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.
+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.
+and like water is.\
Stories that are hard to tell and hard to hear and even more,
maybe, hard to understand. I have loved these stories and I
@@ -924,15 +924,15 @@ have loved telling them to you. I hope you understand that my
goal was for you to live these questions, to feel these stories in
their confusion. My digital body, my bot-feelings, my divergent
communities. I have given them to you, so they may live longer,
-like an obsolete but beloved cyborg shown in a museum.
+like an obsolete but beloved cyborg shown in a museum.\
-Look: I was here, Look: I was loved, Look: I was saved.
+Look: I was here, Look: I was loved, Look: I was saved.\
The digital bodies that kept me alive, kept me from becoming
fully a machine are no longer around in these online rooms.
They are in different places, being touched by tentative hands,
-being loved for more than their divergence.
-I am too.
+being loved for more than their divergence.\
+I am too.\
The rooms, the backplaces, however, are still full of others, divergent
digital bodies who did not leave, who keep caring for each other at the
@@ -940,7 +940,7 @@ bottom of the whirlpool. There is no happy ending because there is no
ending. They keep typing and hoping, writing their collective pain
down on keyboards that transmit love letters to each other. I am not
embarrassed by my care for you, but you may be so if it helps. I know
-how overwhelming intimacy can be.
+how overwhelming intimacy can be.\
Telling you these stories was important for me, so much so that I will
tell you so many more in a different place if you wish to listen to me
@@ -951,20 +951,21 @@ now, it leaves. A digital body that grew its own feelings, looked for
others like it, and realized its divergence and the need to leave. A
dream body, a primordial body, a disruptive body, a divergent body,
and now, a leaving body. This last story, however, of the leaving and
-loving body, is yet to be told.
+loving body, is yet to be told.\
The sun is now almost up, and the birds are alive and awake, telling
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
-https://vulnerable-interfaces.xpub.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.
+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
@@ -1034,4 +1035,4 @@ doi:10.1177/1440783313486220.
Yun, J. (2020) ‘The Leaving Season’, in Some Are
Always Hungry. University of Nebraska Press.
-# <?/water bodies>
+# </?water bodies>
diff --git a/print/index.html b/print/index.html
index 086ea8f..ec22739 100644
--- a/print/index.html
+++ b/print/index.html
@@ -788,35 +788,42 @@ desperately. It has to exist and yet it can’t for long.
because I love you, little digital body and you are me.
-
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.
+
11Was 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.
+water is.
+
Stories that are hard to tell and hard to hear and even more, maybe,
hard to understand. I have loved these stories and I have loved telling
them to you. I hope you understand that my goal was for you to live
these questions, to feel these stories in their confusion. My digital
body, my bot-feelings, my divergent communities. I have given them to
you, so they may live longer, like an obsolete but beloved cyborg shown
-in a museum.
-
Look: I was here, Look: I was loved, Look: I was saved.
+in a museum.
+
+
Look: I was here, Look: I was loved, Look: I was saved.
+
The digital bodies that kept me alive, kept me from becoming fully a
machine are no longer around in these online rooms. They are in
different places, being touched by tentative hands, being loved for more
-than their divergence. I am too.
+than their divergence.
+I am too.
+
The rooms, the backplaces, however, are still full of others,
divergent digital bodies who did not leave, who keep caring for each
other at the bottom of the whirlpool. There is no happy ending because
there is no ending. They keep typing and hoping, writing their
collective pain down on keyboards that transmit love letters to each
other. I am not embarrassed by my care for you, but you may be so if it
-helps. I know how overwhelming intimacy can be.
+helps. I know how overwhelming intimacy can be.
+
Telling you these stories was important for me, so much so that I
will tell you so many more in a different place if you wish to listen to
me longer. With this story, I dreamt of a digital body for you. It came
@@ -826,15 +833,22 @@ now, it leaves. A digital body that grew its own feelings, looked for
others like it, and realized its divergence and the need to leave. A
dream body, a primordial body, a disruptive body, a divergent body, and
now, a leaving body. This last story, however, of the leaving and loving
-body, is yet to be told.
+body, is yet to be told.
