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@ -3058,15 +3058,7 @@ alt="A screenshot from Wink!" />
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<section id="section-10" class="section">
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<h1 id="section">⊞</h1>
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<hr />
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<p>Stephen Kerr</p>
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<p>⊞</p>
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<p>Thesis submitted to the Department of Experimental Publishing, Piet
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Zwart Institute, Willem de Kooning Academy, in partial fulfilment of the
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requirements for the final examination for the degree of Master of Arts
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in Fine Art & ⊞: Experimental Publishing.</p>
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<p>Adviser: Marloes de Valk<br />
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Second Reader: Joseph Knierzinger<br />
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Word count: 7828 words</p>
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<hr />
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<h4 id="to-de-sign-design-i-will-assign-a-sign">To de-sign design, I
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will assign a sign: ⊞</h4>
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<p>This symbol represents design in this writing in an attempt to avoid
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@ -3075,48 +3067,56 @@ mystify it, to examine its structure. The label ⊞ is a functional part
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of a belief system involving order, structure, and rationality and I
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want to break it. Removing the label is part of loosening the object,
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making it avilable to transition (Berlant, 2022).</p>
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<hr />
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<figure>
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<img src="../images/../images/orange.jpg" class="image-45"
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alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE." />
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<figcaption aria-hidden="true">The Cadaster of Orange, unknown ⊞er,
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c. 100 CE.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/Niggli-Grid-systems-in-graphic-design-7.jpg" class="image-95"
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alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981" />
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<figcaption aria-hidden="true">Grid Systems in Graphic ⊞, Josef
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Muller-Brockmann, 1981</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/albuni2.jpg" class="image-95"
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alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200." />
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<figcaption aria-hidden="true">Shams al-Ma’arif, Ahmad al-Buni Almalki,
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circa 1200.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/Simple_carthesian_coordinate_system.svg" class="image-95"
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alt="Cartesian Geometry, Rene Descartes, 1637." />
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<figcaption aria-hidden="true">Cartesian Geometry, Rene Descartes,
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1637.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"
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class="image-95" alt="Homage to the Square, Josef Albers, 1954." />
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<figcaption aria-hidden="true">Homage to the Square, Josef Albers,
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1954.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/TheoVAnDoesburgCounterCompositionVI.jpg" class="image-45"
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alt="Counter Composition VI, Theo Van Doesburg, 1925." />
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<figcaption aria-hidden="true">Counter Composition VI, Theo Van
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Doesburg, 1925.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/po-valley2.png" class="image-95"
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alt="The Po Valley, The Roman Empire, 268 BCE." />
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<figcaption aria-hidden="true">The Po Valley, The Roman Empire, 268
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BCE.</figcaption>
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</figure>
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<hr />
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<figure>
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<img src="../images/../images/pietzwart.jpg" class="image-45"
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alt="Monogram, Piet Zwart, c. 1968." />
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@ -3124,6 +3124,7 @@ alt="Monogram, Piet Zwart, c. 1968." />
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c. 1968.</figcaption>
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</figure>
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<hr />
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<hr />
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<h4 id="introduction">Introduction</h4>
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<p>This document is a collection of fragments exploring beliefs about
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labour in the creative industries, in particular graphic ⊞. Each
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@ -3150,6 +3151,7 @@ cultural webs. In my practice-based research I gather and tell these
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stories through (auto)ethnographic methods: documenting how ⊞er’s work,
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conducting interviews, improvising communal performances and exploratory
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tool-making. This document collates and reflects on this research. </p>
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<hr />
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<h4 id="what-is-a-er">What is a ⊞er?</h4>
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<ol type="1">
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<li><em>A ⊞er is a person who wakes up at 5am but refuses to open their
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@ -3172,6 +3174,7 @@ than last week when there was no work. ⊞ers look at their phone and see
