From 9cdbee93222ad44db18c6e932bedaefaeff93671 Mon Sep 17 00:00:00 2001 From: Stephen Kerr Date: Sun, 9 Jun 2024 20:54:43 +0200 Subject: [PATCH] better sidenotes --- ada/thesis.md | 313 ++++++++++++++++---------------------- print/index.html | 341 +++++++++++++++++++++--------------------- print/print_style.css | 14 ++ 3 files changed, 320 insertions(+), 348 deletions(-) diff --git a/ada/thesis.md b/ada/thesis.md index 7bdec33..465362a 100644 --- a/ada/thesis.md +++ b/ada/thesis.md @@ -207,7 +207,7 @@ his connections, finding no way to do so except by emphasizing their tangible bodily experiences. The community’s claim to authenticity thus had to lie in the physical experiences of its members— the visible bodies and hearable voices, the weddings, births, and -funerals (1993). You’re 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?. +funerals (1993).You’re 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? Even then, and even by people with no interest in 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 digital connections with the physical characteristics of the kind of connections people valued before the -internet. (2) +internet.I will be honest +with you, I have little +patience for this +recurring line of +thought that seeks to +distinguish people’s +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. In any case, his primary interest seemed to be to 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 declining wit as cancer spread to his brain and his famously articulate and scathing comments got -shorter, fearful, and more tender. (3) +shorter, fearful, and more tender.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. Before he posted his final goodbye, he chose to do one 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 body died. By doing so, he was starting to blend the boundaries of intimacy through computers and bodies, -driven by his love and grief. (4) +driven by his love and grief.It’s out of care +and not lack of +relevance that I am +not showing you +Mandel’s goodbye +message. It’s 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. When he talked about the bot in previous messages, it 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 say. On social media, bots engage in a kind of interpretative dance of human interaction, performing -based on instructions provided by humans. (5) +based on instructions provided by humans.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. Unlike an internet body, which represents the virtual embodiment of a person, a bot doesn’t seek to be a @@ -372,7 +425,8 @@ rather than an affective experience, works just the same. McGlotten uses a conceptualization of the virtual -based on the philosopher Deleuze’s, (6) which can be +based on the philosopher Deleuze’s,A step in a step in +a step, sorry. which can be used to refer to a virtual body as well. The virtual is in this case a cluster of waiting, 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 standards of normalcy and ability. This leaves those with non-conforming bodies isolated, ashamed, and -yearning for connection and acceptance (7) +yearning for connection and acceptance.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 it’s- +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. In the depths of isolation and confusion, marginalized bodies often look for belonging and understanding @@ -562,7 +639,20 @@ Individuals who forge and inhabit these communities, fostering tender, intimate connections amongst themselves, are not deviant but rather divergent. Deviance involves bifurcation, a split estuary from the -river of appropriate cultural behavior. (8) +river of appropriate cultural behavior.Of course, the +river itself is not a +river; it’s many +confused streams +that believe +themselves both the +same and separate. I +don’t know where +I’m going with this, I +just don’t love the +river of normativity +and I’d rather go +swim in the ocean of +dreams with you. Divergence can be so much more than that. 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? Moreover, what if the comfort care performed for 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?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? Caring for a digital body involves providing it with 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 of an ideal other who is emotionally attuned to one's own experiences and fantasies, conditioned by the -same longings and with willing reciprocity (2008). (10) +same longings and with willing reciprocity (2008).If we were to be +honest, the entire +exercise of writing +this for you requires +this very faith. In the context of the intimacy of a Backplace, where 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 are me. -## 2. A LIFE TO BE HAD 11 - -## sidenotes - -1. You’re 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 people’s -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. It’s out of care -and not lack of -relevance that I am -not showing you -Mandel’s goodbye -message. It’s 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 it’s- -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; it’s many -confused streams -that believe -themselves both the -same and separate. I -don’t know where -I’m going with this, I -just don’t love the -river of normativity -and I’d 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? +## 2. A LIFE TO BE HAD +Was this the end of this story? In the epilogue, you sit your body down and enter your computer. The air coming in from the window smells wet and earthy, new. The sun shines low on the horizon. @@ -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 hands made out of felt, a star, a door, a stuffed animal; and -you leave again. +you leave again. ## references diff --git a/print/index.html b/print/index.html index d159dc9..6d1d727 100644 --- a/print/index.html +++ b/print/index.html @@ -117,50 +117,77 @@ touched.