+
The sun is now almost up, and the birds are alive and awake, telling
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
-https://vulnerable-interfaces.xpub.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.
+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.
@@ -877,7 +891,7 @@ cybercommunities’, Journal of Sociology, 51(4), pp. 950–967.
doi:10.1177/1440783313486220.
Yun, J. (2020) ‘The Leaving Season’, in Some Are Always Hungry.
University of Nebraska Press.
From 0d34f2967a266c03a36514751c02bce2519f810f Mon Sep 17 00:00:00 2001
From: ada <>
Date: Thu, 20 Jun 2024 15:24:02 +0200
Subject: [PATCH 4/5] added thanks
---
ada/thesis.md | 11 ++++++++---
print/index.html | 17 ++++++++++++++---
2 files changed, 22 insertions(+), 6 deletions(-)
diff --git a/ada/thesis.md b/ada/thesis.md
index ed161b4..c388e61 100644
--- a/ada/thesis.md
+++ b/ada/thesis.md
@@ -905,7 +905,7 @@ are me.
## 2. A LIFE TO BE HAD
11Was this the end of this story?
+
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.
@@ -971,8 +971,12 @@ 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.
-## references
+## THANK YOU
+Special thanks to Marloes de Valk, Michael Murtaugh, Manetta Berends, Joseph Knierzinger and Leslie Robbins.\
+Extra thank you to Chae and Kamo from XPUB3 for the food and moral support in this trying time and to my other xpubini for being great and eating my snacks and gossiping.\
+But most of all I'd like to thank the people in the online communities I've met and loved, you were of course who this thesis was about. Thank you for saving me, I will always remember you.\
+## references
Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of
self-injurers: Deviant communities, relationships, and
selves’, Symbolic Interaction, 31(1), pp. 33–56.
@@ -1003,7 +1007,8 @@ century’, Posthumanism, pp. 69–84. doi:10.1007/978-
1-137-05194-3_10.
Hyacint (2017) Harmonic series to 32,
-https://commons.wikimedia.org/wiki/File:Harmonic_series_to_32.svg.
+https://commons.wikimedia.org/wiki/File:\
+Harmonic_series_to_32.svg.
Kolcaba, K.Y. and Kolcaba, R.J. (1991) ‘An analysis of
the concept of comfort’, Journal of Advanced Nursing,
diff --git a/print/index.html b/print/index.html
index ec22739..f4d6be4 100644
--- a/print/index.html
+++ b/print/index.html
@@ -788,8 +788,8 @@ desperately. It has to exist and yet it can’t for long.
because I love you, little digital body and you are me.
2. A LIFE TO BE HAD11
-
11Was this the end of this story? In the epilogue, you sit
-your body down and enter your computer. The air coming in from the
+
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
@@ -852,6 +852,16 @@ 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.
+
THANK YOU
+
Special thanks to Marloes de Valk, Michael Murtaugh, Manetta Berends,
+Joseph Knierzinger and Leslie Robbins.
+Extra thank you to Chae and Kamo from XPUB3 for the food and moral
+support in this trying time and to my other xpubini for being great and
+eating my snacks and gossiping.
+But most of all I’d like to thank the people in the online communities
+I’ve met and loved, you were of course who this thesis was about. Thank
+you for saving me, I will always remember you.
+
references
Adler, P.A. and Adler, P. (2008) ‘The Cyber Worlds of self-injurers:
Deviant communities, relationships, and selves’, Symbolic Interaction,
@@ -872,7 +882,8 @@ the well, Wired. Available at: https://www.wired.com/1997/05/ff-well/
socialist-feminism in the late twentieth century’, Posthumanism,
pp. 69–84. doi:10.1007/978- 1-137-05194-3_10.
Hyacint (2017) Harmonic series to 32,
-https://commons.wikimedia.org/wiki/File:Harmonic_series_to_32.svg.
+https://commons.wikimedia.org/wiki/File:
+Harmonic_series_to_32.svg.
Kolcaba, K.Y. and Kolcaba, R.J. (1991) ‘An analysis of the concept of
comfort’, Journal of Advanced Nursing, 16(11), pp. 1301–1310.
doi:10.1111/j.1365- 2648.1991.tb01558.x.