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their alarm is going to go off in ten minutes, so they switch it off and
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get up.</em></li>
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</ol>
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<hr />
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<p>The precarity of working in the creative industries, in particular as
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a freelancer or within a small studio, induces anxiety. There is a
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belief that the ⊞er as freelancer is empowered by their autonomy, but in
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@ -3195,6 +3198,7 @@ and expertise which makes them stressed. ⊞ers are a creative cloud, a
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service to be tapped into, a cpu being run too hot. There is something
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to be learnt from the revelation that being replaced by machines proves
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we were being treated as machines all along. </p>
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<hr />
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<h4 id="geestelijk">Geestelijk</h4>
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<p>There was a belief that ⊞ could be a crystal goblet (Warde, 1913),
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something unbiased, clear and, in more recent versions of the theory,
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@ -3209,14 +3213,14 @@ men. Purity is a concept that turns up a lot in Mondriaan’s writings, eg
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<em>Neo-Plasticism in Pictorial Art</em> (1917). They claimed a shared
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spirit was driving this universalisation. A later paragraph of the
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manifesto is translated into english as:</p>
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<ul>
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<li>“The artists of to-day have been driven the whole world over by the
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<blockquote>
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<p>“The artists of to-day have been driven the whole world over by the
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same consciousness and therefore have taken part from an intellectual
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point of view in this war against the domination of individual
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despotism. They therefore sympathize with all who work for the formation
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of an international unity in Life, Art, Culture, either intellectually
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or materially.”</li>
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</ul>
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or materially.”</p>
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</blockquote>
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<p>In this translation it appears the authors believed in an emerging
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consciousness of the age, something collective which would bring an
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international unity. The members of De Stijl were neither aligning
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@ -3229,14 +3233,14 @@ choice to translate as intellectual seems to be the most rational
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interpretation of this sentence, an effort to make the theories of De
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Stijl appear more materialist without the spiritual element. Compare
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with this translation:</p>
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<ul>
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<li>“The artists of today, all over the world, impelled by one and the
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<blockquote>
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<p>“The artists of today, all over the world, impelled by one and the
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same consciousness, have taken part on the spiritual plane in the world
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war against the domination of individualism, of arbitrariness. They
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therefore sympathise with all who are fighting spiritually or materially
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for the formation of an international unity in life, art and
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culture.”</li>
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</ul>
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culture.”</p>
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</blockquote>
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<p>In this translation it is clearer that the members of De Stijl saw a
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link between the effects of what they made materially and their attempts
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to be fighting spiritually against the domination of individualism. I
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@ -3270,7 +3274,6 @@ recipient of the Catherine Donnelly Lifetime Achievement Award for his
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contribution to ⊞ in Ireland and is the Course Director of ⊞ West, an
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international summer ⊞ school located in the beautiful village of
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Letterfrack on the West Coast of Ireland</em>. (⊞west.eu, 2023)</p>
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<hr />
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<ul>
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<li>SK: What do you think is the best shape?</li>
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<li>CC: Oh yeah, good god. square.</li>
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@ -3298,6 +3301,7 @@ their stuff and think well that’s just beyond me.</li>
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<li>CC: Oh good god. Good god no.</li>
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</ul>
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<!-- -->
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<hr />
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<h4 id="maths-and-grids">Maths and grids</h4>
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<p>Why not choose a spiral or a circle if you dream of ⊞ers as shamans?