-->

Backplaces

-

Hi.
+

adadesign.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 +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.

+uncomfortable pain can find relief, ease, and transcendence.
+

I made three backplaces for you to see, click, and feel: Solar -Sibling, Hermit Fantasy, and Good Pie. 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 and the complex -pain that siblings can sometimes bring. This project uses 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 own feelings are secretly -whispered to me.

+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. It is a web play inviting -you to navigate both of these feelings.

+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 perfomances I hosted. In the -first, I asked participants to eat cake, sitting facing or away from +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 perfomance 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.

-

I love you and hope you see what I saw in these stories.

-

Safe dreams now. I will talk to you soon.

+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.
+

@@ -306,9 +333,9 @@ legitimacy of his connections, finding no way to do so except by emphasizing their tangible bodily experiences. The community’s claim to authenticity thus had to lie in the physical experiences of its members— the visible bodies and hearable voices, the weddings, births, and -funerals (1993). You’re dreaming again, +funerals (1993).You’re 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?.

+my voice a sound? Could it be a feeling?

Even then, and even by people with no interest in undermining the value of the virtual, the distinction between physical and virtual was confusing. Rheingold himself reinforces the boundary of body relations @@ -316,7 +343,11 @@ and computer relations by referring to his family as a “flesh-and-blood family’ and his close online friends as “unfamiliar faces” (1993). Constantly interplaying digital connections with the physical characteristics of the kind of connections people valued before the -internet. (2)

+internet.I will be honest with you, I +have little patience for this recurring line of thought that seeks to +distinguish people’s 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.

In any case, his primary interest seemed to be to emphasize computer relations as valid forms of connection between bodies, not to talk of any distinction quite yet. It’s the eighties, the internet is still @@ -352,7 +383,13 @@ with whom he had had a publicly turbulent relationship, flew to California to marry him. The community was a witness and is now an archive of his declining wit as cancer spread to his brain and his famously articulate and scathing comments got shorter, fearful, and more -tender. (3)

+tender.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.

Before he posted his final goodbye, he chose to do one last thing. Together with another member, they programmed a bot that posted randomly characteristic comments from Mandel on The Well—the Mandelbot. In the @@ -372,7 +409,11 @@ Large chunks of me would also be here, part of this new space. (Hafner, called his grieving for the community, with which he could not play anymore once his own body died. By doing so, he was starting to blend the boundaries of intimacy through computers and bodies, driven by his -love and grief. (4)

+love and grief.It’s out of care and not +lack of relevance that I am not showing you Mandel’s goodbye message. +It’s 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.

When he talked about the bot in previous messages, it sounded almost like a joke. A caring haunting of the platform, to keep his persona alive for the community in a way that could be quite horrific for those @@ -394,8 +435,14 @@ attempt to emulate a human body but rather human action and readiness. Its role is to mirror human behavior online, simulating how a physical body might act, what it would click on, and what would it say. On social media, bots engage in a kind of interpretative dance of human -interaction, performing based on instructions provided by humans. -(5)

+interaction, performing based on instructions provided by +humans.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.

Unlike an internet body, which represents the virtual embodiment of a person, a bot doesn’t seek to be a person. It comments under posts alongside many other bots, all under a fake name and photo but nothing @@ -424,7 +471,8 @@ even more, blurring as he shows the already virtual in physical intimacies. Applying this to a body, rather than an affective experience, works just the same.