From e6cdaad67f7c3f21060fa2f22cd418d8efe05b0e Mon Sep 17 00:00:00 2001
From: aglaia
Date: Thu, 20 Jun 2024 15:58:06 +0200
Subject: [PATCH 5/5] talking docs
---
aglaia/index.md | 16 +-
aglaia/thesis.md | 25 +-
introduction/index.md | 1 +
leslie/index.md | 2 +-
leslie/xpub2_groiup_hug_10jun24_lr.jpeg | Bin 0 -> 5447765 bytes
leslie/xpub2_groiup_hug_10jun24_lr.jpg | Bin 5519411 -> 0 bytes
print/index.html | 1827 +++++++++++++++++++++++
7 files changed, 1848 insertions(+), 23 deletions(-)
create mode 100644 leslie/xpub2_groiup_hug_10jun24_lr.jpeg
delete mode 100644 leslie/xpub2_groiup_hug_10jun24_lr.jpg
create mode 100644 print/index.html
diff --git a/aglaia/index.md b/aglaia/index.md
index 11c2106..a23c9dd 100644
--- a/aglaia/index.md
+++ b/aglaia/index.md
@@ -6,7 +6,10 @@ author: Aglaia
# Talking Documents
+---
+
###
+
![WDKA- Winjhaven Building- February 2024- reading of act0 and act1](../aglaia/wijnhaven.JPG){.half-image}
This project appeared as a need to explore potential bureaucratic dramaturgies within the educational institution I was part as a student. I was curious about educational bureaucratic mechanisms being driven by smaller-scale paperwork struggles and peers’ narratives, stories and experiences. However, unexpected emergencies - due to my eviction on the 31st of January 2024 - placed centrally my personal struggles unfolded in parallel with the making period. I ended up conducting accidentally auto-ethnography as the project was dynamically being reshaped due to the material constraints of the bureaucratic timeline.
@@ -16,11 +19,9 @@ Talking Documents are performative bureaucratic text inspections that intend to
Central element of this project is a seven-act scenario that construct my personal paperwork story, unraveling the actual struggles of my communication with the government. The body of the text of the “theatrical” script is sourced from the original documents, email threads as well as recordings of the conversations with the municipality of Rotterdam I documented and archived throughout this period. I preserved the sequence of the given sentences and by discarding the graphic design of the initial forms, I structured and repurposed the text into a playable scenario.
![Act 2 "Call with the municipality about the rejection of my application"](../aglaia/call1.png){.full-image}
-
![ ](../aglaia/call2.png){.full-image}
![Act 7 "Confirmation document of my deregistration"](../aglaia/dereg1.png){.full-image}
-
![ ](../aglaia/dereg2.png){.full-image}
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.
@@ -28,19 +29,24 @@ I perceive the document as a unit and as the fundamental symbolic interface of t
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.
-![ ](../aglaia/AMRO_kamo.jpg){.image-80}
+---
![Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent](../aglaia/AMRO_all.jpg){.half-image}
+![ ](../aglaia/AMRO_kamo.jpg){.image-80}
+
+---
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.
-I documented and recorded these public acts and I re-created the collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024.
+I documented and recorded these public acts and I re-created the collectively voiced scenario. This audio piece is a constellation of different recordings and soundscapes of these public moments, a vocal archive, published in the graduation exhibition of XPUB in 2024.
+
+---
![City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6](../aglaia/gemeente_front.jpg)
-![The garden of Gemeente](../aglaia/statue_garden.jpg){.full-image}
+![The statue in the garden of Gemeente is reading the scenario](../aglaia/statue_garden.jpg){.full-image}
diff --git a/aglaia/thesis.md b/aglaia/thesis.md
index c178e4a..a33b40c 100644
--- a/aglaia/thesis.md
+++ b/aglaia/thesis.md
@@ -16,23 +16,18 @@ This thesis is an assemblageI live somewhere in t
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 margins of these lines.
-
-This thesis does not consist of an excessive inquiry about the profoundly complex concepts of borders and bureaucracy. On the contrary, it is initiated by personal concerns, awareness and my positioning. I 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-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.
