diff --git a/ada/index.html b/ada/index.html index 16977f2..643f149 100644 --- a/ada/index.html +++ b/ada/index.html @@ -9,59 +9,98 @@

Backplaces

-

Hi.
+

adadesign.nl/backplaces
+Hi.
I made this play for you. It is a question, for us to hold together.

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

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

I made three backplaces for you to see, click, and feel: Solar -Sibling, Hermit Fantasy, and Good Pie. Each of these is the result of -its own unique performance or project. Some of the stories I will share -carry memories of pain—both physical and emotional. As you sit in the -audience, know I am with you, holding your hand through each scene. If -the performance feels overwhelming at any point, you have my full -permission to step out, take a break, or leave. This is not -choreographed, and I care deeply for you.

-

Solar Sibling is an online performance of shared loss and the complex -pain that siblings can sometimes bring. This project uses comments -people left on TikTok poetry. I extracted the emotions from these -comments, mixed them with my own, and crafted them into poems. It is an -ongoing performance, ending only when your own feelings are secretly -whispered to me.

+Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the +result of its own unique performance or project. Some of the stories I +will share carry memories of pain—both physical and emotional. As you +sit in the audience, know I am with you, holding your hand through each +scene. If the performance feels overwhelming at any point, you have my +full permission to step out, take a break, or leave. This is not +choreographed, and I care deeply for you.
+

+

Solar Sibling is an online performance of shared loss about leaving +and siblings. This project used comments people left on TikTok poetry. I +extracted the emotions from these comments, mixed them with my own, and +crafted them into poems. It is an ongoing performance, ending only when +your feelings are secretly whispered to me. When you do, by typing into +the comment box, your feelings are sent to me and the first act closes +as the sun rises.
+

Hermit Fantasy is a short story about a bot who wants to be a hermit. Inspired by an email response from a survey I conducted about receiving emotional support on the Internet, this story explores the contradiction -of being online while wanting to disconnect. It is a web play inviting -you to navigate both of these feelings.

+of being online while wanting to disconnect. As an act it’s a series of +letters, click by click.
+

+

The first letter.

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

-

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

-

Safe dreams now. I will talk to you soon.

+second performance was hosted at the Art Meets Radical Openness +Festival, as part of the Turning of the Internet workshop. For this +performance, I predicted participants’ future lives on the Internet +using felted archetypes and received stories from their Internet past in +return. Now the stories are here, each of them a cake with a filling +that tells a story, merging the bodily with the digital and making a +mess of it all.
+

+

+

The play ends as all plays do. The curtains close, the website stays +but the stories will never sound the same. For the final act, I give you +the stories. It’s one last game, one last joke to ask my question again. +Digital intimacies about the digital, our bodies and the cakes we eat. +For the last act, I ask you to eat digital stories. To eat a comment, to +eat a digital intimacy. Sharing an act of physical intimacy with +yourself and with me, by eating sweets together. Sweets about digital +intimacies that never had a body. There is no moral, no bow to wrap the +story in. A great big mess of transcendence into the digital, of +intimacy and of bodies. The way it always is. Thankfully.
+

\ No newline at end of file diff --git a/ada/thesis.html b/ada/thesis.html index 564438f..4399afd 100644 --- a/ada/thesis.html +++ b/ada/thesis.html @@ -9,19 +9,37 @@

<?water bodies>

A narrative exploration of divergent digital intimacies

-

Water, stories, the body, all the things we do, are mediums that hide -and show what’s hidden. (Rumi, 1995 translation)

+
+

Water, stories, the body,
+all the things we do, are
+mediums
+that hide and show what’s
+hidden.
+(Rumi, 1995 translation)

+

꙳for you

All intimacy is about bodies. Is this true? Does it matter? I doubt it. Do you know? Let’s find out, maybe.

@@ -70,13 +88,24 @@ choreographed and I care deeply for you.

