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<div id="content"><h1 id="backplaces">Backplaces</h1>
<p>Hi.<br />
<p>adadesign.nl/backplaces<br />
Hi.<br />
I made this play for you. It is a question, for us to hold together.</p>
<p>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.</p>
uncomfortable pain can find relief, ease, and transcendence.<br />
</p>
<p>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.</p>
<p>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.</p>
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.<br />
<img src="index.png"
alt="This is the Index, the stage of my play. Each felted item is an act." /></p>
<p>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.<br />
<img src="solar-1.png"
alt="The initial comment shaped poems and their sun count." /> <img
src="solar-2.png"
alt="The fillable comment where you can whisper your feelings to me." /></p>
<p>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.</p>
of being online while wanting to disconnect. As an act it’s a series of
letters, click by click.<br />
</p>
<p><img src="one.png" alt="The first letter." /> <img src="two.png"
alt="The second letter." /></p>
<p>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.</p>
<p>I love you and hope you see what I saw in these stories.</p>
<p>Safe dreams now. I will talk to you soon.</p>
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.<br />
</p>
<p><img src="pie.png"
alt="The first two stories and their memory illustrations." /> <img
src="phone-pie.png"
alt="The second stories in the way they were meant to be experienced." /></p>
<p>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.<br />
<img src="biscuits.png"
alt="Accept My Cookies, biscuits and bows for the performance." /></p>
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<div id="content"><h1 id="water-bodies">&lt;?water bodies&gt;</h1>
<h3 id="a-narrative-exploration-of-divergent-digital-intimacies">A
narrative exploration of divergent digital intimacies</h3>
<p>Water, stories, the body, all the things we do, are mediums that hide
and show what’s hidden. (Rumi, 1995 translation)</p>
<blockquote>
<p>Water, stories, the body,<br />
all the things we do, are<br />
mediums<br />
that hide and show what’s<br />
hidden.<br />
(Rumi, 1995 translation)</p>
</blockquote>
<h2 id="for-you">꙳for you</h2>
<p>All intimacy is about bodies. Is this true? Does it matter? I doubt
it. Do you know? Let’s find out, maybe.</p>
@ -70,13 +88,24 @@ choreographed and I care deeply for you.</p>
<p>I love you and hope you see what I saw in these stories.</p>
<p>Safe dreams now, I will talk to you soon.</p>
<h2 id="digital-bodies">0. DIGITAL BODIES</h2>
<p>I think the worst must be finished. Whether I am right, don’t tell
me. Don’t tell me. No ringlet of bruise, no animal face, the waters salt
me and I leave it barefoot. I leave you, season of still tongues, of
roses on nightstands beside crushed beer cans. I leave you white sand
and scraped knees. I leave this myth in which I am pig, whose death is
empty allegory. I leave, I leave— At the end of this story, I walk into
the sea and it chooses not to drown me. (Yun, 2020)</p>
<blockquote>
<p>“I think the worst must be finished.<br />
Whether I am right, don’t tell me.<br />
Don’t tell me.<br />
No ringlet of bruise,<br />
no animal face, the waters salt me<br />
and I leave it barefoot. I leave you, season<br />
of still tongues, of roses on nightstands<br />
beside crushed beer cans. I leave you<br />
white sand and scraped knees. I leave<br />
this myth in which I am pig, whose<br />
death is empty allegory. I leave, I leave—<br />
At the end of this story,<br />
I walk into the sea<br />
and it chooses<br />
not to drown me.”<br />
(Yun, 2020)</p>
</blockquote>
<h3 id="a.-what-is-a-digital-body">a. what is a digital body?</h3>
<p>A digital body is a body on the Internet. A body outside the internet
is simply a body. On the internet, discussions about corporeality
@ -153,9 +182,9 @@ 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).<sup><span class="margin-note"> You’re 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>.</p>
funerals (1993).<sup><span class="margin-note">You’re dreaming again,
good. 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></p>
<p>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
@ -163,7 +192,11 @@ 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)</p>
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 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.</span></sup></p>
<p>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
@ -199,13 +232,20 @@ 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)</p>
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></p>
<p>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
topic he had opened to say goodbye, he posted this message about the
bot:</p>
<p>I had another motive in opening this topic to tell the truth, one
<blockquote>
<p>“I had another motive in opening this topic to tell the truth, one
that winds its way through almost everything I’ve done online in the
five months since my cancer was diagnosed. I figured that, like everyone
else, my physical self wasn’t going to survive forever and I guess I was
@ -213,13 +253,18 @@ going to have less time than actuarials allocateus [actually allocated].
But if I could reach out and touch everyone I knew on-line… I could toss
out bits and pieces of my virtual self and the memes that make up Tom
Mandel, and then when my body died, I wouldn’t really have to leave…
Large chunks of me would also be here, part of this new space. (Hafner,
Large chunks of me would also be here, part of this new space.” (Hafner,
1997)</p>
</blockquote>
<p>With the Mandelbot, Mandel found a way to deal with 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)</p>
love and grief.<sup><span class="margin-note">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.</span></sup></p>
<p>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
@ -231,9 +276,11 @@ persona.</p>
<p>In a tribute posted after his death, fellow Well member and
journalist Andrew Leonard tried to convey his own sense of blended
physicality and emotion.</p>
<p>Sneer all you want at the fleshlessness of online community, but on
<blockquote>
<p>“Sneer all you want at the fleshlessness of online community, but on
this night, as tears stream down my face for the third straight evening,
it feels all too real. (Andrew Leonard, 1995)</p>
it feels all too real.” (Andrew Leonard, 1995)</p>
</blockquote>
<h3 id="c.-bot-feelings">c. bot-feelings</h3>
<p>An internet body has bot-feelings if allowed to. Let me explain.</p>
<p>A bot functions as a different entity from a cyborg, as it does not
@ -241,8 +288,14 @@ 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)</p>
interaction, performing 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></p>
<p>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
@ -271,7 +324,8 @@ 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.</p>
<p>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,<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. 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
@ -311,9 +365,12 @@ possibility inherent in the human experience.</p>
<p>The only laws: Be radiant. Be heavy. Be green.</p>
<p>Tonight, the dead light up your mind like an image of your mind on a
scientist’s screen. ‘The scientists don’t know – and too much.’</p>
<p>In the town square, in the heart of night (a delicacy like the heart
of an artichoke), a man dances cheek-to-cheek with the infinite blue.
<blockquote>
<p>“In the town square, in the heart of night (a delicacy like the heart
of an artichoke), a man dances cheek-to-cheek with the infinite
blue.”<br />
(Schwartz, 2022)</p>
</blockquote>
<h3 id="a.-comfort-care">a. comfort care</h3>
<p>Let’s care for this digital body. I’ll feed it virtual vegetables
while you wipe away the wear of battery fatigue. And why not encourage
@ -338,7 +395,14 @@ culturally uncomfortable, no nurse will come to check on it.</p>
<p>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)</p>
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
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.</span></sup></p>
<p>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
@ -390,14 +454,22 @@ specificities in atypicality, of course, but also the distinctions
between me as the writer and them as the writer. You as the reader and
you as the community. Me and you, as a whole. Both exist, both separate
but in what is not of such importance.</p>
<p>Though many of these systems are different, fundamentally, we can see
similarities in the structure of their data. It’s very easy to find
differences. What’s more interesting is to find out what’s similar. (Chu
&amp; Dunkel , 2021)</p>
<blockquote>
<p>“Though many of these systems are different, fundamentally, we can
see similarities in the structure of their data. It’s very easy to find
differences. What’s more interesting is to find out what’s
similar.”<br />
(Chu &amp; Dunkel, 2021)</p>
</blockquote>
<p>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)</p>
the river of appropriate cultural behavior.<sup><span
class="margin-note">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.</span></sup></p>
<p>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.
@ -440,7 +512,15 @@ 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)</p>
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></p>
<p>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
@ -526,8 +606,10 @@ 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)</p>
conditioned by the 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></p>
<p>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-
@ -562,63 +644,14 @@ 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.</p>
<p>I leave even though I love all of your digital bodies. I leave
because I love you, little digital body and you are me.</p>
<h2 id="a-life-to-be-had-11">2. A LIFE TO BE HAD 11</h2>
<h2 id="sidenotes">sidenotes</h2>
<ol type="1">
<li><p>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?</p></li>
<li><p>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.</p></li>
<li><p>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.</p></li>
<li><p>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.</p></li>
<li><p>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.</p></li>
<li><p>A step in a step in a step, sorry.</p></li>
<li><p>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.</p></li>
<li><p>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.</p></li>
<li><p>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?</p></li>
<li><p>If we were to be honest, the entire exercise of writing this for
you requires this very faith.</p></li>
<li><p>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.</p></li>
</ol>
<h2 id="a-life-to-be-had">2. A LIFE TO BE HAD</h2>
<p><sup><span class="margin-note">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.</p>
<p>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.</p>
@ -655,13 +688,13 @@ body, is yet to be told.</p>
each other stories just outside the room. We don’t have so much time
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
adadesign.nl/backplaces.</p>
https://vulnerable-interfaces.xpub.nl/backplaces/.</p>
<p>You open the page, and you are asked to write the characters you see
in a captcha. E5qr7. eSq9p. 8oc8y. Fuck. You try not to panic, but you
know you have been detected.</p>
<p>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.</p>
again.</span></sup></p>
<h2 id="references">references</h2>
<p>Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers:
Deviant communities, relationships, and selves’, Symbolic Interaction,

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<div id="content"><h1 id="talking-documents">Talking Documents</h1>
<h3 id="section"></h3>
<figure>
<img src="../aglaia/wijnhaven.JPG"
alt="WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”" />
alt="WDKA- Winjhaven Building- February 2024- reading of act0 and act1" />
<figcaption aria-hidden="true">WDKA- Winjhaven Building- February 2024-
reading of act0 “” and act1 “”</figcaption>
reading of act0 and act1</figcaption>
</figure>
<p>This project appeared as a need to explore potential bureaucratic
dramaturgies within the educational institution I was part as a student.
