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<title></title>
<meta charset="utf-8">
<script src="paged.js/paged.polyfill.js"></script>
<script src="plugins/marginNotes.js" type="text/javascript"></script>
<link href="paged.js/pagedjs.css" rel="stylesheet" type="text/css">
<link rel="stylesheet" type="text/css" href="print_style.css">
</head>
@ -35,10 +36,10 @@ during…</p>
<p>the reader: we?</p>
<p>the book: …I mean the four of us, the students of Experimental
Publishing at the Piet Zwart Institute. From 2022 until today, June
2024, we published three special issues together. We wrote four theses’
2024, we published three special issues together. We wrote four theses
and made four graduation projects. We grew our hair out and cut it and
grew it again and dyed it. We cared and cried for each other, we brewed
muddy coffee and bootlegged books. (the book tears up) Finishing a
muddy coffee and bootlegged books. (The book tears up) Finishing a
Master’s is a bit of a heavy moment for us and this book is a gentle
archive, a memory of things that have been beautiful to us.</p>
<p>the reader (sarcastically): do you have a tissue, im soooo
@ -141,16 +142,18 @@ Inspired by an email response from a survey I conducted about receiving
emotional support on the Internet, this story explores the contradiction
of being online while wanting to disconnect. It is a web play inviting
you to navigate both of these feelings.</p>
<p>Good Pie is a great big play of pies, a performance that took a year
to bring together. It had three phases. First, as my friends left, I
baked each of them a goodbye pie. Then I hosted two performances. In the
<p>Cake Intimacies is a performance that took a year to bring together.
It is a small selection of stories people told me and I held to memory
and rewrote here. The stories come from two perfomances I hosted. In the
first, I asked participants to eat cake, sitting facing or away from
each other and sharing their stories about cake and the Internet. In the
second I predicted participants’ future lives on the Internet using
felted archetypes and received stories from their Internet past in
return. This website is a reflection of all these experiences. Each Good
Pie has a filling that tells a story, merging the bodily with the
digital and making a mess of it all.</p>
each other and sharing their stories about cake and the Internet. The
second perfomance was hosted at the Art Meets Radical Openness Festival,
as part of the Turning of the Internet workshop. For this performance I
predicted participants’ future lives on the Internet using felted
archetypes and received stories from their Internet past in return. Now
the stories are here, each of them a cake with a filling that tells a
story, merging the bodily with the digital and making a mess of it
all.</p>
<p>I love you and hope you see what I saw in these stories.</p>
<p>Safe dreams now. I will talk to you soon.</p>
@ -562,7 +565,12 @@ integral role in human aesthetics, all harmonic series diverge,
perpetually expanding without ever concluding. They embody a richness
that transcends conventional boundaries, blending into one another
infinitely.</p>
<p>[Figure 1 - Harmonic Series to 32 (Hyacint,2017).]</p>
<figure>
<img src="Harmonic_series.png"
alt="Figure 1 - Harmonic Series to 32 (Hyacint,2017)." />
<figcaption aria-hidden="true">Figure 1 - Harmonic Series to 32
(Hyacint,2017).</figcaption>
</figure>
<p>By likening digital bodies to divergent series, we embrace the
complexity and infinite possibilities arising from their
interconnectedness and deviation from the norm. However, it’s crucial to
@ -854,79 +862,92 @@ University of Nebraska Press.</p>
<section id="section-5" class="section">
<h1 id="talking-documents">Talking Documents</h1>
<h3 id="section"></h3>
<p>Talking Documents are performative bureaucratic text inspections
using auto-ethnographical means that intend to create temporal public
interventions through performative readings.</p>
<p>While I had this inherent concern about borders and bureaucratic
structures in relation to migration, I decided to start zooming in and
explore my own bureaucratic surroundings through my personal lens. As a
student, I was eager to understand and dig into the educational
institutions’ bureaucratic mechanisms being driven by smaller-scale
bureaucratic struggles and peers’ narratives, stories and experiences.