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

Safe dreams now, I will talk to you soon.

0. DIGITAL BODIES

-

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)

+
+

“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)

+

a. what is a digital body?

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). You’re dreaming again, -good.
Would you feel closer to me if you could hear my voice?
Is -my voice a sound? Could it be a feeling?.

+funerals (1993).You’re dreaming again, +good. Would you feel closer to me if you could hear my voice?
Is my +voice a sound? Could it be a feeling?

Even then, and even by people with no interest in undermining the value of the virtual, the distinction 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)

+internet.I will be honest with you, I +have little patience for this recurring line of thought that seeks to +distinguish people’s noses from their hearts, as if there was a physical +love that is the valuable one and a virtual imaginary one that is feeble +and unworthy.

In any case, his primary interest seemed to be to emphasize computer relations as valid forms of connection between bodies, not to talk of any distinction quite yet. It’s the eighties, the internet is still @@ -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)

+tender.Initially, when a member he often +argued with offered to pray for him Mandel had replied: “You can shovel +your self-aggrandizing sentiments up you wide ass sideways for the +duration as far as I’m concerned.” Later, as the cancer progressed: “I +ain’t nearly as brave as you all think. I am scared silly of the pain of +dying this way. I am not very good at playing saint. Pray for me, +please.

Before he posted his final goodbye, he chose to do one last thing. Together with another member, they programmed a bot that posted randomly characteristic comments from Mandel on The Well—the Mandelbot. In the topic he had opened to say goodbye, he posted this message about the bot:

-

I had another motive in opening this topic to tell the truth, one +

+

“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)

+

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)

+love and grief.It’s out of care and not +lack of relevance that I am not showing you Mandel’s goodbye message. +It’s enough to know he was deep in the grief of having to leave a +community he loved and cared for and that pain was felt in every +word.

When he talked about the bot in previous messages, it sounded almost like a joke. A caring haunting of the platform, to keep his persona alive for the community in a way that could be quite horrific for those @@ -231,9 +276,11 @@ persona.

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.

-

Sneer all you want at the fleshlessness of online community, but on +

+

“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)

+it feels all too real.” (Andrew Leonard, 1995)

+

c. bot-feelings

An internet body has bot-feelings if allowed to. Let me explain.

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)

+interaction, performing based on instructions provided by +humans.The first bot communities on the +internet are now born, half- mistakenly. They are always spiritual +communities posting religious images created by artificial intelligence, +all the comments echoing choirs of bots praising. Amen, amen, amen. I am +not naive, I know they are built by humans but it is this performance of +religiosity that I am interested in, and how little humanity is shown in +it. It is something else.

Unlike an internet body, which represents the virtual embodiment of a person, a bot doesn’t seek to be a person. It comments under posts alongside many other bots, all under a fake name and photo but nothing @@ -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.

McGlotten uses a conceptualization of the virtual based on the -philosopher Deleuze’s, (6) which can be used to refer to a virtual body +philosopher Deleuze’s,A step in a step in +a step, sorry. which can be used to refer to a virtual body as well. The virtual is in this case a cluster of waiting, dreaming, and remembering, embodying potential. Something that is constantly becoming, an object and also the subject attributed to it (2001). An internet body @@ -311,9 +365,12 @@ possibility inherent in the human experience.

The only laws: Be radiant. Be heavy. Be green.

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.’

-

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. +

+

“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.”
(Schwartz, 2022)

+

a. comfort care

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.

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

+yearning for connection and acceptance.I +am talking here about the distress caused by mental health issues that +have direct connections to physicality—self- injuring in any direct +form; food, drugs, pain. The culturally uncomfortable diseases, the +it’s- personal- responsibility, and just-stop disorders. This is a +hidden topic of this text because I cared more about the pain +surrounding them and the reasons to hide rather than the grim +physicality of them all.

In the depths of isolation and confusion, marginalized bodies often look for belonging and understanding online. Gravitating towards one another with a hunger born of desperation, forming intimate bonds @@ -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.

