@ -297,7 +297,7 @@ I made this play for you. It is a question, for us to hold together.</p>
<p>I made three backplaces for you to see, click, and feel: Solar Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the result of its own unique performance or project. Some of the stories I will share carry memories of pain—both physical and emotional. As you sit in the audience, know I am with you, holding your hand through each scene. If the performance feels overwhelming at any point, you have my full permission to step out, take a break, or leave. This is not choreographed, and I care deeply for you.<br/>
</p>
<figure>
<imgsrc="../images/../images/index.png"alt="This is the Index, the stage of my play. Each felted item is an act."/><figcaption>This is the Index, the stage of my play. Each felted item is an act.</figcaption>
<imgsrc="../images/../images/index.png"alt="This is the Index, the stage of my play. Each felted item is an act."class="half-image"/><figcaption>This is the Index, the stage of my play. Each felted item is an act.</figcaption>
</figure>
<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/>
</p>
@ -313,7 +313,7 @@ I made this play for you. It is a question, for us to hold together.</p>
<imgsrc="../images/../images/one.png"alt="The first letter."/><figcaption>The first letter.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/two.png"alt="The second letter."/><figcaption>The second letter.</figcaption>
<imgsrc="../images/../images/two.png"alt="The second letter."class="image-80"/><figcaption>The second letter.</figcaption>
</figure>
<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 performances I hosted. First, I asked participants to eat cake, sitting facing or away from each other and sharing their stories about cake and the Internet. The second performance was hosted at the Art Meets Radical Openness Festival, as part of the Turning of the Internet workshop. For this performance, I predicted participants’ future lives on the Internet using felted archetypes and received stories from their Internet past in return. Now the stories are here, each of them a cake with a filling that tells a story, merging the bodily with the digital and making a mess of it all.<br/>
</p>
@ -321,12 +321,12 @@ I made this play for you. It is a question, for us to hold together.</p>
<imgsrc="../images/../images/pie.png"alt="The first two stories and their memory illustrations."/><figcaption>The first two stories and their memory illustrations.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/phone-pie.png"alt="The second stories in the way they were meant to be experienced."/><figcaption>The second stories in the way they were meant to be experienced.</figcaption>
<imgsrc="../images/../images/phone-pie.png"alt="The second stories in the way they were meant to be experienced."class="full-image"/><figcaption>The second stories in the way they were meant to be experienced.</figcaption>
</figure>
<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/>
</p>
<figure>
<imgsrc="../images/../images/biscuit.png"alt="Accept My Cookies, biscuits for the performance."/><figcaption>Accept My Cookies, biscuits for the performance.</figcaption>
<imgsrc="../images/../images/biscuit.png"alt="Accept My Cookies, biscuits for the performance."class="image-95"/><figcaption>Accept My Cookies, biscuits for the performance.</figcaption>
</figure>
</section>
@ -566,10 +566,10 @@ Joseph says about his ID card.</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 public aims to examine these artifacts and highlight the shrouded performative elements of these processes.</p>
<p>I see the collective readings of these scenarios as a way of instant publishing and as a communal tool of inspecting bureaucratic bordering infrastructures. How can these re-enactments be situated in different institutional contexts and examine their structures? I organized a series of performative readings of my own bureaucratic literature in different spaces and contexts, pubic and semi-public WDKA, Art Meets Radical Openness Festival in Linz, the City Hall of Rotterdam where I invited people to perform the play together, like a tiny theater.</p>
<imgsrc="../images/../images/../aglaia/AMRO_all.jpg"alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent"class="half-image"/><figcaption>Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent</figcaption>
<p>The marginal voices of potential applicants are embodying and enacting a role. “The speech does not only describe but brings things into existence”(Austin, 1975). My intention was to stretch the limits of dramaturgical speech through vocalizing a document and turn individual administrative cases into public ones. How do the inscribed words in the documents are not descriptive but on the contrary “are instrumentalized in getting things done”(Butler,1997). Words as active agents. Bodies as low-tech “human microphones”. A group of people performs the bureaucratic scenario in chorus, out loud, in the corridor of the school’s building, in the main hall, at the square right across, outside of the municipality building.</p>
