diff --git a/print/index.html b/print/index.html index 95cf0a0..c60eefa 100644 --- a/print/index.html +++ b/print/index.html @@ -1572,25 +1572,25 @@ 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 -empty white room with closed doors, with an external collaborator of the -university. The main request was to rate and answer the pre-formulated -questions covering issues about performance, different and multiple -topics related to the course, the teaching staff, the facilities, the -tools provided. The micro linguistic experiment of highlighting, -censoring and annotating this document aimed for an understanding of -what a quality assurance meeting is within an educational -institution.

-

Reflections-Thoughts: This experiment was my first attempt to start -interrogating and observing the language and the structure of a -bureaucratic document. How these “desired” standards propagated through -text. What is the role of the student-client in these processes as an -esoteric gaze of control over the course and their teachers? My focus -was to locate and accumulate all the wording related to measurements, -rate, quantity, assessments, statistics. Highlighting the -disproportionate amount of metrics-related vocabulary was enough to +

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 empty white room with closed doors, with an external +collaborator of the university. The main request was to rate and answer +the pre-formulated questions covering issues about performance, +different and multiple topics related to the course, the teaching staff, +the facilities, the tools provided. The micro linguistic experiment of +highlighting, censoring and annotating this document aimed for an +understanding of what a quality assurance meeting is within an +educational institution.

+

Reflections-Thoughts: This experiment was my first +attempt to start interrogating and observing the language and the +structure of a bureaucratic document. How these “desired” standards +propagated through text. What is the role of the student-client in these +processes as an esoteric gaze of control over the course and their +teachers? My focus was to locate and accumulate all the wording related +to measurements, rate, quantity, assessments, statistics. Highlighting +the disproportionate amount of metrics-related vocabulary was enough to craft the narrative around this process.

These ‘rituals’ are components of a larger “culture of evidence”, serving as a tool that blurs the distinction between discourse and @@ -1613,38 +1613,38 @@ Customs Enforcement”
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 -3-page and a 1-page document incorporating bureaucratic-form aesthetics -and requesting applicants’ fake data and their answers for questions -related to educational bureaucracy. People receiving an applicant number -at the entrance of Leeszaal, queuing to collect their documents from the -administration “office”, filling forms, waiting, receiving stamps, -giving fingerprints and signing, waiting again were the main components -of this act.

-

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.

+

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 3-page and a 1-page document +incorporating bureaucratic-form aesthetics and requesting applicants’ +fake data and their answers for questions related to educational +bureaucracy. People receiving an applicant number at the entrance of +Leeszaal, queuing to collect their documents from the administration +“office”, filling forms, waiting, receiving stamps, giving fingerprints +and signing, waiting again were the main components of this act.

+

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.

+alt="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." /> +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.
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 -took some time to browse, annotate verbally, interpret, understand, -analyze, vocalize their thoughts on these artifacts, approaching them -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 voskDescription: 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 took some time to browse, annotate verbally, +interpret, understand, analyze, vocalize their thoughts on these +artifacts, approaching them 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 voskVosk is an offline open-source speech recognition toolkit. and myself and a small booklet of our passport readings was created.

@@ -1700,14 +1700,14 @@ transcription of the passport readings session 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 -“theatrical” script is sourced from the original documents as well as -recordings of the conversation I had with the municipality throughout -this process. I preserved the sequence of the given sentences and by -discarding the graphic design of the initial form, I structured and -repurposed the text into a scenario. The main actors were two +

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 “theatrical” script is sourced from the original documents +as well as recordings of the conversation I had with the municipality +throughout this process. I preserved the sequence of the given sentences +and by discarding the graphic design of the initial form, I structured +and repurposed the text into a scenario. The main actors were two bureaucrats vocalizing the questions addressed in the form, in turns and sometimes speaking simultaneously like a choir, three applicants answering the questions similarly while a narrator mainly provided the @@ -1722,17 +1722,17 @@ standing still behind them while they were surrounded by the audience. The main documentation media of the act were a camera on a tripod, a recorder in the middle of the table and myself reconstructing the memory of the re-enactement at that present - 6 days later.