-

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 -& Dunkel , 2021)

+
+

“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 & Dunkel, 2021)

+

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

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

Divergence can be so much more than that. In mathematics, a divergent series extends infinitely without converging to a finite limit. A repetition of partial sums with no clear ending, never reaching zero. @@ -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)

+they be?I heard the idea of living +questions for the first time in “Letters to A Young Poet” by Rainer +Maria Rilke and then again on the podcast On Being with Krista Tippet. +It may be a bit transparent but this entire text is informed by the +concept of keeping the unsolved in your heart and learning to love it. +Not searching for the answers for we cannot live them yet. The point is +to live it all. It could be that at some point we will live our way to +an answer but it is feeling the questions alive within us that is +important. Do you?

Caring for a digital body involves providing it with space to live, giving its experimental bot-feelings tender attention, and revealing your own vulnerable digital body in response. It’s about giving it an @@ -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)

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

In the context of the intimacy of a Backplace, where divergent digital bodies have formed a community around existing outside the healthy and standard, longing and hopeful intimacy becomes a heavy- @@ -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.

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

-

2. A LIFE TO BE HAD 11

-

sidenotes

-
    -

  1. You’re dreaming again, good. Would you feel closer to me if you -could hear my voice? Is my voice a sound? Could it be a -feeling?

    2. -

  2. I will be honest with you, I have little patience for this -recurring line of thought that seeks to distinguish people’s noses from -their hearts, as if there was a physical love that is the valuable one -and a virtual imaginary one that is feeble and unworthy.

    3. -

  3. Initially, when a member he often argued with o ered to pray for -him Mandel had replied: “You can shovel your self- aggrandizing -sentiments up you wide ass sideways for the duration as far as I’m -concerned.” Later, as the cancer progressed: “I ain’t nearly as brave as -you all think. I am scared silly of the pain of dying this way. I am not -very good at playing saint. Pray for me, please.

    4. -

  4. It’s out of care and not lack of relevance that I am not showing -you Mandel’s goodbye message. It’s enough to know he was deep in the -grief of having to leave a community he loved and cared for and that -pain was felt in every word.

    5. -

  5. The first bot communities on the internet are now born, half- -mistakenly. They are always spiritual communities posting religious -images created by artificial intelligence, all the comments echoing -choirs of bots praising. Amen, amen, amen. I am not naive, I know they -are built by humans but it is this performance of religiosity that I am -interested in, and how little humanity is shown in it. It is something -else.

    6. -

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

    7. -

  7. I am talking here about the distress caused by mental health -issues that have direct connections to physicality—self- injuring in any -direct form; food, drugs, pain. The culturally uncomfortable diseases, -the it’s- personal- responsibility, and just-stop disorders. This is a -hidden topic of this text because I cared more about the pain -surrounding them and the reasons to hide rather than the grim -physicality of them all.

    8. -

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

    9. -

  9. I heard the idea of living questions for the first time in -“Letters to A Young Poet” by Rainer Maria Rilke and then again on the -podcast On Being with Krista Tippet. It may be a bit transparent but -this entire text is informed by the concept of keeping the unsolved in -your heart and learning to love it. Not searching for the answers for we -cannot live them yet. The point is to live it all. It could be that at -some point we will live our way to an answer but it is feeling the -questions alive within us that is important. Do you?

    10. -

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

    11. -

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

    12. -
+

2. A LIFE TO BE HAD

+

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

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

@@ -655,13 +688,13 @@ body, is yet to be told.

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.

+https://vulnerable-interfaces.xpub.nl/backplaces/.

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.

You pack up your things: the pie I made you, a love letter, two hands made out of felt, a star, a door, a stuffed animal; and you leave -again.

