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@@ -4,6 +4,7 @@
     <title></title>
     <meta charset="utf-8">
     <script src="paged.js/paged.polyfill.js"></script>
+    <script src="plugins/marginNotes.js" type="text/javascript"></script>
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@@ -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
+<p>Cake Intimacies is a performance that took a year to bring together.
-to bring together. It had three phases. First, as my friends left, I
+It is a small selection of stories people told me and I held to memory
-baked each of them a goodbye pie. Then I hosted two performances. In the
+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
+each other and sharing their stories about cake and the Internet. The
-second I predicted participants’ future lives on the Internet using
+second perfomance was hosted at the Art Meets Radical Openness Festival,
-felted archetypes and received stories from their Internet past in
+as part of the Turning of the Internet workshop. For this performance I
-return. This website is a reflection of all these experiences. Each Good
+predicted participants’ future lives on the Internet using felted
-Pie has a filling that tells a story, merging the bodily with the
+archetypes and received stories from their Internet past in return. Now
-digital and making a mess of it all.</p>
+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
+<figure>
-using auto-ethnographical means that intend to create temporal public
+<img src="../aglaia/wijhaven.JPG"
-interventions through performative readings.</p>
+alt="WDKA- Winjhaven Building- February 2024- reading of act0 “” and act1 “”" />
-<p>While I had this inherent concern about borders and bureaucratic
+<figcaption aria-hidden="true">WDKA- Winjhaven Building- February 2024-
-structures in relation to migration, I decided to start zooming in and
+reading of act0 “” and act1 “”</figcaption>
-explore my own bureaucratic surroundings through my personal lens. As a
+</figure>
-student, I was eager to understand and dig into the educational
+<p>This project appeared as a need to explore potential bureaucratic
-institutions’ bureaucratic mechanisms being driven by smaller-scale
+dramaturgies within the educational institution I was part as a student.
-bureaucratic struggles and peers’ narratives, stories and experiences.
+I was curious about educational bureaucratic mechanisms being driven by
-My starting point were concerns and a need to explore potential
+smaller-scale paperwork struggles and peers’ narratives, stories and
-bureaucratic dramaturgies within the educational institution I am
+experiences. However, unexpected emergencies - due to my eviction on the
-currently part as a student. However, unexpected emergencies placed
+31st of January 2024 - placed centrally my personal struggles unfolded
-centrally my personal bureaucratic struggles that were being unfolded in
+in parallel with the making period. I ended up conducting accidentally
-parallel with the making period. Accordingly, this project was
+auto-ethnography as the project was dynamically being reshaped due to
-dynamically being reshaped due to the material constraints of the
+the material constraints of the bureaucratic timeline.</p>
-bureaucratic timeline. I utilized the paperwork interface of my
+<p>Talking Documents are performative bureaucratic text inspections that
-smaller-scale story in order to unravel and foreground questions related
+intend to create temporal public interventions through performative
-to the role of bureaucracy as less material border and as a mechanism of
+readings. I utilized the paperwork interface of my smaller-scale story
-regulation that reflects narratives, ideologies, policies of the
+in order to unravel and foreground questions related to the role of
-state.</p>
+bureaucracy as less material border and as a regulatory mechanism
-<p>The scenario Central element of this project is a seven-act scenario
+reflecting narratives, ideologies, policies.</p>
-that construct my personal paperwork story, unraveling the actual
+<p>Central element of this project is a seven-act scenario that
-struggles of my communication with the government due my recent eviction
+construct my personal paperwork story, unraveling the actual struggles
-on the 31st of January 2024. The body of the text of the “theatrical”
+of my communication with the government. The body of the text of the
-script is sourced from the original documents, email threads as well as
+“theatrical” script is sourced from the original documents, email
-recordings of the conversations with the municipality of Rotterdam that
+threads as well as recordings of the conversations with the municipality
-I documented and archived throughout this period. I preserved the
+of Rotterdam I documented and archived throughout this period. I
