@ -16,7 +16,7 @@ Is all intimacy about bodies? What is it about our bodies that makes intimacy? W
I made three backplaces for you to see, click, and feel: Solar Sibling, Hermit Fantasy, and Cake Intimacies. Each of these is the result of its own unique performance or project. Some of the stories I will share carry memories of pain---both physical and emotional. As you sit in the audience, know I am with you, holding your hand through each scene. If the performance feels overwhelming at any point, you have my full permission to step out, take a break, or leave. This is not choreographed, and I care deeply for you.\
{.half-image}
Solar Sibling is an online performance of shared loss about leaving and siblings. This project used comments people left on TikTok poetry. I extracted the emotions from these comments, mixed them with my own, and crafted them into poems. It is an ongoing performance, ending only when your feelings are secretly whispered to me. When you do, by typing into the comment box, your feelings are sent to me and the first act closes as the sun rises.\
@ -28,16 +28,16 @@ Hermit Fantasy is a short story about a bot who wants to be a hermit. Inspired b
{.image-80}
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 performances I hosted. First, I asked participants to eat cake, sitting facing or away from each other and sharing their stories about cake and the Internet. The second performance 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.\
{.full-image}
The play ends as all plays do. The curtains close, the website stays but the stories will never sound the same. For the final act, I give you the stories. It's one last game, one last joke to ask my question again. Digital intimacies about the digital, our bodies and the cakes we eat. For the last act, I ask you to eat digital stories. To eat a comment, to eat a digital intimacy. Sharing an act of physical intimacy with yourself and with me, by eating sweets together. Sweets about digital intimacies that never had a body.
There is no moral, no bow to wrap the story in. A great big mess of transcendence into the digital, of intimacy and of bodies. The way it always is. Thankfully.\
{.image-95}
@ -28,9 +28,10 @@ I perceive the document as a unit and as the fundamental symbolic interface of t
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.
{.image-80}
{.half-image}
{.image-80}
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.
@ -905,10 +905,14 @@ full permission to step out, take a break, or leave. This is not
choreographed, and I care deeply for you.<br/>
</p>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/index.png"alt="This is the Index, the stage of my play. Each felted item is an act."class="half-image"/><figcaption>This is the Index, the stage of my play. Each felted item is an act.</figcaption>
=======
<imgsrc="../images/../images/index.png"
alt="This is the Index, the stage of my play. Each felted item is an act." />
<figcaptionaria-hidden="true">This is the Index, the stage of my play.
Each felted item is an act.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<p>Solar Sibling is an online performance of shared loss about leaving
and siblings. This project used comments people left on TikTok poetry. I
@ -941,8 +945,12 @@ letters, click by click.<br />
<figcaptionaria-hidden="true">The first letter.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/two.png"alt="The second letter."class="image-80"/><figcaption>The second letter.</figcaption>
=======
<imgsrc="../images/../images/two.png"alt="The second letter."/>
<figcaptionaria-hidden="true">The second letter.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<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
@ -964,10 +972,14 @@ alt="The first two stories and their memory illustrations." />
illustrations.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/phone-pie.png"alt="The second stories in the way they were meant to be experienced."class="full-image"/><figcaption>The second stories in the way they were meant to be experienced.</figcaption>
=======
<imgsrc="../images/../images/phone-pie.png"
alt="The second stories in the way they were meant to be experienced." />
<figcaptionaria-hidden="true">The second stories in the way they were
meant to be experienced.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<p>The play ends as all plays do. The curtains close, the website stays
but the stories will never sound the same. For the final act, I give you
@ -981,10 +993,14 @@ story in. A great big mess of transcendence into the digital, of
intimacy and of bodies. The way it always is. Thankfully.<br/>
</p>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/biscuit.png"alt="Accept My Cookies, biscuits for the performance."class="image-95"/><figcaption>Accept My Cookies, biscuits for the performance.</figcaption>
=======
<imgsrc="../images/../images/biscuit.png"
alt="Accept My Cookies, biscuits for the performance." />
<figcaptionaria-hidden="true">Accept My Cookies, biscuits for the
performance.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
</section>
@ -1951,6 +1967,11 @@ alt="Act 7 “Confirmation document of my deregistration”" />
<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 aims to examine these artifacts and highlight the shrouded performative elements of these processes.</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>
alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading Act 2 and Act3 in the tent" />
@ -1971,6 +1993,10 @@ alt="Art Meets Radical Openness Festival – Linz, Austria - May 2024 - Reading
Linz, Austria - May 2024 - Reading Act 2 and Act3 in the
tent</figcaption>
</figure>
<<<<<<<HEAD
<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 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>
alt="City Hall Rotterdam - May 2024 - Reading of Act 5 and Act 6" />
@ -2207,6 +2234,26 @@ numeric order, according to their color/mode.
