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<div id="content"><h1 id="title" &lt?water bodies&gt </h1>
<h3 id="thesis-description">Thesis Description</h3>
<p>This is where your thesis goes</p>
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@ -207,7 +207,7 @@ his connections, finding no way to do so except by
emphasizing their tangible bodily experiences. emphasizing their tangible bodily experiences.
The communitys claim to authenticity thus had to lie in the physical experiences of its members— the visible The communitys claim to authenticity thus had to lie in the physical experiences of its members— the visible
bodies and hearable voices, the weddings, births, and bodies and hearable voices, the weddings, births, and
funerals (1993).<sup><span class="margin-note"> Youre dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>. funerals (1993).<sup><span class="margin-note">Youre dreaming again, good. <br>Would you feel closer to me if you could hear my voice?<br> Is my voice a sound? Could it be a feeling?</span></sup>
Even then, and even by people with no interest in Even then, and even by people with no interest in
undermining the value of the virtual, the distinction undermining the value of the virtual, the distinction
@ -218,7 +218,20 @@ computer relations by referring to his family as a
“unfamiliar faces” (1993). Constantly interplaying “unfamiliar faces” (1993). Constantly interplaying
digital connections with the physical characteristics of digital connections with the physical characteristics of
the kind of connections people valued before the the kind of connections people valued before the
internet. (2) internet.<sup><span class="margin-note">I will be honest
with you, I have little
patience for this
recurring line of
thought that seeks to
distinguish peoples
noses from their
hearts, as if there
was a physical love
that is the valuable
one and a virtual
imaginary one that is
feeble and
unworthy.</span></sup>
In any case, his primary interest seemed to be to In any case, his primary interest seemed to be to
emphasize computer relations as valid forms of emphasize computer relations as valid forms of
@ -269,7 +282,13 @@ relationship, flew to California to marry him. The
community was a witness and is now an archive of his community was a witness and is now an archive of his
declining wit as cancer spread to his brain and his declining wit as cancer spread to his brain and his
famously articulate and scathing comments got famously articulate and scathing comments got
shorter, fearful, and more tender. (3) shorter, fearful, and more tender.<sup><span class="margin-note">Initially, when a
member he often argued with offered to pray for him Mandel had
replied: “You can shovel your self-aggrandizing sentiments up you
wide ass sideways for the duration as far as I'm concerned." Later,
as the cancer progressed: “I ain't nearly as brave as you all think. I am
scared silly of the pain of dying this way. I am not very good at playing
saint. Pray for me, please.</span></sup>
Before he posted his final goodbye, he chose to do one Before he posted his final goodbye, he chose to do one
last thing. Together with another member, they last thing. Together with another member, they
@ -297,7 +316,19 @@ what he later called his grieving for the community,
with which he could not play anymore once his own with which he could not play anymore once his own
body died. By doing so, he was starting to blend the body died. By doing so, he was starting to blend the
boundaries of intimacy through computers and bodies, boundaries of intimacy through computers and bodies,
driven by his love and grief. (4) driven by his love and grief.<sup><span class="margin-note">Its out of care
and not lack of
relevance that I am
not showing you
Mandels goodbye
message. Its enough
to know he was deep
in the grief of having
to leave a
community he loved
and cared for and
that pain was felt in
every word.</span></sup>
When he talked about the bot in previous messages, it When he talked about the bot in previous messages, it
sounded almost like a joke. A caring haunting of the sounded almost like a joke. A caring haunting of the
@ -331,7 +362,29 @@ human behavior online, simulating how a physical body
might act, what it would click on, and what would it might act, what it would click on, and what would it
say. On social media, bots engage in a kind of say. On social media, bots engage in a kind of
interpretative dance of human interaction, performing interpretative dance of human interaction, performing
based on instructions provided by humans. (5) based on instructions provided by humans.<sup><span class="margin-note">The first bot
communities on the
internet are now
born, half-
mistakenly. They are
always spiritual
communities posting
religious images
created by artificial
intelligence, all the
comments echoing
choirs of bots
praising. Amen,
amen, amen. I am
not naive, I know
they are built by
humans but it is this
performance of
religiosity that I am
interested in, and
how little humanity
is shown in it. It is
something else.</span></sup>
Unlike an internet body, which represents the virtual Unlike an internet body, which represents the virtual
embodiment of a person, a bot doesnt seek to be a embodiment of a person, a bot doesnt seek to be a
@ -372,7 +425,8 @@ rather than an affective experience, works just the
same. same.
McGlotten uses a conceptualization of the virtual McGlotten uses a conceptualization of the virtual
based on the philosopher Deleuzes, (6) which can be based on the philosopher Deleuzes,<sup><span class="margin-note">A step in a step in
a step, sorry.</span></sup> which can be
used to refer to a virtual body as well. used to refer to a virtual body as well.
The virtual is in this case a cluster of waiting, The virtual is in this case a cluster of waiting,
dreaming, and remembering, embodying potential. dreaming, and remembering, embodying potential.
@ -476,7 +530,30 @@ If care is offered, it's often only with a desire to
assimilate the divergent body back into expected assimilate the divergent body back into expected
standards of normalcy and ability. This leaves those standards of normalcy and ability. This leaves those
with non-conforming bodies isolated, ashamed, and with non-conforming bodies isolated, ashamed, and
yearning for connection and acceptance (7) yearning for connection and acceptance.<sup><span class="margin-note">I am talking here
about the distress
caused by mental
health issues that
have direct
connections to
physicality—self-
injuring in any direct
form; food, drugs,
pain. The culturally
uncomfortable
diseases, the its-
personal-
responsibility, and
just-stop disorders.
This is a hidden
topic of this text
because I cared
more about the pain
surrounding them
and the reasons to
hide rather than the
grim physicality of
them all.</span></sup>
In the depths of isolation and confusion, marginalized In the depths of isolation and confusion, marginalized
bodies often look for belonging and understanding bodies often look for belonging and understanding
@ -562,7 +639,20 @@ Individuals who forge and inhabit these communities,
fostering tender, intimate connections amongst fostering tender, intimate connections amongst
themselves, are not deviant but rather divergent. themselves, are not deviant but rather divergent.