-sequence of the given sentences and by discarding the graphic design of
+preserved the sequence of the given sentences and by discarding the
-the initial forms, I structured and repurposed the text into a playable
+graphic design of the initial forms, I structured and repurposed the
-scenario. I perceive the document as a unit and the primary interface of
+text into a playable scenario.</p>
-the bureaucratic network. The embedded performativity of “real”
+<p><img src="../aglaia/call_scenario.png"
-bureaucratic rituals establishes and empowers (bureaucratic)
+alt="Act 2 “Call with the municipality about the rejection of my application”" />
-institutions through repetitive acts. The transformation of the
+<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
+<p>I see the collective readings of these scenarios as a way of instant
-these scenarios as a way of instant publishing and as a communal tool of
+publishing and as a communal tool of inspecting bureaucratic bordering
-inspecting bureaucratic bordering infrastructures. How can these
+infrastructures. How can these re-enactments be situated in different
-re-enactments be situated in different institutional contexts and
+institutional contexts and examine their structures? I organized a
-examine their structures? I am particularly interested in the
+series of performative readings of my own bureaucratic literature in
-site-specificity of these “acts”. I organized a series of performative
+different spaces and contexts, pubic and semi-public WDKA, Art Meets
-readings of my own bureaucratic literature in different spaces and
+Radical Openness Festival in Linz, the City Hall of Rotterdam where I
-contexts, pubic and semi-public, like Leeszaal, WDKA, Art Meets Radical
+invited people to perform the play together, like a tiny theater.</p>
-Openness Festival in Linz, the City Hall of Rotterdam where I invited
+<figure>
-people to perform the play together, like a theater. The marginal voices
+<img src="../aglaia/AMRO_all.jpg"
-of potential applicants are embodying and enacting a role. “The speech
+alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
-does not only describe but brings things into existence”(Austin, 1975).
+<figcaption aria-hidden="true">Art Meets Radical Openness Festival –
-My intention was to stretch the limits of dramaturgical speech through
+Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
-vocalizing a document and turn individual administrative cases into
+tent</figcaption>
-public ones. How do the inscribed words in the documents are not
+</figure>
-descriptive but on the contrary “are instrumentalized in getting things
+<p><img src="../aglaia/AMRO_kamo.jpg" /></p>
-done”(Butler,1997). Words as active agents. Bodies as low-tech “human
+<figure>
-microphones”. A group of people performs the bureaucratic scenario in
+<img src="../aglaia/gemeente_front.png"
-chorus, out loud, in the corridor of the school’s building, in the main
+alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
-hall, at the square right across, outside of the municipality
+<figcaption aria-hidden="true">City Hall Rotterdam - May 2024 - Reading
-building.</p>
+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
+collectively voiced scenario. This audio piece is a constellation of
-constellation of different recordings and soundscapes of these public
+different recordings and soundscapes of these public moments, a vocal
-moments that I edited and collaged into a single story that could
+archive, published in the graduation exhibition of XPUB in 2024.</p>
-constitute a vocal archive.</p>
+<figure>
-<p>I am inviting past and future applicants, traumatized students,
+<img src="../aglaia/passport1.png"
-injured bearers, bureaucratic border crossers, stressed expired document
+alt="XML at XPUB studio – January 2024 - Passport Reading Session" />
-holders to share, vocalize, read out loud, amplify, (un)name, dismantle
+<figcaption aria-hidden="true">XML at XPUB studio – January 2024 -
-the injurious words of these artifacts.</p>
+Passport Reading Session</figcaption>
-<p>[images] [Leeszaal West Rotterdam - 7th of November 2023 – People
+</figure>
-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>
 
     </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
+<p>[Leeszaal West Rotterdam - November 2023 – People queuing(18) to
-collect the application forms and sign1 ] [ One of the forms that the
+receive their documents and sign ]</p>
-audience had to fill out during the Lesszaal event ]</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
+Google’s Gmail service. To reveal the work of the designer clearly, I
-2023</figcaption>
+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,
+recycle bins, grabbing books, tearing pages apart, drawing, pen
-weaving words together, cutting words, removing words, overwriting,