<h2id="working-end">Working End</h2>
<h3id="loop-1">Loop 1</h3>
<h3id="why-am-i-doing-this">Why am I doing this?</h3>
<<<<<<<HEAD
<p>My desire to write a children’s book about grief and memory ignited when I was studying in college and doing an internship in a publishing house in Ankara. I was struggling to process a loss I experienced at the time and to find something to cling to on a daily basis. Then one day I started hearing a buzzing sound in my bedroom at my family’s house. I searched everywhere but couldn’t find the source for this noise. I asked my father and he started searching too. A couple of days passed and the buzzing was still there.</p>
<p>One day I found a bee on the floor in my bedroom and realized that the bees nested on the roof and were coming inside my room through a gap in the lamp. I was terrified because I have an allergy to bees and thought they might sting me in my sleep. This moment was when I realized I was so determined to find this buzzing sound for some time that I forgot about dealing with the loss I was experiencing. This made me feel very guilty and I remember thinking I betrayed the person I lost.</p>
<p>As funny as it may appear, I felt like I was sabotaged by these bees that I thought were here to hurt me but in the end they made me understand that its ok to let things go and every being does what it has to do to find its way of survival. The little habitat that they chose to create in my room seemed like a calling or a sign that I can aff ect another living being significantly without being aware of it. This goes for everything, no matter if some people leave us in this world, they have living matter in us that keeps pulsing. So then I started researching bees and their ecosystems. I read Alan Watts, Alan Lightman, Emily Dickinson, Maurice Sendak, Meghan O’Rourke, Oliver Sacks, Joanna Macy, Rilke, Montaigne and theories on order in chaos, correlative vision, harmony of contained conflicts and the mortality paradox. I wrote a lot and erased a lot and fairly figured out the wisdom of not knowing things.<sup><spanclass="margin-note"><imgsrc="../images/../images/../irmak/hitch.png">I wrote and deleted and rewrote the story 3 times already.</span></sup></p>
<p>Years passed and I wrote and deleted and rewrote the story that I am working on to make interactive today so many times and was waiting on it because it always felt incomplete. In a way it will always be incomplete because of the natural ambiguity the topic carries. Years later, grief was back in my life with the loss of my grandfather. So therefore, the story I wrote and abandoned changed again as I attempted to rewrite it as a diff erent version of myself with a diff erent understanding of death. And this went on… The story remained hidden and I forgot why it ever existed in the first place.</p>
<p>Last year when two earthquakes hit Syria and Turkey, I was drowned like everyone I know, by a collective trauma and grief. Then this horrible feeling flared up by neglect and desperation. It was and still is impossible to mourn so many strangers at the same time. I lost two dear friends, I was furious, away from home, mostly alone and remembered vividly my failed attempt to understand or place grief in one of the piles in my mind.</p>
<p>Previous months, I was working on this story (yes, again) but didn’t know how to tackle the text because it was so diff erent to what I was experiencing now, when compared to the last time I rewrote it. A tutor asked me why I wrote this story in the first place and I couldn’t remember. I kept tracing back to 2016 and step by step, remembered why, as told above. The consciousness that this story is actually a personal history of how I went through grief in diff erent stages of my life, made me realise that it doesn’t have to be or even can be a perfect story.</p>
<p>In the end with the experience I had with loss, I believe the story turned out to be an ode to remembering or might I say an ode to not being able to forget or an ode to the fear of forgetting</p>
<p>The effect of storytelling knowledge on kids’ development and creativity. What can we learn from open ended and multiple ending stories?</p>