My starting point were concerns and a need to explore potential
bureaucratic dramaturgies within the educational institution I am
currently part as a student. However, unexpected emergencies placed
centrally my personal bureaucratic struggles that were being unfolded in
parallel with the making period. Accordingly, this project was
dynamically being reshaped due to the material constraints of the
bureaucratic timeline. I utilized the paperwork interface of my
smaller-scale story in order to unravel and foreground questions related
to the role of bureaucracy as less material border and as a mechanism of
regulation that reflects narratives, ideologies, policies of the
state.</p>
<p>The scenario Central element of this project is a seven-act scenario
that construct my personal paperwork story, unraveling the actual
struggles of my communication with the government due my recent eviction
on the 31st of January 2024. The body of the text of the “theatrical”
script is sourced from the original documents, email threads as well as
recordings of the conversations with the municipality of Rotterdam that
I documented and archived throughout this period. I preserved the
sequence of the given sentences and by discarding the graphic design of
the initial forms, I structured and repurposed the text into a playable
scenario. I perceive the document as a unit and the primary interface of
the bureaucratic network. The embedded performativity of “real”
bureaucratic rituals establishes and empowers (bureaucratic)
institutions through repetitive acts. The transformation of the
<figure>
<img src="../aglaia/wijhaven.JPG"
alt="WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”" />
<figcaption aria-hidden="true">WDKA- Winjhaven Building- February 2024-
reading of act0 “” and act1 “”</figcaption>
</figure>
<p>This project appeared as a need to explore potential bureaucratic
dramaturgies within the educational institution I was part as a student.
I was curious about educational bureaucratic mechanisms being driven by
smaller-scale paperwork struggles and peers’ narratives, stories and
experiences. However, unexpected emergencies - due to my eviction on the
31st of January 2024 - placed centrally my personal struggles unfolded
in parallel with the making period. I ended up conducting accidentally
auto-ethnography as the project was dynamically being reshaped due to
the material constraints of the bureaucratic timeline.</p>
<p>Talking Documents are performative bureaucratic text inspections that
intend to create temporal public interventions through performative
readings. I utilized the paperwork interface of my smaller-scale story
in order to unravel and foreground questions related to the role of
bureaucracy as less material border and as a regulatory mechanism
reflecting narratives, ideologies, policies.</p>
<p>Central element of this project is a seven-act scenario that
construct my personal paperwork story, unraveling the actual struggles
of my communication with the government. The body of the text of the
“theatrical” script is sourced from the original documents, email
threads as well as recordings of the conversations with the municipality
of Rotterdam I documented and archived throughout this period. I
preserved the sequence of the given sentences and by discarding the
graphic design of the initial forms, I structured and repurposed the
text into a playable scenario.</p>
<p><img src="../aglaia/call_scenario.png"
alt="Act 2 “Call with the municipality about the rejection of my application”" />
<img src="../aglaia/deregistration1.png"
alt="Act 7 “Confirmation document of my deregistration”" /></p>
<p>I perceive the document as a unit and as the fundamental symbolic
interface of the bureaucratic network. The transformation of the
materiality of a document into a scenario to be enacted collectively in
public attempts to examine these artifacts and highlight the shrouded
public aims to examine these artifacts and highlight the shrouded
performative elements of these processes.</p>
<p>The public readings of the scenario I see the collective readings of
these scenarios as a way of instant publishing and as a communal tool of
inspecting bureaucratic bordering infrastructures. How can these
re-enactments be situated in different institutional contexts and
examine their structures? I am particularly interested in the
site-specificity of these “acts”. I organized a series of performative
readings of my own bureaucratic literature in different spaces and
contexts, pubic and semi-public, like Leeszaal, WDKA, Art Meets Radical
Openness Festival in Linz, the City Hall of Rotterdam where I invited
people to perform the play together, like a theater. The marginal voices
of potential applicants are embodying and enacting a role. “The speech
does not only describe but brings things into existence”(Austin, 1975).