@ -49,10 +61,20 @@ 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.</p>
<p><img src="../aglaia/call_scenario.png"
<figure>
<img src="../aglaia/call1.png"
alt="Act 2 “Call with the municipality about the rejection of my application”" />
<img src="../aglaia/deregistration1.png"
alt="Act 7 “Confirmation document of my deregistration”" /></p>
<figcaption aria-hidden="true">Act 2 “Call with the municipality about
the rejection of my application”</figcaption>
</figure>
<p><img src="../aglaia/call2.png" /></p>
<figure>
<img src="../aglaia/dereg1.png"
alt="Act 7 “Confirmation document of my deregistration”" />
<figcaption aria-hidden="true">Act 7 “Confirmation document of my
deregistration”</figcaption>
</figure>
<p><img src="../aglaia/dereg2.png" /></p>
<p>I perceive the document as a unit and as the fundamental symbolic
interface of the bureaucratic network. The transformation of the
materiality of a document into a scenario to be enacted collectively in
@ -99,12 +121,6 @@ of the municipality building.</p>
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.</p>
<figure>
<img src="../aglaia/passport1.png"
alt="XML at XPUB studio – January 2024 - Passport Reading Session" />
<figcaption aria-hidden="true">XML at XPUB studio – January 2024 -
Passport Reading Session</figcaption>
</figure>
</div>
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<div id="content"><h1 id="performing-the-bureaucratic-borderlines">Performing the
Bureaucratic Border(line)s</h1>
<h3 id="i-n-t-r-o-d-u-c-t-i-o-n">i n t r o d u c t i o n</h3>
<p>This thesis is an assemblage(1) of thoughts, experiences,
interpretations, intuitive explorations of what borders are, attempting
to unleash a conversation concerning the entangled relation between
material injurious borders and bureaucracy. I unravel empirically the
thread of how borders as entities are manifested and (de)established.
How does the lived experience of crossing multiple borders change and
under what conditions?</p>
<p>The eastern Mediterranean borderland(2), I happened to come from,
proves to be one of Europe’s deadly borders towards specific ethnic
groups. The embodied experience of borders and practices of (im)mobility
change radically depending on the various identities of the people
crossing them. As I moved to the Netherlands I started more actively
perceiving bureaucracy as another multi-layered border. I was wondering
how this situation is shifted and transformed moving towards the
European North. What is the role of bureaucracy and how it could be
perceived as a mechanism of repulsion for some bodies - a camouflaged
border?</p>
<h2 id="introduction">introduction</h2>
<p>This thesis is an assemblage<sup><span class="margin-note">I live
somewhere in the margins of scattered references, footnotes, citations,
examinations embracing the inconvenience of talking back to myself, to
the reader and to all those people whose ideas gave soul to the text. I
shelter in the borderlands of the pages my fragmented thoughts, flying
words, introspections, voices. Enlightenment and inspiration given by
the text “Dear Science” written by Katherine McKittrick.</span></sup> of
thoughts, experiences, interpretations, intuitive explorations of what
borders are, attempting to unleash a conversation concerning the
entangled relation between material injurious borders and bureaucracy. I
unravel empirically the thread of how borders as entities are manifested
and (de)established. How does the lived experience of crossing multiple
borders change and under what conditions?</p>
<p>The eastern Mediterranean borderland<sup><span class="margin-note">I
use the word borderland to refer to Greece as a (mostly) transit zone in
the migrants’ and refugees’ route towards Europe.</span></sup>, I
happened to come from, proves to be one of Europe’s deadly borders
towards specific ethnic groups. The embodied experience of borders and
practices of (im)mobility change radically depending on the various
identities of the people crossing them. As I moved to the Netherlands I
started more actively perceiving bureaucracy as another multi-layered
border. I was wondering how this situation is shifted and transformed
moving towards the European North. What is the role of bureaucracy and
how it could be perceived as a mechanism of repulsion for some bodies -
a camouflaged border?</p>
<p>But what is my starting point and where does my precarious body fit
within the borders that I am touching? The language of the
administrative document is rigid and hurtful but myself lies between the
@ -48,18 +68,29 @@ choose to structure my argument and talk through a personal process that
is being unfolded in parallel with the writing period. Accordingly,
these words are dynamically being reshaped due to the material
constraints of the bureaucratic timeline. A more distant approach became
personal and tangible with auto-ethnographical(3) elements as I was
trying to squish myself and my urgencies under these thresholds and fit
the A4 document lines.</p>
personal and tangible with auto-ethnographical<sup><span
class="margin-note">I perceive auto-ethnography as a way to place
myself, my lived experiences, my identities, reflections in the
(artistic) research and talk through them about structures and within
the structures of social, cultural, political frameworks.</span></sup>
elements as I was trying to squish myself and my urgencies under these
thresholds and fit the A4 document lines.</p>
<p>I would like at this point to acknowledge and state explicitly my
privilege recognizing the different levels of otherness produced by the
several bordering mechanisms. My European machine-readable passport as a
designed artifact dictates and facilitates the easiness of my mobility.
In other (many) cases the lack of it creates profoundly a severe
barrier(4). I do not intend in any respect to compare my case to the
lived experiences and struggles of migrants and refugees. I utilize the
paperwork interface of my smaller-scale story in order to unravel and
foreground the aforementioned questions.</p>
barrier<sup><span class="margin-note">“Passports still function as a
technology to control movement. Technologies like RFID chips and face
recognition are part of a control system for digital state surveillance.
Designing a passport is relative to design a surveillance tool. The
analysis of passport designs rarely looks at the social consequences of
identification, control, and restriction of movement, which can have
violent consequences.” (Ruben Pater, 2021)</span></sup>. I do not intend
in any respect to compare my case to the lived experiences and struggles
of migrants and refugees. I utilize the paperwork interface of my
smaller-scale story in order to unravel and foreground the
aforementioned questions.</p>
<p>This thesis is very much indebted to some text-vehicles that
mobilized my reflections and nourished the writing process. “Illegal
Traveller, an autoethnography of borders” and “Waiting, a Project in
@ -99,18 +130,20 @@ through performative readings. The intention is to underline how the
vocalization of bureaucracies as a tool can potentially reveal their
territorial exclusive function and provide space for the invisible
vulnerability.</p>
<hr />
<p>“on the other side is the river and I cannot cross it on the other
side is the sea I cannot bridge it” (Parra, cited by Anzaldua, 1987,
p.139)</p>
<h3 id="b-o-r-d-e-r-s">b o r d e r s</h3>
<blockquote>
<p>“on the other side is the river<br />
and I cannot cross it<br />
on the other side is the sea<br />
I cannot bridge it”<br />
(Anzaldua, 1987)</p>
</blockquote>
<h2 id="borders">borders</h2>
<p>How a border is defined? How, as an entity, does it define? How is it
performed? I used to think of borders in a material concrete way, coming
from a country of the European South that constitutes a rigid, violent
border that repulses and kills thousands of migrants and refugees. In
the following chapter, I will attempt to explore the terrain of material
borders in relation to bureaucracy as another multi-layered filter.</p>
<p>[Front-facing camera at self-counter in LIDL]</p>
<p>What constitutes a border? Is it a wall, a line, a fence, a machine,
a door, an armed body or a wound on the land? When somebody crosses a
border are they consciously aware of the act of crossing? I am crossing
@ -139,8 +172,7 @@ bordering device that demonstrates in a way itself. Crossing and borders
are inherently defined in relation to each other. “Where there is a
border, there is also a border crossing, legal as well as illegal”
(Khosravi, 2010).</p>
<h4 id="c-o-n-d-i-t-i-o-n-a-l-h-o-s-p-i-t-a-l-i-t-y">c o n d i t i o n a
l h o s p i t a l i t y</h4>
<h3 id="conditional-hospitality">conditional hospitality</h3>
<p>I started thinking about hospitality as a cultural behavior and as an
inseparable term in the context of borders due to a recent personal
bureaucratic experience. Hospitality can be instrumentalized to describe
@ -164,13 +196,21 @@ permission for a short-term postal address while declaring the addresses
of my current hosts [4/02/2024]. I gathered the required documents, I
processed a 9-page-text and another one with the personal data of my
hosts and myself and answered questions about:</p>
<p>why don’t I have a house, who are the people who host me, what is my
relationship with them, where do I sleep, where do I store my
belongings, how many people are hosting me and accordingly their
personal data, for how long, why I cannot register there, what days of
the week do I stay in the one house and what days do I stay in the other
house, whether and how am I searching for a permanent place and what is
the tangible proof of my search?</p>
<blockquote>
<p>why don’t I have a house,<br />
who are the people who host me,<br />
what is my relationship with them,<br />
where do I sleep,<br />
where do I store my belongings,<br />
how many people are hosting me and accordingly their personal
data,<br />
for how long,<br />
why I cannot register there,<br />
what days of the week do I stay in the one house and<br />
what days do I stay in the other house,<br />
whether and how am I searching for a permanent place and<br />
what is the tangible proof of my search?</p>
</blockquote>
<p>All these questions provoked thinking around the concept of
conditional hospitality as a behavior of the state towards strangers. I
can see that on a smaller scale it is being applied to the hospitality I
@ -183,10 +223,12 @@ seems that forms of knowledge are inseparably related to forms of power.
It will take 8 weeks for my request to be processed and for the
government to approve or reject if I deserve my friends’
hospitality.</p>
<blockquote>
<p>“Today as yesterday, her land and her time are stolen, only because
she is told that she has arrived too late. Much too late” (Khosravi,
2021)</p>
<h4 id="w-a-i-t-i-n-g">w a i t i n g</h4>
she is told that she has arrived too late. Much too late”<br />
(Khosravi, 2021)</p>
</blockquote>
<h3 id="waiting">waiting</h3>
<p>Waiting can be considered as a dramaturgical means embedded in
bureaucratic procedures that camouflage power relations through the
manipulation of people’s time. When people are in the middle of a
@ -227,8 +269,10 @@ Greek context portrayed as an “ideal” intertwined with the
nation-building narrative and as a foundational quality - product by the
Greek tourist industry. However, the Greek sea has been an endless
refugee graveyard and the eastern Aegean islands a “warehouse of
souls”(6) for the last many years. In this case, conditional hospitality
applies primarily to those who invest in and consume.</p>
souls”<sup><span class="margin-note">For further reading:
https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/</span></sup>
for the last many years. In this case, conditional hospitality applies
primarily to those who invest in and consume.</p>
<p>Hospitality can function as a filtration mechanism that permits
access – lets in – the ones who deserve it, those who have “passports,
valid visas, adequate bank statements, or invitations” (Khosravi, 2010).