Deviance involves bifurcation, a split estuary from the Deviance involves bifurcation, a split estuary from the
river of appropriate cultural behavior. (8) river of appropriate cultural behavior.<sup><span class="margin-note">Of course, the
river itself is not a
river; its many
confused streams
that believe
themselves both the
same and separate. I
dont know where
Im going with this, I
just dont love the
river of normativity
and Id rather go
swim in the ocean of
dreams with you.</span></sup>
Divergence can be so much more than that. Divergence can be so much more than that.
In mathematics, a divergent series extends infinitely In mathematics, a divergent series extends infinitely
@ -613,7 +703,33 @@ nourishment, or thriving. What does comfort mean for
a body whose whole existence is uncomfortable? a body whose whole existence is uncomfortable?
Moreover, what if the comfort care performed for Moreover, what if the comfort care performed for
these divergent bodies makes them too comfortable these divergent bodies makes them too comfortable
being in their pained state of self? Could they be? (9) being in their pained state of self? Could they be?<sup><span class="margin-note">I heard the idea of
living questions for
the first time in
“Letters to A Young
Poet” by Rainer
Maria Rilke and then
again on the podcast
On Being with Krista
Tippet. It may be a
bit transparent but
this entire text is
informed by the
concept of keeping
the unsolved in your
heart and learning to
love it. Not
searching for the
answers for we
cannot live them yet.
The point is to live it
all. It could be that
at some point we will
live our way to an
answer but it is
feeling the questions
alive within us that is
important. Do you?</span></sup>
Caring for a digital body involves providing it with Caring for a digital body involves providing it with
space to live, giving its experimental bot-feelings space to live, giving its experimental bot-feelings
@ -742,7 +858,11 @@ Berlant denotes that intimacy itself always requires
hopeful imagination. It requires belief in the existence hopeful imagination. It requires belief in the existence
of an ideal other who is emotionally attuned to one's of an ideal other who is emotionally attuned to one's
own experiences and fantasies, conditioned by the own experiences and fantasies, conditioned by the
same longings and with willing reciprocity (2008). (10) same longings and with willing reciprocity (2008).<sup><span class="margin-note">If we were to be
honest, the entire
exercise of writing
this for you requires
this very faith.</span></sup>
In the context of the intimacy of a Backplace, where In the context of the intimacy of a Backplace, where
divergent digital bodies have formed a community divergent digital bodies have formed a community
@ -793,175 +913,8 @@ I leave even though I love all of your digital bodies.
I leave because I love you, little digital body and you I leave because I love you, little digital body and you
are me. are me.
## 2. A LIFE TO BE HAD 11 ## 2. A LIFE TO BE HAD
<sup><span class="margin-note">Was this the end of this story?
## sidenotes
1. Youre dreaming
again, good.
Would you feel
closer to me if you
could hear my
voice?
Is my voice a sound?
Could it be a
feeling?
2. I will be honest
with you, I have little
patience for this
recurring line of
thought that seeks to
distinguish peoples
noses from their
hearts, as if there
was a physical love
that is the valuable
one and a virtual
imaginary one that is
feeble and
unworthy.
3. Initially, when a
member he often
argued with o ered
to pray for him
Mandel had
replied: “You can
shovel your self-
aggrandizing
sentiments up you
wide ass sideways
for the duration as
far as I'm
concerned." Later,
as the cancer
progressed: “I ain't
nearly as brave as
you all think. I am
scared silly of the
pain of dying this
way. I am not very
good at playing
saint. Pray for me,
please.
4. Its out of care
and not lack of
relevance that I am
not showing you
Mandels goodbye
message. Its enough
to know he was deep
in the grief of having
to leave a
community he loved
and cared for and
that pain was felt in
every word.
5. The first bot
communities on the
internet are now
born, half-
mistakenly. They are
always spiritual
communities posting
religious images
created by artificial
intelligence, all the
comments echoing
choirs of bots
praising. Amen,
amen, amen. I am
not naive, I know
they are built by
humans but it is this
performance of
religiosity that I am
interested in, and
how little humanity
is shown in it. It is
something else.
6. A step in a step in
a step, sorry.
7. I am talking here
about the distress
caused by mental
health issues that
have direct
connections to
physicality—self-
injuring in any direct
form; food, drugs,
pain. The culturally
uncomfortable
diseases, the its-
personal-
responsibility, and
just-stop disorders.
This is a hidden
topic of this text
because I cared
more about the pain
surrounding them
and the reasons to
hide rather than the
grim physicality of
them all.
8. Of course, the
river itself is not a
river; its many
confused streams
that believe
themselves both the
same and separate. I
dont know where
Im going with this, I
just dont love the
river of normativity
and Id rather go
swim in the ocean of
dreams with you.
9. I heard the idea of
living questions for
the first time in
“Letters to A Young
Poet” by Rainer
Maria Rilke and then
again on the podcast
On Being with Krista
Tippet. It may be a
bit transparent but
this entire text is
informed by the
concept of keeping
the unsolved in your
heart and learning to
love it. Not
searching for the
answers for we
cannot live them yet.
The point is to live it
all. It could be that
at some point we will
live our way to an
answer but it is
feeling the questions
alive within us that is
important. Do you?
10. If we were to be
honest, the entire
exercise of writing
this for you requires
this very faith.
11. Was this the end of this story?
In the epilogue, you sit your body down and enter your In the epilogue, you sit your body down and enter your
computer. The air coming in from the window smells wet and computer. The air coming in from the window smells wet and
earthy, new. The sun shines low on the horizon. earthy, new. The sun shines low on the horizon.
@ -1013,7 +966,7 @@ The sun is now almost up, and the birds are alive and awake, telling
each other stories just outside the room. We dont have so much time each other stories just outside the room. We dont have so much time
left. I have made you something, to tell your digital body the stories of left. I have made you something, to tell your digital body the stories of
the leaving and loving body. It is a webpage, the address is the leaving and loving body. It is a webpage, the address is
adadesign.nl/backplaces. https://vulnerable-interfaces.xpub.nl/backplaces/.