<p>ability to form basic stories or to express their emotions through fictional characters or events. Children are not born with a wide vocabulary of emotions and expressions. They learn how to read, mimic and express their feelings over time. The more children read, write and are exposed to social environments, the more they widen their sense and ability of expressing themselves. The language gained as kids comes in many forms and storytelling plays a crucial role in this development. The exposure to stories prepares the kids to the era of reading and writing. Children come to understand and value feelings through conversation (Dettore, 2002). When children are off ered to read or share stories, they also learn to understand people around them better and gain emotional literacy.</p>
<p>Storytelling has been a means of communicating with others for many centuries. It is not only a way to discuss important events, but also a way to entertain one another (Lawrence & Paige, 2013). Stories have been told orally, in writing or with drawings for thousands of years and some of these stories are still alive. This is because language is a living thing that travels through time and still remains brand new. When necessary, it just adapts form, evolves and blends in with the changing world. Children comprehend the idea that they have a story to tell by hearing other stories and this ignites the imagination. We tend to forget many things but almost everyone remembers one small story they heard or read when they were a kid, this moment we remember is the moment a certain story sparked for us.</p>
<p>Nowadays storytelling takes many forms. For example, some readers’ story might even begin from here although it isn’t the beginning. Interactivity is one of the storytelling forms that can signifi- cantly improve children’s creativity. This is mainly because children as readers or listeners get to contribute and aff ect the story. This of course requires and improves creative and active thinking. Getting the chance to choose a path for a fictional character gives the child the freedom and confi dence of constructing a world, a character or an adventure. Although this is essentially “writing” as we know it, children think of this as a game, yet to discover they are actually becoming writers. What kind of reward can we expect from active participation in a story? Narrative pleasure can be generally described in terms of immersions (spatial, temporal, emotional, epistemic) in a fictional world (Ryan, 2009). When we are set to create or co-create a world, the narrative has eff ects on us such as curiosity, suspense and surprise. At this point, we start creatively producing ideas to keep these three emotions.</p>
<p>Interactive storytelling reminds everyone but especially children that there are limitless endings to a story that is solely up to the maker’s creation. Learning to think this way instead of knowing or assuming an end to a story, I think influences the children’s decision making abilities and sense of responsibility towards their creations. It is basically the same in theatre where if an actor chooses to create an imaginary suitcase on stage, they can’t simply leave this object they created on stage and exit the scene because the audience will wonder why the actor didn’t take the imaginary suitcase as they left. In this case, when kids decide to choose a path or item or any attribute for a character in a story, they feel responsible and curious to see it through to the end or decide what to do with it. This interactivity therefore creates a unique bond between the reader/writer and the text.</p>
<p>There are many theories on how to approach interactive literature for children. Multi-literacy theory and digital literacies are some of the theories which I find relevant to my aim with Wink. Multiliteracy theory in a nutshell is an education oriented framework that aims to expand traditional reading and writing skills. This theory was developed by the New London Group. They were a collective of scholars and educators who addressed the changing nature of literacy in an increasingly globalized, digital world. The theory explores multiple modes of communication consisting The sense of storytelling settles for kids, starting from age three. By this time, children have the of multimodal communication, cultural and social contexts, critical inquiry, socio-cultural learning theory and pedagogical implications. Multimodal communication focuses on the variety of communication techniques. This was groundbreaking in the 90s because of its acknowledgment of a diverse range of literacies and its departure from traditional approaches to literary texts. This theory includes new media and communication studies such as visual, digital, special and gestural literacies.</p>