My intention was to stretch the limits of dramaturgical speech through
vocalizing a document and turn individual administrative cases into
public ones. How do the inscribed words in the documents are not
descriptive but on the contrary “are instrumentalized in getting things
done”(Butler,1997). Words as active agents. Bodies as low-tech “human
microphones”. A group of people performs the bureaucratic scenario in
chorus, out loud, in the corridor of the school’s building, in the main
hall, at the square right across, outside of the municipality
building.</p>
<p>I see the collective readings of these scenarios as a way of instant
publishing and as a communal tool of inspecting bureaucratic bordering
infrastructures. How can these re-enactments be situated in different
institutional contexts and examine their structures? I organized a
series of performative readings of my own bureaucratic literature in
different spaces and contexts, pubic and semi-public WDKA, Art Meets
Radical Openness Festival in Linz, the City Hall of Rotterdam where I
invited people to perform the play together, like a tiny theater.</p>
<figure>
<img src="../aglaia/AMRO_all.jpg"
alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
<figcaption aria-hidden="true">Art Meets Radical Openness Festival –
Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
tent</figcaption>
</figure>
<p><img src="../aglaia/AMRO_kamo.jpg" /></p>
<figure>
<img src="../aglaia/gemeente_front.png"
alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
<figcaption aria-hidden="true">City Hall Rotterdam - May 2024 - Reading
of Act 5 and Act 6</figcaption>
</figure>
<figure>
<img src="../aglaia/statue_garden.jpg" alt="The garden of Gemeente" />
<figcaption aria-hidden="true">The garden of Gemeente</figcaption>
</figure>
<p>The marginal voices of potential applicants are embodying and
enacting a role. “The speech does not only describe but brings things
into existence”(Austin, 1975). My intention was to stretch the limits of
dramaturgical speech through vocalizing a document and turn individual
administrative cases into public ones. How do the inscribed words in the
documents are not descriptive but on the contrary “are instrumentalized
in getting things done”(Butler,1997). Words as active agents. Bodies as
low-tech “human microphones”. A group of people performs the
bureaucratic scenario in chorus, out loud, in the corridor of the
school’s building, in the main hall, at the square right across, outside
of the municipality building.</p>
<p>I documented and recorded these public acts and I re-created the
collectively vocalised and transformed scenario. This audio piece is a
constellation of different recordings and soundscapes of these public
moments that I edited and collaged into a single story that could
constitute a vocal archive.</p>
<p>I am inviting past and future applicants, traumatized students,
injured bearers, bureaucratic border crossers, stressed expired document
holders to share, vocalize, read out loud, amplify, (un)name, dismantle
the injurious words of these artifacts.</p>
<p>[images] [Leeszaal West Rotterdam - 7th of November 2023 – People
queuing to receive their documents] [WDKA- Winjhaven Building- 5th of
February 2024- reading of act0 “” and act1 “”] [Art Meets Radical
Openness Festival – Linz, Austria - 11th of May 2024 - Reading act 2””
and act3 “” in the tent] x2 [City Hall Rotterdam- 30th of May 2024 -
Reading of act 5 “” and act 6 “”] x2 [XML at XPUB studio - January 2024
- Passport Reading Session] [BOOKLET 1] [BOOKLET 2]</p>
collectively voiced scenario. This audio piece is a constellation of
different recordings and soundscapes of these public moments, a vocal
archive, published in the graduation exhibition of XPUB in 2024.</p>
<figure>
<img src="../aglaia/passport1.png"
alt="XML at XPUB studio – January 2024 - Passport Reading Session" />
<figcaption aria-hidden="true">XML at XPUB studio – January 2024 -
Passport Reading Session</figcaption>