@ -243,8 +287,7 @@ unconditionally accepted, only at this moment, we are able to imagine
the “political and ethical survival of humankind” (Agamben, 2000).
Hospitality does not seem a matter of choice but a profound urgency, if
humanity desires to foster a future together.</p>
<h4 id="t-h-e-r-i-g-h-t-t-o-h-a-v-e-r-i-g-h-t-s">“ t h e r i g h t t o h
a v e r i g h t s ”</h4>
<h4 id="the-right-to-have-rights">“the right to have rights”</h4>
<p>(Arendt, as cited by Khosravi, 2010, p.121) What about the crossers
who managed to travel and reach the desirable “there”, the ones who
transcended the borders and the control checks of the ministries of
@ -270,19 +313,28 @@ essentially citizens’ rights, human rights are tied to the nation-state
system. Consequently, human rights can be materialized only in a
political community. “Loss of citizenship also means loss of human
rights” (Khosravi, 2010)</p>
<p>“…(9) I am here for the rights of the children which haven’t be in
the taking part in the education since they have undocumented mothers
and they are more than <em>(10) years. I am here to represent mothers
who are looking for a place to have a sense of belonging or how long are
you trying to continue humiliating them and the female gender. I am here
to express my frustration with IND(11). So frustrated. And I will not
stop talking about democracy. Democracy is the rule of law where
everybody feels included. Democracy is a rule of law where everybody
feels </em> We, undocumented people, we don’t feel a sense of belonging
from the system.”</p>
<hr />
<h3 id="b-u-r-e-a-u-c-r-a-c-y-a-s-i-m-m-a-t-e-r-i-a-l-b-o-r-d-e-r">b u r
e a u c r a c y a s i m m a t e r i a l b o r d e r</h3>
<blockquote>
<p>“…<sup><span class="margin-note">This is a transcribed recording of
my phone during a protest on migration at Dam Square in Amsterdam. I
insert part of the speech of a Palestinian woman addressing the matter
of undocumentedness. Date and time of the recording 18th of June 2023,
15:05.</span></sup> I am here for the rights of the children which
haven’t be in the taking part in the education since they have
undocumented mothers and they are more than
<em><sup><span class="margin-note">“</em>” means
undecipherable</span></sup> years. I am here to represent mothers who
are looking for a place to have a sense of belonging or how long are you
trying to continue humiliating them and the female gender. I am here to
express my frustration with IND<sup><span
class="margin-note">Immigratie- en Naturalisatiedienst - Dutch
Immigration and Naturalisation Service</span></sup>. So frustrated. And
I will not stop talking about democracy. Democracy is the rule of law
where everybody feels included. Democracy is a rule of law where
everybody feels * We, undocumented people, we don’t feel a sense of
belonging from the system.”</p>
</blockquote>
<h2 id="bureaucracy-as-immaterial-border">bureaucracy as immaterial
border</h2>
<p>Apart from the rigid visible borders, bureaucracy related to
migrants, refugees and asylum seekers can also constitute an in-between
less visible borderland. I used to perceive bureaucracy as an immaterial
@ -307,18 +359,26 @@ otherness. Accordingly, I see bureaucracy as a practice that raises
material and symbolic walls for specific groups of people who are
rendered unwanted and unwelcome because they dared to cross the borders
of the Global North. It is as if they could never manage to eventually
arrive and shelter their lives within the desirable “there”(12). “In
these bordering processes, we can detect the “coloniality of asylum”(13)
arrive and shelter their lives within the desirable “there”<sup><span
class="margin-note">I am referring to the desirable potential
destinations of migrants and refugees corresponding mainly to Global
North countries.</span></sup>. “In these bordering processes, we can
detect the “coloniality of asylum”<sup><span class="margin-note">In this
text they insert the concept of the “coloniality of asylum” introduced
by Picozza, which talks about how asylum systems are intertwined with
colonial legacies and power dynamics. These systems are often colonial
structures reinforcing hierarchies between nations and reproducing
patterns of domination and oppression. In this framework, asylum is not
just about offering protection but also about regulating and managing
populations in a way that reflects colonial relationships.</span></sup>
(Borelli, Poy, Rué, 2023). Bureaucracies in practice act as filters,
determining who, from an institutional standpoint, deserves to receive
protection and who does not. They operate as systems that classify
non-citizens and place them in a social hierarchy of disproportionate
unequal obligations, lack of rights and access to institutional
support.</p>
<h4
id="h-i-g-h-e-r-e-d-u-c-a-t-i-o-n-s-e-x-p-a-n-d-i-n-g-b-u-r-e-a-u-c-r-a-c-y">h
i g h e r e d u c a t i o n ’s e x p a n d i n g b u r e a u c r a c
y</h4>
<h3 id="higher-educations-expanding-bureaucracy">higher education’s
expanding bureaucracy</h3>
<p>While I had this inherent concern about borders and bureaucratic
structures in relation to migration, I decided to start zooming in and
explore my own bureaucratic surroundings through my personal lens. As a
@ -339,6 +399,7 @@ institutions lies in the level of unawareness regarding surveillance via
multiple bureaucratic rituals that (re)produce docile behaviors. How
these mechanisms are masked and standing in the margins of the visible
nonvisible sphere.</p>
<blockquote>
<p>“This is what makes it possible, for example, for graduate students
to be able to spend days in the stacks of university libraries poring
over Foucault-inspired theoretical tracts about the declining importance
@ -346,7 +407,9 @@ of coercion as a factor in modern life without ever reflecting on that
fact that, had they insisted their right to enter the stacks without
showing a properly stamped and validated ID, armed men would have been
summoned to physically remove them, using whatever force might be
required.”, (Graeber, 2015)</p>
required.”<br />
(Graeber, 2015)</p>
</blockquote>
<p>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,
@ -358,41 +421,12 @@ 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.</p>
<table>
<tbody>
<tr class="odd">
<td>|…………………*…………………|</td>
</tr>
<tr class="even">
<td>|………………………………………|</td>
</tr>
<tr class="odd">
<td>|………………………………………|</td>
</tr>
<tr class="even">
<td>|………………………………………|</td>
</tr>
<tr class="odd">
<td>|………………………………………|</td>
</tr>
<tr class="even">
<td>|………………………………………|</td>
</tr>
<tr class="odd">
<td>|………………………………………|</td>
</tr>
<tr class="even">
<td>| |</td>
</tr>
<tr class="odd">
<td>| … + |</td>
</tr>
</tbody>
</table>
<p>“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)</p>
<h4 id="t-h-e-d-o-c-u-m-e-n-t">t h e d o c u m e n t</h4>
<blockquote>
<p>“there is no document of civilisation which is not at the same time a
document of barbarism”<br />
Walter Benjamin</p>
</blockquote>
<h3 id="the-document">the document</h3>
<p>From fences and armed police to nation-state mechanism of
less-material bordering to bureaucracy to the elements of bureaucracy to
the document itself as the minimum unit of an apparatus. Understanding
@ -405,8 +439,8 @@ bureaucratic apparatus is something more than a metaphor it is also a
symbol. It is hard to see that there are many more layers beneath the
purpose it propagates. A metaphor that is so perfectly materialized as
well as naturalized that you cannot even see it.</p>
<h4 id="b-u-r-e-a-u-c-r-a-c-y-a-s-t-e-x-t-u-a-l-i-n-s-t-i-t-u-t-i-o-n">b
u r e a u c r a c y a s t e x t u a l i n s t i t u t i o n</h4>
<h4 id="bureaucracy-as-textual-institution">bureaucracy as textual
institution</h4>
<p>The bureaucratic apparatus can be considered as something more than
an infrastructure that organizes institutions, markets, states, etc. It
can constitute itself an institution, a textual institution. As the
@ -421,8 +455,7 @@ element of bureaucracy. Language can become a shroud to conceal the
violence and reinforce hierarchical structures and simultaneously can be
transformed into the rigid rational cell itself. They shape their own
narratives, they reflect the institutional narratives.</p>
<h4 id="t-h-e-m-y-t-h-o-f-u-n-i-v-e-r-s-a-l-i-t-y">t h e m y t h o f u n
i v e r s a l i t y</h4>
<h4 id="the-myth-of-universality">the myth of universality</h4>
<p>One of the great powers of bureaucracies is their ability to render
themselves transparent. It seems that bureaucracy does not have to say
anything more beyond itself, is self-referential and self-contained. It
@ -436,11 +469,16 @@ order to complete organizational tasks with maximum efficiency” (Weber,
as cited by Cunningham, 2017, p. 307).</p>
<p>I had to open a discussion with students from non-EEA (non European
Economic Area) countries in order to understand that they have to
conduct tuberculosis x-rays(14) when they arrive in the Netherlands. It
seems that for the Dutch state, their bodies might be more threatening
than bodies coming from a European country. The relativization in the
quality and the quantity of paperwork requested from different “groups”
of applicants in a specific context deconstructs the myth of the
conduct tuberculosis x-rays<sup><span class="margin-note">“To keep the
Residence Permit, some non-European students need to visit the Dutch
Public Health Authority (GGD) after they arrived in the Netherlands.