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Why the grid of squares? There are strong links beween ⊞ and
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@ -3318,18 +3322,22 @@ were or are the beliefs of the authors and their audiences?<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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<br />
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</p>
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<ul>
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<li>“To describe the problem is part of the solution. This implies: not
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<blockquote>
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<p>“To describe the problem is part of the solution. This implies: not
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to make creative decisions as prompted by feeling but by intellectual
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criteria. The more exact and complete these criteria are, the more
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creative the work becomes.”</li>
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<li>(Gerstner, 1964)</li>
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<li>“This is the expression of a professional ethos: the ⊞er’s work
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creative the work becomes.” (Gerstner, 1964)</p>
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</blockquote>
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<hr />
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<blockquote>
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<p>“This is the expression of a professional ethos: the ⊞er’s work
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should have the clearly intelligible, objective, functional and
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aesthetic quality of mathematical thinking.”</li>
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<li>(Muller-Brockman, 1981)</li>
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</ul>
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aesthetic quality of mathematical thinking.” (Muller-Brockman, 1981)</p>
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</blockquote>
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<p>These texts present a worldview where ⊞ can be mathematical,
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objective or problem-solving. In Muller-Brockman’s text the focus is on
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the formal qualities of the ⊞ in particular the use of grids and
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@ -3345,6 +3353,7 @@ same historical period when science and mathematics, its supposed
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foundations, became much less rational and predictable, for example in
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chaos theory. It makes me think that the rationality serves some other
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purpose.</p>
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<hr />
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<h4 id="the-grid-and-the-written-word">The ⊞ grid and the written
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word</h4>
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<p>Why do ⊞ers believe in using a grid to present the written word, and
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@ -3359,15 +3368,14 @@ theories from both of these fields affected later ⊞ theories. But they
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also were poets and had literary theories similar to the german
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expressionists. Man’s attempt to find oneness with the whole of creation
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through a cosmic hybris. </p>
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<ul>
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<li>“An artists’ book featuring a series of typewriter concrete poems
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<blockquote>
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<p>“An artists’ book featuring a series of typewriter concrete poems
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printed on perforated pages meant to be torn out and arranged into a
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square of four. Complete with instructions, a reproduction of a de Stijl
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manifesto from 1920, an errata slip, and publisher’s promotional
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postcard.”</li>
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<li>Description of Steve McCaffrey’s <em>CARNIVAL</em><br />
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(The Idea of the Book, 2024)</li>
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</ul>
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postcard.” Description of Steve McCaffrey’s <em>CARNIVAL</em><br />
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(The Idea of the Book, 2024)</p>
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</blockquote>
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<hr />
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<p>The developments of the written word and its relationship to form in
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the 20th century is very much a part of the history of ⊞. I care about
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@ -3378,12 +3386,12 @@ non-canonical for ⊞ers but how have people who put words on pages like
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Mallarmé and McCaffrey influenced my beliefs about the written word?
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What makes one thing fit in the category of art, another ⊞ and yet
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another concrete poetry?</p>
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<hr />
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<h4 id="mystically-assigning-or-finding-meanings-in">Mystically
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assigning or finding meanings in ⊞</h4>
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<p>This autoethnographic annotation attempts to really miss as many
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cultural and technical cues as possible. It’s watching the ⊞er, me, and
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being totally mystified by their behaviour. </p>
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<hr />
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<ol type="1">
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<li><em>A rhythm exists and I wonder why. There is music and there are
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voices, and my fingers press the keys and the colours of the screen
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@ -3417,38 +3425,36 @@ it value perfection in me, what is it trying to teach me? Why wont it
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leave me alone?</em></li>
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<li><em>I have taken eleven of the forty steps. I will rest.</em></li>
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</ol>
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<hr />
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<h4
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id="what-does-do-what-is-the-er-trying-to-do-by-pressing-all-these-buttons-and-making-the-screen-vibrate">What
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does ⊞ do? What is the ⊞er trying to do by pressing all these buttons
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and making the screen vibrate?</h4>
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<ul>
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<li><em>“</em>⊞ only generates longing”</li>
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<li>(Van Der Velden, 2006)</li>
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</ul>
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<blockquote>
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<p><em>“</em>⊞ only generates longing” (Van Der Velden, 2006)</p>
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</blockquote>