McGlotten uses a conceptualization of the virtual based on the -philosopher Deleuze’s, (6) which can be used to refer to a virtual body +philosopher Deleuze’s,A step in a step in +a step, sorry. which can be used to refer to a virtual body as well. The virtual is in this case a cluster of waiting, dreaming, and remembering, embodying potential. Something that is constantly becoming, an object and also the subject attributed to it (2001). An internet body @@ -491,7 +539,14 @@ culturally uncomfortable, no nurse will come to check on it.

If care is offered, it’s often only with a desire to assimilate the divergent body back into expected standards of normalcy and ability. This leaves those with non-conforming bodies isolated, ashamed, and -yearning for connection and acceptance (7)

+yearning for connection and acceptance.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 +it’s- 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.

In the depths of isolation and confusion, marginalized bodies often look for belonging and understanding online. Gravitating towards one another with a hunger born of desperation, forming intimate bonds @@ -550,7 +605,12 @@ differences. What’s more interesting is to find out what’s similar. (Chu

Individuals who forge and inhabit these communities, fostering tender, intimate connections amongst themselves, are not deviant but rather divergent. Deviance involves bifurcation, a split estuary from -the river of appropriate cultural behavior. (8)

+the river of appropriate cultural behavior.Of course, the river itself is not a river; it’s +many confused streams that believe themselves both the same and +separate. I don’t know where I’m going with this, I just don’t love the +river of normativity and I’d rather go swim in the ocean of dreams with +you.

Divergence can be so much more than that. In mathematics, a divergent series extends infinitely without converging to a finite limit. A repetition of partial sums with no clear ending, never reaching zero. @@ -593,7 +653,15 @@ unstainable forms devoid of comfort, nourishment, or thriving. What does comfort mean for a body whose whole existence is uncomfortable? Moreover, what if the comfort care performed for these divergent bodies makes them too comfortable being in their pained state of self? Could -they be? (9)

+they be?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?

Caring for a digital body involves providing it with space to live, giving its experimental bot-feelings tender attention, and revealing your own vulnerable digital body in response. It’s about giving it an @@ -679,8 +747,10 @@ the context of a public surrounding a cultural phenomenon, the author Lauren Berlant denotes that intimacy itself always requires hopeful imagination. It requires belief in the existence of an ideal other who is emotionally attuned to one’s own experiences and fantasies, -conditioned by the same longings and with willing reciprocity (2008). -(10)

+conditioned by the same longings and with willing reciprocity +(2008).If we were to be honest, the +entire exercise of writing this for you requires this very +faith.

In the context of the intimacy of a Backplace, where divergent digital bodies have formed a community around existing outside the healthy and standard, longing and hopeful intimacy becomes a heavy- @@ -715,63 +785,14 @@ stand it. It ruins both of us to be seen this way and we need it so desperately. It has to exist and yet it can’t for long.

I leave even though I love all of your digital bodies. I leave because I love you, little digital body and you are me.

-

2. A LIFE TO BE HAD 11

-

sidenotes

-
    -

  1. You’re 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. -

  2. I will be honest with you, I have little patience for this -recurring line of thought that seeks to distinguish people’s 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. -

  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. -

  4. It’s out of care and not lack of relevance that I am not showing -you Mandel’s goodbye message. It’s 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. -

  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. -

  6. A step in a step in a step, sorry.

    7. -

  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 it’s- 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. -

  8. Of course, the river itself is not a river; it’s many confused -streams that believe themselves both the same and separate. I don’t know -where I’m going with this, I just don’t love the river of normativity -and I’d rather go swim in the ocean of dreams with you.

    9. -

  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. -

  10. If we were to be honest, the entire exercise of writing this for -you requires this very faith.

    11. -

  11. Was this the end of this story? In the epilogue, you sit your -body down and enter your computer. The air coming in from the window -smells wet and earthy, new. The sun shines low on the horizon. You log -in to the internet and realize you are being told a story. You start to -listen, carefully and, full of love, touch the story to let it know you -are there. Delicate-fingered, curious like a child holding a fallen -bird. I hold you and the story tentatively.