-

Reflections-Thoughts: Vocalizing and embodying the bureaucratic -questions was quite useful in acknowledging the government’s voice and -presence as something tangible rather than a floating, arbitrary entity. -It was interesting observing the bureaucrats performing their role with -confidence and entitlement, contrasting with the applicants who appeared -to be more stressed to respond convincingly and promptly. There is a -notable distinction between performativity and performance. Performing -consciously and theatrically amplifying real bureaucratic texts by -occupying roles and overidentifying with them can constitute a -diffractive moment, a tool itself. From bureaucratic text to -performative text scenarios to speech. The embedded (but rather +

Reflections-Thoughts: Vocalizing and embodying the +bureaucratic questions was quite useful in acknowledging the +government’s voice and presence as something tangible rather than a +floating, arbitrary entity. It was interesting observing the bureaucrats +performing their role with confidence and entitlement, contrasting with +the applicants who appeared to be more stressed to respond convincingly +and promptly. There is a notable distinction between performativity and +performance. Performing consciously and theatrically amplifying real +bureaucratic texts by occupying roles and overidentifying with them can +constitute a diffractive moment, a tool itself. From bureaucratic text +to performative text scenarios to speech. The embedded (but rather unconscious) performativity of “real” bureaucratic rituals establishes and empowers (bureaucratic) institutions through repetitive acts. These theatrical moments attempt to highlight the shrouded performative @@ -2846,7 +2846,7 @@ working on storytelling of collective traumas”

⊞

-

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+

Stephen Kerr

⊞

Thesis submitted to the Department of Experimental Publishing, Piet @@ -2911,7 +2911,7 @@ The Po Valley, The Roman Empire, 268 BCE.

-

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+

Introduction

This document is a collection of fragments exploring beliefs about labour in the creative industries, in particular graphic ⊞. Each @@ -2960,7 +2960,6 @@ than last week when there was no work. ⊞ers look at their phone and see their alarm is going to go off in ten minutes, so they switch it off and get up. -

empty title

The precarity of working in the creative industries, in particular as a freelancer or within a small studio, induces anxiety. There is a belief that the ⊞er as freelancer is empowered by their autonomy, but in @@ -3059,7 +3058,7 @@ recipient of the Catherine Donnelly Lifetime Achievement Award for his contribution to ⊞ in Ireland and is the Course Director of ⊞ West, an international summer ⊞ school located in the beautiful village of Letterfrack on the West Coast of Ireland. (⊞west.eu, 2023)

-

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+
-

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+

The developments of the written word and its relationship to form in the 20th century is very much a part of the history of ⊞. I care about this story because it affects contemporary practitioners. I believe @@ -3172,7 +3171,7 @@ assigning or finding meanings in ⊞

This autoethnographic annotation attempts to really miss as many cultural and technical cues as possible. It’s watching the ⊞er, me, and being totally mystified by their behaviour. 

-

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+
  1. A rhythm exists and I wonder why. There is music and there are voices, and my fingers press the keys and the colours of the screen @@ -3231,7 +3230,7 @@ catalogues. ⊞ is just work, chill. Is a ⊞er a user or a server? Maybe ⊞ is an example of our general belief in this dichotomy not quite making sense or fitting reality. The ⊞er is working for whom? Themselves? Their clients?

    -

    empty title

    +
    • “attempts to undo the privileged position of the agentive subject can help us understand the strange status of repetitive and @@ -3379,7 +3378,7 @@ misplaced and there is a human urge to stop, just stop.

      and as soon as we feel ourselves becoming ridiculous”
    • Adolf Loos, On Thrift, 1924 (Loos, 2019)
    -

    empty title

    +

    Adolf Loos was a modernist architect whose writings such as Ornament and Crime in 1910 influenced modernist ideals of functionalism and minimalism. He rejected ornament and favoured the use @@ -3437,7 +3436,7 @@ inherited from a wider cultural belief of the same general drive: to order and simplify. Humans try to make sense of the world. ⊞ers make sense of ⊞ briefs and structure them into something understandable to an audience or target market. 

    -

    empty title

    +
    • ◱: for fucks sake why don’t we use those grids
    @@ -3463,7 +3462,7 @@ even more outrageous than what we assumed of the beer fans, or the beer fans were in fact taking their own conference seriously? As both seem unbelievable the true funniness of the joke hits home in it’s implied meaning: ⊞ers are boring as fuck.