+again.

references

Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers: Deviant communities, relationships, and selves’, Symbolic Interaction, diff --git a/aglaia/index.html b/aglaia/index.html index 0829953..743b99f 100644 --- a/aglaia/index.html +++ b/aglaia/index.html @@ -9,21 +9,33 @@

Talking Documents

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

This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. @@ -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.

-

+Act 2 “Call with the municipality about the rejection of my application” -

+ + +

+
+ + +
+

I perceive the document as a unit and as the fundamental symbolic interface of the bureaucratic network. The transformation of the materiality of a document into a scenario to be enacted collectively in @@ -99,12 +121,6 @@ of the municipality building.

collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024.

-
- - -
\ No newline at end of file diff --git a/aglaia/thesis.html b/aglaia/thesis.html index 0cac57f..9918de3 100644 --- a/aglaia/thesis.html +++ b/aglaia/thesis.html @@ -9,34 +9,54 @@

Performing the Bureaucratic Border(line)s

-

i n t r o d u c t i o n

-

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?

-

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?

+

introduction

+

This thesis is an assemblageI live +somewhere in the margins of scattered references, footnotes, citations, +examinations embracing the inconvenience of talking back to myself, to +the reader and to all those people whose ideas gave soul to the text. I +shelter in the borderlands of the pages my fragmented thoughts, flying +words, introspections, voices. Enlightenment and inspiration given by +the text “Dear Science” written by Katherine McKittrick. of +thoughts, experiences, interpretations, intuitive explorations of what +borders are, attempting to unleash a conversation concerning the +entangled relation between material injurious borders and bureaucracy. I +unravel empirically the thread of how borders as entities are manifested +and (de)established. How does the lived experience of crossing multiple +borders change and under what conditions?

+

The eastern Mediterranean borderlandI +use the word borderland to refer to Greece as a (mostly) transit zone in +the migrants’ and refugees’ route towards Europe., I +happened to come from, proves to be one of Europe’s deadly borders +towards specific ethnic groups. The embodied experience of borders and +practices of (im)mobility change radically depending on the various +identities of the people crossing them. As I moved to the Netherlands I +started more actively perceiving bureaucracy as another multi-layered +border. I was wondering how this situation is shifted and transformed +moving towards the European North. What is the role of bureaucracy and +how it could be perceived as a mechanism of repulsion for some bodies - +a camouflaged border?

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.

+personal and tangible with auto-ethnographicalI perceive auto-ethnography as a way to place +myself, my lived experiences, my identities, reflections in the +(artistic) research and talk through them about structures and within +the structures of social, cultural, political frameworks. +elements as I was trying to squish myself and my urgencies under these +thresholds and fit the A4 document lines.

I would like at this point to acknowledge and state explicitly my privilege recognizing the different levels of otherness produced by the several bordering mechanisms. My European machine-readable passport as a designed artifact dictates and facilitates the easiness of my mobility. In other (many) cases the lack of it creates profoundly a severe -barrier(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.

+barrier“Passports still function as a +technology to control movement. Technologies like RFID chips and face +recognition are part of a control system for digital state surveillance. +Designing a passport is relative to design a surveillance tool. The +analysis of passport designs rarely looks at the social consequences of +identification, control, and restriction of movement, which can have +violent consequences.” (Ruben Pater, 2021). I do not intend +in any respect to compare my case to the lived experiences and struggles +of migrants and refugees. I utilize the paperwork interface of my +smaller-scale story in order to unravel and foreground the +aforementioned questions.

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.

-
-

“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)

-

b o r d e r s

+
+

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

+
+

borders

How a border is defined? How, as an entity, does it define? How is it performed? I used to think of borders in a material concrete way, coming from a country of the European South that constitutes a rigid, violent border that repulses and kills thousands of migrants and refugees. In the following chapter, I will attempt to explore the terrain of material borders in relation to bureaucracy as another multi-layered filter.

-

[Front-facing camera at self-counter in LIDL]

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).