They will undergo a medical test for tuberculosis (TB). This is a
requirement from the IND (Dutch Immigration Office)”. (Introduction
days, 2021)</span></sup> when they arrive in the Netherlands. It seems
that for the Dutch state, their bodies might be more threatening than
bodies coming from a European country. The relativization in the quality
and the quantity of paperwork requested from different “groups” of
applicants in a specific context deconstructs the myth of the
universality of the bureaucratic form.</p>
<p>Undoubtedly the success of bureaucracy is drawn from its efficiency
in relation to schematization as an efficient material quality. “Whether
@ -451,8 +489,8 @@ define them under specific perspectives. Why do they ask for this
information instead of others? “Why place of birth and not, say, place
where you went to grade school? What’s so important about the
signature?” (Graeber, 2015)</p>
<h4 id="m-a-t-e-r-i-a-l-i-t-y---u-n-d-e-r-l-y-i-n-g-v-i-o-l-e-n-c-e">m a
t e r i a l i t y - u n d e r l y i n g v i o l e n c e</h4>
<h4 id="materiality-underlying-violence">materiality-underlying
violence</h4>
<p>There is a great materiality in bureaucracies. Bureaucratic
procedures are often compared to a labyrinth which appears as a
similarly complex structure constituted by simple geometrical shapes
@ -468,10 +506,13 @@ administrative objects that the design aspect of these artifacts appears
to be invisible? The material decisions applied as well as the material
constraints attributed to the document can transform or produce
different textual meanings and consequently understandings.</p>
<blockquote>
<p>“This does not mean that constraints limit meaning, but on the
contrary, constitute it; meaning cannot appear where freedom is absolute
or nonexistent: the stem of meaning is that of a supervised freedom”,
or nonexistent: the stem of meaning is that of a supervised
freedom”<br />
(Roland Barthes, 1983)</p>
</blockquote>
<p>When I encountered the green logo of the municipality of Rotterdam I
did not cultivate any feelings of enthusiasm or even boredom. A big
calligraphic “R” with the flawless green ribbons that penetrate it on
@ -489,6 +530,7 @@ biscuit. She used the same color blue scheme and she placed the biscuit
form inside the same standardized dimension folder 229x162 mm with the
same transparent layer that reveals my name and surname. According to
literary critic and theorist Katherine Hayles:</p>
<blockquote>
<p>“to alter the physical form of the artifacts is to change the act of
reading and understanding but mostly you transform the metaphoric and
symbolic network that structures the relation of world to world. To
@ -496,7 +538,9 @@ change the material artifacts is to transform the context and
circumstances for interacting with the words, which inevitably change
the meaning of the word itself. This transformation of meaning is
especially possible when the words interact with the inscription
technologies that produce them” (Hayles, 2002).</p>
technologies that produce them”<br />
(Hayles, 2002)</p>
</blockquote>
<p>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
@ -507,14 +551,21 @@ 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.</p>
<p>[ The birthday biscuit that Chae made, re-creating the Dutch
government form ]</p>
<hr />
<h3 id="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</h3>
but on the contrary creates “willful blindness” towards them<sup><span
class="margin-note">I am referring to those people subjecting others to
bureaucratic circles shaped by structurally violent situations as well
as people in positions of privilege who deliberately ignore these
facts.</span></sup>. Bureaucracies are not stupid inherently rather they
manage and coerce processes that reproduce docile and stupid
behaviors.</p>
<figure>
<img src="../aglaia/chae_form.jpg"
alt="The birthday biscuit that Chae made, re-creating the Dutch government form" />
<figcaption aria-hidden="true">The birthday biscuit that Chae made,
re-creating the Dutch government form</figcaption>
</figure>
<h2 id="vocal-archives-talking-documents">vocal archives-talking
documents</h2>
<p>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
@ -532,13 +583,24 @@ Bureaucratic official documents are inherently performative. These texts
regulate and bring situations into being.</p>
<p>My intention in transforming bureaucratic texts into “playable”
scenarios is to explore how embodying these texts in public through
collective speech(16) can provoke different forms of interpretations and
open tiny conceptual holes. “The meaning of a performative act is to be
found in this apparent coincidence of signifying and enacting” (Butler,
1997). The performative bureaucratic utterances - the vocal documents -
attempt to bring into existence -by overidentifying, exaggerating,
acting- the discomfort, the threat, the violence which is mainly
condemned into private individual spheres.</p>
collective speech<sup><span class="margin-note">I imagine the theatrical
play as a “human microphone”, a low-tech amplification device. A group
of people performs the bureaucratic scenario in chorus, out loud, in the
corridor of the school’s building, in the main hall, at the square right
across, outside of the municipality building. The term is borrowed from
the protests of the Occupy Wall Street Movement in 2011. People were
gathered around the speaker repeating what the speaker was saying in
order to ensure that everyone could hear the announcements during large
assemblies. Human bodies became a hack in order to replace the forbidden
technology. In New York it is required to ask for permission from
authorities to use “amplified sound” in public space.</span></sup> can
provoke different forms of interpretations and open tiny conceptual
holes. “The meaning of a performative act is to be found in this
apparent coincidence of signifying and enacting” (Butler, 1997). The
performative bureaucratic utterances - the vocal documents - attempt to
bring into existence -by overidentifying, exaggerating, acting- the
discomfort, the threat, the violence which is mainly condemned into
private individual spheres.</p>
<p>How performing a collection of small bureaucratic stories can
function as an instant micro intervention and potentially produce a
public discourse. Where do we perform this speech, where and when does
@ -569,10 +631,13 @@ experiments - closely related to language as well as the performative
“nature” of these texts themselves. I was intrigued by how transforming
the material conditions of a piece of text could influence the potential
understandings and perceptions of its meaning.</p>
<h4 id="p-r-o-t-o-t-y-p-e-s">p r o t o t y p e s</h4>
<h2 id="prototypes">prototypes</h2>
<h4 id="section">1.</h4>
<p>Title: “Quality Assurance Questionnaire Censoring” When: October 2023
Where: XPUB studio wall Who: myself</p>
<p><strong>Title:</strong> “Quality Assurance Questionnaire
Censoring”<br />
<strong>When:</strong> October 2023<br />
<strong>Where:</strong> XPUB studio wall<br />
<strong>Who:</strong> myself</p>
<p>Description: Some months ago my classmates and I received an email
with a questionnaire aimed at preparing us for the upcoming quality
assurance meeting within the school. Ada and I had a meeting, in an
@ -601,12 +666,19 @@ 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.</p>
<p>[ The linguistic experiment of the Quality Assurance Questionnaire
Document ]</p>
<figure>
<img src="../aglaia/quality.jpg"
alt="The linguistic experiment of the Quality Assurance Questionnaire Document" />
<figcaption aria-hidden="true">The linguistic experiment of the Quality
Assurance Questionnaire Document</figcaption>
</figure>
<h4 id="section-1">2.</h4>
<p>Title: “Department of Bureaucracy and Administration Customs
Enforcement” When: November 2023 Where: Leeszaal(17) Who: XPUB peers,
tutors, friends, alumni</p>
<p><strong>Title:</strong> “Department of Bureaucracy and Administration
Customs Enforcement”<br />
<strong>When:</strong> November 2023<br />
<strong>Where:</strong> Leeszaal<sup><span class="margin-note">Community
Library in Rotterdam West</span></sup><br />
<strong>Who:</strong> XPUB peers, tutors, friends, alumni</p>
<p>Description: During the first public moment at Leeszaal, I decided to
embody and enact the traditional role of a bureaucrat in a graphic and
possibly absurd way performing a small “theatrical play”. I prepared a
@ -630,13 +702,27 @@ 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.</p>
<p>[Leeszaal West Rotterdam - November 2023 – People queuing(18) to
receive their documents and sign ]</p>
<p>[ One of the forms that the audience had to fill out during the
Lesszaal event ]</p>
<figure>
<img src="../aglaia/queue.jpg"
alt="Leeszaal West Rotterdam - November 2023 – People queuingI was thinking of queues as a spatial oppressive tool used often by (bureaucratic) authorities. The naturalized image of bodies-in-a-line waiting for “something” to happen at “some point” under the public gaze in an efficiently defined area. to receive their documents and sign" />
<figcaption aria-hidden="true">Leeszaal West Rotterdam - November 2023 –
People queuing<sup><span class="margin-note">I was thinking of queues as
a spatial oppressive tool used often by (bureaucratic) authorities. The
naturalized image of bodies-in-a-line waiting for “something” to happen
at “some point” under the public gaze in an efficiently defined
area.</span></sup> to receive their documents and sign</figcaption>
</figure>
<figure>
<img src="../aglaia/mitsi.jpg"
alt="One of the forms that the audience had to fill out during the Lesszaal event" />
<figcaption aria-hidden="true">One of the forms that the audience had to
fill out during the Lesszaal event</figcaption>
</figure>
<h4 id="section-2">3.</h4>
<p>Title: “Passport Reading Session” When: January 2024 Where: XML –
XPUB studio Who: Ada, Aglaia, Stephen, Joseph</p>
<p><strong>Title:</strong> “Passport Reading Session”<br />
<strong>When:</strong> January 2024<br />
<strong>Where:</strong> XML – XPUB studio<br />
<strong>Who:</strong> Ada, Aglaia, Stephen, Joseph</p>
<p>Description: This prototype is a collective passport reading session.
