View source for User:Senka/special issue 3/PTMOMNBM

Etherpad with all of the writing and speculation:
https://pad.xpub.nl/p/10-4-24MethodsProjectsThat_sm


===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 7 </span>===
'''What is it? (physical description please)'''<br>
A device (perhaps similar to a remote control or a little tamagochi) which transmits the same frequencies as mosquito devices in order to cancel out the high frequency pitches that they send out. This device could be called "Fly on the wall" as it would enable the person to loiter in anti-loitering areas without being disturbed by mosquito devices. 
The device would either utilise an arduino to transmit this counter frequency OR hack a remote control device for the mosquito device in order to operate more than one of the mosquito devices.

'''Why make it?'''<br>
Mosquito devices are installed to prevent people from congregating or hanging out in groups. By design, they affect younger people more, and are used to prevent the use of public space and the creation of third spaces. They enable neighbours bothered by noise to have no interaction with the producers of noise but to just apply a techno-fix which reduces the use of public space. 
With the "Fly on the wall" device, one could temporarily disable the relentless pitch of the mosquito devices and reclaim the right to loiter in public.

'''Workflow'''<br>
* Consult with Joseph
* Decide whether to utilize arduino or the remote control of mosquito devices.
* Create a more adequate schedule after this

'''Timetable'''<br>


'''Rapid prototypes'''<br>


'''Previous practice'''<br>
Experimenting with soundscapes and narrative-building with them, as well as collectively creating installations which can be activated and played by visitors.

'''Relation to a wider context'''<br>
Politics of the use of public space (or lack there of in a non-commercial setting)

'''Feedback'''<br>

===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 6 </span>===
'''What is it? (physical description please)'''<br>
A zine about the relation of public and private for queer bodies and practices. To be made in collaboration with friends from Belgrade. This zine would contain our conversations about these spaces, how we move through them and the differences, as well as the indoctrination we've been raised with that being queer is alright in "your own four walls", when in reality thinking of private space as a safe space is an illusion.

'''Why make it?'''<br>
To actively start a collaboration with friends that we've been meaning to for a long time, as well as use the space of a zine as one of reflection and conversation. Additionally I would like to play with different formats, pace, and binding. Besides this I think it would be a good place to reflect on my practice of doing "domestic drag" or drag at home, while not venturing to bring that practice outside in public space.

'''Workflow'''<br>


'''Timetable'''<br>


'''Rapid prototypes'''<br>


'''Previous practice'''<br>


'''Relation to a wider context'''<br>
Queer discourse, more urgent in Serbia.

'''Feedback'''<br>
________________________________

===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 5 </span>===
'''What is it? (physical description please)'''<br>
A first person POV video made from the perspective of a lens that's out of focus. The video is supposed to look like, or closely resemble how I see without a visual aid (glasses or lenses). It would be made for the sonic piece of composer Teoniki Rozynek which speculates on looking through a keyhole and finding horror scenarios on the other side of the door. In some ways both the visual and audio are about the thresholds of vision and the perceivable.

'''Why make it?'''<br>
To experiment with visual storytelling and low resolution, blur and other obstructive visual perceptions in an age where the HD image is glorified.

'''Workflow'''<br>
1. Sketch storyboards. 
2. Make model in blender.
3. Film walkthrough.
4. Consult with Teoniki.
5. Pair with sonic piece.
6. Send out to festivals?

'''Timetable'''<br>


'''Rapid prototypes'''<br>


'''Previous practice'''<br>
Making models in Blender, thinking about the role of low-poly images, resolution, lack of sight, the technology behind visual aids, the embodied knowledge of using visual aids and trying to operate without them.

'''Relation to a wider context'''<br>
"In Defense of the Poor Image" by Hito Steyerl.