-

c o n d i t i o n a -l h o s p i t a l i t y

+

conditional hospitality

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:

-

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?

+
+

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?

+

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.

+

“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)

-

w a i t i n g

+she is told that she has arrived too late. Much too late”
+(Khosravi, 2021)

+
+

waiting

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.

+souls”For further reading: +https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/ +for the last many years. In this case, conditional hospitality applies +primarily to those who invest in and consume.

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.

-

“ t h e r i g h t t o h -a v e r i g h t s ”

+

“the right to have rights”

(Arendt, as cited by Khosravi, 2010, p.121) What about the crossers who managed to travel and reach the desirable “there”, the ones who transcended the borders and the control checks of the ministries of @@ -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)

-

“…(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 (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 We, undocumented people, we don’t feel a sense of belonging -from the system.”

-
-

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

+
+

“…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. 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 +“” means +undecipherable years. I am here to represent mothers who +are looking for a place to have a sense of belonging or how long are you +trying to continue humiliating them and the female gender. I am here to +express my frustration with INDImmigratie- en Naturalisatiedienst - Dutch +Immigration and Naturalisation Service. So frustrated. And +I will not stop talking about democracy. Democracy is the rule of law +where everybody feels included. Democracy is a rule of law where +everybody feels * We, undocumented people, we don’t feel a sense of +belonging from the system.”

+
+

bureaucracy as immaterial +border

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”I am referring to the desirable potential +destinations of migrants and refugees corresponding mainly to Global +North countries.. “In these bordering processes, we can +detect the “coloniality of asylum”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. (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.

-

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

+

higher education’s +expanding bureaucracy

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.

+

“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)

+required.”
+(Graeber, 2015)

+

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.

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

“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)

-

t h e d o c u m e n t

+
+

“there is no document of civilisation which is not at the same time a +document of barbarism”
+Walter Benjamin

+
+

the document

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.

-

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

+

bureaucracy as textual +institution

The bureaucratic apparatus can be considered as something more than an infrastructure that organizes institutions, markets, states, etc. It can constitute itself an institution, a textual institution. As the @@ -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.

-

t h e m y t h o f u n -i v e r s a l i t y

+

the myth of universality

One of the great powers of bureaucracies is their ability to render themselves transparent. It seems that bureaucracy does not have to say anything more beyond itself, is self-referential and self-contained. It @@ -436,11 +469,16 @@ order to complete organizational tasks with maximum efficiency” (Weber, as cited by Cunningham, 2017, p. 307).

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“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) 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.

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)

-

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

+

materiality-underlying +violence

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.

+

“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”
(Roland Barthes, 1983)

+

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:

+

“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).

+technologies that produce them”
+(Hayles, 2002)

+

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.

-

[ The birthday biscuit that Chae made, re-creating the Dutch -government form ]

-
-

v o c -a l a r c h i v e s – t a l k i n g d o c u m e n t s

+but on the contrary creates “willful blindness” towards themI 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.. Bureaucracies are not stupid inherently rather they +manage and coerce processes that reproduce docile and stupid +behaviors.

+
+ + +
+

vocal archives-talking +documents

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.

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.

+collective speechI 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. 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.

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 r o t o t y p e s

+

prototypes

1.

-

Title: “Quality Assurance Questionnaire Censoring” When: October 2023 -Where: XPUB studio wall Who: myself

+

Title: “Quality Assurance Questionnaire +Censoring”
+When: October 2023
+Where: XPUB studio wall
+Who: myself

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.

-

[ The linguistic experiment of the Quality Assurance Questionnaire -Document ]

+
+ + +

2.

-

Title: “Department of Bureaucracy and Administration Customs -Enforcement” When: November 2023 Where: Leeszaal(17) Who: XPUB peers, -tutors, friends, alumni

+

Title: “Department of Bureaucracy and Administration +Customs Enforcement”
+When: November 2023
+Where: LeeszaalCommunity +Library in Rotterdam West
+Who: XPUB peers, tutors, friends, alumni

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.