<p>I kept this theory in mind as I chose the interactivity elements to use in the picture book. I think the usage of multiple media such as sound, image and games is a good way to start and diff erentiate from a regular interactive e-book. The fact that this theory has an educational perspective and is taking the rapidly changing qualities of literature seriously, made me consider it as a guide in designing the prototype.</p>
<p>Looking through the perspective of multiliteracies, questions come up for me that lead to the rest of this thesis: What is an interactive picture book? Is it a book? Is it a game? Is it an exercise?</p>
<p>What is it defined as? How can we design an interactive reading environment without confusing children?</p>
=======
<p>My desire to write a children’s book about grief and memory ignited
when I was studying in college and doing an internship in a publishing
house in Ankara. I was struggling to process a loss I experienced at the
@ -2359,6 +2406,7 @@ picture book? Is it a book? Is it a game? Is it an exercise?</p>
<p>Differences and similarities between interactive e-books and
storytelling games.</p>
@ -2808,6 +2856,13 @@ essential to see if my technique of combining narratives is working or
not.</p>
<h3id="loop-12">Loop 12</h3>
<h2id="standing-end">Standing End</h2>
<<<<<<<HEAD
<p>After many loops of thought, we are here at the standing end of the thesis. There is room for more loops and knots in the future to secure this string of thought but for now, we have come to the dock and rest ashore.</p>
<p>Reading this thesis with a string, using concrete thinking as a technique to go through a research and text was a helpful exercise for me and helped me mark my thoughts and ideas. The overarching theme of knots and experimental approach to modes of reading was valuable for me to share and try as an enthusiastic young writer. I like that I asked the reader to interact with the thesis and follow paths accordingly.</p>
<p>It was enlightening to see the results of working with kids and be able to see from their point of view and alter everything according to these encounters. Using CCI and Multiliteracy theory as a guide to approach the design and prototype was helpful in understanding how to approach and tackle the desire of making something for children.</p>
<p>Now from where I stand, I feel more rooted and have a clearer idea of what works and doesn’t work. Some features that I think would work very well like the choice of writing didn’t go as planned because multiple narratives is already too much. I realized I underestimated the eff ect of introducing a new media to children. This is why I decided to take it step by step with the interactivity.</p>
<p>Taking a step to make Wink and using the story I wrote and feel is important in my personal history as a prototype was a breakthrough. I feel like my interest and desire to discover new ways of writing, reading and experiencing literature is ongoing and it was a beautiful journey so far. I am looking forward to making more knots on this long and mysterious string at hand.</p>
=======
<p><sup><spanclass="margin-note loop-note">12 12
12<imgsrc="../images/../images/../irmak/loop.png"></span></sup> After many loops of
thought, we are here at the standing end of the thesis. There is room
@ -2836,6 +2891,7 @@ feel like my interest and desire to discover new ways of writing,
reading and experiencing literature is ongoing and it was a beautiful
journey so far. I am looking forward to making more knots on this long
and mysterious string at hand.</p>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</section>
<h2id="bibliography">Bibliography</h2>
<p>Cope, B. and Kalantzis, M. (2009) ‘“multiliteracies”: New Literacies,
@ -3033,18 +3089,31 @@ of a belief system involving order, structure, and rationality and I
want to break it. Removing the label is part of loosening the object,
making it avilable to transition (Berlant, 2022).</p>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/orange.jpg"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."class="image-45"/><figcaption>The Cadaster of Orange, unknown ⊞er, c. 100 CE.</figcaption>
=======
<imgsrc="../images/../images/orange.jpg"style="margin-top: 95mm; width: 40mm;"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."/>
<figcaptionaria-hidden="true">
The Cadaster of Orange,<br/> unknown ⊞er, c.100 CE.