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<p>I wasn’t trying to generate longing, I was trying to make an annual
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report. It was a corporate job I was working on, a nice one to have
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because it’s fairly well paid and not too complicated. A bit boring and
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kinda repetitive, but you can just put your headphones on and get stuck
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into it. I was pretty happy with the results in the end, but for sure
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not the type of work you’re supposed to be proud of as a ⊞er.</p>
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<ul>
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<li><em>“</em>I found myself way over my head with, believe it or not, a
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<blockquote>
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<p><em>“</em>I found myself way over my head with, believe it or not, a
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catalogue and price list for bathroom equipment. Nothing I’ve done since
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has seemed as difficult.”</li>
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<li>Michael Bierut (creativechair.org, 2018)</li>
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</ul>
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has seemed as difficult.” (Bierut, 2018)</p>
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</blockquote>
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<p>And of course Piet Zwart’s (Figure 8) famous electrical cable
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catalogues. ⊞ is just work, chill. Is a ⊞er a user or a server? Maybe ⊞
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is an example of our general belief in this dichotomy not quite making
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sense or fitting reality. The ⊞er is working for whom? Themselves? Their
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clients?</p>
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<hr />
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<ul>
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<li><em>“</em>attempts to undo the privileged position of the agentive
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<blockquote>
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<p><em>“</em>attempts to undo the privileged position of the agentive
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subject can help us understand the strange status of repetitive and
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quasi-robotic labour in today’s digital age.”</li>
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<li>(Hu, 2022)</li>
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</ul>
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quasi-robotic labour in today’s digital age.” (Hu, 2022)</p>
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</blockquote>
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<p>This quote relates to freelancing generally in some way, and
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deconstructing the work or worker. Are workers things? Yeah, kinda. ⊞ers
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don’t have super powers, contrary to some beliefs within the industry.
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@ -3460,16 +3466,14 @@ failures of ⊞, not attributes of information” (Tufte, 1990, p.53). What
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if the sounds of my fingers and my keyboard are not noise but music: we
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are quasi-robots and maybe its good to listen to our little Taylorist
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finger tappings and see what else is being said.</p>
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<hr />
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<h4
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id="excerpt-from-an-interview-with-the-members-of-distinctive-repetition-on-1st-december-2023.">Excerpt
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from an interview with the members of Distinctive Repetition on 1st
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December 2023.</h4>
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<p>Distinctive Repetition is an award-winning graphic ⊞ studio based in
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Dublin, Ireland. Principal ⊞er and Institute of Creative Advertising and
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⊞ past-president, Rossi McAuley, is joined in this interview by ⊞ers
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Jenny Leahy and Ben Nagle. This interview was carried out around a table
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with the interviewer in the bottom right corner (◲) and the three
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members of the studio in the other three seats.</p>
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id="excerpt-from-an-interview-with-the-members-of-distinctive-repetition.">Excerpt
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from an interview with the members of Distinctive Repetition.</h4>
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<p>Principal ⊞er Rossi McAuley is joined in this interview by ⊞ers Jenny
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Leahy and Ben Nagle. This interview was carried out around a table with
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the interviewer in the bottom right corner (◲) and the three members of
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the studio in the other seats.</p>
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<ul>
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<li>◲: whats your favourite colour?</li>
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<li>◰: red.</li>
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@ -3509,9 +3513,9 @@ done, and i was opening up drawers in my office and I was like, just use
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this grid and the drawers were full of grids and I was giving them to
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her and saying just fucking use those grids for fucks sake why don’t we
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use those grids.</li>
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<li>(section redacted by request of interviewees)</li>
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</ul>
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<!-- -->
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<hr />
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<h4 id="about-the-interview">About the interview</h4>
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<p>Before meeting them in person, I mailed a small booklet to the
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interviewees entitled <em>Enthusiasm</em> to give context to the
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@ -3522,8 +3526,8 @@ that influenced his later work on rationalism, and related to his work
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on geometry and grids (Figure 4). As well as the content of the dreams,
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the booklet described their relevance:<br />
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</p>
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<ul>
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<li>“404 years ago on the night of the 10th November 1619, three dreams
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<blockquote>
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<p>“404 years ago on the night of the 10th November 1619, three dreams
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were dreamt. A 23-year old man is “filled with enthusiasm” and enters a
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feverish sleep in Ulm, Germany. In this process of enthusiasm and
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dreamwork, he discovers the foundations of a wonderful science. <em>The
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@ -3534,8 +3538,8 @@ The cartesian grid uses measurements to estabish relationships.
