reorg staff

staff/SConstruct.py

@@ -1,10 +1,17 @@
-from pathlib import Path 
+import os
+# from pathlib import Path
 
-
+for root, dirs, files in os.walk("."):
-img = Path("images")
+	for f in files:
-for src in img.glob("*.png"):
+		print ("f", f)
-	# print (src)
+		base, ext = os.path.splitext(f)
-	target = img / f"{src.stem}-320x.webp"
+		if ext[1:].lower() in ("png", "jpg"):
-	# print (target)
+			src = os.path.join(root, f)
+			target = os.path.join(root, base + "-320x.webp")
 			Command(f"{target}", f"{src}", action="convert -resize 320x $SOURCE $TARGET")
-	# Command(, f"{src}")
+# img = Path("images")
+# for src in img.glob("*.png"):
+# 	# print (src)
+# 	target = img / f"{src.stem}-320x.webp"
+# 	# print (target)
+# 	# Command(, f"{src}")

staff/staff.md

@@ -3,7 +3,7 @@
 
 ## Steve Rushton
 
-[![](images/ProfileSteveR-320x.webp)](images/ProfileSteveR.png)
+[![](steve/ProfileSteveR-320x.webp)](steve/ProfileSteveR.png)
 
 Steve Rushton is a writer and editor based in Rotterdam. Rushton’s publications include *Experience, Memory, Re-enactment*, 2005 (co-editor); *The Milgram Re-enactment*, 2003 (contributing editor) *Masters of Reality* (2011). He has written essays and stories for numerous artists’ publications. He has collaborated with a number of artists and writers, including Rod Dickinson, Thomson & Craighead, Everything Editorial and Dexter Sinister. He is a co-founder of the research group Signal:Noise (2010-12), which investigated the prevalence of notions of feedback in contemporary culture. His ongoing project, a wiki entitled *The Fabulous Loop de Loop, a cybernetic discourse as read through seven feedback machines* (2020-present), builds on these interests
 
@@ -19,3 +19,39 @@ Steve Rushton is a writer and editor based in Rotterdam. Rushton’s publication
 <http://www.thomson-craighead.net/warfilm.html>  
 
 
+## Marloes de Valk
+
+![Photo by: Lichtgut/Oliver Willikonsky](marloes/SudDeutscheZeitung_portrait-bw-320x.webp)
+
+Marloes de Valk (NL) is a software artist and writer in the post-despair 
+stage of coping with the threat of global warming and being spied on by 
+the devices surrounding her. Surprised by the obsessive dedication with 
+which we, even post-Snowden, share intimate details about ourselves to 
+an often not too clearly defined group of others, astounded by the 
+deafening noise we generate while socializing with the technology around 
+us, she is looking to better understand why.
+
+She is a PhD researcher at the [Centre for the Study of the Networked 
+Image at London South Bank University](https://www.centreforthestudyof.net/), in collaboration with [The 
+Photographer's Gallery](https://thephotographersgallery.org.uk/), looking into the material and social impact of 
+the networked image on the climate crisis, with special attention to the 
+entanglements between greenwashing - the misdirection of attention and 
+efforts in tackling the crisis - and the increasing energy and resource 
+consumption associated with the circulation of networked images. Typical 
+of those in the post-despair stage, she experiments with sustainable 
+ways of publishing her findings.
+
+Marloes has participated in exhibitions internationally, teaches 
+workshops, gives lectures (a.o. at Transmediale and Chaos Communication 
+Congress) and has published articles on Free/Libre/Open Source Software, 
+free culture, art and technology (a.o. in the Contemporary Music Review 
+and Artnodes). In 2018 she was the winner of the Hash Award, an 
+international production award granted by ZKM and Akademie Schloss 
+Solitude. As a member of artist collective GOTO10, she has helped 
+develop the puredyne GNU/Linux distribution and Make Art festival. 
+Together with Aymeric Mansoux she is editor of the publication 
+FLOSS+Art, published early 2009. She is part of Plutonian Corp., La 
+Société Anonyme and Iodine dynamics.
+
+<https://bleu255.com/~marloes/>
+