-

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

-

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

+
+ + +
+
+ + +

3.

-

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

+

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

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.

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.

+phone. The recording was transcribed by voskVosk is an offline open-source speech recognition +toolkit. and myself and a small booklet of our passport +readings was created.

+

“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.

+kind of a particular identity”,
+Joseph says about his ID card.

+

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).

-

[ Part of the A6 booklet of the transcription of the passport -readings session ] x2

+

Part of the A6 booklet of the +transcription of the passport readings session

+

4.

-

Title: “Postal Address Application Scenario” When: February 2024 -Where: Room in Wijnhaven Building, 4th floor Who: XPUB 1,2,3, tutors, -Leslie

+

Title: “Postal Address Application Scenario”
+When: February 2024
+Where: Room in Wijnhaven Building, 4th floor
+Who: XPUB 1,2,3, tutors, Leslie

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.

-

[ A6 booklet of the first chapter of the “theatrical” scenario -created out of the Postal Address Application documents and performed by -XPUB peers ] x2

-
-

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

-

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

+

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

+

conclusion

+

next +chapters of the case with reference number A.B.2024.4.03188

I expanded the “play” by incorporating additional “scenes” sourced again from the documents accompanying the ongoing “conversation with the government”. Two weeks after submitting my application for a short-term @@ -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.

-

[ Part of A6 booklet scenarios of the next chapters of my -bureaucratic story aimed to be performed ] x2

-
+

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

As I sit in the waiting area at the gate B7 in the airport preparing @@ -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.

-

s i d e n o t e s

-
    -
  1. I live somewhere in the margins of scattered references, footnotes, -citations, examinations embracing the inconvenience of talking back to -myself, to the reader and to all those people whose ideas gave soul to -the text. I shelter in the borderlands of the pages my fragmented -thoughts, flying words, introspections, voices. Enlightenment and -inspiration given by the text “Dear Science” written by Katherine -McKittrick.
    2. -
  2. I use the word borderland to refer to Greece as a (mostly) transit -zone in the migrants’ and refugees’ route towards Europe.
    3. -
  3. 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.
    4. -
  4. “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)
    5. -
  5. Working title of the project
    6. -
  6. For further reading: -https://wearesolomon.com/mag/focus-area/migration/how-the-aegean-islands-became-a-warehouse-of-souls/
    7. -
  7. 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)
    8. -
  8. 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).
    9. -
  9. 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.
    10. -
  10. “*” means undecipherable
    11. -
  11. Immigratie- en Naturalisatiedienst - Dutch Immigration and -Naturalisation Service
    12. -
  12. I am referring to the desirable potential destinations of migrants -and refugees corresponding mainly to Global North countries.
    13. -
  13. 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.
    14. -
  14. “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)
    15. -
  15. 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.
    16. -
  16. 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.
    17. -
  17. Community Library in Rotterdam West
    18. -
  18. 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.
    19. -
  19. Vosk is an offline open-source speech recognition toolkit
    20. -
  20. US Immigrant Rights Movement Slogan (Keshavarz, 2016)
    21. -
-
-

r e f e r e n c e s

+

references

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 & 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.” -Social Sciences, 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.

+

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 & 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.” Social Sciences, 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: 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

+

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: 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).

+

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: 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 & Littlefield Publishers.

+(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 +& Littlefield Publishers.