'''Feedback'''<br>
________________________________

===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 4 </span>===
'''What is it? (physical description please)'''<br>
An web oracle based on my doll pioneer girl keychain from former Yugoslavia. The keychain I have is getting more and more eroded as I carry her along with me: she is a testament of a rapidly disappearing history. 
The digital oracle version of her, once clicked on or asked a question, would spill out a real or fictional fact about former Yugoslavia. She would be modeled and animated in the open-source 3D modeling software Blender, and embedded into the web using three.js. The oracle questions and answers would be done either using javascript or python.
She I haunted (like all of us).

'''Why make it?'''<br>
To experiment more with fiction, memory, and playful web experiments. As well as to finally learn how to model and rig (give armature to for animating) characters in Blender.

'''Workflow'''<br>
1. Physical sketches and photographs of the keychain imported into Blender. 
2. Sculpting, modeling, adding lights in the software. 
2.5 (Perhaps doing a 3D scan of the keychain for the texture, or microphotography, or just mimicking the texture in Gimp or something).
3. Doing a test version with java-script based on a previous prototype I had made.
4. Figuring out whether a question and answer version would be necessary and how to orchestrate that with python.

'''Timetable'''<br>
2 weeks for modeling and animating.
2 weeks for the embedding and coding.

'''Rapid prototypes'''<br>
<gallery mode=packed heights=200px style="text-align:left;">
File:Pionika screenshoot 1.png|alt=Process oracle doll|Texture painting final
File:Pionika screenshoot 2.png|alt=Process oracle doll|Texture painting gone wrong
File:Pionika screenshoot 3.png|alt=Process oracle doll|Texture painting, many mistakes
File:Pionika screenshoot 4.png|alt=Process oracle doll|Wireframe of the model, process
</gallery>

[[File:Pionika screenshoot.png|400px|thumb|alt=Pionirka modeling screenshot |Early modelling based on the reference ]]


'''Previous practice'''<br>
Blender is my one and only true love.
Jokes aside, previous practice includes a lot of examination on how narrative is formed, where the line between fact and fiction lays and how cultural memory is transmitted and misconstrued. 
Projects which delved into similar themes are: 
* Momentary Lapse in Memory, an examination of memory during times of conflict
* Balkan Futurism/Stay (a)Stray, a choose-your-own-adventure game about the implications of future balkanism and land segregation

'''Relation to a wider context'''<br>
This relates more to my wish to create more agency in reading and make small web projects that embrace interactive fiction, or fiction that depends on the user's interaction. 
It connects to small yet meaningful examples of 'poetic web', and would fall into similar waters as a lot of project I've seen features by Naive Weekly (a newsletter about small poetic and weird web). Additionally I think there kind of efforts could possibly be classified as net art, perhaps.
* Connects to Dubravka Ugrešić's essay ''Confiscation of Memory''

'''Feedback'''<br>
________________________________

===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 3 </span>===
'''What is it? (physical description please)'''<br>
A website for a type foundry and design collective that I am working on with a network of queer friends from Eastern Europe. This webpage would be the hosting place for collective and individual projects as well as a place where we can share fonts made to fit two scripts (Latin and Cyrillic). (Since the fonts will be free and open-source, we will have a donation option.)
Ideally, this website would also be a place to host some playful web experiments that concern the collective, as well as our shared notes, plans and connections.
The website would be multilingual.

'''Why make it?'''<br>
* Practically, because there are not enough fonts (especially not experimental ones) that support both of these scripts and are free and open source.
* Because there is really little visibility of collectively run queer projects in the Balkans, especially not in a typographic, design or print-making context.
* To improve my coding and design skills regarding web-related endeavors, and possible include more playful elements in there that go beyond just a colelctive portfolio website.

'''Workflow'''<br>
* Meet with members of the collective and decide on a working name for us (out of the ones we have already proposed or a new one).
* Decide on task division and which things will be done collectively and how.
* Start doing the HTML&CSS of the webpage, keeping in mind all of the different categories or types of information it needs to facilitate. Work and collaborate (most likely) on the design and content with the other members.
* Meet again with everyone once you have a working prototype, discuss, refine...
* Ultimately publish in a working stage.
* Search of allegiances with possible other collectives in the region.

