User:Sevgi/Mock Assessment

x"A rough structure could be to use 10 minutes revisiting the first year

SI25 Old Telephone Hack

During the first special issue Martina, Fred and I worked on Sassie the Telephone, which was a complaint hotline based on a rotary dial T65. We hacked it so that it can record, replay and store complaints of bureaucratic failures or hacks. For this project we had to learn a lot about the hardware which was one of the most fun parts. We also designed a small registration form to create an official feeling space that surrounds the telephone.

What was really inspiring here was the hacking of an OBSOLETE object and HACKING.

SI26 <q>uilting

With Martina, we followed the guidance of Dorianne to look into similarities and differences of quilting as a culture and how does repurposing inherited materials can translate into a digital form. We read and wrote about all things dead and dear, what we get to keep and what we have to get rid of, what remains dead online, what is our actual reach, borders and borderlessness of the web,

I loved thinking about DEATH and END OF THINGS here. I was fascinated by assigning value to items and creating a communal piece with it. I loved that the error codes we got from iframes and history of the reach of World Wide Web.

SI27 Apollo's Mouthpiece

For SI27, I looked into repurposing old telefoonkaarts I got(they lent them to me) from the Telecom Museum. It was a rough process and I didn't know what I exactly wanted. I experimented with reading the cards, re-contextualising the cards, remaking the cards, etc.

I wanted to refer to future of the job market and think about how to implement care-full occupations into our future. I wanted to make a point of assigning careers and schedules to emphasise value of the care occupations. I used the cards and the Telemix I got to create a fortune reading experience where I asked people about their care routines, how much time do they spent on themselves, if other people/plants/pets rely on them, how do they like to spend their leisure/vacation time. The code broke on the day of and I ended up assigning a job I saw fit for the person myself. Which was me actually being a fortune teller, but I think no one really noticed that.

This was the most fun I have had during the first year. I loved REPURPOSING the telemix and the telefoonkaarts, experimenting with old chip technologies with Cardpeek and learning about financial history of this as well. I loved writing the job descriptions even though it was hell. I also loved learning python.

and then 10 minutes to present the proposal and the thesis outline.

⚡️⚡️RESURRECTION⚡️⚡️

“I shall die, and what I now feel be no longer felt. Soon these burning miseries will be extinct. I shall ascend my funeral pile triumphantly, and exult in the agony of the torturing flames. The light of that conflagration will fade away; my ashes will be swept into the sea by the winds. My spirit will sleep in peace; or if it thinks, it will not surely think thus. Farewell.” (Shelley,1818, p 351)

My project will be practicing resurrection of digital media/um/s. During Special Issue 26, Tina and I looked into parallels of inheritances and digital death. We discussed how living takes shape in a non physical realm. Dorianne gave us the idea to look into accessibility of iframes, pulling from public websites/APIs, borders of web through the window of iframes and discarded bookmarks/screenshots as pieces of digital death.

I found this project and thinking process really interesting. I want to explore how death can take shape and how can I reverse this process regarding digital objects(I want to make this 'object' really specific so there is an anchor but I don't know what yet).

My intention is to take multiple digital objects and piece them together to recreate something dead, revive it and observe the consequences of this revival. This can be the revisitation of an old toy, an old computer, etc. The final shape it takes, I am not sure of but it would be foolish not to say something about humanoid robots. This is not what I intend to do, my resurrection should not take the shape of a human or could not rather. I would rather resurrect a digital process/project/idea.

I want to play around with the idea of creating an amalgam of death that I want to also experiment writing copy/birth documentation for. I think the legalities of birth and copy can redefine the Machine, show its roots, examine it further.

https://hub.xpub.nl/cerealbox/~sevgi/XPUB2/cards%20tarot%20website/

https://hub.xpub.nl/cerealbox/~sevgi/XPUB2/Gunluk/

https://hub.xpub.nl/cerealbox/~sevgi/XPUB2/wiki%20workshop/

🗣️ Thesis Proposal

copy right copy left copy life copy death

I want to write a thesis about ways in which we can inject ambiguity into legal codes of copy of (digital media? jpegs? pdfs?). I want to look into the rigidity of copy legalities and see how much space is there for interpretation. Could we rewrite them so that what we create has an dubious legality? Could we let that legality go and let our work float? I am interested in researching what would be the practices or exercises of opening this up for interpretation. Could we create an artwork according to the copy law we write for it?

I think this vague legal code can also create space to explore the work itself. I am interested in how this could apply to working itself as work.

I want to explore this through creating, writing new forms; for people to fill out, for machines, for users, for uses. I want to see how this type of document as an instructive, intrusive, informative way of digging deep into the meaning of something. I think what I find fascinating is the way the rigidity of these forms and documents contrast with the emotional value of what is created out of it.

I think the rigor mortis of the documents contrast with what the documents are for, especially in the abstract digital realms.

I want my thesis to be a playful way of thinking about documents of owning, belonging and remixing digitally.

Chapter 1: Dubious Legalities: Examples of Cheating the Ownership Docs

What are contemporary examples of playful certificates? How are artists around me dealing with the strict outlines and contracts they prepare or have to sign?

Chapter 2: Working itself as work and how do we /copy/ that?

Thinking about artistic practices(especially hosting workshops) that are unsuitable for copyrights or ownership in a traditional sense. How could we rethink this sort of artwork belonging back or being sold as a commodity?

Chapter 3: How can we make our own copy's murky, exercises, practicing it with our own works

In this chapter I want to prepare protocols of speculative ownership where we play with the meaning of words of possession.

Conclusion

In conclusion, I think I will argue that there is a way OUT! And that way goes from playful disownership where we can denounce/share/getridof/sell our art/artwork/workshop. Can we make the copy document a mode of making as well as a protocol for sharing? Spoiler, yes we can do anything.

In revisiting the first year, make a selection of a particular moment or an outcome from each special issue that you find relevant to your proposed project -- maybe a moment when a key question arose, or that gave you insight about something you now want to develop further. You are also welcome to show examples from work outside of the Special Issues if you find them relevant.

The central focus of this assessment is the project proposal. Your thesis outline is an important supporting document that also serves the assessment criteria (see below)."