</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<figure>
<imgsrc="../images/../images/Niggli-Grid-systems-in-graphic-design-7.jpg"style="margin-top: 95mm"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981."/>
<figcaptionaria-hidden="true">
Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.
</figcaption>
<imgsrc="../images/../images/Niggli-Grid-systems-in-graphic-design-7.jpg"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981"class="image-95"/><figcaption>Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/albuni2.jpg"alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200."class="image-95"/><figcaption>Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200.</figcaption>
<imgsrc="../images/../images/art-josef-albers-study-for-homage-to-the-square-69.1917.jpg"alt="Homage to the Square, Josef Albers, 1954."class="image-95"/><figcaption>Homage to the Square, Josef Albers, 1954.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/TheoVAnDoesburgCounterCompositionVI.jpg"alt="Counter Composition VI, Theo Van Doesburg, 1925."class="image-45"/><figcaption>Counter Composition VI, Theo Van Doesburg, 1925.</figcaption>
=======
<imgsrc="../images/../images/albuni2.jpg"
alt="Shams al-Ma’arif, Ahmad al-Buni Almalki, circa 1200." />
<figcaptionaria-hidden="true">Shams al-Ma’arif, Ahmad al-Buni Almalki,
@ -3067,17 +3136,19 @@ alt="Homage to the Square, Josef Albers, 1954." />
alt="Counter Composition VI, Theo Van Doesburg, 1925." />
<imgsrc="../images/../images/po-valley2.png"style="margin-top: 95mm;"alt="The Po Valley, The Roman Empire, 268 BCE."/>
<figcaptionaria-hidden="true">
The Po Valley, The Roman Empire, 268 BCE.
</figcaption>
<imgsrc="../images/../images/po-valley2.png"alt="The Po Valley, The Roman Empire, 268 BCE."class="image-95"/><figcaption>The Po Valley, The Roman Empire, 268 BCE.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/pietzwart.jpg"alt="Monogram, Piet Zwart, c. 1968."class="image-45"/><figcaption>Monogram, Piet Zwart, c. 1968.</figcaption>
@ -4018,6 +4089,12 @@ alt="Keyboard of things designers have said. Our feelings about work." />
Our feelings about work.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/../stephen/keyboard25.jpeg"alt="The messages on the keys were gathered using experimental interview methods and questions."class="image-95"/><figcaption>The messages on the keys were gathered using experimental interview methods and questions.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/keyboard26.jpeg"alt="Except “it’s ok”: my brother said that to me on the phone one day."class="image-45"/><figcaption>Except “it’s ok”: my brother said that to me on the phone one day.</figcaption>
@ -4050,6 +4128,14 @@ alt="Re-enacting dreams about work at Piet Zwart Institute, Rotterdam." />
Zwart Institute, Rotterdam.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/../stephen/amro.jpeg"alt="Collective dream re-enactment at Art Meets Radical Openness, Linz."class="desaturate"/><figcaption>Collective dream re-enactment at Art Meets Radical Openness, Linz.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/../stephen/dizzy.jpeg"alt="Where do dreams come from?"class="image-80"/><figcaption>Where do dreams come from?</figcaption>
<!--  -->
<!--  -->
<!--  -->
@ -4518,6 +4605,17 @@ stories, and much more.</p>
<<<<<<<HEAD
<!--<section id="section-12" class="section">-->
<sectionid="section-12"class="section">
<hr/>
<h1id="garden-leeszaal">Garden Leeszaal</h1>
<hr/>
<h3id="special-issue-xix">Special Issue XIX</h3>
<p>Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the spine, or an electronic file gathered together with digital binding. A library could be an accumulated stack of printed books, a modular collection of software packages, a method of distributing e-books, a writing machine.</p>
<p>In the Special Issue 19, How do we library that? or alternatively Garden Leeszaal, we started re-considering the word “library” as a verb; actions that sustains the production, collection and distribution of texts. A dive into the understanding structure of libraries as systems of producing knowledge and unpacking classification as a process that (un)names, distinguishes, excludes, displaces, organizes life. From the library to the section to the shelf to the book to the page to the text. The zooming in and zooming out process. The library as a plain text.</p>