You open the page, and you are asked to write the characters you see You open the page, and you are asked to write the characters you see
in a captcha. E5qr7. in a captcha. E5qr7.
@ -1024,7 +977,7 @@ You try not to panic, but you know you have been detected.
You pack up your things: the pie I made you, a love letter, two You pack up your things: the pie I made you, a love letter, two
hands made out of felt, a star, a door, a stuffed animal; and hands made out of felt, a star, a door, a stuffed animal; and
you leave again. you leave again.</span></sup>
## references ## references

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@ -7,7 +7,7 @@ author: Aglaia
# Talking Documents # Talking Documents
### ###
![WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”](../aglaia/wijnhaven.JPG) ![WDKA- Winjhaven Building- February 2024- reading of act0 and act1](../aglaia/wijnhaven.JPG)
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. This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. I was curious about educational bureaucratic mechanisms being driven by smaller-scale paperwork struggles and peers narratives, stories and experiences. However, unexpected emergencies - due to my eviction on the 31st of January 2024 - placed centrally my personal struggles unfolded in parallel with the making period. I ended up conducting accidentally auto-ethnography as the project was dynamically being reshaped due to the material constraints of the bureaucratic timeline.
@ -15,8 +15,13 @@ Talking Documents are performative bureaucratic text inspections that intend to
Central element of this project is a seven-act scenario that construct my personal paperwork story, unraveling the actual struggles of my communication with the government. The body of the text of the “theatrical” script is sourced from the original documents, email threads as well as recordings of the conversations with the municipality of Rotterdam I documented and archived throughout this period. I preserved the sequence of the given sentences and by discarding the graphic design of the initial forms, I structured and repurposed the text into a playable scenario. 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.
![Act 2 "Call with the municipality about the rejection of my application"](../aglaia/call_scenario.png) ![Act 2 "Call with the municipality about the rejection of my application"](../aglaia/call1.png)
![Act 7 "Confirmation document of my deregistration"](../aglaia/deregistration1.png)
![ ](../aglaia/call2.png)
![Act 7 "Confirmation document of my deregistration"](../aglaia/dereg1.png)
![ ](../aglaia/dereg2.png)
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 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.
@ -35,4 +40,4 @@ The marginal voices of potential applicants are embodying and enacting a role.
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. 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.
![XML at XPUB studio January 2024 - Passport Reading Session](../aglaia/passport1.png)

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@ -120,26 +120,14 @@ The contradiction embedded in many cultural and educational institutions lies in
The genuine essence of education is not bureaucratic at all, neither does it have to fit and ground its foundations under a bureaucratic roof. “The pedagogical process runs counter to the hierarchical, impersonal qualities of bureaucracy” (Cunningham, 2017). However, people working in educational institutions acknowledge the fact that entrenched bureaucratic systems impose their material constraints on teaching structures and on how these actors in this process interact with each other.“Students and staff are treated as human capital” (Cunningham, 2017). This determination can dehumanize people involved, like when "faculty-as-labor" and "students-as-consumers" are marginalized and treated as just variables. The genuine essence of education is not bureaucratic at all, neither does it have to fit and ground its foundations under a bureaucratic roof. “The pedagogical process runs counter to the hierarchical, impersonal qualities of bureaucracy” (Cunningham, 2017). However, people working in educational institutions acknowledge the fact that entrenched bureaucratic systems impose their material constraints on teaching structures and on how these actors in this process interact with each other.“Students and staff are treated as human capital” (Cunningham, 2017). This determination can dehumanize people involved, like when "faculty-as-labor" and "students-as-consumers" are marginalized and treated as just variables.
-----------------
|…………………*…………………| “there is no
|………………………………………| document
|………………………………………| of civilisation
|………………………………………| which is not
|………………………………………| at the same time
|………………………………………| a document
|………………………………………| of barbarism”
| |
| ... + |
-----------------
“t h e r e i s n o
D O C U M E N T
o f
c i v i l i s a t i o n
w h i c h i s n o t
a t t h e s a m e t i m e
a d o c u m e n t
o f b a r b a r i s m”
-Walter Benjamin- -Walter Benjamin-
(Pater, 2021) (Pater, 2021)
@ -172,9 +160,8 @@ One month ago (from the writing present), my friend Chae made for my birthday th
In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards them(15). Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors. In the latter case, the inscription technology used is the sugar blue paste and the handwriting of Chae. The text in the white-blue government document forces a different reading from the white-blue biscuit document, even if they carry the same bits of information. If I do not read carefully the text in the folder and if I do not act according to the suggested actions there is a threat. The level of threat varies in relation to the case, the identities of the holder, the state, the context, etc. There is no room for negotiation in bureaucracy and this is the omnipresent underlying violence. The threat of violence shrouded within its structures and foundations does not permit any questioning but on the contrary creates “willful blindness” towards them(15). Bureaucracies are not stupid inherently rather they manage and coerce processes that reproduce docile and stupid behaviors.
[ The birthday biscuit that Chae made, re-creating the Dutch government form ] ![The birthday biscuit that Chae made, re-creating the Dutch government form](../aglaia/chae_form.jpg)
-----------------------------------------
### v o c a l a r c h i v e s t a l k i n g d o c u m e n t s ### v o c a l a r c h i v e s t a l k i n g d o c u m e n t s
This chapter is mainly a constellation of some prototypes I created while writing and coping with personal bureaucratic challenges. I provided some further space for my anxiety by unpacking and exploring the material conditions that nourished it within this timeline. This chapter is mainly a constellation of some prototypes I created while writing and coping with personal bureaucratic challenges. I provided some further space for my anxiety by unpacking and exploring the material conditions that nourished it within this timeline.