I asked my classmates to bring their passports or IDs and sitting in a
circular set up we attempted to “scan” our documents. Every contributor
@ -646,15 +732,20 @@ from various perspectives. The three passports and one ID card were all
coming from European countries.</p>
<p>Reflections-Thoughts: For the first time I observed this object so
closely. The documentation medium was a recording device, Ada’s mobile
phone. The recording was transcribed by vosk(19) and myself and a small
booklet of our passport readings was created.</p>
phone. The recording was transcribed by vosk<sup><span
class="margin-note">Vosk is an offline open-source speech recognition
toolkit.</span></sup> and myself and a small booklet of our passport
readings was created.</p>
<blockquote>
<p>“So the object here is like not by random it comes from the history
of nation-states and how nation-states and nationalities created like a
form of identity. So nation-state is actually a recent invention that
came into existence over the last two hundred fifty years in the form as
we know it nowadays, in the form of democratic capitalism, before like
monarchies and so on and each citizen of such a nation-state got also
kind of a particular identity”, Joseph says about his ID card.</p>
kind of a particular identity”,<br />
Joseph says about his ID card.</p>
</blockquote>
<p>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
@ -663,12 +754,14 @@ 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).</p>
<p>[ Part of the A6 booklet of the transcription of the passport
readings session ] x2</p>
<p><a href="../aglaia/passport1.png">Part of the A6 booklet of the
transcription of the passport readings session</a></p>
<p><a href="../aglaia/passport2.png"></a></p>
<h4 id="section-3">4.</h4>
<p>Title: “Postal Address Application Scenario” When: February 2024
Where: Room in Wijnhaven Building, 4th floor Who: XPUB 1,2,3, tutors,
Leslie</p>
<p><strong>Title:</strong> “Postal Address Application Scenario”<br />
<strong>When:</strong> February 2024<br />
<strong>Where:</strong> Room in Wijnhaven Building, 4th floor<br />
<strong>Who:</strong> XPUB 1,2,3, tutors, Leslie</p>
<p>Description: This scenario is the first part of a series of small
episodes that construct a bureaucratic story unfolding the processes of
my communication with the government. The body of the text of the
@ -706,15 +799,13 @@ 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.</p>
<p>[ A6 booklet of the first chapter of the “theatrical” scenario
created out of the Postal Address Application documents and performed by
XPUB peers ] x2</p>
<hr />
<h3 id="instead-of-c-o-n-c-l-u-s-i-o-n">(instead of) c o n c l u s i o
n</h3>
<h4
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)</h4>
<p><a href="../aglaia/postal.png">A6 booklet of the first chapter of the
“theatrical” scenario created out of the Postal Address Application
documents and performed by XPUB peers</a></p>
<h2 id="conclusion">conclusion</h2>
<h3
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</h3>
<p>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
@ -751,9 +842,8 @@ 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.</p>
<p>[ Part of A6 booklet scenarios of the next chapters of my
bureaucratic story aimed to be performed ] x2</p>
<hr />
<p><a href="../aglaia/objection1.png"></a> <a
href="../aglaia/objection2.png"></a></p>
<h4 id="we-didnt-cross-the-border-the-border-crossed-us20">“we didn’t
cross the border, the border crossed us”(20)</h4>
<p>As I sit in the waiting area at the gate B7 in the airport preparing
@ -766,141 +856,59 @@ 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.</p>
<h3 id="s-i-d-e-n-o-t-e-s">s i d e n o t e s</h3>
<ol type="1">
<li>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.</li>
<li>I use the word borderland to refer to Greece as a (mostly) transit
zone in the migrants’ and refugees’ route towards Europe.</li>
<li>I perceive auto-ethnography as a way to place myself, my lived
experiences, my identities, reflections in the (artistic) research and
talk through them about structures and within the structures of social,
cultural, political frameworks.</li>
<li>“Passports still function as a technology to control movement.
Technologies like RFID chips and face recognition are part of a control
system for digital state surveillance. Designing a passport is relative
to design a surveillance tool. The analysis of passport designs rarely
looks at the social consequences of identification, control, and
restriction of movement, which can have violent consequences.” (Ruben
Pater, 2021)</li>
<li>Working title of the project</li>
<li>For further reading:
https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/</li>
<li>One of the tactics for regulating or preventing the so-called
unproductive hospitality is border control checks. According to the
website of the Ministry of Defense of the Netherlands, “the Royal
Netherlands Marechaussee (RNLM) combats cross-border crime and makes an
important contribution to national security. Checks are still performed
at the external borders of the Schengen area. In the Netherlands, this
means guarding the European external border at airports and seaports,
and along the coast. By participating in Frontex, the European border
control agency, the RNLM makes an important contribution to the control
of Europe’s external borders in other EU member states. There is one
single EU external border.” (Border Controls, 2017)</li>
<li>I would like to refer to the practice of Harragas introduced by my
friend Rabab as a counter-act of dealing or breaking or burning the
multilayered borders. The burners or Harragas is a term alluding to the
migrants’ practice of burning their identity papers and personal
documents in order to prevent identification by authorities in Europe.
Crucially this moving out is in defiance of the bureaucratic rules and
their elaborate visa systems. Those who engage in harraga, ‘burn’
borders to enter European territories. “They do not, however, burn the
bridges to the people and places they depart from. To these, they keep
all kinds of links. For, as they burn borders, they don’t move away from
their place of origin. Harraga is about expanding living space”
(M’charek, 2020).</li>
<li>This is a transcribed recording of my phone during a protest on
migration at Dam Square in Amsterdam. I insert part of the speech of a
Palestinian woman addressing the matter of undocumentedness. Date and
time of the recording 18th of June 2023, 15:05.</li>
<li>“*” means undecipherable</li>
<li>Immigratie- en Naturalisatiedienst - Dutch Immigration and
Naturalisation Service</li>
<li>I am referring to the desirable potential destinations of migrants
and refugees corresponding mainly to Global North countries.</li>
<li>In this text they insert the concept of the “coloniality of asylum”
introduced by Picozza, which talks about how asylum systems are
intertwined with colonial legacies and power dynamics. These systems are
often colonial structures reinforcing hierarchies between nations and
reproducing patterns of domination and oppression. In this framework,
asylum is not just about offering protection but also about regulating
and managing populations in a way that reflects colonial
relationships.</li>
<li>“To keep the Residence Permit, some non-European students need to
visit the Dutch Public Health Authority (GGD) after they arrived in the
Netherlands. They will undergo a medical test for tuberculosis (TB).
This is a requirement from the IND (Dutch Immigration Office)”.
(Introduction days, 2021)</li>
<li>I am referring to those people subjecting others to bureaucratic
circles shaped by structurally violent situations as well as people in
positions of privilege who deliberately ignore these facts.</li>
<li>I imagine the theatrical play as a “human microphone”, a low-tech
amplification device. A group of people performs the bureaucratic
scenario in chorus, out loud, in the corridor of the school’s building,
in the main hall, at the square right across, outside of the
municipality building. The term is borrowed from the protests of the
Occupy Wall Street Movement in 2011. People were gathered around the
speaker repeating what the speaker was saying in order to ensure that
everyone could hear the announcements during large assemblies. Human
bodies became a hack in order to replace the forbidden technology. In
New York it is required to ask for permission from authorities to use
“amplified sound” in public space.</li>
<li>Community Library in Rotterdam West</li>
<li>I was thinking of queues as a spatial oppressive tool used often by
(bureaucratic) authorities. The naturalized image of bodies-in-a-line
waiting for “something” to happen at “some point” under the public gaze
in an efficiently defined area.</li>
<li>Vosk is an offline open-source speech recognition toolkit</li>
<li>US Immigrant Rights Movement Slogan (Keshavarz, 2016)</li>
</ol>
<hr />
<h3 id="r-e-f-e-r-e-n-c-e-s">r e f e r e n c e s</h3>
<h2 id="references">references</h2>
<p>Agamben, G. (2000) Means without end: Notes on politics. Minneapolis,
MN: University of Minnesota Press. Anzaldua, G. (1987) Borderlands - la
Frontera: The new mestiza. 2nd ed. San Francisco, CA: Aunt Lute Books.
Austin, J. L. (1975) “lECTURE VII”, in How to do things with words.
Oxford University Press, pp.83-93. Barthes, R. (1983) Fashion system.
Translated by M. Ward and R. Howard. Hill &amp; Wang. Border controls
(2017) Defensie.nl. Available at:
https://english.defensie.nl/topics/border-controls Borelli, C., Poy, A.,
and Rué, A. (2023). “Governing Asylum without ‘Being There’: Ghost
Bureaucracy, Outsourcing, and the Unreachability of the State.”
<em>Social Sciences</em>, 12(3), 169. [DOI:
https://doi.org/10.3390/socsci12030169] Butler, J. (1997) Excitable
speech: A politics of the performative. London, England: Routledge.
Cretton, V., Geoffrion, K. (2021). “Bureaucratic Routes to Migration:
MN: University of Minnesota Press.</p>
<p>Anzaldua, G. (1987) Borderlands - la Frontera: The new mestiza. 2nd
ed. San Francisco, CA: Aunt Lute Books.</p>
<p>Austin, J. L. (1975) “lECTURE VII”, in How to do things with words.
Oxford University Press, pp.83-93.</p>
<p>Barthes, R. (1983) Fashion system. Translated by M. Ward and R.
Howard. Hill &amp; Wang.</p>
<p>Border controls (2017) Defensie.nl. Available at:
https://english.defensie.nl/topics/border-controls</p>
<p>Borelli, C., Poy, A., and Rué, A. (2023). “Governing Asylum without
‘Being There’: Ghost Bureaucracy, Outsourcing, and the Unreachability of
the State.” <em>Social Sciences</em>, 12(3), 169. [DOI:
https://doi.org/10.3390/socsci12030169]</p>
<p>Butler, J. (1997) Excitable speech: A politics of the performative.
London, England: Routledge.</p>
<p>Cretton, V., Geoffrion, K. (2021). “Bureaucratic Routes to Migration:
Migrants’ Lived Experience of Paperwork, Clerks and Other Immigration
Intermediaries”, University of Victoria Cunningham, J. (2017),
“Rhetorical Tension in Bureaucratic University”, University of
Cincinnati, Ohio, USA Graeber, D. (2015) The utopia of rules: On
technology, stupidity, and the secret joys of bureaucracy. Brooklyn, NY:
Melville House Publishing Hayles, N. K. (2002) Writing Machines. London,
England: MIT Press. Introduction days (2021) Rotterdam University of
Applied Sciences. Available at:
Intermediaries”, University of Victoria</p>
<p>Cunningham, J. (2017), “Rhetorical Tension in Bureaucratic
University”, University of Cincinnati, Ohio, USA</p>
<p>Graeber, D. (2015) The utopia of rules: On technology, stupidity, and
the secret joys of bureaucracy. Brooklyn, NY: Melville House
Publishing</p>
<p>Hayles, N. K. (2002) Writing Machines. London, England: MIT
Press.</p>
<p>Introduction days (2021) Rotterdam University of Applied Sciences.