<p>Like community gardens, libraries are about tenderness and approachability. However, does every book and each person feel welcome in these spaces? Publications are empty leaves if there is no one to read them. Libraries are soulless storage rooms if there is no one to visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context. Libraries as complex social infrastructures.</p>
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>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
<figure>
<imgsrc="../images/../images/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." />
@ -4565,7 +4664,15 @@ alt="Irmak’s and Aglaia’s Pruning station, where people edited punctuation a
where people edited punctuation and text, scanned it then printed it
with a dot matrix.</figcaption>
</figure>
<p>The release of the Special Issue 19 was a momentary snapshot of the current state of a library seen through the metaphor of gardening; pruning, gleaning, growing, grafting and harvesting. Garden Leeszaal is an open conversation; a collective writing tool, a cooperative collage 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, 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>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/open-bin.jpg"alt="Bin of discarded books from Leeszal."class="full-image"/><figcaption>Bin of discarded books from Leeszal.</figcaption>
</figure>
<figure>
<imgsrc="../images/../images/card-cloud-leeszaal.jpg"alt="Cloud of cards with instructions to be performed on the books"/><figcaption>Cloud of cards with instructions to be performed on the books</figcaption>
alt="Cloud of cards with instructions to be performed on the books" />
<figcaptionaria-hidden="true">Cloud of cards with instructions to be
@ -4576,6 +4683,7 @@ performed on the books</figcaption>
alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books." />
<figcaptionaria-hidden="true">The final book produced that evening, the
cover was made from hand-stiched covers of discarded books.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<figure>
<imgsrc="../images/../images/mint-scan.jpg"
@ -4591,12 +4699,16 @@ alt="Page of the final book containing scans of a drawn on book, an instruction
of a drawn on book, an instruction card and a pen-plotted bookmark with
a quote from the book.</figcaption>
</figure>
<<<<<<<HEAD
<p><imgsrc="../images/../images/hand-scan.jpg"alt="Page of the final book containing scans of edited books, a hand and coins."class="image-95"/><imgsrc="../images/../images/editing.jpg"alt="Part of the Pruning process, the editing of a book page."class="image-95"/></p>
=======
<figure>
<imgsrc="../images/../images/hand-scan.jpg"
alt="Page of the final book containing scans of edited books, a hand and coins." />
<figcaptionaria-hidden="true">Page of the final book containing scans
alt="Page of the second edition, containing scans of edited books and instruction cards." />
@ -4616,6 +4728,9 @@ alt="People choosing books from the discarded books bins, behind the instruction
books bins, behind the instructions cards cloud.</figcaption>
</figure>
<figure>
<<<<<<<HEAD
<imgsrc="../images/../images/final-book.jpg"alt="The final book produced that evening, the cover was made from hand-stiched covers of discarded books."/><figcaption>The final book produced that evening, the cover was made from hand-stiched covers of discarded books.</figcaption>
=======
<imgsrc="../images/../images/editing.jpg"
alt="Part of the Pruning process, the editing of a book page." />
<figcaptionaria-hidden="true">Part of the Pruning process, the editing
@ -4625,6 +4740,7 @@ of a book page.</figcaption>
<imgsrc="../images/../images/open-bin.jpg"alt="Bin of discarded books from Leeszal."/>
<figcaptionaria-hidden="true">Bin of discarded books from
Leeszal.</figcaption>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
</figure>
<figure>
<imgsrc="../images/../images/binding.jpg"
@ -4741,6 +4857,16 @@ launch at Page Not Found.</figcaption>
<sectionid="section-15"class="section">
<h1id="tty">TTY</h1>
<h3id="special-issue-21">Special Issue 21</h3>
<<<<<<<HEAD
<p>why shd it only make use of the tips of the fingers as contact points of flowing multi directional creativity. If I invented a word placing machine, an “expression-scriber,” if you will, then I would have a kind of instrument into which I could step & sit or sprawl or hang & use not only my fingers to make words express feelings but elbows, feet, head, behind, and all the sounds I wanted, screams, grunts, taps, itches, I’d have magnetically recorded, at the same time, & translated into word or perhaps even the final xpressed thought/feeling wd not be merely word or sheet, but itself, the xpression, three dimensional-able to be touched, or tasted or felt, or entered, or heard or carried like a speaking singing constantly communicating charm. A typewriter is corny!!</p>