+plotting, weaving words together, cutting words, removing words,
-printing, scanning. It was magical having an object in the end. A whole
+overwriting, printing, and scanning. It was magical having an object in
-book made by all of us in that evening. Stations, machines, a cloud of
+the end. A whole book was made by all of us that evening. Stations,
-cards, a sleeve that warms up THE BOOK.</p>
+machines, a cloud of cards, a sleeve that warms up THE BOOK.</p>
-<p><img src="imagename.png"
+<p><img src="pruning.jpg"
-alt="Bobi’s station - Name of the Station and Description" /> <img
+alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation and text, scanned it then printed it with a dot matrix." />
-src="imagename.png"
+<img src="card-cloud-leeszaal.jpg"
-alt="Irmak’s and Aglaia’s station - Name of the Station and Description" />
+alt="Cloud of cards with instructions to be performed on the books" />
-<img src="imagename.png"
+<img src="final-book.jpg"
-alt="Stephen’s station name- Name of the Station and Description" />
+alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
-<img src="imagename.png"
+<img src="mint-scan.jpg"
-alt="Ada’s Station - Name of the Station and Description" /> <img
+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." />
-src="imagename.png"
+<img src="drawn-book.jpg"
-alt="Cara’s station name- Name of the Station and Description" /> <img
+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." />
-src="imagename.png" alt="Book recycle bins description" /> <img
+<img src="hand-scan.jpg"
-src="imagename.png"
+alt="Page of the final book containing scans of edited books, a hand and coins." />
-alt="Cloud of gards with instructions to be performed into the books" />
+<img src="second-edition-open.jpg"
-<img src="imagename.png" alt="inside page of the final book" /> <img
+alt="Page of the second edition, containing scans of edited books and instruction cards." />
-src="imagename.png" alt="Photo of the book - cover and sleeve" /> <img
+<img src="second-edition.jpg"
-src="imagename.png"
+alt="The second edition of the final book from the event." /> <img
-alt="How to play leeszal as a process image to how the cards evolved" />
+src="people-bins.jpg"
-<img src="imagename.png"
+alt="People choosing books from the discarded books bins, behind the instructions cards cloud." />
-alt="image from social practice library about librarying" /> <img
+<img src="editing.jpg"
-src="imagename.png" alt="map of leeszaal also can be there" /></p>
+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"
+<p><img src="holographic.jpg" alt="Holographic Oracle Deck" /> <img
-alt="Console box with instruction book, games and ritual objects, produced in an edition of XX." />
+src="oracolotto.jpg" alt="Reading with the Oracolotto cards." /> <img
-<img src="imagename.jpg"
+src="worrydolls.jpg" alt="Worry Dolls" /> <img src="console-book.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." />
+alt="Screenprinted book cover of the Console Booklet, from The Upside Down Oracolotto card." />
-<img src="imagename.jpg"
+<img src="cara-ritual.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"
 alt="Nighttime Ritual: Guided meditation from cardboardlamb" /> <img
-src="imagename.jpg" alt="Worry Doll" /> <img src="imagename.jpg"
+src="youtube-tarot.jpg"
-alt="Inscribed quote from Silvia Federici" /></p>
+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
+Academy, Rotterdam. Special thanks goes to the XPUB staff for their
-help and guidance helped. More information available at
+expert help and guidance. More information available at
 vulnerable-interfaces.xpub.nl</p>
-<h3 id="course-director-of-xpub">Course Director of XPUB</h3>
+<h3 id="special-thanks-to">Special thanks to</h3>
-<p>Michael Murtaugh</p>
+<p>Manetta Berends, Simone Browne, Artemis Gryllaki, Jeanne van
-<h3 id="administration">Administration</h3>
+Heeswijk, Joseph Knierzinger, Michael Murtaugh, Martino Morandi, Lídia
-<p>Leslie Robbins</p>
+Pereira, Leslie Robbins, Steve Rushton, Kimmy Spreeuwenberg, Marloes de
-<h3 id="course-tutors">Course tutors</h3>
+Valk.</p>
-<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="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>
+<h3 id="printed-and-bound-at">Printed and bound at</h3>
-<p>Publication Station, Willem De Koonig Academy, Rotterdam</p>
+<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>
+<h3 id="digital-tools">Digital tools</h3>
-<p>Paged.JS, Git, Etherpad.</p>
+<p>Writing in Etherpad. Version control in git. Design in Inkscape.
-<h3 id="licensing-information">Licensing Information</h3>
+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:
+<p>Master of Arts in Fine Art and Design: Experimental Publishing, Piet
-Experimental Publishing, P.O. Box 1272, 3000 BG Rotterdam</p>
+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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