Available at:
https://www.rotterdamuas.com/study-information/practical-information/international-introduction-days/Tuberculosis-test/
(Accessed: April 8, 2024). Keshavarz, M. (2016) Design-Politics: An
Inquiry into Passports, Camps and Borders. Malmö University, Faculty of
Culture and Society. Khosravi, S. (2010) “illegal” traveller: An
auto-ethnography of borders. 2010th ed. Basingstoke, England: Palgrave
Macmillan. Khosravi, S. (ed.) (2021) Waiting - A Project in
Conversation. transcript Verlag. M’charek, A. (2020) “Harraga: Burning
borders, navigating colonialism,” The sociological review, 68(2),
pp. 418–434. doi: 10.1177/0038026120905491. Malichudis, S. (2020) How
the Aegean islands became a warehouse of souls, Solomon. Available at:
(Accessed: April 8, 2024).</p>
<p>Keshavarz, M. (2016) Design-Politics: An Inquiry into Passports,
Camps and Borders. Malmö University, Faculty of Culture and Society.</p>
<p>Khosravi, S. (2010) “illegal” traveller: An auto-ethnography of
borders. 2010th ed. Basingstoke, England: Palgrave Macmillan.</p>
<p>Khosravi, S. (ed.) (2021) Waiting - A Project in Conversation.
transcript Verlag.</p>
<p>M’charek, A. (2020) “Harraga: Burning borders, navigating
colonialism,” The sociological review, 68(2), pp. 418–434. doi:
10.1177/0038026120905491.</p>
<p>Malichudis, S. (2020) How the Aegean islands became a warehouse of
souls, Solomon. Available at:
https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/
(Accessed: April 7, 2024). McKittrick, K. (2021) Dear science and other
stories. Durham, NC: Duke University Press. Mouffe, C. (2008) ‘Art and
Democracy: Art as an Agonistic Internvention’. Open:14 Art as a Public
Issue, No.14 (2008), p.4 Pater, R. (2021) Caps lock: How capitalism took
hold of graphic design, and how to escape from it. Amsterdam,
Netherlands: Valiz. Picozza, F. (2021). The coloniality of asylum :
mobility, autonomy and solidarity in the wake of Europe’s refugee
crisis. London: Rowman &amp; Littlefield Publishers.</p>
(Accessed: April 7, 2024).</p>
<p>McKittrick, K. (2021) Dear science and other stories. Durham, NC:
Duke University Press.</p>
<p>Mouffe, C. (2008) ‘Art and Democracy: Art as an Agonistic
Internvention’. Open:14 Art as a Public Issue, No.14 (2008), p.4</p>
<p>Pater, R. (2021) Caps lock: How capitalism took hold of graphic
design, and how to escape from it. Amsterdam, Netherlands: Valiz.</p>
<p>Picozza, F. (2021). The coloniality of asylum : mobility, autonomy
and solidarity in the wake of Europe’s refugee crisis. London: Rowman
&amp; Littlefield Publishers.</p>
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<div id="content"><h1 id="backplaces">backplaces</h1>
<p>hi</p>
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index.html
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@ -16,7 +16,7 @@
<h1>vulnerable interfaces</h1>
</div>
<div class=" content-list" id="index-contents">
<div class="content-list" id="index-contents">
<img src="/img/purple.png" alt="purple" class="img">
<a href="/ada/index.html" class=" content">Backplaces</a>
<img src="/img/purple.png" alt="purple" class="img">
@ -46,39 +46,44 @@
</div>
<div id="row2">
<div class="about">
Act 1. <br>
Scene 1.
<br><br>
Internal. A visitor holds a website in their hands. The first page of the website is opened, the visitor holds it to their face and smells it, touches it. The website touches them back.
<br><br>
the website (whispering in the visitor's ear): <br>
Being vulnerable means being transparent, open and brave, trusting others to handle stories with care. By publicly sharing and processing our narratives, we take ownership of our experiences while contributing to a collective voice. Even when we incorporate stories from others, our names remain attached to this collective creation: Ada, Aglaia, Irmak, Stephen. We have created interfaces highlighting the balance between communal sharing, individual responsibility and awareness.
<br><br>
the visitor:<br>
Interfaces?
<br><br>
the website: <br>
Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces.
<br><br>
the visitor (confused): <br>
What do you mean a collection, like a catalogue?
<br><br>
the website: <br>
Yeah I guess. I weave the words and the works we created during...
<br><br>
the visitor:<br>
we?
<br><br>
the website: <br>
...I mean the four of us, the students of Experimental Publishing at the Piet Zwart Institute. From 2022 until today, June 2024, we published three special issues together. We wrote four theses and made four graduation projects. We grew our hair out and cut it and grew it again and dyed it. We cared and cried for each other, we brewed muddy coffee and bootlegged websites. (The website tears up). Finishing a Master's is a bit of a heavy moment for us and this website is a gentle archive, a memory of things that have been beautiful to us.
<br><br>
the visitor (sarcastically):<br>
do you have a tissue, im soooo touched.
<br><br>
the website:<br>
malaka, just read me already!
<div id="content"><h1 id="introduction">Introduction</h1>
<h2 id="act-1.">Act 1.</h2>
<h3 id="scene-1.">Scene 1.</h3>
<p><em>Internal. A visitor holds a website in their hands. The first page of
the website is opened, the visitor holds it to their face and smells the
paper, touches it. The website touches them back.</em></p>
<p><strong>the website (whispering in the visitor’s ear):</strong> Being
vulnerable means being transparent, open and brave, trusting others to
handle stories with care. By publicly sharing and processing our
narratives, we take ownership of our experiences while contributing to a
collective voice. Even when we incorporate stories from others, our
names remain attached to this collective creation: Ada, Aglaia, Irmak,
Stephen. We have created interfaces highlighting the balance between
communal sharing, individual responsibility and awareness.</p>
<p><strong>the visitor:</strong> Interfaces?</p>
<p><strong>the website:</strong> Interfaces are boundaries that connect and
separate. They’re the spaces that fill the void between us. An interface
can be an act, a story, a keyboard, a cake; It allows us to be
vulnerable together, to share our stories with and through each other. I
am a collection of these interfaces.</p>
<p><strong>the visitor (confused):</strong> What do you mean a
collection, like a catalogue?</p>
<p><strong>the website:</strong> Yeah I guess. I weave the words and the
works we created during…</p>
<p><strong>the visitor:</strong> we?</p>
<p><strong>the website:</strong> …I mean the four of us, the students of
Experimental Publishing at the Piet Zwart Institute. From 2022 until
today, June 2024, we published three special issues together. We wrote
four theses and made four graduation projects. We grew our hair out and
cut it and grew it again and dyed it. We cared and cried for each other,
we brewed muddy coffee and bootlegged books.</p>
<p>(The website tears up).</p>
<p>Finishing a Master’s is a bit of a heavy moment for us and this website
is a gentle archive, a memory of things that have been beautiful to
us.</p>
<p><strong>the visitor (sarcasm):</strong> do you have a tissue, im soooo
touched.</p>
<p><strong>the website:</strong> malaka, just read me.</p>
</div>
</div>
</body>

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indextest.html
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<!DOCTYPE html>
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<h2>xpub 22–24</h2>
<h1>vulnerable interfaces</h1>
</div>
<div class=" content-list" id="index-contents">
<img src="/img/purple.png" alt="purple" class="img">
<a href="/ada/index.html" class=" content">Backplaces</a>
<img src="/img/purple.png" alt="purple" class="img">
<a href="/ada/thesis.html" class=" content">&lt?water bodies&gt</a>
<img src="/img/yellow.png" alt="yellow" class="img">
<a href="/irmak/index.html" class=" content">Wink</a>
<img src="/img/yellow.png" alt="yellow" class="img">
<a href="/irmak/" class=" content">Fair Leads</a>
<img src="/img/red.png" alt="red" class="img">
<a href="/stephen/index.html" class=" content">What do graphic designers do all day, and why do they do it, and what does “graphic design” even mean?</a>
<img src="/img/red.png" alt="red" class="img">
<a href="/stephen/thesis.html" class=" content">⊞</a>
<img src="/img/green.png" alt="green" class="img">
<a href="/aglaia/index.html" class=" content">Talking Documents</a>
<img src="/img/green.png" alt="green" class="img">
<a href="/aglaia/thesis.html" class=" content">Performing the Bureaucratic Border(line)s</a>
<img src="/img/blue.png" alt="blue" class="img">
<a href="/specialissuesintro/index.html" class=" content">Special Issues</a>
<img src="/img/blue.png" alt="blue" class="img">
<a href="./specialissue19/index.html" class=" content">Garden Leeszaal</a>
<img src="/img/blue.png" alt="blue" class="img">
<a href="/specialissue20/index.html" class=" content">Console</a>
<img src="/img/blue.png" alt="blue" class="img">
<a href="/specialissue21/index.html" class=" content">TTY</a>
</div>
</div>
<div id="row2">
<div class="about">
Act 1. <br>
Scene 1.
<br><br>
Internal. A visitor holds a website in their hands. The first page of the website is opened, the visitor holds it to their face and smells it, touches it. The website touches them back.
<br><br>
the website (whispering in the visitor's ear): <br>
Being vulnerable means being transparent, open and brave, trusting others to handle stories with care. By publicly sharing and processing our narratives, we take ownership of our experiences while contributing to a collective voice. Even when we incorporate stories from others, our names remain attached to this collective creation: Ada, Aglaia, Irmak, Stephen. We have created interfaces highlighting the balance between communal sharing, individual responsibility and awareness.
<br><br>
the visitor:<br>
Interfaces?
<br><br>
the website: <br>
Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces.
<br><br>
the visitor (confused): <br>
What do you mean a collection, like a catalogue?
<br><br>
the website: <br>
Yeah I guess. I weave the words and the works we created during...
<br><br>
the visitor:<br>
we?