<p>Amiri Baraka, Technology & Ethos, http://www.soulsista.com/titanic/baraka.html</p>
<p>This issue started from a single technical object: a Model 33 Teletype machine. The teletype is the meeting point between typewriters and computer interfaces, a first automated translator of letters into bits. Equipped with a keyboard, a transmitter and a punchcard read-writer, it is a historical link between early transmission technology such as the telegraph and the Internet of today. Under the administration of our kubernētēs, Martino Morandi, each week hosted a guest contributor who joined us in unfolding the many cultural and technical layers that we found stratified in such a machine, reading them as questions to our contemporary involvements with computing and with networks.</p>
<p>The format of the issue consisted of on an on-going publishing arrangement, constantly re-considered and escaping definition at every point in spacetime, a sort of Exquisite Corpse Network. It evaded naming, location, and explanation; the Briki, the Breadbrick, the Worm Blob. A plan to release weekly bricks was wattled by a shared understanding of time into something more complex in structure, less structured in complexity.</p>
<p>Initially, the week’s caretakers were responsible for collecting materials from our guest contributions, which included lectures, collective readings, hands-on exercises, an excursion to the Houweling Telecom Museum, Rotterdam and another to Constant, Brussels. The caretakers were responsible for recording audio, editing notes, transcribing code, taking pictures, and making lunch. Meanwhile the week’s editors were responsible for coming up with a further step in how the publishing progressed, by adding new connections and interfaces, creating languages, plotting strikes and cherishing memories. This mode of publishing made us develop our own collective understandings of inter-operation, of networked care and access, backward- and forward-compatibility, obsolence and futurability.</p>
<p>Teletypewriters ushered in a new mode of inscription of writing: if the typewriter set up a grid of letters and voids of the same size, turning the absence of a letter (the space) into a key itself (the spacebar), the teletypewriter finished it by inscribing the space in the very same material as all other letters: electrical zeros and ones, that were to immediately leave the machine. The Teletype Model 33, one of the most widely produced and distributed text-based terminals in the 1970s, introduced multiple technological concretizations that are present in the computers of today as a sort of legacy, such as the qwerty keyboard with control keys, the ascii character encoding and the TTY terminal capability. We have created short-circuits that allow us to remember otherwise technical progress and computational genealogies.</p>
<p>TTY was produced in april-june 2023 as special issue 21 with guest editor Martino Morandi, and contributors Andrea di Serego Alighieri, Femke Snelting, Isabelle Sully, Jara Rocha, Roel Roscam Abbing, and Zoumana Meïté.</p>
<p><imgsrc="../images/../images/TTY.jpg"alt="An inscription performance using the TeleType Model 33 and a 40m stairwell."/><imgsrc="../images/../images/tape.jpg"alt="punchtape read-writer of Teletype Machine"/></p>
=======
<p>why shd it only make use of the tips of the fingers as contact points
of flowing multi directional creativity. If I invented a word placing
machine, an “expression-scriber,” if you will, then I would have a kind
@ -4812,6 +4938,7 @@ TeleType Model 33 and a 40m stairwell.</figcaption>
<figcaptionaria-hidden="true">punchtape read-writer of Teletype
Machine</figcaption>
</figure>
>>>>>>> 3be47b2326f6a55072c6a4851676b30f4787600e
<figure>
<imgsrc="../images/../images/stairs_concrete.jpg"
alt="A reading and writing of poetry using pedestrians and vinyl quotes." />
Public libraries are more than just access points to knowledge. They are social sites where readers cross over while reading together, annotating, organising and structuring. A book could be bound at the spine, or an electronic file gathered together with digital binding. A library could be an accumulated stack of printed books, a modular collection of software packages, a method of distributing e-books, a writing machine.