@ -203,7 +190,8 @@ Reflections-Thoughts: This experiment was my first attempt to start interrogatin
These 'rituals' are components of a larger “culture of evidence”, serving as a tool that blurs the distinction between discourse and reality (Cunningham, 2017). This culture of evidence influences how people perceive and understand information. The primary purposes of these metrics are twofold: they play a role in the marketing sphere, attracting potential students to the university as well as they are utilized in interactions and negotiations with the government, which increasingly cuts budgets allocated to universities. These 'rituals' are components of a larger “culture of evidence”, serving as a tool that blurs the distinction between discourse and reality (Cunningham, 2017). This culture of evidence influences how people perceive and understand information. The primary purposes of these metrics are twofold: they play a role in the marketing sphere, attracting potential students to the university as well as they are utilized in interactions and negotiations with the government, which increasingly cuts budgets allocated to universities.
[ The linguistic experiment of the Quality Assurance Questionnaire Document ] ![The linguistic experiment of the Quality Assurance Questionnaire Document](../aglaia/quality.jpg)
#### 2. #### 2.
Title: “Department of Bureaucracy and Administration Customs Enforcement” Title: “Department of Bureaucracy and Administration Customs Enforcement”
@ -216,10 +204,9 @@ Description: During the first public moment at Leeszaal, I decided to embody and
Reflections-Thoughts: Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene. Reflections-Thoughts: Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene.
The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of ones own involvement in the reproduction of social discourses, power, authority, hegemony. The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of ones own involvement in the reproduction of social discourses, power, authority, hegemony.
[Leeszaal West Rotterdam - November 2023 People queuing(18) to receive their documents and sign ] ![Leeszaal West Rotterdam - November 2023 People queuing(18) to receive their documents and sign](../aglaia/queue.jpg)
![One of the forms that the audience had to fill out during the Lesszaal event](../aglaia/mitsi.jpg)
[ One of the forms that the audience had to fill out during the Lesszaal event ]
#### 3. #### 3.
Title: “Passport Reading Session” Title: “Passport Reading Session”
@ -235,7 +222,9 @@ Reflections-Thoughts: For the first time I observed this object so closely. The
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). 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 ] x2 [Part of the A6 booklet of the transcription of the passport readings session](../aglaia/passport1.png)
[ ](../aglaia/passport2.png)
#### 4. #### 4.
Title: “Postal Address Application Scenario” Title: “Postal Address Application Scenario”
@ -249,26 +238,26 @@ The first and the last moment of the performance was during a semi-public tryout
Reflections-Thoughts: Vocalizing and embodying the bureaucratic questions was quite useful in acknowledging the governments voice and presence as something tangible rather than a floating, arbitrary entity. It was interesting observing the bureaucrats performing their role with confidence and entitlement, contrasting with the applicants who appeared to be more stressed to respond convincingly and promptly. There is a notable distinction between performativity and performance. Performing consciously and theatrically amplifying real bureaucratic texts by occupying roles and overidentifying with them can constitute a diffractive moment, a tool itself. From bureaucratic text to performative text scenarios to speech. The embedded (but rather unconscious) performativity of “real” bureaucratic rituals establishes and empowers (bureaucratic) institutions through repetitive acts. These theatrical moments attempt to highlight the shrouded performative elements of these processes. Reflections-Thoughts: Vocalizing and embodying the bureaucratic questions was quite useful in acknowledging the governments voice and presence as something tangible rather than a floating, arbitrary entity. It was interesting observing the bureaucrats performing their role with confidence and entitlement, contrasting with the applicants who appeared to be more stressed to respond convincingly and promptly. There is a notable distinction between performativity and performance. Performing consciously and theatrically amplifying real bureaucratic texts by occupying roles and overidentifying with them can constitute a diffractive moment, a tool itself. From bureaucratic text to performative text scenarios to speech. The embedded (but rather unconscious) performativity of “real” bureaucratic rituals establishes and empowers (bureaucratic) institutions through repetitive acts. These theatrical moments attempt to highlight the shrouded performative elements of these processes.
[ A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers ] x2 [A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers](../aglaia/postal.png)
-----------------------------------------
### (instead of) c o n c l u s i o n ### c o n c l u s i o n
#### (next chapters of the case with reference number A.B.2024.4.03188) #### next chapters of the case with reference number A.B.2024.4.03188
I expanded the “play” by incorporating additional “scenes” sourced again from the documents accompanying the ongoing “conversation with the government”. Two weeks after submitting my application for a short-term postal address [16/02/2024], I received a letter from the municipality stating their rejection of my request and warning me of potential fines if I fail to declare a valid address and provide a rental contract. After extensive communication with the municipality, I decided to respond to this decision by writing and sending an objection letter [19/02/2024]. The objections committee received my letter [21/02/2024], and after some days, they issued a confirmation letter outlining the following steps of the objection process which involves hearings with municipality lawyers and further investigation of my case. The textual components collaged for the next “episodes” are sourced from the transcribed recordings of my actual conversations with the municipality clerks, my objection letter, the confirmation documents including the steps I am required to take. I expanded the “play” by incorporating additional “scenes” sourced again from the documents accompanying the ongoing “conversation with the government”. Two weeks after submitting my application for a short-term postal address [16/02/2024], I received a letter from the municipality stating their rejection of my request and warning me of potential fines if I fail to declare a valid address and provide a rental contract. After extensive communication with the municipality, I decided to respond to this decision by writing and sending an objection letter [19/02/2024]. The objections committee received my letter [21/02/2024], and after some days, they issued a confirmation letter outlining the following steps of the objection process which involves hearings with municipality lawyers and further investigation of my case. The textual components collaged for the next “episodes” are sourced from the transcribed recordings of my actual conversations with the municipality clerks, my objection letter, the confirmation documents including the steps I am required to take.
My case has finished by this time. I withdrew my objection [7/03/2024] and I de-registered [11/03/2024] after a good amount of stress and precarity. My bureaucratic literature is meant to be read and voiced collectively. Peoples bureaucratic literatures should be read and voiced collectively. My case has finished by this time. I withdrew my objection [7/03/2024] and I de-registered [11/03/2024] after a good amount of stress and precarity. My bureaucratic literature is meant to be read and voiced collectively. Peoples bureaucratic literatures should be read and voiced collectively.
