to examine its structure. The label ⊞ is a functional part -of a belief system involving order, structure, and rationality and I -want to break it. Removing the label is part of loosening the object, -making it avilable to transition (Berlant, 2022).

    -
    -The Cadaster of Orange, unknown ⊞er, c. 100 CE. - -
    -
    -Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981. - -
    -
    - - -
    -
    - - -
    -
    - - + +
    +
    +

    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.

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

    Licensing information

    +

    This work is free to distribute or modify under the terms of the SIXX +license as published by XPUB, either version one of the SIXX License or +any later version. See the SIXX License for more details. A copy of the +license can be found on vulnerable-interfaces.xpub.nl/license.

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    Special Issues

    Special Issues are publications thrice released by first-year XPUB diff --git a/print/print_style.css b/print/print_style.css index d51ef4f..309c533 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -193,3 +193,11 @@ margin-left: 40mm; display: inline-block; line-height: 0; } +.loops{ + margin-left: 25mm; +} +.loops .margin-note{ + color: green; + position: relative; +margin-left: -45mm; +} diff --git a/print/theatre.css b/print/theatre.css index ddbc850..684dae5 100644 --- a/print/theatre.css +++ b/print/theatre.css @@ -32,19 +32,6 @@ margin-left: -15mm; font-weight: inherit; } -@media print{ - @page: right{ - #section-2{ - p{ - margin-left: 25mm; - } - p:first-of-type{ - width: 95mm; - margin-left: 0; - } - } - } -} .xpub3 p{ margin-left: 25mm; }