<br><br>
the website: <br>
...I mean the four of us, the students of Experimental Publishing at the Piet Zwart Institute. From 2022 until today, June 2024, we published three special issues together. We wrote four theses and made four graduation projects. We grew our hair out and cut it and grew it again and dyed it. We cared and cried for each other, we brewed muddy coffee and bootlegged websites. (The website tears up). Finishing a Master's is a bit of a heavy moment for us and this website is a gentle archive, a memory of things that have been beautiful to us.
<br><br>
the visitor (sarcastically):<br>
do you have a tissue, im soooo touched.
<br><br>
the website:<br>
malaka, just read me already!
</div>
</div>
</body>
</html>

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@ -9,48 +9,64 @@
<body>
<!-- Nav bar -->
<nav>
<ul>
<li><a href="../index.html">Home</a></li>
<li><a href="">About</a></li>
<a href="../index.html" class="title">vulnerable interfaces</a>
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
<div class="gummy-1">
<a href="ada/index.html"><img src="img/purple.png" class="img2"></a>
<div class="caption">ada</div>
</div>
<div class="gummy-2">
<a href="aglaia/index.html"><img src="img/green.png" class="img2"></a>
<div class="caption">aglaia</div>
</div>
<div class="gummy-3">
<a href="irmak/index.html"><img src="img/yellow.png" class="img2"></a>
<div class="caption">irmak</div>
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<a href="stephen/index.html"><img src="img/red.png" class="img2"></a>
<div class="caption">stephen</div>
</div>
</nav>
<div id="content"><p>Act 1. Scene 1.</p>
<p>Internal. A reader holds a book in their hands. The first page of the
book is opened, the reader holds it to their face and smells the paper,
touches it. The book touches them back.</p>
<p>the book (whispering in the reader’s ear): Being vulnerable means
being transparent, open and brave, trusting others to handle stories
with care. By publicly sharing and processing our narratives, we take
ownership of our experiences while contributing to a collective voice.
Even when we incorporate stories from others, our names remain attached
to this collective creation: Ada, Aglaia, Irmak, Stephen. We have
created interfaces highlighting the balance between communal sharing,
individual responsibility and awareness.</p>
<p>the reader: Interfaces?</p>
<p>the book: Interfaces are boundaries that connect and separate.
They’re the spaces that fill the void between us. An interface can be an
act, a story, a keyboard, a cake; It allows us to be vulnerable
together, to share our stories with and through each other. I am a
collection of these interfaces.</p>
<p>the reader (confused): What do you mean a collection, like a
catalogue?</p>
<p>the book: Yeah I guess. I weave the words and the works we created
during…</p>
<p>the reader: we?</p>
<p>the book: …I mean the four of us, the students of Experimental
Publishing at the Piet Zwart Institute. From 2022 until today, June
2024, we published three special issues together. We wrote four theses
and made four graduation projects. We grew our hair out and cut it and
grew it again and dyed it. We cared and cried for each other, we brewed
muddy coffee and bootlegged books. (The book tears up) Finishing a
Master’s is a bit of a heavy moment for us and this book is a gentle
archive, a memory of things that have been beautiful to us.</p>
<p>the reader (sarcastically): do you have a tissue, im soooo
<div id="content"><h1 id="introduction">Introduction</h1>
<h2 id="act-1.">Act 1.</h2>
<h3 id="scene-1.">Scene 1.</h3>
<p><em>Internal. A reader holds a book in their hands. The first page of
the book is opened, the reader holds it to their face and smells the
paper, touches it. The book touches them back.</em></p>
<p><strong>the book (whispering in the reader’s ear):</strong> Being
vulnerable means being transparent, open and brave, trusting others to
handle stories with care. By publicly sharing and processing our
narratives, we take ownership of our experiences while contributing to a
collective voice. Even when we incorporate stories from others, our
names remain attached to this collective creation: Ada, Aglaia, Irmak,
Stephen. We have created interfaces highlighting the balance between
communal sharing, individual responsibility and awareness.</p>
<p><strong>the reader:</strong> Interfaces?</p>
<p><strong>the book:</strong> Interfaces are boundaries that connect and
separate. They’re the spaces that fill the void between us. An interface
can be an act, a story, a keyboard, a cake; It allows us to be
vulnerable together, to share our stories with and through each other. I
am a collection of these interfaces.</p>
<p><strong>the reader (confused):</strong> What do you mean a
collection, like a catalogue?</p>
<p><strong>the book:</strong> Yeah I guess. I weave the words and the
works we created during…</p>
<p><strong>the reader:</strong> we?</p>
<p><strong>the book:</strong> …I mean the four of us, the students of
Experimental Publishing at the Piet Zwart Institute. From 2022 until
today, June 2024, we published three special issues together. We wrote
four theses and made four graduation projects. We grew our hair out and
cut it and grew it again and dyed it. We cared and cried for each other,
we brewed muddy coffee and bootlegged books.</p>
<p>(The book tears up).</p>
<p>Finishing a Master’s is a bit of a heavy moment for us and this book
is a gentle archive, a memory of things that have been beautiful to
us.</p>
<p><strong>the reader (sarcasm):</strong> do you have a tissue, im soooo
touched.</p>
<p>the book: malaka, just read me already!</p>
<p><strong>the book:</strong> malaka, just read me.</p>
</div>
</body>
</html>

85
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<body>
<!-- Nav bar -->
<nav>
<ul>
<li><a href="../index.html">Home</a></li>
<li><a href="">About</a></li>
<a href="../index.html" class="title">vulnerable interfaces</a>
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
<div class="gummy-1">
<a href="ada/index.html"><img src="img/purple.png" class="img2"></a>
<div class="caption">ada</div>
</div>
<div class="gummy-2">
<a href="aglaia/index.html"><img src="img/green.png" class="img2"></a>
<div class="caption">aglaia</div>
</div>
<div class="gummy-3">
<a href="irmak/index.html"><img src="img/yellow.png" class="img2"></a>
<div class="caption">irmak</div>
</div>
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<div class="caption">stephen</div>
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</nav>
<div id="content"><h1 id="wink">Wink!</h1>
<h3 id="a-prototype-for-interactive-childrens-literature">A Prototype
@ -27,15 +39,13 @@ within one narrative and sound elements. Especially today where
consumerism and low attention span is a rising issue especially amongst
young readers, this was an important task to tackle. The thought of Wink
emerged to find a more sustainable and creative way of reading for
elementary school children.</p>
<p><img src="../irmak/improv.JPG"
alt="A tag made by a participant in the public moment at XPUB studio. Trying to understand different approaches to certain emotions/states for a bee" />
<img src="../irmak/leeszaal knot poems.jpg"
alt="From the event at Leeszaal West, experimenting with knots and poetry. How can we see movement in text?" />
<img src="../irmak/knotpoems2.jpg"
alt="From the event at Leeszaal West. Some of the results of knotting text." />
</p>
<p>Working as a children’s literature editor for years, I came to a
elementary school children. <img src="../irmak/&#39;improvJPG&#39;.jpg"
alt="“a tag made by a participant in the public moment at XPUB studio. Trying to understand different approaches to certain emotions/states for a bee”" />
<img src="../irmak/leeszaalknotpoems.jpg"
alt="“From the event at Leeszaal West, experimenting with knots and poetry. How can we see movement in text?”" />
<img src="../irmak/knotpoems2.jpg"
alt="“From the event at Leeszaal West. Some of the results of knotting text”" />
Working as a children’s literature editor for years, I came to a
realisation that picture books were turning into another object that
kids read and consume on daily basis. At least this is what I observed
in Turkey. Teachers and parents were finding it difficult to find new
@ -44,12 +54,10 @@ person in the publishing sector, I believe there should be more options
for children as there is for adults; such as ebooks, audiobooks etc. But
moreover a “book” that can be redefined, reread or be interacted with.
So I revisited an old story I wrote, translated to English and named it,
“Bee Within”.</p>
<p><img src="../irmak/printp3.jpg"
alt="Example page from the print version of the picture book." />
<img src="../irmak/printp4.jpg"
alt="Example page from the print version of the picture book." />
</p>
“Bee Within”. <img src="../irmak/print3.jpg"
alt="“Example page from the print version of the picture book.”" /> <img
src="../irmak/print4.jpg"
alt="“Example page from the print version of the picture book.”" /></p>
<p>Bee Within, is a story about grief and it is based on my experiences
throughout the years. I erased it, rewrote it, edited it, destroyed it
multiple times over the past years, simultaneously with new experiences
@ -58,31 +66,26 @@ remembering or might I say an ode to not being able to forget or an ode
to the fear of forgetting which I now think is a great and sweet battle
between death and life. I think it is an important subject to touch
upon, especially for children dealing with trauma in many parts of the
world.</p>
<p><img src="../irmak/printp1.jpg"
alt="Example page from the print version of the picture book." />
<img src="../irmak/printp2.jpg"
alt="Example page from the print version of the picture book." />
</p>
world. <img src="../irmak/print1.jpg"
alt="“example page from the picture book”" /> <img
src="../irmak/print2.jpg"
alt="“example page from the picture book”" /></p>
<p>Over the past two years, experimenting with storytelling techniques,
interactivity options and workshops with children and adults, around
reading and doing various exercises on Bee Within, I improved the story
to be a more playful and interactive one which can be re-read, re-played
and eventually re-formed non digitally to be reachable for all children.