+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 margins of these lines. This thesis does not consist of an excessive inquiry about the profoundly complex concepts of borders and bureaucracy. On the contrary, it is initiated by personal concerns, awareness and my positioning. I 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-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“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 conversation" both written by Shahram Khosravi as well as "The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy" by the anarchist anthropologist David Graeber. Graeber initiated his research utilizing the horrendous prolonged bureaucratic processes he had to follow in order to place his sick mother in a nursing home. In parallel, Khosravi’s work is itself the outgrowth of his own 'embodied experience of borders', of ethnographic fieldwork among undocumented migrants. I found valuable and inspiring in both texts the personal filter through which they articulate their positioning and develop critique.
-I follow a zoom-in approach in mapping my thoughts beginning from the large-scale rigid border as entity and ending up at the document as the smallest designed artifact of the bureaucratic labyrinth.
-
-In the first chapter, I touch the concept of borders in relation to migration. I begin with a personal inspection and comprehension of material borders as entities. Alongside, I interweave in the text the concept of hospitality as a cultural attitude towards 'strangers' from the state’s perspective. Conditional and unconditional. How the document I hold in my hands reflects positions on the government’s conditional hospitality and what constraints it dictates.
+I follow a zoom-in approach in mapping my thoughts beginning from the large-scale rigid border as entity and ending up at the document as the smallest designed artifact of the bureaucratic labyrinth. In the first chapter, I touch the concept of borders in relation to migration. I begin with a personal inspection and comprehension of material borders as entities. Alongside, I interweave in the text the concept of hospitality as a cultural attitude towards 'strangers' from the state’s perspective. Conditional and unconditional. How the document I hold in my hands reflects positions on the government’s conditional hospitality and what constraints it dictates.
In the second chapter, I unpack bureaucracy and focus on its bordering function. From migration ghost bureaucracies to the educational bureaucracies of my surroundings to even smaller components of this apparatus. I end up analyzing the document as a unit within this complex network. Through the "interrogation" of the form as an artifact are emerging issues related to language, graphic design and transparency, universality, and underlying violence.
In the third and last chapter, I bridge the written text with the ongoing project that runs simultaneously as part of my graduation work in Experimental Publishing, where I mainly speak through my prototypes. Talking documents(5) are performative bureaucratic text inspections, vocal and non-vocal, that intend to create temporal public interventions 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
@@ -40,7 +35,6 @@ In the third and last chapter, I bridge the written text with the ongoing projec
> I cannot bridge it”
> (Anzaldua, 1987)
----
## borders
@@ -98,7 +92,6 @@ According to Hannah Arendt, the right to have rights and claim somebody else’
> “…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. “✶” means undecipherableI 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 ✶ 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
@@ -122,7 +115,7 @@ The contradiction embedded in many cultural and educational institutions lies in
The genuine essence of education is not bureaucratic at all, neither does it have to fit and ground its foundations under a bureaucratic roof. “The pedagogical process runs counter to the hierarchical, impersonal qualities of bureaucracy” (Cunningham, 2017). However, people working in educational institutions acknowledge the fact that entrenched bureaucratic systems impose their material constraints on teaching structures and on how these actors in this process interact with each other.“Students and staff are treated as human capital” (Cunningham, 2017). This determination can dehumanize people involved, like when "faculty-as-labor" and "students-as-consumers" are marginalized and treated as just variables.
> “there is no document of civilisation which is not at the same time a document of barbarism”
-> Walter Benjamin
+> (Benjamin, cited by Pater, 2021)
### the document
@@ -147,7 +140,7 @@ There is a great materiality in bureaucracies. Bureaucratic procedures are often
Underneath every bureaucratic document, there is a good amount of graphic design labor. What kind of visual strategy is embedded in 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”
-> (Roland Barthes, 1983)
+> (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 the left corner of a 229x162 mm standardized dimension folder with a transparent rectangle that reveals my inscribed name and surname from the inside part. I did not put any aesthetic critique over this but I rather felt this rush of stress for the expected response to my objection letter or a fine or a tax to be paid within a specific timeline cause another fine would come if I did not comply with this.