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Cartesian geometry has let us fly spaceships and zone and divide land.
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Some things have happened. Some good things, some bad things. The link
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is broken or breaking or should be broken. It’s rotting. Maybe there’s a
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better way we can interpret these dreams now.”</li>
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</ul>
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better way we can interpret these dreams now.”</p>
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</blockquote>
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<p>Descartes felt that interpreting his dreams was an appropriate method
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to develop a rational theory of skepticism, which led to some of the
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philosophical foundations of modern scientific and mathematical
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@ -3548,10 +3552,10 @@ belief, rationalism and grids. The fact that rationalism is a belief
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system, as pervasive as it may be, and suggestively hinting through its
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<span style="letter-spacing: -0.2px">relationship with grids that there
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is a relationship with ⊞.</span></p>
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<ul>
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<li>◳: jelly that’s not quite solid, not quite solidified in the fridge
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yet and its just oozing through my fingers</li>
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</ul>
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<blockquote>
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<p>◳: jelly that’s not quite solid, not quite solidified in the fridge
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yet and its just oozing through my fingers</p>
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</blockquote>
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<!-- -->
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<p>They seem so sad it hurts to hear them talk about the oozing. Are you
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supposed to put jelly in the fridge, it just needs time to settle right?
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@ -3562,12 +3566,12 @@ way it should be but its still jelly and thats fun and its probably
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delicious. Their hands are there as something that is for grasping and
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jelly is there as something that can’t be grasped. Is it terrifying, are
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they resigned to it? </p>
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<ul>
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<li>◱: they’re always angst-ridden, never, they’re never eh, they’re
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<blockquote>
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<p>◱: they’re always angst-ridden, never, they’re never eh, they’re
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never positive solution-solved things, we’ve always like lists and lists
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and lists of things to do they’re never resolved they’re always like
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shit we’ve, its, its always problematic, and its all the time.</li>
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</ul>
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shit we’ve, its, its always problematic, and its all the time.</p>
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</blockquote>
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<p>I can’t explain the angst they are feeling but I can describe it
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because I’ve felt it too. It feels like I’m having a heart attack. It
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feels like I’m about to black out. It got to a stage where I couldn’t
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@ -3575,9 +3579,9 @@ talk to other people without being completely frozen jelly. It is the
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feeling of lists and lists and lists. It’s the feeling of never
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resolved, all the time. We believe we are busy and under pressure and
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struggling to survive. That makes us anxious and stressed.</p>
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<ul>
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<li>◱: just fucking use those grids</li>
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</ul>
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<blockquote>
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<p>◱: just fucking use those grids</p>
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</blockquote>
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<!-- -->
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<p>The grids are not being used, the grids are useless. Drawers full of
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them, all useless. Whats the point of sitting here in this studio. They
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@ -3585,12 +3589,11 @@ dont fit, they dont make sense, they’re trying to order something that
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can’t be ordered. Or possibly shouldnt be ordered, the ordering is
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misplaced and there is a human urge to stop, just stop.</p>
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<h4 id="modern-work">Modern work</h4>
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<ul>
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<li>“A cause becomes unmodern at the moment when our feelings revolt,
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and as soon as we feel ourselves becoming ridiculous”</li>
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<li>Adolf Loos, <em>On Thrift,</em> 1924 (Loos, 2019)</li>
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</ul>
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<hr />
|
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|
<blockquote>
|
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|
<p>“A cause becomes unmodern at the moment when our feelings revolt, and
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as soon as we feel ourselves becoming ridiculous” Adolf Loos, <em>On
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Thrift,</em> 1924 (Loos, 2019)</p>
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</blockquote>
|
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<p>Adolf Loos was a modernist architect whose writings such as
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<em>Ornament and Crime</em> in 1910 influenced modernist ideals of
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functionalism and minimalism. He rejected ornament and favoured the use
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@ -3601,8 +3604,7 @@ earlier. Work as a duty which benefits the individual and society as a
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whole, do ⊞ers still believe this today? I like taking Loos’ quote out