</figure>
</section>
@ -1549,9 +1570,10 @@ 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.</p>
<p>[ Participants, during Leeszaal event, are waiting in a queue (18) to
collect the application forms and sign1 ] [ One of the forms that the
audience had to fill out during the Lesszaal event ]</p>
<p>[Leeszaal West Rotterdam - November 2023 – People queuing(18) to
receive their documents and sign ]</p>
<p>[ One of the forms that the audience had to fill out during the
Lesszaal event ]</p>
<h4 id="section-2">3.</h4>
<p>Title: “Passport Reading Session” When: January 2024 Where: XML –
XPUB studio Who: Ada, Aglaia, Stephen, Joseph</p>
@ -2551,10 +2573,15 @@ well as you, what are we doing? What are our worldviews, belief systems,
mythologies and ideologies?</p>
<figure>
<img src="../stephen/email.jpg"
alt="Email answering performance using Google’s Gmail service. Leeszaal, Rotterdam, November 7th 2023" />
alt="Email answering performance using Google’s Gmail service. To reveal the work of the designer clearly, I performed the designer’s task of answering email in front of an audience. Due to the performance happening at 7pm, out of office hours, there was extensive use of the Scheduled Email feature. Some stories emerged about our precarity including overdue rent and invalid payment information for Adobe Creative Cloud subscriptions. Leeszaal, Rotterdam, November 7th 2023." />
<figcaption aria-hidden="true">Email answering performance using
Google’s Gmail service. Leeszaal, Rotterdam, November 7th
2023</figcaption>
Google’s Gmail service. To reveal the work of the designer clearly, I
performed the designer’s task of answering email in front of an
audience. Due to the performance happening at 7pm, out of office hours,
there was extensive use of the Scheduled Email feature. Some stories
emerged about our precarity including overdue rent and invalid payment
information for Adobe Creative Cloud subscriptions. Leeszaal, Rotterdam,
November 7th 2023.</figcaption>
</figure>
<figure>
<img src="../stephen/laziness.jpg"
@ -4020,31 +4047,34 @@ and an archive. We asked everyone to think of the library as a garden.
For us, being a gardener means caring; caring for the people and books
that form this space.</p>
<p>During the collective moment in Leeszaal people started diving into
recycle bins, grab books, tear pages apart, drawing, pen plotting,
weaving words together, cutting words, removing words, overwriting,
printing, scanning. It was magical having an object in the end. A whole
book made by all of us in that evening. Stations, machines, a cloud of
cards, a sleeve that warms up THE BOOK.</p>
<p><img src="imagename.png"
alt="Bobi’s station - Name of the Station and Description" /> <img
src="imagename.png"
alt="Irmak’s and Aglaia’s station - Name of the Station and Description" />
<img src="imagename.png"
alt="Stephen’s station name- Name of the Station and Description" />
<img src="imagename.png"
alt="Ada’s Station - Name of the Station and Description" /> <img
src="imagename.png"
alt="Cara’s station name- Name of the Station and Description" /> <img
src="imagename.png" alt="Book recycle bins description" /> <img
src="imagename.png"
alt="Cloud of gards with instructions to be performed into the books" />
<img src="imagename.png" alt="inside page of the final book" /> <img
src="imagename.png" alt="Photo of the book - cover and sleeve" /> <img
src="imagename.png"
alt="How to play leeszal as a process image to how the cards evolved" />
<img src="imagename.png"
alt="image from social practice library about librarying" /> <img
src="imagename.png" alt="map of leeszaal also can be there" /></p>
recycle bins, grabbing books, tearing pages apart, drawing, pen
plotting, weaving words together, cutting words, removing words,
overwriting, printing, and scanning. It was magical having an object in
the end. A whole book was made by all of us that evening. Stations,
machines, a cloud of cards, a sleeve that warms up THE BOOK.</p>