'''Timetable'''<br>
* Initial meeting: 2-3 hours (with a break)
* 2 weeks to work on prototyping
* Meeting back to discuss for 2h and plan a working session of half a day to refine.
* Working session (during a weekend) where we refine and publish.

'''Rapid prototypes'''<br>


'''Previous practice'''<br>
I studied graphic design and was and still am dissatisfied by how individualized the discipline is. 
I host and organize reading sessions that are aimed at collective learning, aside from that most of my practice is with collectives and initiatives.

'''Relation to a wider context'''<br>
Inspirations are Velvetyne, an association and collective dedicated to researching and disseminating typography and typeface creation (https://velvetyne.fr/), and BADASS LIBRE FONTS BY WOMXN, a collection that aims at giving visibility to libre fonts drawn by womxn designers, who are often underrepresented in the traditionally conservative field of typography (https://www.design-research.be/by-womxn/). Yet both of these initiatives are focused on the Latin script, and with that speak to only a certain context and geography (with the West at its epicenter).

'''Feedback'''<br>
River: Exploring the geopolitical aspect of these foundry (the boundry regions and countries), as a lot of country in EE also use the latin script or both latin and cyrillic.
Wang: Voices the struggle with font support. Will you want to make publication, or do things in other format than websites?
Rosa: Possible elective at the academy? 


===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 2 </span>===
'''What is it?'''<br>
A project that is possibly: 
* A place of recollections of queer histories from eastern Europe (especially during socialism+communism). For this option of I would interview elderly people more.
* A place where fictional stories of the past (and possibly future) can be places and browser through.
* Researched by conducting interviews in drag. Why make it? Because in many eastern European countries, queer people are being treated as an import from the 'rotten West', instead of a community that has existed in different forms there for as long as these settlement have existed. To experiment more with drag, since it's been a thing I've been doing in the privacy of my own home. I often write about embodied knowledge, but I do not perform embodiment through research, and I wonder how this will impact my interviewing practice.
* Play between the considerations of public and private

'''Workflow '''<br>
1. Create an array of drag looks for different interviews (perhaps through sketching + a random code picker which chooses different makeup component for eyes, lips, eyebrows etc).
2. Contact queer activist and artist initiative to see if interviewing would be possible
3. Conduct interviews
4. Find a way to show this as an output: installation?

'''Timetable '''<br>
First do a trial interview with friends on the weekend. 2 days sketches and choice maker for the look and preparing interview questions, 2h makeup, 2h interview.  

'''Rapid prototypes '''<br>
Make sketches and the random choice picker.  

'''Previous practice '''<br>
Trauma-informed interviews are ones which I have already explored in previous projects, and it would be nice to further delve into that.  

'''Relation to a wider context '''<br>
The wider context is the social context of this topic, and the urgencies of addressing this in times when discrimination is become worse.. Quite literally queering a trauma-informed interviewing practice  

'''Choices made '''<br>
This is different from my previous work because i so visibly step out there in drag idk
{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
Feedback:
    - reminds of chatroom with a different make up kit. 
    - papercut-out dolls that you put clothes on
    - interviewees deciding on how the interviewer comes. (the hierarchy is skewed, + the vulnerability of the interviewer + them maybe being reflected in how they choose the interviewer to look)
    - Renate Lorenz - Radical Drag - Queer Art 
    - https://www.istanbulqueerartcollective.co.uk/bio
    - Afrofuturism
    - Octavia Butler
    - Drag Sandwich collective 
 </pre>
|}


===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;"> Proposal 1 </span>===
'''What is it?'''<br>
A 3D web to print comic, that would make use of user interaction to be printed/published into a different (side of) a story each time. 

