+the reader: we?
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.
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.
-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 +
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.
+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.I love you and hope you see what I saw in these stories.
Safe dreams now. I will talk to you soon.
@@ -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. -[Figure 1 - Harmonic Series to 32 (Hyacint,2017).]
+
+
+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.
Talking Documents are performative bureaucratic text inspections -using auto-ethnographical means that intend to create temporal public -interventions through performative readings.
-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.
-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
+
+
+
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.
+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.
+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.
+
+
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.
-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.
+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.
+
+
+
+
+
+
+The marginal voices of potential applicants are embodying and +enacting a role. “The speech does not only describe but brings things +into existence”(Austin, 1975). My intention was to stretch the limits of +dramaturgical speech through vocalizing a document and turn individual +administrative cases into public ones. How do the inscribed words in the +documents are not descriptive but on the contrary “are instrumentalized +in getting things done”(Butler,1997). Words as active agents. Bodies as +low-tech “human microphones”. A group of people performs the +bureaucratic scenario in chorus, out loud, in the corridor of the +school’s building, in the main hall, at the square right across, outside +of the municipality building.
I documented and recorded these public acts and I re-created the -collectively 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.
-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.
-[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]
+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. +
+
+[ 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 ]
+[Leeszaal West Rotterdam - November 2023 – People queuing(18) to +receive their documents and sign ]
+[ One of the forms that the audience had to fill out during the +Lesszaal event ]
Title: “Passport Reading Session” When: January 2024 Where: XML – XPUB studio Who: Ada, Aglaia, Stephen, Joseph
@@ -2551,10 +2573,15 @@ well as you, what are we doing? What are our worldviews, belief systems, mythologies and ideologies?
+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." />
+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.
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.
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@@ -4205,57 +4235,46 @@ src="imagename.png" alt="wiki edit inscriptions" />
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
-Michael Murtaugh
-Leslie Robbins
-Manetta Berends, Joseph Knierzinger, Michael Murtaugh, Steve Rushton, -Kimmy Spreeuwenberg
-Simone Browne, Artemis Gryllaki, Martino Morandi, Lídia Pereira
-Marloes de Valk
-Jeanne van Heeswijk
-Michael Murtaugh
+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.
Ada, Aglaia, Stephen and Irmak Suzan (XPUB graduates year 2022-2024)
200 copies
-Publication Station, Willem De Koonig Academy, Rotterdam
+Publication Station, Willem De Kooning Academy, Rotterdam
Clairefontaine, dune (80g/m3), cover paper
+Clairefontaine Dune 80gsm, cover paper
Platypi by David Sargent.
-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.
-Paged.JS, Git, Etherpad.
-Writing in Etherpad. Version control in git. Design in Inkscape. +Layout in paged.js. Printing in Adobe Acrobat.
+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
+vulnerable-interfaces.xpub.nl/licensePiet Zwart Institute, Master of Arts in FIne Art and Design: -Experimental Publishing, P.O. Box 1272, 3000 BG Rotterdam
+Master of Arts in Fine Art and Design: Experimental Publishing, Piet +Zwart Institute, P.O. Box 1272, 3000 BG Rotterdam, The Netherlands.
Wijnhaven 61, 4th floor, 3011 WJ Rotterdam, the Netherlands
+Wijnhaven 61, 4th floor, 3011 WJ Rotterdam, The Netherlands.
XPUB is the Master of Arts in Fine Art and Design: Experimental Publishing of the Piet Zwart Institute. XPUB focuses on the acts of diff --git a/print/print_style.css b/print/print_style.css index 3ccf28d..5bfd966 100644 --- a/print/print_style.css +++ b/print/print_style.css @@ -31,11 +31,8 @@ position: relative; text-align: left; font-size: 7pt; - - } - + } } - @page:left { /* bleed: 3mm 0 3mm 3mm; */ @bottom-left { @@ -74,6 +71,7 @@ a{ line-height: 3mm; text-align: left; width: 35mm; + display: inline-block; } .centered-image, .centered-text{