<p>I documented and recorded these public acts and I re-created the collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024.</p>
<figure>
@ -634,7 +634,7 @@ This map will reveal your mode of reading. The order of reading will be indicate
<imgsrc="../images/../images/../irmak/map.png"
alt="knot words from Leeszaal" />
</figure>
<divclass="loops">
<sectionclass="loops">
<h2id="working-end">Working End</h2>
<h3id="loop-1">Loop 1</h3>
<h3id="why-am-i-doing-this">Why am I doing this?</h3>
@ -645,18 +645,9 @@ This map will reveal your mode of reading. The order of reading will be indicate
<p>Last year when two earthquakes hit Syria and Turkey, I was drowned like everyone I know, by a collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was furious, away from home, mostly alone and remembered vividly my failed attempt to understand or place grief in one of the piles in my mind.</p>
<p>Previous months, I was working on this story (yes, again) but didn’t know how to tackle the text because it was so diff erent to what I was experiencing now, when compared to the last time I rewrote it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept tracing back to 2016 and step by step, remembered why, as told above. The consciousness that this story is actually a personal history of how I went through grief in diff erent stages of my life, made me realise that it doesn’t have to be or even can be a perfect story.</p>
<p>In the end with the experience I had with loss, I believe the story turned out to be an ode to remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting</p>
<p></span></sup> The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories?</p>
<p>The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories?</p>
<p>ability to form basic stories or to express their emotions through fictional characters or events. Children are not born with a wide vocabulary of emotions and expressions. They learn how to read, mimic and express their feelings over time. The more children read, write and are exposed to social environments, the more they widen their sense and ability of expressing themselves. The language gained as kids comes in many forms and storytelling plays a crucial role in this development. The exposure to stories prepares the kids to the era of reading and writing. Children come to understand and value feelings through conversation (Dettore, 2002). When children are off ered to read or share stories, they also learn to understand people around them better and gain emotional literacy.</p>
<p>Storytelling has been a means of communicating with others for many centuries. It is not only a way to discuss important events, but also a way to entertain one another (Lawrence & Paige, 2013). Stories have been told orally, in writing or with drawings for thousands of years and some of these stories are still alive. This is because language is a living thing that travels through time and still remains brand new. When necessary, it just adapts form, evolves and blends in with the changing world. Children comprehend the idea that they have a story to tell by hearing other stories and this ignites the imagination. We tend to forget many things but almost everyone remembers one small story they heard or read when they were a kid, this moment we remember is the moment a certain story sparked for us.</p>
<p>Nowadays storytelling takes many forms. For example, some readers’ story might even begin from here although it isn’t the beginning. Interactivity is one of the storytelling forms that can signifi- cantly improve children’s creativity. This is mainly because children as readers or listeners get to contribute and aff ect the story. This of course requires and improves creative and active thinking. Getting the chance to choose a path for a fictional character gives the child the freedom and confi dence of constructing a world, a character or an adventure. Although this is essentially “writing” as we know it, children think of this as a game, yet to discover they are actually becoming writers. What kind of reward can we expect from active participation in a story? Narrative pleasure can be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional world (Ryan, 2009). When we are set to create or co-create a world, the narrative has eff ects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep these three emotions.</p>
@ -730,7 +721,7 @@ This map will reveal your mode of reading. The order of reading will be indicate
<p>It was enlightening to see the results of working with kids and be able to see from their point of view and alter everything according to these encounters. Using CCI and Multiliteracy theory as a guide to approach the design and prototype was helpful in understanding how to approach and tackle the desire of making something for children.</p>
<p>Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t work. Some features that I think would work very well like the choice of writing didn’t go as planned because multiple narratives is already too much. I realized I underestimated the eff ect of introducing a new media to children. This is why I decided to take it step by step with the interactivity.</p>