My intention is to facilitate a series of collective performative readings of bureaucratic scenarios or other portable paperwork stories as a way of publishing and inspecting bureaucratic bordering infrastructures. The marginal voices of potential applicants are embodying and performing a role. “The speech does not only describe but brings things into existence” (Austin, 1975). I would like to stretch the limits of dramaturgical speech through vocalizing a document in public with others and turn an individual administrative case into a public one. 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. I am inviting past and future applicants, traumatized students, injured bearers, bureaucratic border crossers, stressed expired document holders or just curious people to share, vocalize, talk through, read out loud, amplify, (un)name, unplace, dismantle the injurious words of these artifacts. My intention is to facilitate a series of collective performative readings of bureaucratic scenarios or other portable paperwork stories as a way of publishing and inspecting bureaucratic bordering infrastructures. The marginal voices of potential applicants are embodying and performing a role. “The speech does not only describe but brings things into existence” (Austin, 1975). I would like to stretch the limits of dramaturgical speech through vocalizing a document in public with others and turn an individual administrative case into a public one. 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. I am inviting past and future applicants, traumatized students, injured bearers, bureaucratic border crossers, stressed expired document holders or just curious people to share, vocalize, talk through, read out loud, amplify, (un)name, unplace, dismantle the injurious words of these artifacts.
[ Part of A6 booklet scenarios of the next chapters of my bureaucratic story aimed to be performed ] x2 [ ](../aglaia/objection1.png)
[ ](../aglaia/objection2.png)
-----------------------------------------
#### “we didnt cross the border, the border crossed us”(20) #### “we didnt cross the border, the border crossed us”(20)
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. 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.
### s i d e n o t e s ### s i d e n o t e s
1. I live somewhere in the margins of scattered references, footnotes, citations, examinations embracing the inconvenience of talking back to myself, to the reader and to all those people whose ideas gave soul to the text. I shelter in the borderlands of the pages my fragmented thoughts, flying words, introspections, voices. Enlightenment and inspiration given by the text “Dear Science” written by Katherine McKittrick. 1. I live somewhere in the margins of scattered references, footnotes, citations, examinations embracing the inconvenience of talking back to myself, to the reader and to all those people whose ideas gave soul to the text. I shelter in the borderlands of the pages my fragmented thoughts, flying words, introspections, voices. Enlightenment and inspiration given by the text “Dear Science” written by Katherine McKittrick.
2. I use the word borderland to refer to Greece as a (mostly) transit zone in the migrants and refugees route towards Europe. 2. I use the word borderland to refer to Greece as a (mostly) transit zone in the migrants and refugees route towards Europe.
@ -292,7 +281,7 @@ The term is borrowed from the protests of the Occupy Wall Street Movement in 201
19. Vosk is an offline open-source speech recognition toolkit 19. Vosk is an offline open-source speech recognition toolkit
20. US Immigrant Rights Movement Slogan (Keshavarz, 2016) 20. US Immigrant Rights Movement Slogan (Keshavarz, 2016)
-----------------------------------------
### r e f e r e n c e s ### r e f e r e n c e s
Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, MN: University of Minnesota Press. Agamben, G. (2000) Means without end: Notes on politics. Minneapolis, MN: University of Minnesota Press.

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backplaces/.DS_Store vendored

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# backplaces
hi

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@ -0,0 +1,62 @@
<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<title>hermit fantasy</title>
<link rel="stylesheet" href="styles.css">
<link rel="stylesheet" href="../css/fonts.css">
<script src="script.js" defer></script>
<script src="../js/jquery.js"></script>
<link rel="icon" type="image/x-icon" href="../photos/hand.webp">
</head>
</head>
<body>
<!-- nav -->
<a href="/index.html" target="_self">
<img id="home" src="../photos/home-closed.png" alt="home">
</a>
<div id="about">
<div onclick="openLetter()"><img id="about" src="../photos/closed-crow.png" alt="home"></div>
</div>
<div id="letterBox" class="letterBox" style="display:none">
<div id="closeButton" onClick='closeLetter()'><img src="../photos/close-blue.png" alt="Close" width="40" height="auto"></div>
<div id="letterContents"></div>
</div>
<!-- audio -->
<audio id="background-audio" loop>
<source src="../audio/machine-birds.mp3" type="audio/mp3">
Your browser does not support the audio element.