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of context here, instead in the context of the feelings of the
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interviewees, revolting the supposedly modern cause they are working
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with. </p>
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<p>But also Loos was found guilty of pedophelia and it feels kind of
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with. But also Loos was found guilty of pedophelia and it feels kind of
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aggressive to include his voice here at all. This is part of the point
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of what I’m getting at: there’s this tradition of ⊞ and so many parts of
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it make me uncomfortable or really disgusted and I don’t know what to do
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@ -3623,6 +3625,7 @@ self employed or part of an independent studio brings anxiety and
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challenges. Some ⊞ers try to structure the world around them and like
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things to be neat and tidy, which makes us uncomfortable existing in
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precarious work conditions.</p>
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<hr />
|
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|
<h4 id="the-roman-grid">The Roman grid</h4>
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<p>The Roman grid was a land measurement method used in the Roman
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colonies for example in the Po Valley (Figure 7). With a surveying tool
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@ -3635,13 +3638,12 @@ referring to the surveying tool, describes the central point of the
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grid, the origin. Is making grids just a way to control and colonise? Do
|
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|
all grids have origins? In Descartes’ use of the grid there was also an
|
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|
attempt to order and structure chaos:</p>
|
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|
<ul>
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|
<li>“the grid allowed an embrace of complexity: curved lines that could
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<blockquote>
|
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<p>“the grid allowed an embrace of complexity: curved lines that could
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|
be described by mathematical formulas, and thereby were not a sign of
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|
chaos but an expression of the divine mathematical order assumed to be
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|
underlying nature.”</li>
|
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|
|
<li>Descartes was Here, Clemens Driessen, 2020</li>
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|
</ul>
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|
underlying nature.” (Driessen, 2020)</p>
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</blockquote>
|
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<p>A part of the belief systems of ⊞ers is that the world is chaotic and
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|
their role is to order it or even simplify it. This belief may be
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inherited from a wider cultural belief of the same general drive: to
|
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@ -3649,9 +3651,9 @@ order and simplify. Humans try to make sense of the world. ⊞ers make
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sense of ⊞ briefs and structure them into something understandable to an
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audience or target market. </p>
|
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<hr />
|
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|
<ul>
|
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|
<li>◱: for fucks sake why don’t we use those grids</li>
|
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|
</ul>
|
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|
<blockquote>
|
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|
<p>◱: for fucks sake why don’t we use those grids</p>
|
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|
</blockquote>
|
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|
|
<!-- -->
|
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<p>Is there an answer to this question, do they know the answer to this
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question? I get the impression they have a gut feeling about the answer
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@ -3660,11 +3662,11 @@ but are afraid of it.</p>
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|
analysis of a joke about ⊞ in the early 21st century</h4>
|
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|
<p>When reviewing the AIGA Next conference in Denver Colorado, 2008, ⊞
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|
critic Adrian Shaughnessy tells a joke:</p>
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|
<ul>
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<li>“The venue was shared with a beer festival, but it was easy to tell
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the ⊞ers from the beer fans. The beer fans were more serious.”</li>
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<li>(Shaughnessy, 2013)</li>
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</ul>
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<blockquote>
|
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<p>“The venue was shared with a beer festival, but it was easy to tell
|
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the ⊞ers from the beer fans. The beer fans were more serious.”
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(Shaughnessy, 2013)</p>
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</blockquote>
|
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<p>This joke is funny because in the setup where it is easy to tell them
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apart, the reader should assume the beer fans are drunk and therefore
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raucous, misbehaving or maybe just having a lot of fun. But then he
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@ -3712,6 +3714,7 @@ part. </p>
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keystrokes on my computer. Then I printed them out with a pen plotter to
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celebrate the labour that had taken place. It took several hours to plot
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the keylogging data from just a few minutes of the ⊞er’s labour. </p>
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|
<hr />
|
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|
<h4 id="libreoffice">LibreOffice</h4>
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<ol type="1">
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<li><em>I have no idea what any of this structuring does. And I don’t
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@ -3747,12 +3750,11 @@ modifying my tools, this is easier technically and legally with open
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source software. I would prefer my tools to be developed by me and my
|
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peers. These are some of my beliefs as a ⊞er about my work and my tools.