\ No newline at end of file diff --git a/backplaces/README.html b/backplaces/README.html new file mode 100644 index 0000000..4e1db5e --- /dev/null +++ b/backplaces/README.html @@ -0,0 +1,36 @@ + + + + + + + + + + + +

backplaces

+

hi

+
+ + \ No newline at end of file diff --git a/index.html b/index.html index f7a6f31..a59fc1f 100644 --- a/index.html +++ b/index.html @@ -16,7 +16,7 @@

vulnerable interfaces

-
+
purple Backplaces purple @@ -46,39 +46,44 @@
-
- - Act 1.
- Scene 1. -

- 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. -

- the website (whispering in the visitor'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. -

- the visitor:
- Interfaces? -

- the website:
- Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces. -

- the visitor (confused):
- What do you mean a collection, like a catalogue? -

- the website:
- Yeah I guess. I weave the words and the works we created during... -

- the visitor:
- we? -

- the website:
- ...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. -

- the visitor (sarcastically):
- do you have a tissue, im soooo touched. -

- the website:
- malaka, just read me already! +

Introduction

+

Act 1.

+

Scene 1.

+

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.

+

the website (whispering in the visitor’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.

+

the visitor: Interfaces?

+

the website: Interfaces are boundaries that connect and + separate. They’re the spaces that fill the void between us. An interface + can be an act, a story, a keyboard, a cake; It allows us to be + vulnerable together, to share our stories with and through each other. I + am a collection of these interfaces.

+

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

+

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

+

the visitor: we?

+

the website: …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 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.

+

the visitor (sarcasm): do you have a tissue, im soooo + touched.

+

the website: malaka, just read me.

diff --git a/indextest.html b/indextest.html deleted file mode 100644 index f7a6f31..0000000 --- a/indextest.html +++ /dev/null @@ -1,85 +0,0 @@ - - - - - - vulnerable interfaces - - - - - - - -
-
- - Act 1.
- Scene 1. -

- 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. -

- the website (whispering in the visitor'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. -

- the visitor:
- Interfaces? -

- the website:
- Interfaces are boundaries that connect and separate. They're the spaces that fill the void between us. An interface can be an act, a story, a keyboard, a cake; It allows us to be vulnerable together, to share our stories with and through each other. I am a collection of these interfaces. -

- the visitor (confused):
- What do you mean a collection, like a catalogue? -

- the website:
- Yeah I guess. I weave the words and the works we created during... -

- the visitor:
- we? -

- the website:
- ...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. -

- the visitor (sarcastically):
- do you have a tissue, im soooo touched. -

- the website:
- malaka, just read me already! -
-
- - \ No newline at end of file diff --git a/introduction/index.html b/introduction/index.html index 123f97c..d4237f4 100644 --- a/introduction/index.html +++ b/introduction/index.html @@ -9,48 +9,64 @@ -

Act 1. Scene 1.

-

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.

-

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.

-

the reader: Interfaces?

-

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.

-

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

-

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

-

the reader: we?

-

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.

-

the reader (sarcastically): do you have a tissue, im soooo +

Introduction

+

Act 1.

+

Scene 1.

+

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.

+

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.

+

the reader: Interfaces?

+

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.

+

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

+

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

+

the reader: we?

+

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.

+

the reader (sarcasm): do you have a tissue, im soooo touched.

-

the book: malaka, just read me already!

+

the book: malaka, just read me.

\ No newline at end of file diff --git a/irmak/index.html b/irmak/index.html index 778d0a3..1493fc5 100644 --- a/irmak/index.html +++ b/irmak/index.html @@ -9,13 +9,25 @@

Wink!

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.

-

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 - From the event at Leeszaal West, experimenting with knots and poetry. How can we see movement in text? - 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 +elementary school children. + + +Working as a children’s literature editor for years, I came to a realisation that picture books were turning into another object that kids read and consume on daily basis. At least this is what I observed in Turkey. Teachers and parents were finding it difficult to find new @@ -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”.

-

Example page from the print version of the picture book. - Example page from the print version of the picture book. -

+“Bee Within”.

Bee Within, is a story about grief and it is based on my experiences throughout the years. I erased it, rewrote it, edited it, destroyed it multiple times over the past years, simultaneously with new experiences @@ -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.

-

Example page from the print version of the picture book. - Example page from the print version of the picture book. -

+world.