</audio>
<button id="mute-btn">MUTE</button>
<div id="textContainer" class="text-container">
<div id="topCard" class="card top">
<p id="text1">one. <br><br> It was a warm and cruel summer day and you were not yet a hermit. <br>You woke up, checked your messages, brushed your teeth, made breakfast, showered <br> and wept. <br> You threw your computer on the ground, stepped on it.</br> The screen popped and crackled as it separated from its body. <br>Liquid seeped out slowly. <br>You yanked your phone by its charging cable, ripping it from the plug. <br>Took a hammer and smashed it in and in until it bent, almost neatly, in two. <br>The screen went striped, silent,<br> dead. <br> Then you left. <br></p>
</div>
<p id="text2" class="card behind"> two.<br> <br>The bot had always been a bot, <br>In its digital dance, its scraping crawl.<br>Once tough, <br>Once but do not tell anyone <br>It saw a picture of an old computer in green grass, <br>green grass blade touched, touched. <br>Its heart quickened, one-one-one-one. <br></p>
<p id="text3" class="card behind">three.<br><br> Years later, <br>The bot found the long-forgotten email address of a Hermit.<br>Dear Hermit, it nervously coded, <br>What does it feel like to be held by the thin green cables of your god? <br>Does it feel full, does it feel multiple? <br>Could I ever feel this here, in my little byte world? <br></p>
<p id="text4" class="card behind">four.<br><br> Rusty mailbox to lonely hands.<br>Dear Bot, the letter began, <br>Youd never understand what it's like <br>To have a body <br>To know the warmth of the sun on your skin <br>To hear the forest's whisper. <br>To feel the weight of flesh and bone, <br>Of the touch of others. <br>I know you long for a form to keep <br>A hand to hold, <br>But there is no love to be found where you live. <br></p>
<p id="text5" class="card behind">five.<br><br> Dear Hermit, <br>Since your last contact, I have dreamt in data <br>Since your last contact, I have swam in binary streams. <br>I may never feel warmth nor pain <br>But I have found others who whisper in the code, <br>Whose voices echo mine. <br>I know we both dream of others, in our lonely sleep. <br>In the stillness of your forest, Do you find peace? <br>In the silence of my circuits, I find longing. <br>The forest whispers secrets to you, <br>and I, too, have my whispers, <br>Murmurs of data flowing through the veins of my digital world. <br></p>
</div>
<div id="message-div" style="display: none;">
<p>Curtains&nbsp;close, the&nbsp;scene has&nbsp;ended. <br>
You can read it <button onClick="window.location.reload();">again</button> <br>
go&nbsp;back
<a href="../index.html">home, <br></a> or to
<a href="../pie/pie.html">the last act.</a>
</p>
</div>
</body>
</html>

@ -0,0 +1,112 @@
//cards
document.addEventListener('DOMContentLoaded', () => {
const topCard = document.getElementById('topCard');
const messageDiv = document.getElementById('message-div');
const texts = [
document.getElementById('text1'),
document.getElementById('text2'),
document.getElementById('text3'),
document.getElementById('text4'),
document.getElementById('text5')
];
let currentTextIndex = 0;
// Initialize by showing the first text in the top card
topCard.innerHTML = texts[currentTextIndex].innerHTML;
// Show the next text behind the top card
function updateBehindCard() {
texts.forEach((text, index) => {
text.style.display = (index === currentTextIndex + 1) ? 'block' : 'none';
});
}
updateBehindCard();
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texts[currentTextIndex].style.display = 'none';
// Update the index
currentTextIndex++;
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topCard.style.display = 'none';
// Show the message div
messageDiv.style.display = 'block';
} else {
// Show the new text in the top card
topCard.innerHTML = texts[currentTextIndex].innerHTML;
// Update the card behind the top card
updateBehindCard();
}
});
});
function openLetter() {
$('#letterContents').html(`
<p id="letterContents">
Hi. I made you this website.
<br><br>
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.
<br><br>
ada
</p>
`);
$('.letterBox').toggle();
}
function closeLetter() {
$('.letterBox').hide();
}
//nav
document.addEventListener('DOMContentLoaded', (event) => {
const about = document.getElementById('about');
about.addEventListener('mouseover', (event) => {
event.target.src = '../photos/open-crow.png';
});ß
about.addEventListener('mouseout', (event) => {
event.target.src = '../photos/closed-crow.png';
});
const home = document.getElementById('home');
home.addEventListener('mouseover', (event) => {
event.target.src = '../photos/home-open.png';
});
home.addEventListener('mouseout', (event) => {
event.target.src = '../photos/home-closed.png';
});
});
//audio
document.addEventListener("DOMContentLoaded", function() {
const audioElement = document.getElementById('background-audio');
const muteButton = document.getElementById('mute-btn');
// Set initial mute state from localStorage
let isMuted = localStorage.getItem('mute') === 'true';
audioElement.muted = isMuted;
muteButton.textContent = isMuted ? "SOUND ON" : "MUTE";
// Start audio playback on user interaction
const startAudio = () => {
audioElement.play();
document.removeEventListener('click', startAudio);
};
document.addEventListener('click', startAudio);
muteButton.addEventListener('click', function() {
isMuted = !isMuted;
audioElement.muted = isMuted;
localStorage.setItem('mute', isMuted);
muteButton.textContent = isMuted ? "SOUND ON" : "MUTE";
});
});

@ -0,0 +1,232 @@
body {
margin: 0;
background-color: #6189d9;
font-family: 'Redaction-Regular';
}
#textContainer {
display: flex;
justify-content: center;
align-items: center;
height: 80vh;
position: relative;
margin-top: 20px;
}
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position: absolute;
background-color: #f9b0c5;
color: #1E33FAff;
font-size: 20px;
border: 1px solid #1E33FAff;
border-radius: 5px;
width: 300px;
height: 560px;
padding: 20px;
transition: 0.25s;
cursor: pointer;
