<imgsrc="../images/../images/oracolotto.jpg"alt="Reading with the Oracolotto cards."class="half-image"/><figcaption>Reading with the Oracolotto cards.</figcaption>
@ -1776,11 +1776,9 @@ I made this to explore why designers make design, based on Clifford Geertz's ide
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<p>This issue started from a single technical object: a Model 33 Teletype machine. The teletype is the meeting point between typewriters and computer interfaces, a first automated translator of letters into bits. Equipped with a keyboard, a transmitter and a punchcard read-writer, it is a historical link between early transmission technology such as the telegraph and the Internet of today. Under the administration of our kubernētēs, Martino Morandi, each week hosted a guest contributor who joined us in unfolding the many cultural and technical layers that we found stratified in such a machine, reading them as questions to our contemporary involvements with computing and with networks.</p>
<p>The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release weekly bricks was wattled by a shared understanding of time into something more complex in structure, less structured in complexity.</p>
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<imgsrc="../images/../images/tape.jpg"alt="punchtape read-writer of Teletype Machine"class="full-image"/><figcaption>punchtape read-writer of Teletype Machine</figcaption>
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<imgsrc="../images/../images/callme_bike.jpeg"alt="I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”."/><figcaption>I’ve fallen in love with you and I have no idea what to do about it. Phone cards inviting participation in “Hey Babe”.</figcaption>
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@ -1792,7 +1790,6 @@ I made this to explore why designers make design, based on Clifford Geertz's ide
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<p>Initially, the week’s caretakers were responsible for collecting materials from our guest contributions, which included lectures, collective readings, hands-on exercises, an excursion to the Houweling Telecom Museum, Rotterdam and another to Constant, Brussels. The caretakers were responsible for recording audio, editing notes, transcribing code, taking pictures, and making lunch. Meanwhile the week’s editors were responsible for coming up with a further step in how the publishing progressed, by adding new connections and interfaces, creating languages, plotting strikes and cherishing memories. This mode of publishing made us develop our own collective understandings of inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and futurability.</p>
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<imgsrc="../images/../images/gesture.png"alt="Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities."class="half-image"/><figcaption>Gesture Glossary : how a body language is documented, how it expands, how it is capable of creating or enhancing identities.</figcaption>
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@ -1802,16 +1799,18 @@ I made this to explore why designers make design, based on Clifford Geertz's ide
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<p>Teletypewriters ushered in a new mode of inscription of writing: if the typewriter set up a grid of letters and voids of the same size, turning the absence of a letter (the space) into a key itself (the spacebar), the teletypewriter finished it by inscribing the space in the very same material as all other letters: electrical zeros and ones, that were to immediately leave the machine. The Teletype Model 33, one of the most widely produced and distributed text-based terminals in the 1970s, introduced multiple technological concretizations that are present in the computers of today as a sort of legacy, such as the qwerty keyboard with control keys, the ascii character encoding and the TTY terminal capability. We have created short-circuits that allow us to remember otherwise technical progress and computational genealogies.</p>
<p>TTY was produced in april-june 2023 as special issue 21 with guest editor Martino Morandi, and contributors Andrea di Serego Alighieri, Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and Zoumana Meïté.</p>
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<imgsrc="../images/../images/encoding.png"alt="Encoding Convertor: the wacky world of character en-coding."class="image-95"/><figcaption>Encoding Convertor: the wacky world of character en-coding.</figcaption>
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<imgsrc="../images/../images/overlap.png"alt="We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. Our bag is now in the middle, its ready for you to discover and see the networks of our minds, make knots in the middle or intervene with what we call is a collective memory of few xpubbers."class="full-image"/><figcaption>We have a bag full of planets, stars, our favorite moments, darkest fears, best intentions and worst feelings. Our bag is now in the middle, its ready for you to discover and see the networks of our minds, make knots in the middle or intervene with what we call is a collective memory of few xpubbers.</figcaption>
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<p><imgsrc="../images/../images/zine.jpg"alt="This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing"class="image-95"/><imgsrc="../images/../images/hexalogue.jpg"alt="Hexalogue booklet. A conversation for six voices is encoded and documented in a script."class="image-95"/></p>
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<imgsrc="../images/../images/zine.jpg"alt="This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing"class="image-95"/><figcaption>This A6 zine is a sub-release created by three women sitting on the teletype machine thinking and performing</figcaption>
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<figure>
<imgsrc="../images/../images/hexalogue.jpg"alt="Hexalogue booklet. A conversation for six voices is encoded and documented in a script."class="image-95"/><figcaption>Hexalogue booklet. A conversation for six voices is encoded and documented in a script.</figcaption>
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<imgsrc="../images/../images/publication.jpg"alt="Publications holding tiny sub-releases during SI21"class="image-80"/><figcaption>Publications holding tiny sub-releases during SI21</figcaption>
@ -24,12 +24,8 @@ This issue started from a single technical object: a Model 33 Teletype machine.
The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release weekly bricks was wattled by a shared understanding of time into something more complex in structure, less structured in complexity.
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@ -40,8 +36,6 @@ The format of the issue consisted of on an on-going publishing arrangement, cons
Initially, the week's caretakers were responsible for collecting materials from our guest contributions, which included lectures, collective readings, hands-on exercises, an excursion to the Houweling Telecom Museum, Rotterdam and another to Constant, Brussels. The caretakers were responsible for recording audio, editing notes, transcribing code, taking pictures, and making lunch. Meanwhile the week's editors were responsible for coming up with a further step in how the publishing progressed, by adding new connections and interfaces, creating languages, plotting strikes and cherishing memories. This mode of publishing made us develop our own collective understandings of inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and futurability.
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@ -52,17 +46,12 @@ Teletypewriters ushered in a new mode of inscription of writing: if the typewrit
TTY was produced in april-june 2023 as special issue 21 with guest editor Martino Morandi, and contributors Andrea di Serego Alighieri, Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and Zoumana Meïté.
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