<p>Taking a step to make Wink and using the story I wrote and feel is important in my personal history as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am looking forward to making more knots on this long and mysterious string at hand.</p>
</div>
</section>
<h2id="bibliography">Bibliography</h2>
<p>Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies, new learning’, Pedagogies: An International Journal, 4(3), pp.164–195. doi:10.1080/15544800903076044. <br> Dettore, E. (2002) “Children’s emotional GrowthAdults’ role as emotional archaeologists,” Childhood education, 78(5), pp.278–281. doi: 10.1080/00094056.2002.10522741. <br> Ingold, T. (2015) The life of lines.London, England: Routledge. <br> Lawrence, R. L. and Paige, D. S. (2016) “What our ancestors knew: Teaching and learning through storytelling: What our ancestors knew: Teaching and learning through storytelling,” New directions for adult and continuing education, 2016(149), pp.63–72. doi: 10.1002/ace.20177.<br/>
<br> Papert, S. and Papert, S. A. (2020) Mindstorms (revised): Children, computers, and powerful ideas. London, England: Basic Books. <br> Ryan, M.-L. (2009) “From narrative games to playable stories: Toward a poetics of interactive narrative,” StoryWorlds A Journal of Narrative Studies, 1(1), pp.43–59. doi: 10.1353/stw.0.0003. <br> Smeets, D. and Bus, A. (2013) “Picture Storybooks Go Digital: Pros and Cons,” in Quality Reading Instruction in the Age of Common Core Standards. International Reading Association, pp.176–189. <br> Strohecker, C. (ed.) (1978) Why knot? MIT. <br> The Effect of Multimodality in Increasing Motivation and Collaboration among 4th CSE EFL Students (no date). <br> Turkle, S. (ed.) (2014) Evocative objects: Things we think with. MIT Press. <br> Urton, M. M. &. (2018) The khipu code: the knotty mystery of the Inkas’ 3D records, aeon. Available at: https:// aeon.co/ideas/the-khipu-code-the-knotty-mystery-of-the-inkas-3d-records. <br> Vega, N. (2022) Codes in Knots. Sensing Digital Memories, The Whole Life. Available at: https://wholelife.hkw.de/ codes-in-knots-sensing-digital-memories/.</p>
@ -809,38 +800,28 @@ Word count: 7828 words</p>
<h4id="to-de-sign-design-i-will-assign-a-sign">To de-sign design, I will assign a sign: ⊞</h4>
<p>This symbol represents design in this writing in an attempt to avoid the assumed meaning of the word and examine it as something unknown, to mystify it, to examine its structure. The label ⊞ is a functional part of a belief system involving order, structure, and rationality and I want to break it. Removing the label is part of loosening the object, making it avilable to transition (Berlant, 2022).</p>
<figure>
<imgsrc="../images/../images/orange.jpg"style="margin-top: 95mm; width: 40mm;"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."/>
<figcaptionaria-hidden="true">
The Cadaster of Orange,<br/> unknown ⊞er, c. 100 CE.
</figcaption>
<imgsrc="../images/../images/orange.jpg"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."class="image-45"/><figcaption>The Cadaster of Orange, unknown ⊞er, c. 100 CE.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/Niggli-Grid-systems-in-graphic-design-7.jpg"style="margin-top: 95mm"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981."/>
<figcaptionaria-hidden="true">
Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
</figcaption>
<imgsrc="../images/../images/Niggli-Grid-systems-in-graphic-design-7.jpg"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981"class="image-95"/><figcaption>Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/albuni2.jpg"alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200."/><figcaption>Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200.</figcaption>
<imgsrc="../images/../images/albuni2.jpg"alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200."class="image-95"/><figcaption>Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200.</figcaption>
<imgsrc="../images/../images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"alt="Homage to the Square, Josef Albers, 1954."/><figcaption>Homage to the Square, Josef Albers, 1954.</figcaption>
<imgsrc="../images/../images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"alt="Homage to the Square, Josef Albers, 1954."class="image-95"/><figcaption>Homage to the Square, Josef Albers, 1954.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/TheoVAnDoesburgCounterCompositionVI.jpg"alt="Counter Composition VI, Theo Van Doesburg, 1925."/><figcaption>Counter Composition VI,<br/>
Theo Van Doesburg, 1925.</figcaption>
<imgsrc="../images/../images/TheoVAnDoesburgCounterCompositionVI.jpg"alt="Counter Composition VI, Theo Van Doesburg, 1925."class="image-45"/><figcaption>Counter Composition VI, Theo Van Doesburg, 1925.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/po-valley2.png"style="margin-top: 95mm;"alt="The Po Valley, The Roman Empire, 268 BCE."/>
<figcaptionaria-hidden="true">
The Po Valley, The Roman Empire, 268 BCE.