<p><img src="pruning.jpg"
alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix." />
<img src="card-cloud-leeszaal.jpg"
alt="Cloud of cards with instructions to be performed on the books" />
<img src="final-book.jpg"
alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
<img src="mint-scan.jpg"
alt="Page of the final book containing scans of the edited book, an instruction card, a pen-plotted bookmark with a quote from the book and a sprig of mint." />
<img src="drawn-book.jpg"
alt="Page of the final book containing scans of a drawn on book, an instruction card and a pen-plotted bookmark with a quote from the book." />
<img src="hand-scan.jpg"
alt="Page of the final book containing scans of edited books, a hand and coins." />
<img src="second-edition-open.jpg"
alt="Page of the second edition, containing scans of edited books and instruction cards." />
<img src="second-edition.jpg"
alt="The second edition of the final book from the event." /> <img
src="people-bins.jpg"
alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
<img src="editing.jpg"
alt="Part of the Pruning process, the editing of a book page." /> <img
src="open-bin.jpg" alt="Bin of discarded books from Leeszal." /> <img
src="binding.jpg"
alt="The binding of the scans into the final book at the end of the evening." /></p>
</section>
@ -4076,25 +4106,25 @@ the role of ideology and social reproduction. We reinterpreted bits of
the world and created stories from it (modding, fiction, narrative)
focusing on community, interaction, relationships, grief and
healing.</p>
<p><img src="imagename.jpg"
alt="Console box with instruction book, games and ritual objects, produced in an edition of XX." />
<img src="imagename.jpg"
alt="SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property." />
<img src="imagename.jpg"
alt="Screenprinted book cover, from The Upside Down Oracolotto card." />
<img src="imagename.jpg"
alt="Fiction Friction gameplay at Page Not Found" /></p>
<p><img src="imagename.jpg"
alt="Oracolotto readings at Page Not Found." /> <img src="imagename.jpg"
alt="Wheel of Fortune healing exercise at Page Not Found." /> <img
src="imagename.jpg" alt="Holographic Oracle Deck" /> <img
src="imagename.jpg"
alt="Page of book open on something else not mentioned: youtube tarot, fortnite, papa louie?" /></p>
<p><img src="imagename.jpg"
alt="Page of book open on Tetris Fantasies" /> <img src="imagename.jpg"
<p><img src="holographic.jpg" alt="Holographic Oracle Deck" /> <img
src="oracolotto.jpg" alt="Reading with the Oracolotto cards." /> <img
src="worrydolls.jpg" alt="Worry Dolls" /> <img src="console-book.jpg"
alt="Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card." />
<img src="cara-ritual.jpg"
alt="Nighttime Ritual: Guided meditation from cardboardlamb" /> <img
src="imagename.jpg" alt="Worry Doll" /> <img src="imagename.jpg"
alt="Inscribed quote from Silvia Federici" /></p>
src="youtube-tarot.jpg"
alt="Imagined tarot cards based on YouTube comments" /> <img
src="federici.jpg"
alt="Laser engraved quote from Silvia Federici, Love is the great magician, the demon that unites earth and sky and makes humans so round, so whole in their being, that once united they cannot be defeated." />
<img src="console-open.jpg"
alt="Console box with Fiction Friction, Oracolotto, the Wheel of Fortune, a Worry Doll, tea and a tealight." />
<img src="console-front.jpg"
alt="Screenprinted cover of the Console box." /> <img
src="license-reading.jpg"
alt="SIXX Licence reading ceremony at Page Not Found. The copyleft licence for this object included (in additional permission 4b) a term specifying the ritual absorption of intellectual property." />
<img src="fiction-friction.jpg"
alt="Fiction Friction gameplay during the launch at Page Not Found." />
<img src="tetris.jpg" alt="Modified tetris fantasies" /></p>
</section>
@ -4205,57 +4235,46 @@ src="imagename.png" alt="wiki edit inscriptions" /></p>
<p>Vulnerable Interfaces is a catalogue of work producted within the