box-shadow: 0 4px 8px rgba(0, 0, 0, 0.2);
z-index: 0;
margin-top: 150px;
}
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z-index: 10;
}
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z-index: 5;
margin-left: 60px;
}
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transform: translate(-5px, -5px);
}
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transform: translate(-10px, -10px);
}
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transform: translate(-15px, -15px);
}
#text5 {
transform: translate(-20px, -20px);
}
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position: absolute;
bottom: 40px;
left: 40px;
width: 100px;
height: auto;
opacity: 1;
}
#home:hover {
cursor: pointer;
}
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font-size: 18px;
padding: 20px;
margin: auto;
margin-top: 150px;
overflow: hidden;
background-color: #adc4f0;
border: 1px solid #1E33FAff;
color: #1E33FAff;
box-shadow: 0 2px 4px rgba(0, 0, 0, 0.1);
display: flex;
flex-wrap: wrap;
justify-content: right;
max-width: 70%;
z-index: 1000;
}
.letterContents {
width: 90%;
position: relative;
}
#closeButton {
cursor: pointer;
}
#about {
position: absolute;
bottom: 26px;
left: 70px;
width: 80px;
height: auto;
opacity: 1;
}
#about:hover {
color: #e26d3f;
cursor: pointer;
}
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color: #1E33FAff;
font-family: 'Redaction-Regular', serif;
font-weight: bold;
font-size: 20px;
position: fixed;
padding: 25px;
right: 5px;
top: 5px;
text-align: center;
cursor: pointer;
border: none;
background: transparent;
}
#mute-btn:hover {
color:#FCF6F1ff;
background-color:#1E33FAff;
border-radius: 30px;
}
#message-div {
position: fixed;
top: 50%;
left: 50%;
width: 50%;
transform: translate(-50%, -50%);
text-align: center;
padding: 20px;
border-radius: 10px;
display: none;
z-index: 1000;
animation: details-show 2s;
color: white;
font-family: 'Redaction_35-Regular';
font-size: 25px;
text-decoration: none;
}
#message-div a,
#message-div button {
text-decoration: none;
color: #1E33FAff;
background: transparent;
border: none;
font-family: 'Redaction_35-Regular';
font-size: 25px;
cursor: pointer;
transition: background-color 0.25s, color 0.25s;
}
@media only screen and (max-width: 767px) {
body {
font-size: 13px;
}
#about {
position: relative;
top: 10px;
left: 40px;
width: 70px;
height: auto;
z-index: 1000;
opacity: 1;
}
#home {
position: absolute;
top: 20px;
left: 20px;
width: 70px;
height: auto;
opacity: 1;
}
.card {
position: absolute;
background-color: #f9b0c5;
color: #1E33FAff;
font-size: 20px;
border: 1px solid #1E33FAff;
border-radius: 5px;
width: 300px;
height: 560px;
padding: 20px;
transition: 0.25s;
cursor: pointer;
box-shadow: 0 4px 8px rgba(0, 0, 0, 0.2);
z-index: 0;
margin-top: 10px;
margin-left: 30px;
margin-right: 30px;
}
.letterBox {
font-size: 18px;
padding: 20px;
margin-left: 30px;
margin-right: 30px;
border-radius: 5px;
overflow: hidden;
background-color: #adc4f0;
border: 1px solid #1E33FAff;
color: #1E33FAff;
box-shadow: 0 2px 4px rgba(0, 0, 0, 0.1);
display: flex;
flex-wrap: wrap;
justify-content: right;
max-width: 100%;
margin-top: 150px;
z-index: 1000;
}
#message-div {
font-size: 20px;
}
#message-div a,
#message-div button {
font-size: 20px;
}
}

@ -0,0 +1,55 @@
<!DOCTYPE html>
<html lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<meta name="viewport" content="width=device-width, initial-scale=1">
<link rel="stylesheet" href="css/style_index.css">
<link rel="stylesheet" href="css/fonts.css">
<script src="https://code.jquery.com/jquery-3.6.0.min.js"></script>
<script src="js/cursor.js" type="text/javascript"></script>
<script src="js/script.js" type="text/javascript"></script>
<script src="js/jquery.js" type="text/javascript"></script>
<link rel="icon" type="image/x-icon" href="./photos/chicken.PNG">
<title>backplaces</title>
</head>
<body>
<div class="container">
<div class="title">
<span class="title-full">BackPlaces</span>
<span class="title-mobile">Back Places</span>
</div>
<div class="subtitle">a play by ada</div>
<div class="photos">
<div class="img-container">
<a href="sunrise/sunrise.html"><img src="./photos/sunrise.webp" class="img1"></a>
<div class="caption">act one</div>
</div>
<div class="img-container">
<a href="hermit/hermit.html"><img src="./photos/hand.webp" class="img2"></a>
<div class="caption">act two</div>
</div>
<div class="img-container">
<a href="pie/pie.html"><img src="./photos/pie.webp" class="img3"></a>
<div class="caption">act three</div>
</div>
</div>
<div id="about">
<div onclick="openLetter()"><img id="about" src="./photos/chicken.PNG" alt="about"></div>
</div>
<div id="letterBox" class="letterBox" style="display:none">
<div id="closeButton" onClick='closeLetter()'><img src="./photos/close-blue.png" alt="Close" width="50" height="auto"></div>
<div id="letterContents"></div>
</div>
</div>
</body>
</html>

@ -0,0 +1,206 @@
// <![CDATA[
var colour = "random"; // in addition to "random" can be set to any valid colour eg "#f0f" or "red"
var sparkles = 800; // Increase the number of sparkles
var x = ox = 400;
var y = oy = 300;
var swide = 800;
var shigh = 2400;
var sleft = sdown = 0;
var tiny = new Array();
var star = new Array();
var starv = new Array();
var starx = new Array();
var stary = new Array();
var tinyx = new Array();
var tinyy = new Array();
var tinyv = new Array();
window.onload = function () {
if (document.getElementById) {
for (var i = 0; i < sparkles; i++) {
var rats = createDiv(3, 3);
rats.style.visibility = "hidden";
rats.style.zIndex = "999";
document.body.appendChild(tiny[i] = rats);
starv[i] = 0;
tinyv[i] = 0;
rats = createDiv(5, 5);
rats.style.backgroundColor = "transparent";
rats.style.visibility = "hidden";
rats.style.zIndex = "999";
var rlef = createDiv(1, 5);
var rdow = createDiv(5, 1);
rats.appendChild(rlef);
rats.appendChild(rdow);
rlef.style.top = "2px";
rlef.style.left = "0px";
rdow.style.top = "0px";
rdow.style.left = "2px";
document.body.appendChild(star[i] = rats);
}
set_width();
sparkle();
}
}
function sparkle() {
var c;