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|
They’re a bit idealistic but also optimistic in a good way.</p>
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<ul>
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<li><em>my god im trying to use scribus to prepare a booklet</em><br />
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<blockquote>
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<p><em>my god im trying to use scribus to prepare a booklet</em><br />
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<em>im going crazy</em><br />
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<em>im going crazy</em></li>
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<li>Correspondance with kamo, 2024</li>
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</ul>
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<em>im going crazy</em> (kamo, 2024)</p>
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</blockquote>
|
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<p>Transitioning to open source software sucks. I spent years learning
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other tools and its like starting all over again. There is a dual
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commitment in my beliefs about how my tools should be built and my
|
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@ -3765,9 +3767,9 @@ entangled in capitalist ways of working, it can be immobilising to try
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to act without engaging with the icky parts. Our dependencies on
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ecosystems of tools and workflows are not enforced, but it can be
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difficult to exist outside them, or more specifically, beside them.</p>
|
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<ol type="1">
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<li><em>“And I don’t care.” </em></li>
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</ol>
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<blockquote>
|
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<p><em>“And I don’t care.” </em></p>
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</blockquote>
|
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<p>It’s so obviously not true. The conflict of wanting to change my
|
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|
workflow with wanting to complete my work tasks efficiently doesn’t keep
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me up at night, but it is important to me and other ⊞ers. Open source ⊞
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@ -3791,7 +3793,6 @@ proprietary font. There is a visual difference between these fonts too
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which is also relevant buuuuut this description is getting very detailed
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|
maybe not right now.</em></li>
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</ol>
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|
<hr />
|
|
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|
|
<p>Similarly to the software changes, this documentation of my practice
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sees me choosing open source fonts. I’m really ambivalent about this. I
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do like the idea of being able to modify a font when needed, but I have
|
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@ -3826,6 +3827,7 @@ value do ⊞ers, specifically typographers, see in their work and that of
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|
their close peers, the font ⊞ers, and how does copyright relate to these
|
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|
values?</p>
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|
<hr />
|
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|
<hr />
|
|
|
|
|
<h4 id="follow-up-questions-for-conor">Follow up questions for
|
|
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|
|
Conor</h4>
|
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|
|
<p>Hey Conor, hope you’re keeping well these days? I’ve been going
|
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|
@ -3845,6 +3847,7 @@ totally fine with anonymising, removing, or editing. </p>
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|
|
<p>Thanks,<br />
|
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|
|
Stephen</p>
|
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|
<hr />
|
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|
<hr />
|
|
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|
|
<h4 id="follow-up-questions-for">Follow up questions for ◱</h4>
|
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|
|
<p>Yo ◱, hope all’s good with you these days? </p>
|
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|
|
<p>I’ve been piecing together the interviews from December and I’d love
|
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|
@ -3869,6 +3872,7 @@ totally fine with anonymising, removing, or editing.</p>
|
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|
|
<p>Thanks,<br />
|
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|
|
Stephen</p>
|
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|
<hr />
|
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|
<hr />
|
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|
|
<h4 id="follow-up-questions-for-1">Follow up questions for ◳</h4>
|
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|
|
<p>Hey ◳, hope youre good! </p>
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<p>I’m thinking of putting this section of the interview we did back in
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@ -3890,6 +3894,7 @@ any thoughts or maybe you meant something completely different.</p>
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totally fine with anonymising, removing, or editing. </p>
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<p>Thanks,<br />
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Stephen</p>
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<hr />
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<h4 id="conclusion">Conclusion</h4>
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<p>The title of this document, ⊞, was borrowed from the mathematical
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theory of free probability where it symbolises free additive
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@ -3915,6 +3920,7 @@ The fragments have been situated and subjective rather than objective,
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they have been outside of categories because the categories are broken
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anyway. </p>
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<hr />
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<hr />
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<h4 id="conclusion-1">Conclusion</h4>
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<p>Last night I dreamt I was standing on a hill in the Swiss Alps and
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you were there and all of our friends and the hill was covered in little