context of the Master of Arts in Fine art and Design: Experimental
Publishing (XPUB) at the Piet Zwart Insititute, Willem de Kooning
Academy, Rotterdam. Special thanks goes to the XPUB staff whose expert
help and guidance helped. More information available at
Academy, Rotterdam. Special thanks goes to the XPUB staff for their
expert help and guidance. More information available at
vulnerable-interfaces.xpub.nl</p>
<h3 id="course-director-of-xpub">Course Director of XPUB</h3>
<p>Michael Murtaugh</p>
<h3 id="administration">Administration</h3>
<p>Leslie Robbins</p>
<h3 id="course-tutors">Course tutors</h3>
<p>Manetta Berends, Joseph Knierzinger, Michael Murtaugh, Steve Rushton,
Kimmy Spreeuwenberg</p>
<h3 id="special-issue-tutors">Special Issue tutors</h3>
<p>Simone Browne, Artemis Gryllaki, Martino Morandi, Lídia Pereira</p>
<h3 id="theses-supervisor">Theses supervisor</h3>
<p>Marloes de Valk</p>
<h3 id="external-examiner-for-the-graduation-projects">External examiner
for the graduation projects</h3>
<p>Jeanne van Heeswijk</p>
<h3 id="proof-reader-for-this-publication">Proof reader for this
publication</h3>
<p>Michael Murtaugh</p>
<h3 id="special-thanks-to">Special thanks to</h3>
<p>Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van
Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia
Pereira, Leslie Robbins, Steve Rushton, Kimmy Spreeuwenberg, Marloes de
Valk.</p>
<h3 id="research-editing-and-production">Research, editing and
production</h3>
<p>Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year
2022-2024)</p>
<h3 id="print-run">Print run</h3>
<p>200 copies</p>
<h3 id="printed-and-bound-at">Printed and Bound at</h3>
<p>Publication Station, Willem De Koonig Academy, Rotterdam</p>
<h3 id="printed-and-bound-at">Printed and bound at</h3>
<p>Publication Station, Willem De Kooning Academy, Rotterdam</p>
<h3 id="paper">Paper</h3>
<p>Clairefontaine, dune (80g/m3), <em>cover paper</em></p>
<p>Clairefontaine Dune 80gsm, <em>cover paper</em></p>
<h3 id="typefaces">Typefaces</h3>
<p>Platypi by David Sargent.</p>
<h3 id="photography-and-illustration">Photography and Illustration</h3>
<h3 id="photography-and-illustration">Photography and illustration</h3>
<p>Unless otherwise stated, all photography, illustrations and other
types of visualisations in this publication are created by the same
authors as the text. That which is below is like that which is above,
and that which is above is like that which is below, to do the miracle
of one only thing.</p>
<h3 id="digital-tools">Digital Tools</h3>
<p>Paged.JS, Git, Etherpad.</p>
<h3 id="licensing-information">Licensing Information</h3>
<h3 id="digital-tools">Digital tools</h3>
<p>Writing in Etherpad. Version control in git. Design in Inkscape.
Layout in paged.js. Printing in Adobe Acrobat.</p>
<h3 id="licensing-information">Licensing information</h3>
<p>This publication is free to distrubite or modify under the terms of
the SIXX license as published by XPUB, either version one of the SIXX
License or any later version. See the SIXX License for more details. A
copy of the license can be found on
xpub.nl/vulnerable-interfaces/license</p>
vulnerable-interfaces.xpub.nl/license</p>
<h3 id="postal-address">Postal address</h3>
<p>Piet Zwart Institute, Master of Arts in FIne Art and Design:
Experimental Publishing, P.O. Box 1272, 3000 BG Rotterdam</p>
<p>Master of Arts in Fine Art and Design: Experimental Publishing, Piet
Zwart Institute, P.O. Box 1272, 3000 BG Rotterdam, The Netherlands.</p>
<h3 id="visiting-address">Visiting address</h3>
<p>Wijnhaven 61, 4th floor, 3011 WJ Rotterdam, the Netherlands</p>
<p>Wijnhaven 61, 4th floor, 3011 WJ Rotterdam, The Netherlands.</p>
<h3 id="xpub">XPUB</h3>
<p>XPUB is the Master of Arts in Fine Art and Design: Experimental
Publishing of the Piet Zwart Institute. XPUB focuses on the acts of

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@page:left {
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