</figcaption>
<imgsrc="../images/../images/po-valley2.png"alt="The Po Valley, The Roman Empire, 268 BCE."class="image-95"/><figcaption>The Po Valley, The Roman Empire, 268 BCE.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/pietzwart.jpg"alt="Monogram, Piet Zwart, c. 1968."/><figcaption>Monogram, Piet Zwart, c. 1968.</figcaption>
<imgsrc="../images/../images/pietzwart.jpg"alt="Monogram, Piet Zwart, c. 1968."class="image-45"/><figcaption>Monogram, Piet Zwart, c. 1968.</figcaption>
<imgsrc="../images/../images/../stephen/keyboard24.jpeg"alt="Keyboard of things designers have said. Our feelings about work."class="image-95"/><figcaption>Keyboard of things designers have said. Our feelings about work.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/keyboard25.jpeg"alt="The messages on the keys were gathered using experimental interview methods and questions."class="image-80" /><figcaption>The messages on the keys were gathered using experimental interview methods and questions.</figcaption>
<imgsrc="../images/../images/../stephen/keyboard25.jpeg"alt="The messages on the keys were gathered using experimental interview methods and questions."class="image-95" /><figcaption>The messages on the keys were gathered using experimental interview methods and questions.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/keyboard26.jpeg"alt="Except “it’s ok”: my brother said that to me on the phone one day."class="image-55" /><figcaption>Except “it’s ok”: my brother said that to me on the phone one day.</figcaption>
<imgsrc="../images/../images/../stephen/keyboard26.jpeg"alt="Except “it’s ok”: my brother said that to me on the phone one day."class="image-45" /><figcaption>Except “it’s ok”: my brother said that to me on the phone one day.</figcaption>
@ -1194,13 +1175,12 @@ Interactive dream telling. Click then type your story.
<imgsrc="../images/../images/../stephen/peecee.jpg"alt="Re-enacting dreams about work at Piet Zwart Institute, Rotterdam."class="desaturate image-45"/><figcaption>Re-enacting dreams about work at Piet Zwart Institute, Rotterdam.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/amro.jpeg"alt="Collective dream re-enactment at Art Meets Radical Openness, Linz."class="desaturate half-image" /><figcaption>Collective dream re-enactment at Art Meets Radical Openness, Linz.</figcaption>
<imgsrc="../images/../images/../stephen/amro.jpeg"alt="Collective dream re-enactment at Art Meets Radical Openness, Linz."class="desaturate" /><figcaption>Collective dream re-enactment at Art Meets Radical Openness, Linz.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/dizzy.jpeg"alt="Where do dreams come from?"class="full-image" /><figcaption>Where do dreams come from?</figcaption>
<imgsrc="../images/../images/../stephen/dizzy.jpeg"alt="Where do dreams come from?"class="image-80" /><figcaption>Where do dreams come from?</figcaption>
<p>This work is free to distribute or modify under the terms of the SIXX license as published by XPUB, either version one of the SIXX License or any later version. See the SIXX License for more details. A copy of the license can be found on <ahref="vulnerable-interfaces.xpub.nl/license"class="uri ext">vulnerable-interfaces.xpub.nl/license</a>.</p>
<p>.</p>
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@ -1625,7 +1605,9 @@ I made this to explore why designers make design, based on Clifford Geertz's ide
<!--<section id="section-12" class="section">-->
<sectionid="section-12"class="section">
<hr/>
<h1id="garden-leeszaal">Garden Leeszaal</h1>
<hr/>
<h3id="special-issue-xix">Special Issue XIX</h3>
<p>Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the spine, or an electronic file gathered together with digital binding. A library could be an accumulated stack of printed books, a modular collection of software packages, a method of distributing e-books, a writing machine.</p>
<p>In the Special Issue 19, How do we library that? or alternatively Garden Leeszaal, we started re-considering the word “library” as a verb; actions that sustains the production, collection and distribution of texts. A dive into the understanding structure of libraries as systems of producing knowledge and unpacking classification as a process that (un)names, distinguishes, excludes, displaces, organizes life. From the library to the section to the shelf to the book to the page to the text. The zooming in and zooming out process. The library as a plain text.</p>