Over the past two years, experimenting with storytelling techniques, interactivity options and workshops with children and adults, around reading and doing various exercises on Bee Within, I improved the story to be a more playful and interactive one which can be re-read, re-played -and eventually re-formed non digitally to be reachable for all children. -

+and eventually re-formed non digitally to be reachable for all +children.

The twine map of text based story, reachable from Bee Within by clicking to hear more about Gray the tree. - Click game story of the Queen Bee that is reachable within Maya's main storyline. -

-

-Here is some documentation from the beggining of this journey towards -making accesible interactive narratives…

-

A small sequence of onclick animation for Bee Within. - Fiction Friction cards from SI20, working on storytelling of collective traumas. -

+alt="“The twine map of text based story, reachable from Bee Within by clicking to hear more about Gray the tree.”" /> +

+

Here is some more documentation from the beggining of this journey +towards making accesible interactive narratives…

\ No newline at end of file diff --git a/irmak/thesis.html b/irmak/thesis.html index 86655c5..0b3c0aa 100644 --- a/irmak/thesis.html +++ b/irmak/thesis.html @@ -9,18 +9,30 @@

Fair Leads

-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.

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.

-

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?

-

KNOTS AS OBJECTS TO THINK WITH

+

KNOTS AS OBJECTS TO THINK +WITH

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.

- -

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.

@@ -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!

-

HOW TO CHOOSE YOUR STRING?

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.

- +can follow to read the thesis.

Working End

Why am I doing this?

My desire to write a children’s book about grief and memory ignited diff --git a/specialissue19/index.html b/specialissue19/index.html index a2991d7..6d80c10 100644 --- a/specialissue19/index.html +++ b/specialissue19/index.html @@ -9,13 +9,25 @@

Garden Leeszaal

Special Issue XIX

diff --git a/specialissue20/index.html b/specialissue20/index.html index d0405b1..2a66246 100644 --- a/specialissue20/index.html +++ b/specialissue20/index.html @@ -9,13 +9,25 @@

Console

Special Issue XX

diff --git a/specialissue21/index.html b/specialissue21/index.html index 6265e69..0ab4408 100644 --- a/specialissue21/index.html +++ b/specialissue21/index.html @@ -9,13 +9,25 @@

TTY

Special Issue 21

diff --git a/specialissuesintro/index.html b/specialissuesintro/index.html index 0abd67d..1b57612 100644 --- a/specialissuesintro/index.html +++ b/specialissuesintro/index.html @@ -9,13 +9,25 @@

Special Issues

Special Issues are publications thrice released by first-year XPUB diff --git a/stephen/index.html b/stephen/index.html index 897ba7c..ded08d3 100644 --- a/stephen/index.html +++ b/stephen/index.html @@ -9,13 +9,25 @@

What @@ -127,6 +139,7 @@ alt="Keyboard of things designers have said. Our feelings about work." /> +

2023-11-24 17:52:55,103 - Key.tab
2023-11-24 17:52:57,175 - Key.alt_l
2023-11-24 17:52:57,368 - Key.tab
@@ -506,6 +519,7 @@ Our feelings about work. 2024-06-06 15:55:30,561 - Key.tab
2024-06-06 15:55:33,281 - Key.cmd
2024-06-06 15:55:33,617 - ‘e’

+

⊞

empty title

diff --git a/style.css b/style.css index 6d896f5..6d9faca 100644 --- a/style.css +++ b/style.css @@ -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; } - } - \ No newline at end of file +} \ No newline at end of file diff --git a/webpage.template.html b/webpage.template.html index af6ca9f..9c9b655 100644 --- a/webpage.template.html +++ b/webpage.template.html @@ -3,7 +3,7 @@ {{ title }} - + @@ -12,23 +12,23 @@ vulnerable interfaces
- +
ada
- +
aglaia
- +
irmak
- +
stephen
-
+
{{ content }}
\ No newline at end of file