'''Why make it?'''<br>
To experiment with nuanced storytelling, that offers different 'sides' of a story. To allow for stories that might not be able to be told in a coherent, linear, typical way. (Honestly to offer space for storytelling of brains that have been drastically rewired by difficult life event and as a result, just tell stories differently)
Additionally, it is a good change for me to further play with and explore the possibilities afforded by web to print and iterative or interaction dependent publications.

'''Workflow'''<br>
1. Sketch the story (start from the visuals) 
2. Add text 
3. Make it in Blender
4. Embed it on the web
5. Add CSS
6. Use Weasyprint to code the publication framework (there can be different CSS styling that is pulls from depending on the frame that the story has been turned to)
7. Test it!

'''Timetable'''<br>
How to make this in 1 week?
Keep the story simple, it can be about a deformed shape (not a lot of modelling required). Lorem Ipsum or other placeholder/simple text. 

'''Rapid prototypes (scratches)'''<br>
Make a 2 panel comic which has multiple views about a shape which is deformed
http://senkamilutinovic.com/deformed-shape.html
<gallery mode=packed heights=150px style="text-align:left;">
File:Comic-test.png|Landing view, cube only visible from one side
File:Comic-test1.png|Rotating around the cube to see multiple sides
File:Comic-test2.png|Printing the result
</gallery>

'''Previous practice'''<br>
I guess it relates to my previous practice of queering comic making (something that used to be the core of my work but was discouraged by Dutch design practices), as well as to previous projects in which I was working around the topics of trauma driven thinking, traumatic memory patterns in how stories are told and connections made.

'''Relation to a wider context''' <br>
Relates to any practice which thinks about storytelling, providing information, and the affordances of certain mediums (in this case comics).

'''Choice made''' <br>
This is different from my previous work because it explores the user being able to take away a changeable publication.

'''Resources:''' <br>
From myself:
* Shintaro Kago - Abstraction (comic)
* Richard Mcguire - Here (comic)
    
{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> Feedback:
    - rubics cube story (good analogy)
    - how to access the data of continuity (would the model save where it is once it's refreshed) (also how to access the angles with weasyprint)?
    - thinking from the perspective of storytelling - would it be random, would they understand the effect of what they're doing? a comic does not have to have text at all (which might simplify things) while still retaining narrative. 
    - thinking about people understanding the story and their influence
    - fixed source or not (perhaps text can be inputted by the audience?)   </pre>
|} 
    
    
===<span style="font-family: Helvetica; color: white; font-size: 18px; background-image: linear-gradient(180deg, white, red); padding: 5px;">Resources for the reader</span>===
{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> Instructions: 
- Pick 2 or 3 references (they are not fixed or set in stone, don't spend too much time picking the best references)
- Write a synopsis (even if you haven't read it yet)
- Why this is important to you </pre>
|}  
 
'''Istanbul Queer Art Collective''' 
Work: JUST IN BOOKCASE <br>
Synopsis: A work that creates postcards, memories, memorabilia to the books in their bookcase, as books are the first thing one leaves when they are fleeing since they are heavy—"the biggest furniture of the house". <br>
It is made by the Istanbul Queer Art Collective, which craates live art and sees the documentation of performance as an art form of its own. The members, Tuna Erdem and Seda Ergul, use concepts from queer theorists such as Jack Halberstam ("the queer art of failure") and Renate Lorens ("radical drag") as guiding thoughts behind their work. <br>

Why is it important to me: This collective deals with topics I have an interest in from the perspective of embodied experience, as well as because of the research I have done on memory. <br>
	
''' Renate Lorenz Queer Art: A Freak Theory''' <br>
Synopsis: A book which reads into visual art through the lens of queer theory, post-colonial theory and (dis-)ability studies. It proposes three terms radical drag, transtemporal drag, and abstract drag. 