    12. -
+

2. A LIFE TO BE HAD

+

Was this the end of this story? In the +epilogue, you sit your body down and enter your computer. The air coming +in from the window smells wet and earthy, new. The sun shines low on the +horizon. You log in to the internet and realize you are being told a +story. You start to listen, carefully and, full of love, touch the story +to let it know you are there. Delicate-fingered, curious like a child +holding a fallen bird. I hold you and the story tentatively.

I don’t know if I am touching you, to tell you the truth. Digital bodies are stories, like physical bodies are, like dreams are, and like water is.

@@ -814,7 +835,7 @@ in a captcha. E5qr7. eSq9p. 8oc8y. Fuck. 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 hands made out of felt, a star, a door, a stuffed animal; and you leave -again.

+again.

references

Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers: Deviant communities, relationships, and selves’, Symbolic Interaction, @@ -868,9 +889,9 @@ University of Nebraska Press.

+alt="WDKA- Winjhaven Building- February 2024- reading of act0 and act1" /> +reading of act0 and act1

This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. @@ -896,10 +917,20 @@ 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” -

+ + +

+
+ + +
+

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 @@ -946,12 +977,6 @@ of the municipality building.

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.

-
- - -
@@ -1302,40 +1327,8 @@ 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.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|…………………*…………………|
|………………………………………|
|………………………………………|
|………………………………………|
|………………………………………|
|………………………………………|
|………………………………………|
| |
| … + |
-

“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- (Pater, 2021)

+

“there is no document of civilisation which is not at the same time a +document of barbarism” -Walter Benjamin- (Pater, 2021)

t h e d o c u m e n t

From fences and armed police to nation-state mechanism of less-material bordering to bureaucracy to the elements of bureaucracy to @@ -1454,9 +1447,12 @@ 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 ]

-
+
+ + +

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 @@ -1545,8 +1541,12 @@ 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 ]

+
+ + +

2.

Title: “Department of Bureaucracy and Administration Customs Enforcement” When: November 2023 Where: Leeszaal(17) Who: XPUB peers, @@ -1574,10 +1574,18 @@ such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony.

-

[Leeszaal West Rotterdam - November 2023 – People queuing(18) to -receive their documents and sign ]

-

[ One of the forms that the audience had to fill out during the -Lesszaal event ]

+
+ + +
+
+ + +

3.

Title: “Passport Reading Session” When: January 2024 Where: XML – XPUB studio Who: Ada, Aglaia, Stephen, Joseph

@@ -1607,8 +1615,9 @@ 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

+

4.

Title: “Postal Address Application Scenario” When: February 2024 Where: Room in Wijnhaven Building, 4th floor Who: XPUB 1,2,3, tutors, @@ -1650,15 +1659,13 @@ 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

-
-

(instead of) c o n c l u s i o -n

+

A6 booklet of the first chapter of the +“theatrical” scenario created out of the Postal Address Application +documents and performed by XPUB peers

+

c o n c l u s i o n

(next -chapters of the case with reference number A.B.2024.4.03188)

+id="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 @@ -1695,9 +1702,8 @@ 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

-
+

“we didn’t cross the border, the border crossed us”(20)

As I sit in the waiting area at the gate B7 in the airport preparing @@ -1802,7 +1808,6 @@ in an efficiently defined area.

  • Vosk is an offline open-source speech recognition toolkit
  • US Immigrant Rights Movement Slogan (Keshavarz, 2016)
    • -

    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. Anzaldua, G. (1987) Borderlands - la diff --git a/print/print_style.css b/print/print_style.css index 000612c..6b346d4 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -74,6 +74,20 @@ a{ text-align: left; width: 35mm; display: inline-block; + text-align-last: initial; + box-sizing: border-box; + float: left; + margin: 5mm 5mm 5mm -15mm; + color: var(--spot-color-1); +} +@page:right{ + .margin-note{ + float:right; + margin: 5mm -15mm 5mm 5mm; + } +} +body .margin-note{ + position: static; } .code pre{ font-size: 0.8em;