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@ -3923,28 +3929,60 @@ the sky opened in two and a ring of light so bright it nearly blinded me
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came out of my chest and yours and they all merged into eachother and
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everyone opened their mouths to sing and the air was filled with so many
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sounds and one ⊞er walked up to me and smiled and said </p>
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<p><br><br />
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<br><br />
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<br></p>
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<div class="stephen-conc">
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<ul>
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<li>“I dunno, I’m more confused than ever”</li>
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</ul>
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</div>
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<p><br><br />
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<br><br />
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<br></p>
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<div class="stephen-conc">
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<ul>
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<li>and they said </li>
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</ul>
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</div>
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<p><br><br />
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<br><br />
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<br></p>
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<div class="stephen-conc">
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<ul>
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<li>and then you said</li>
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</ul>
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</div>
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<hr />
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<div class="stephen-conc">
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<ul>
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<li><p>“I dunno, I’m more confused than ever”</p></li>
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<li><p>and they said </p></li>
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<li><p>and then you said</p></li>
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<li><p>“a funny feeling its a bit weird”</p></li>
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<li><p>“I’m just trying to touch it gently and acknowledge it” </p></li>
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<li><p>“live the gap between where you are and where you could
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be” </p></li>
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<li>“a funny feeling its a bit weird”</li>
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</ul>
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<p>and then I was them and you were me and we laughed and fell over and
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the hill turned into a bright pink jelly ocean the whole sky was this
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sort of green-blue and we all surfed wobbly waves and some people’s
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</div>
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<p><br><br />
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<br><br />
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<br></p>
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<div class="stephen-conc">
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<ul>
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<li>“I’m just trying to touch it gently and acknowledge it” </li>
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</ul>
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</div>
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<p><br><br />
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<br><br />
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<br></p>
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<div class="stephen-conc">
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<ul>
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<li>“live the gap between where you are and where you could be” </li>
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</ul>
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</div>
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<p><br> <br> <br><br />
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and then I was them and you were me and we laughed and fell over and the
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hill turned into a bright pink jelly ocean the whole sky was this sort
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of green-blue and we all surfed wobbly waves and some people’s
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surfboards were Quiksilver and some they had built themselves from a git
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repository but the sun was a walnut and it was definitely moving but I
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couldnt tell was it rising or setting but it didn’t matter to us the
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surf was great and everything smelled like magnolias.</p>
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<hr />
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<hr />
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<hr />
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<h4 id="acknowledgements">Acknowledgements</h4>
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<p>Thanks to Ada, Aglaia, Ben, Chae, Conor, Irmak, Jenny, Joseph, kamo,
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Leslie, Manetta, Marloes, Michael, Rossi.</p>
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<section id="bibliography" class="bibliography">
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<h2>Bibliography</h2>
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<p>Bayer, H. <em>et al.</em> (1975) <em>Bauhaus, 1919-1928</em>. New
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@ -4009,6 +4047,9 @@ Goblet, Sixteen Essays on Typography,</em> London: The Sylvan Press.</p>
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|
Capitalism”, <em>Archiv für Sozialwissenschaften</em> 20, no. 1 (1904),
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pp. 1–54; 21, no. 1 (1905), pp. 1–110.</p>
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</section>
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<h4 id="acknowledgements">Acknowledgements</h4>
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<p>Thanks to Ada, Aglaia, Ben, Chae, Conor, Irmak, Jenny, Joseph, kamo,
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Leslie, Manetta, Marloes, Michael, Rossi.</p>
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</section>
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