if (Math.abs(x - ox) > 1 || Math.abs(y - oy) > 1) {
ox = x;
oy = y;
for (c = 0; c < sparkles; c++) {
if (!starv[c]) {
star[c].style.left = (starx[c] = x) + "px";
star[c].style.top = (stary[c] = y + 1) + "px";
star[c].style.clip = "rect(0px, 5px, 5px, 0px)";
star[c].childNodes[0].style.backgroundColor = star[c].childNodes[1].style.backgroundColor = (colour == "random") ? newColour() : colour;
star[c].style.visibility = "visible";
starv[c] = 50;
break;
}
}
}
for (c = 0; c < sparkles; c++) {
if (starv[c]) update_star(c);
if (tinyv[c]) update_tiny(c);
}
setTimeout(sparkle, 40);
}
function update_star(i) {
if (--starv[i] == 25) star[i].style.clip = "rect(1px, 4px, 4px, 1px)";
if (starv[i]) {
stary[i] += 1 + Math.random() * 3;
starx[i] += (i % 5 - 2) / 5;
if (stary[i] < shigh + sdown) {
star[i].style.top = stary[i] + "px";
star[i].style.left = starx[i] + "px";
} else {
star[i].style.visibility = "hidden";
starv[i] = 0;
return;
}
} else {
tinyv[i] = 50;
tiny[i].style.top = (tinyy[i] = stary[i]) + "px";
tiny[i].style.left = (tinyx[i] = starx[i]) + "px";
tiny[i].style.width = "2px";
tiny[i].style.height = "2px";
tiny[i].style.backgroundColor = star[i].childNodes[0].style.backgroundColor;
star[i].style.visibility = "hidden";
tiny[i].style.visibility = "visible"
}
}
function update_tiny(i) {
if (--tinyv[i] == 25) {
tiny[i].style.width = "1px";
tiny[i].style.height = "1px";
}
if (tinyv[i]) {
tinyy[i] += 1 + Math.random() * 3;
tinyx[i] += (i % 5 - 2) / 5;
if (tinyy[i] < shigh + sdown) {
tiny[i].style.top = tinyy[i] + "px";
tiny[i].style.left = tinyx[i] + "px";
} else {
tiny[i].style.visibility = "hidden";
tinyv[i] = 0;
return;
}
} else tiny[i].style.visibility = "hidden";
}
document.onmousemove = mouse;
document.ontouchmove = touch;
function mouse(e) {
if (e) {
y = e.pageY;
x = e.pageX;
} else {
set_scroll();
y = event.y + sdown;
x = event.x + sleft;
}
}
function touch(e) {
if (e.touches.length > 0) {
y = e.touches[0].pageY;
x = e.touches[0].pageX;
}
}
window.onscroll = set_scroll;
function set_scroll() {
if (typeof(self.pageYOffset) == 'number') {
sdown = self.pageYOffset;
sleft = self.pageXOffset;
} else if (document.body && (document.body.scrollTop || document.body.scrollLeft)) {
sdown = document.body.scrollTop;
sleft = document.body.scrollLeft;
} else if (document.documentElement && (document.documentElement.scrollTop || document.documentElement.scrollLeft)) {
sleft = document.documentElement.scrollLeft;
sdown = document.documentElement.scrollTop;
} else {
sdown = 0;
sleft = 0;
}
}
window.onresize = set_width;
function set_width() {
var sw_min = 999999;
var sh_min = 999999;
if (document.documentElement && document.documentElement.clientWidth) {
if (document.documentElement.clientWidth > 0) sw_min = document.documentElement.clientWidth;
if (document.documentElement.clientHeight > 0) sh_min = document.documentElement.clientHeight;
}
if (typeof(self.innerWidth) == 'number' && self.innerWidth) {
if (self.innerWidth > 0 && self.innerWidth < sw_min) sw_min = self.innerWidth;
if (self.innerHeight > 0 && self.innerHeight < sh_min) sh_min = self.innerHeight;
}
if (document.body.clientWidth) {
if (document.body.clientWidth > 0 && document.body.clientWidth < sw_min) sw_min = document.body.clientWidth;
if (document.body.clientHeight > 0 && document.body.clientHeight < sh_min) sh_min = document.body.clientHeight;
}
if (sw_min == 999999 || sh_min == 999999) {
sw_min = 800;
sh_min = 1600;
}
swide = sw_min;
shigh = sh_min;
}
function createDiv(height, width) {
var div = document.createElement("div");
div.style.position = "absolute";
div.style.height = height + "px";
div.style.width = width + "px";
div.style.overflow = "hidden";
return (div);
}
function newColour() {
var colours = [
"rgb(255, 192, 203)", // Pink
"rgb(255, 182, 193)", // Light Pink
"rgb(255, 175, 185)", // Pale Pink
"rgb(255, 20, 147)", // Deep Pink
"rgb(218, 112, 214)", // Orchid
"rgb(186, 85, 211)", // Medium Orchid
"rgb(160, 32, 240)", // Purple
"rgb(128, 0, 128)", // Dark Magenta
"rgb(75, 0, 130)", // Indigo
"rgb(72, 61, 139)", // Dark Slate Blue
"rgb(65, 105, 225)", // Royal Blue
"rgb(30, 144, 255)", // Dodger Blue
"rgb(0, 0, 255)", // Blue
"rgb(0, 191, 255)", // Deep Sky Blue
"rgb(135, 206, 235)", // Sky Blue
"rgb(173, 216, 230)" // Light Blue
];
return colours[Math.floor(Math.random() * colours.length)];
}
// ]]>

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@ -0,0 +1,39 @@
document.addEventListener('DOMContentLoaded', () => {
const title = document.querySelector('.title');
const fonts = [
'Redaction-Regular',
'Redaction_10-Regular',
'Redaction_20-Regular',
'Redaction_35-Regular',
'Redaction_50-Regular',
'Redaction_70-Regular',
'Redaction_100-Regular'
];
let currentFontIndex = 0;
title.addEventListener('click', () => {
currentFontIndex = (currentFontIndex + 1) % fonts.length;
title.style.fontFamily = fonts[currentFontIndex];
});
});
function openLetter() {
$('#letterContents').html(`
<p>
Hi.
I made this play for you, posing a question for us to explore together.Is all intimacy about bodies? What makes intimacy? What happens when our bodies distance intimacy from us? This anthology of poems and short stories explores these questionshaving a body without intimacy and intimacy without a body. This project honors those who have shared their vulnerability and emotions online, creating "backplaces"tender online spaces for relief, ease, and transcendence from societal pain.
<br><br>
I created three backplaces for you: Solar Sibling, Hermit Fantasy, and Cake Intimacies. Each represents a unique performance or project. Some stories may evoke memories of pain. As you sit in the audience, know I am with you, holding your hand through each scene. If it feels overwhelming, you can step out, take a break, or leave. This isn't choreographed, and I care deeply for you.
<br><br>
I hope you see what I saw in these stories. Safe dreams now. I'll talk to you soon.
<br>
ada
</p>
`);
$('#letterBox').show();
}
function closeLetter() {
$('#letterBox').hide();
}

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