@@ -161,7 +154,6 @@ In the latter case, the inscription technology used is the sugar blue paste and
![The birthday biscuit that Chae made, re-creating the Dutch government form](../aglaia/chae_form.jpg){.image-95}
----
## vocal archives-talking documents
@@ -177,7 +169,6 @@ How performing a collection of small bureaucratic stories can function as an ins
I started working and engaging more with different bureaucratic material that my peers and I encountered regularly or appeared in our (e)mail (in)boxes and are partly related to our identities as foreign students coming from different places. I chose to start touching and looking for various bureaucracies that surround me as a personal filter towards it. From identification documents and application forms to rental contracts, funding applications, visa applications, quality assurance questionnaires related to the university, assessment criteria, supermarket point gathering cards, receipts. A sequence of locked doors to be unlocked more or less easily via multiple bureaucratic keys. The methods and tools used to scrutinize the administrative artifacts are not rigid or distinct. It is mainly a “collection” of small bureaucratic 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.
----
## prototypes
@@ -212,6 +203,8 @@ These 'rituals' are components of a larger “culture of evidence”, serving as
**Reflections-Thoughts:** Beyond the information gathered through my bureaucratic-like questionnaires, the most crucial element of this experiment was the understanding and highlighting of the hidden performative elements that entrench these “rituals”. It was amazing seeing the audience becoming instantly actors of the play enacting willingly a administrative ritualistic scene.
The provided context of this “play” was a social library hosting a masters course public event on graduation projects. I am wondering whether this asymphony between the repetitive bureaucratic acts within the space of Leeszaal, where such acts are not expected to be performed, evoked contradictory feelings or thoughts. Over-identifying with a role was being instrumentalized as an “interrogation” of one’s own involvement in the reproduction of social discourses, power, authority, hegemony.
+---
+
![Leeszaal West Rotterdam - November 2023 – People queuing to receive their documents and sign. 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.](../aglaia/queue.jpg){.half-image}
---
@@ -238,8 +231,7 @@ We read the embedded signs, symbols, categories, texts, magical numbers in our p
---
-![ ](../aglaia/passport1.png){.full-image}
-![Part of the A6 booklet of the transcription of the passport readings session]
+![Part of the A6 booklet of the transcription of the passport readings session](../aglaia/passport1.png){.full-image}
---
@@ -260,7 +252,6 @@ The first and the last moment of the performance was during a semi-public tryout
![A6 booklet of the first chapter of the “theatrical” scenario created out of the Postal Address Application documents and performed by XPUB peers](../aglaia/postal.png){.full-image}
----
## conclusion
@@ -282,7 +273,7 @@ My intention is to facilitate a series of collective performative readings of bu
---
-#### “we didn’t cross the border, the border crossed us”(20)
+#### “we didn’t cross the border, the border crossed us”
As I sit in the waiting area at the gate B7 in the airport preparing to come back to the Netherlands, I am writing the last lines of this text. I am thinking of all these borders and gates that my body was able to pass through smoothly, carrying my magical object through which I embody power- at least within this context. However, I yearn for a reality where we stop looking at those bodies that cross the multifaceted borders and get crossed and entrenched by them, but on the contrary we start interrogating and shouting at the contexts and the frameworks that construct them and render them invisible, natural and powerful.
diff --git a/introduction/index.md b/introduction/index.md
index 767d1c0..be55aa4 100644
--- a/introduction/index.md
+++ b/introduction/index.md
@@ -2,6 +2,7 @@
title: Introduction
author:
+---
---
# Introduction
diff --git a/leslie/index.md b/leslie/index.md
index a7b32d7..1334630 100644
--- a/leslie/index.md
+++ b/leslie/index.md
@@ -3,4 +3,4 @@
---
-![Photo by Leslie Robbins](../leslie/xpub2_groiup_hug_10jun24_lr.jpg)
+![Photo by Leslie Robbins](../leslie/xpub2_groiup_hug_10jun24_lr.jpeg)
diff --git a/leslie/xpub2_groiup_hug_10jun24_lr.jpeg b/leslie/xpub2_groiup_hug_10jun24_lr.jpeg
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