    -

    empty title

    +

    An annotation of my practices as a graphic ⊞er on a typical working day, @@ -3476,7 +3475,7 @@ annotation of my practices as a graphic ⊞er on a typical working day, ctrl v ctrl c ctrl v ctrl c ctrl v ctrl c ctrl v ctrl v ctrl v ctrl v ctrl v ctrl v ctrl v

-

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+

⊞ers interact with the computer through keyboard and mouse usage. Compared to other computer users, my interaction involves lots of pressing of function keys, something common with other technical @@ -3580,7 +3579,7 @@ proprietary font. There is a visual difference between these fonts too which is also relevant buuuuut this description is getting very detailed maybe not right now. -

empty title

+

Similarly to the software changes, this documentation of my practice sees me choosing open source fonts. I’m really ambivalent about this. I do like the idea of being able to modify a font when needed, but I have @@ -3614,7 +3613,7 @@ beliefs around copyright? Do ⊞ers believe in intellectual property? What value do ⊞ers, specifically typographers, see in their work and that of their close peers, the font ⊞ers, and how does copyright relate to these values?

-

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+

Follow up questions for Conor

Hey Conor, hope you’re keeping well these days? I’ve been going @@ -3633,7 +3632,7 @@ field like graphic ⊞? Curious to know what you think.

totally fine with anonymising, removing, or editing.  

Thanks,
Stephen

-

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+

Follow up questions for ◱

Yo ◱, hope all’s good with you these days? 

I’ve been piecing together the interviews from December and I’d love @@ -3657,7 +3656,7 @@ way, or maybe it’s something else to you and I’m projecting :)

totally fine with anonymising, removing, or editing.

Thanks,
Stephen

-

empty title

+

Follow up questions for ◳

Hey ◳, hope youre good! 

I’m thinking of putting this section of the interview we did back in @@ -3703,7 +3702,7 @@ thinking” (Brodine, 1990) or “⊞er without qualities” (Lorusso, 2023). The fragments have been situated and subjective rather than objective, they have been outside of categories because the categories are broken anyway. 

-

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+

Conclusion

Last night I dreamt I was standing on a hill in the Swiss Alps and you were there and all of our friends and the hill was covered in little @@ -3728,9 +3727,9 @@ surfboards were Quiksilver and some they had built themselves from a git repository but the sun was a walnut and it was definitely moving but I couldnt tell was it rising or setting but it didn’t matter to us the surf was great and everything smelled like magnolias.

-

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-

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-

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+
+
+

Acknowledgements

Thanks to Ada, Aglaia, Ben, Chae, Conor, Irmak, Jenny, Joseph, kamo, Leslie, Manetta, Marloes, Michael, Rossi.