In the Special Issue 19, How do we library that? or alternatively Garden Leeszaal, we started re-considering the word "library" as a verb; actions that sustains the production, collection and distribution of texts. A dive into the understanding structure of libraries as systems of producing knowledge and unpacking classification as a process that (un)names, distinguishes, excludes, displaces, organizes life. From the library to the section to the shelf to the book to the page to the text. The zooming in and zooming out process. The library as a plain text.
Like community gardens, libraries are about tenderness and approachability. However, does every book and each person feel welcome in these spaces? Publications are empty leaves if there is no one to read them. Libraries are soulless storage rooms if there is no one to visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context.
Libraries as complex social infrastructures.
Like community gardens, libraries are about tenderness and approachability. However, does every book and each person feel welcome in these spaces? Publications are empty leaves if there is no one to read them. Libraries are soulless storage rooms if there is no one to visit them. People give meaning to libraries and publications alike. People are the reason for their existence. People tend to cultivate plants. Audiences tend to foster content. The public tends to enrich the context. Libraries as complex social infrastructures.
The release of the Special Issue 19 was a momentary snapshot of the current state of a library seen through the metaphor of gardening; pruning, gleaning, growing, grafting and harvesting. Garden Leeszaal is an open conversation; a collective writing tool, a cooperative collage 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.
During the collective moment in Leeszaal people started diving into 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.
{.full-image}
{.image-95}
{.image-95}
@ -38,9 +41,7 @@ During the collective moment in Leeszaal people started diving into recycle bins
@ -48,3 +49,5 @@ During the collective moment in Leeszaal people started diving into recycle bins
@ -38,12 +38,12 @@ TTY was produced in april-june 2023 as special issue 21 with guest editor Martin
@ -41,12 +42,11 @@ For the past year I have spoken with designers, artists and makers finding out h
{.desaturate .image-45}
{.desaturate .half-image}
{.desaturate}
{.full-image}
{.image-80}
### Licensing information
This work is free to distribute 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 [vulnerable-interfaces.xpub.nl/license](vulnerable-interfaces.xpub.nl/license){.ext}.
.
<!--  -->
@ -32,33 +32,22 @@ of a belief system involving order, structure, and rationality and I
want to break it. Removing the label is part of loosening the object,
making it avilable to transition (Berlant, 2022).
<figure>
<imgsrc="orange.jpg"style="margin-top: 95mm; width: 40mm;"alt="The Cadaster of Orange, unknown ⊞er, c. 100 CE."/><figcaptionaria-hidden="true">The Cadaster of Orange,<br/>
unknown ⊞er, c. 100 CE.</figcaption>
</figure>
<figure>
<imgsrc="Niggli-Grid-systems-in-graphic-design-7.jpg"style="margin-top: 95mm"alt="Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981."/><figcaptionaria-hidden="true">Grid Systems in Graphic ⊞, Josef Muller-Brockmann, 1981.</figcaption>
</figure>
{.image-45}
{.image-95}
{.image-95}
{.image-95}
<figure>
<imgsrc="po-valley2.png"style="margin-top: 95mm;"alt="The Po Valley, The Roman Empire, 268 BCE."/><figcaptionaria-hidden="true">The Po Valley, The Roman Empire, 268 BCE.</figcaption>
</figure>
{.image-45}
{.image-95}
{.image-45}
aglaia