Why is it important to me: Because queer theory has allowed me to live a life of radical acceptance. I am interested in how topics highlighted in queer theory could have real life consequences on currents of activism and daily life. (As well as how they could rippple or be represented in work, Since theory (even the queer kind) is often not accessible to most people). Especially the paraphrazation of Muñoz about "drag propos[ing] images in which the future can be lived" sound like it connects deeply to my practice regarding fictioning as a way to bring about new realities into the future. <br>

''' ☽ Apoorva Tadepalli ''Dream City'' ☽ ''' <br>
An article discussing cities, the Situationist movement, derive or drift, intimacy in a city and between strangers living in anonimity, "fixed points", neutral zones and ghost spaces, not advocating for more leisure time compared to more work time, but a third: more free time, which include neither of those. It explains how the Situationist's methods were used to go through the city, and the urban planning which designates spaces for either work or leisure, wanting to completely topple these categories and go through the city with the notion of free time. <br>
{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
Louki embodies the Situationists' need to create a new, more honest map of the city; one that reflects experience and memory rather than a unified plan.
|}  
{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
I have always loved the saying about not airing your dirty laundry in the public: causing discomfort by mixing your "private" and "public" affairs. But it makes you wonder what we mean when we talk about dirty laundry. Can there be anything resembling intimacy without it?
|}
'''Why is it important to me:''' <br>
Offers a different way of navigating through the city and talk about free time, or time not designated to be spent doing something, whether it be working or resting. This closely connects to the concept of bleja in Serbian, which was the quintessential mode of hanging out in public/third spaces/liminal places where I grew up. No hosts, no activities to be done and no obligations to meet, there were known spots to meet and an insistence of spending time together and allowing for the passage of time without being anyhow productive. The Situationist's notion of free time is quite similar in some respects, yet it focuses on movement and discovery. <br>

Link: [https://strangematters.coop/cafe-of-lost-youth-modiano-review/] <br>

'''☽ Estraven Lupino-Smith ''Morality Cuts: Uncovering Queer Urban Ecologies '' ☽ ''' <br>
An article about wild spaces (or spaces less used by people) and the meddling of nations and government bodies to redefine what 'wild' is from untamed and frightening to untouched and tranquil, in an effort to build national myth. The execution and building of this myth in an urban context has been termed ''morality cuts'' by Montreal mayor Jean Drapeau. They cut down trees and bushes to prevent “perverts and alcoholics” from using the park. <br>
The piece talk about how these "wild" spaces are often used as cruising sports for queer people, and are being perceived as frightening for a heteronormative crowd. <br>

{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
I have come to realize that some of the places where urban coyotes can thrive without detection and queer folks can hook up are the same. We share these spaces because they both need the wild within the city. It’s a wild that exists in the places and spaces that are liminal, nestled in-between the order of the developed urban landscape.
|}

{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
Through this conception, the woodlots, brownfields, and the public park are an extension of settlement, not the absence of it. They are defined as wild because of the colonial notions about space. Leisure and the way nature is to be interacted with is designed, with particular ideas about what the outcome should be. The public park is also a place of powerful imaginaries about land and nation. Canada as a nation markets parks and the great outdoors as part of its identity. The very establishment of space as a park is a part stripping the wild from it. When the peaks of mountains are a place to ski and enjoy vistas, the wild is tamed into something that is mobilized for a settler imaginary.
|}

{| width=70% align=center
|<pre style="border:1px solid black; background:#FF9D9D; color:black;"> 
When it comes to wild spaces, settler notions place one of two uses: site of exploitation for the production of wealth, or site of leisure that is groomed and maintained.
|}
'''Why is it important to me:''' <br>
Examines the disappearance of wilderness. I've grown up in a post-industrial zone next to the largest forest in the city, abandoned factories, and the nature reclaiming all of that concrete were the norm. These spaces were later taken up by groups that exist on the margins of society. <br>

Link: [https://gutsmagazine.ca/morality-cuts/] <br>