diff --git a/print/stephen.css b/print/stephen.css index bf31985..5a4f8e3 100644 --- a/print/stephen.css +++ b/print/stephen.css @@ -1,26 +1,10 @@ -#section-9{ + hr, h6{ + break-before: page; + display: none; - :root{ - --color1: #666; - --color2: #666; - --color3: #666; - --color4: #666; - --baseline: 4mm; - } - @media print{ - @page{ - size: 100mm 200mm; - bleed: 3mm; - marks: crop; - margin: 10mm; - @bottom{ - color: var(--color1); - font-weight: 600; - } - } - /* @page:right {margin-left: 20mm;} */ - /* @page:left {margin-right: 20mm;} */ } + +#section-9{ a{ color: inherit; text-decoration: none; @@ -28,7 +12,6 @@ } .bibliography{ font-size: 10px; - /* color: var(--color1); */ line-height: 3mm; hyphens: auto; } @@ -40,14 +23,7 @@ counter-reset: captions; } h1, h2, h3, h4, h5, h6{ - color: var(--color1); - font-size: inherit; - margin: 0; - /* font-weight: bold; - border-top: 3px solid #666; - border-bottom: 3px solid #666; - padding: 5mm 0; */ - break-before: always; + break-before: page; } h3, h3 + br{display: none;} p{ diff --git a/stephen/thesis.md b/stephen/thesis.md index 10c1c5e..f089430 100644 --- a/stephen/thesis.md +++ b/stephen/thesis.md @@ -7,33 +7,8 @@ author: Stephen -### empty title +--- - - - - - - - - - - - - - - - - - - - - - - - - - Stephen Kerr ⊞ @@ -42,7 +17,7 @@ Thesis submitted to the Department of Experimental Publishing, Piet Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the requirements for the final examination for the degree of Master of Arts in Fine Art & ⊞: Experimental Publishing. - + Adviser: Marloes de Valk Second Reader: Joseph Knierzinger Word count: 7828 words @@ -85,8 +60,7 @@ Theo Van Doesburg, ![Monogram, Piet Zwart, c. 1968.](pietzwart.jpg) -### empty title - +--- #### Introduction @@ -147,7 +121,6 @@ tool-making. This document collates and reflects on this research.  -### empty title The precarity of working in the creative industries, in particular as a @@ -260,7 +233,7 @@ in Ireland and is the Course Director of ⊞ West, an international summer ⊞ school located in the beautiful village of Letterfrack on the West Coast of Ireland*. (⊞west.eu, 2023) -### empty title +--- @@ -375,7 +348,7 @@ through a cosmic hybris.  - Description of Steve McCaffrey's *CARNIVAL* (The Idea of the Book, 2024) -### empty title +--- The developments of the written word and its relationship to form in the @@ -396,7 +369,7 @@ This autoethnographic annotation attempts to really miss as many cultural and technical cues as possible. It's watching the ⊞er, me, and being totally mystified by their behaviour.  -### empty title +--- @@ -467,7 +440,7 @@ is an example of our general belief in this dichotomy not quite making sense or fitting reality. The ⊞er is working for whom? Themselves? Their clients? -### empty title +--- @@ -657,7 +630,7 @@ misplaced and there is a human urge to stop, just stop. -### empty title +--- Adolf Loos was a modernist architect whose writings such as *Ornament @@ -724,7 +697,7 @@ order and simplify. Humans try to make sense of the world. ⊞ers make sense of ⊞ briefs and structure them into something understandable to an audience or target market.  -### empty title +--- @@ -782,7 +755,7 @@ fans were in fact taking their own conference seriously? As both seem unbelievable the true funniness of the joke hits home in it's implied meaning: ⊞ers are boring as fuck. -### empty title +--- @@ -797,7 +770,7 @@ meaning: ⊞ers are boring as fuck. v ctrl c ctrl v ctrl c ctrl v ctrl c ctrl v ctrl v ctrl v ctrl v ctrl v ctrl v ctrl v* -### empty title +--- ⊞ers interact with the computer through keyboard and mouse usage. @@ -914,7 +887,7 @@ that in a normal file format please, I can't open it.  difference between these fonts too which is also relevant buuuuut this description is getting very detailed maybe not right now.* -### empty title +--- Similarly to the software changes, this documentation of my practice @@ -952,7 +925,7 @@ value do ⊞ers, specifically typographers, see in their work and that of their close peers, the font ⊞ers, and how does copyright relate to these values? -### empty title +--- @@ -979,7 +952,7 @@ fine with anonymising, removing, or editing.   Thanks, Stephen -### empty title +--- @@ -1014,7 +987,7 @@ fine with anonymising, removing, or editing. Thanks, Stephen -### empty title +--- @@ -1076,7 +1049,7 @@ they have been outside of categories because the categories are broken anyway.  -### empty title +--- #### Conclusion @@ -1174,11 +1147,11 @@ couldnt tell was it rising or setting but it didn't matter to us the surf was great and everything smelled like magnolias. -### empty title +--- -### empty title +--- -### empty title +--- #### Acknowledgements @@ -1270,4 +1243,4 @@ Sixteen Essays on Typography,* London: The Sylvan Press. Weber, M., (1905) "The Protestant Ethic and the Spirit of Capitalism", *Archiv für Sozialwissenschaften* 20, no. 1 (1904), pp. 1–54; 21, no. 1 -(1905), pp. 1–110. \ No newline at end of file +(1905), pp. 1–110.