</p>
and eventually re-formed non digitally to be reachable for all
children.</p>
<p><img src="../irmak/twine.png"
alt="The twine map of text based story, reachable from Bee Within by clicking to hear more about Gray the tree." />
<img src="../irmak/clickgame.png"
alt="Click game story of the Queen Bee that is reachable within Maya's main storyline." />
</p>
<p>
Here is some documentation from the beggining of this journey towards
making accesible interactive narratives…</p>
<p><img src="../irmak/animationseq.png"
alt="A small sequence of onclick animation for Bee Within." />
<img src="../irmak/fictionfriction.CR3"
alt="Fiction Friction cards from SI20, working on storytelling of collective traumas." />
</p>
alt="“The twine map of text based story, reachable from Bee Within by clicking to hear more about Gray the tree.”" />
<img src="clickgame.png"
alt="“Click game story of the Queen Bee that is reachable within Maya’s main storyline.”" /></p>
<p>Here is some more documentation from the beggining of this journey
towards making accesible interactive narratives… <img
src="../irmak/animationseq.png"
alt="“A small sequence of onclick animation for Bee Within”" /> <img
src="../irmak/fictionfriction.CR3"
alt="“Fiction Friction cards from SI20, working on storytelling of collective traumas”" /></p>
</div>
</body>
</html>

44
irmak/thesis.html
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@ -9,18 +9,30 @@
<body>
<!-- Nav bar -->
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<li><a href="../index.html">Home</a></li>
<li><a href="">About</a></li>
<a href="../index.html" class="title">vulnerable interfaces</a>
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
<div class="gummy-1">
<a href="ada/index.html"><img src="img/purple.png" class="img2"></a>
<div class="caption">ada</div>
</div>
<div class="gummy-2">
<a href="aglaia/index.html"><img src="img/green.png" class="img2"></a>
<div class="caption">aglaia</div>
</div>
<div class="gummy-3">
<a href="irmak/index.html"><img src="img/yellow.png" class="img2"></a>
<div class="caption">irmak</div>
</div>
<div class="gummy-4">
<a href="stephen/index.html"><img src="img/red.png" class="img2"></a>
<div class="caption">stephen</div>
</div>
</nav>
<div id="content"><h1 id="fair-leads">Fair Leads</h1>
<h3
id="fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each-other.-it-comes-from-the-working-end-of-a-string-that-will-soon-be-forming-a-knot.">
Fair leads or Fair winds is a saying sailors and knotters use to greet each
id="fair-leads-or-fair-winds-is-a-saying-sailors-and-knotters-use-to-greet-each-other.-it-comes-from-the-working-end-of-a-string-that-will-soon-be-forming-a-knot.">Fair
leads or Fair winds is a saying sailors and knotters use to greet each
other. It comes from the working end of a string that will soon be
forming a knot.</h3>
<p>I would like to clarify and introduce some terms for you in order to
@ -30,7 +42,6 @@ on how interactive picture books can be used to foster curiosity for
reading and creativity for children. I am building a web platform called
Wink that aims to contain a children’s story I wrote and am making into
an interactive experience, in relation to my research.</p>
<img src="../irmak/unnamed.png"/>
<p>Through this bight of the thesis, I feel the necessity to clarify my
intention of using knots as a “thinking and writing object” throughout
my research journey. Although knots are physical objects and technically
@ -42,7 +53,8 @@ invention of flying -which required a wing that was supported using
certain types of knotswas initiated with the knowledge of how to use
strings to make things, why wouldn’t a research paper make use of this
wonderful art as an inspiration for writing and interactive reading?</p>
<h2 id="knots-as-objects-to-think-with">KNOTS AS OBJECTS TO THINK WITH</h2>
<h2 id="knots-as-objects-to-think-with">KNOTS AS OBJECTS TO THINK
WITH</h2>
<p>There is a delicate complexity of thinking of and with knots, which
ignites layers of simultaneous connections to one’s specific experience;
where one person may associate the knots with struggles they face,
@ -52,12 +64,10 @@ when they think of knots. There were some words in common like strong,
chaotic, confusing and anxious. On the other hand, there were variations
of connection, binding, bridge and support. Keeping these answers in
mind or by coming up with your words on knots and embodying them in the
practice of reading would make a difference in how you understand the
practice of reading would make a diff erence in how you understand the
same text.</p>
<img src="../irmak/knot1.jpeg"/>
<img src="../irmak/knot2.jpeg"/>
<p>Seeing how these words, interpretations of a physical object were so
different to each other was transcendental. In this thesis, I am
diff erent to each other was transcendental. In this thesis, I am
excited to share my understanding of knots with you. My three words for
knots are resistance, imagination and infinity. Keeping these in mind, I
experimented with certain reading modes as you will see later on.</p>
@ -161,16 +171,12 @@ ownexperiences/motivations. Hitches which are knots that are formed
around a solid object, such as a spar, post, or ring will be
representing the evidence or data I have collected on the subject. We
move on now with the working end and make some loops!</p>
<h2 id="how-to-choose-your-string">HOW TO CHOOSE YOUR STRING?</h2>
<p>This map will reveal your mode of reading. The order of reading will
be indicated with a loop sign Please hold a string in your hand as you
read the text and make knots or loops as you weave through the reading
as an exercise for concrete thinking. See you at the standing end! and a
number on top of the sign with a color. This is the numeric order you
should follow to read the thesis, if you choose to read with a mode.
Every reader starts from 1 and continues until 12, with a consecutive numeric
order, according to their color/mode.</p>
<img src="../irmak/map.png"/>
can follow to read the thesis.</p>
<h2 id="working-end">Working End</h2>
<h3 id="why-am-i-doing-this">Why am I doing this?</h3>
<p>My desire to write a children’s book about grief and memory ignited

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<body>
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<nav>
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<li><a href="../index.html">Home</a></li>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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<h3 id="special-issue-xix">Special Issue XIX</h3>

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<body>
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<nav>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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<h3 id="special-issue-xx">Special Issue XX</h3>

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<body>
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<nav>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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<a href="ada/index.html"><img src="img/purple.png" class="img2"></a>
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<h3 id="special-issue-21">Special Issue 21</h3>

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<body>
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<nav>
<ul>
<li><a href="../index.html">Home</a></li>
<li><a href="">About</a></li>
<a href="../index.html" class="title">vulnerable interfaces</a>
<!-- Can this list be turned into li's like above please?
3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
</ul>
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<a href="ada/index.html"><img src="img/purple.png" class="img2"></a>
<div class="caption">ada</div>
</div>
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<div class="caption">aglaia</div>
</div>
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<a href="irmak/index.html"><img src="img/yellow.png" class="img2"></a>
<div class="caption">irmak</div>
</div>
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</div>
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<p>Special Issues are publications thrice released by first-year XPUB

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<body>
<!-- Nav bar -->
<nav>
<ul>
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<li><a href="">About</a></li>
<a href="../index.html" class="title">vulnerable interfaces</a>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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id="what-do-graphic-designers-do-all-day-and-why-do-they-do-it-and-what-does-graphic-design-even-mean1">What
@ -127,6 +139,7 @@ alt="Keyboard of things designers have said. Our feelings about work." />
<figcaption aria-hidden="true">Keyboard of things designers have said.
Our feelings about work.</figcaption>
</figure>
<section id="keylogger">
<p>2023-11-24 17:52:55,103 - Key.tab<br />
2023-11-24 17:52:57,175 - Key.alt_l<br />
2023-11-24 17:52:57,368 - Key.tab<br />
@ -506,6 +519,7 @@ Our feelings about work.</figcaption>
2024-06-06 15:55:30,561 - Key.tab<br />
2024-06-06 15:55:33,281 - Key.cmd<br />
2024-06-06 15:55:33,617 - ‘e’</p>
</section>
<!-- # felt cute might delete later
*What do graphic designers do all day and why do they do it and what does "graphic design" even mean?!????!!1!?* is an assessment of what the term "graphic design" means to its practitioners today. Through experimental ethnographic research methods and the development of reflexive tools, the project highlights and questions the boundaries that exist around this apparent category. The research focuses on my own practices as well as other people and groups that identify with "graphic designer" as a label. The research was both conducted by and shared with interested parties in the form of the tools themselves, as well as a series of performances. There is no strict distinction between the research and its publication. The tools were released in an iterative cycle throughout the process of the project, and the research is conducted through the performative use and development of these tools.

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<body>
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3 Introduction 7 Making: 9 Backplaces 19 Talking Documents 31 Wink 39 What do graphic designers do all day. and why do they do it. and. what does "graphic. design" even mean????!!1!? .49 Writing: 51 <?water bodies> 103 Performing the Bureaucratic. Border(line)s 157 Fair Leads 201 ⊞ 253 Special Issues: 255 Garden Leeszaal 267 Console 273 TTY -->
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@ -37,13 +37,12 @@ h1 {
margin: 0;
}
h2 {
.container h2 {
font-family: 'Platypi-Regular', serif;
font-size: 40px;
max-width: 30%;
margin: 0;
margin-bottom: -0.5rem;
}
.content-list {
@ -69,16 +68,35 @@ h2 {
width: 100%;
}
.about {
#content{
font-size: 22px;
line-height: 1.7rem;
max-width: 633px;
margin: auto;
margin-right: 0;
margin-top: 430px;
margin-bottom: 200px;
margin-bottom: 200px;
}
#content p{
margin-left: 25mm;
}
#content h1{display: none;}
#content h2, #content h3{
text-decoration: underline;
text-align: center;
}
#content strong{
position: absolute;
margin-left: -44mm;
width: 44mm;
}
@keyframes wiggle{
25%{
transform: scale(0.8,1.3);
@ -91,39 +109,40 @@ h2 {
}
}
img:hover{
animation: wiggle 0.6s;
.content-list a:hover img,
.content-list img:hover {
animation: wiggle 0.6s infinite;
cursor: pointer;
}
@media (max-width: 768px) {
body {
font-size: 28px;
line-height: 2.5rem;
font-size: 21px;
line-height: 1.5rem;
padding: 0 50px;
}
.container {
.container {
margin-left: -20px;
margin-bottom: 40px;
line-height: 2rem;
}
h1 {
font-size: 40px;
max-width: none;
.container h1 {
font-size: 30px;
max-width: 200px;
}
h2 {
font-size: 30px;
max-width: none;
max-width: none;
.container h2 {
font-size: 20px;
max-width: 70px;
}
.content-list {
max-width: 100%;
max-width: 90%;
margin-top: 30px;
margin-right: 0;
margin-right: -20px;
}
.content-list img {
@ -133,5 +152,4 @@ img:hover{
.about {
padding: 20px;
}
}
}

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<head>
<title>{{ title }}</title>
<meta charset="utf-8">
<link rel="stylesheet" type="text/css" href="../style.css">
<link rel="stylesheet" type="text/css" href=".../style.css">
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
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<a href="../index.html" class="title">vulnerable interfaces</a>
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