https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Special:NewPages&feed=atom&hideredirs=1&limit=100&offset=&namespace=0&username=&tagfilter=&size-mode=max&size=0XPUB & Lens-Based wiki - New pages [en]2024-03-29T05:37:55ZFrom XPUB & Lens-Based wikiMediaWiki 1.38.2https://pzwiki.wdka.nl/mediadesign/Var_kitchenVar kitchen2024-03-27T14:02:10Z<p>Michel W: /* ⭑Parallels between ingredients and feminist data centers/servers */</p>
<hr />
<div>=⭑The Greasy Chip⭑=<br />
<br />
---> Start cooking [https://hub.xpub.nl/chopchop/~chef/kitchen/intropage.html here], have fun!<br />
<pre><br />
<br />
⊹ . * . <br />
⊹ *<br />
P o p - u p r e s t a u r a n t @ F e m i n i s t D a t a C e n t e r <br />
______ ____ __ ___ ____ __ __ _ __ _ _ ___ <br />
| || |_|| |_ / /`_| |_)| |_ / /\ ( (`\ \_/ / /` | |_|| || |_)<br />
|_||_| ||_|__ \_\_/|_| \|_|__/_/--\_)_) |_| \_\_,|_| ||_||_| <br />
<br />
* . * o . | <br />
. __ . - O - ⊹ ( )<br />
. .+ ( ) ⊹ | * <br />
__ ( _)<br />
( ) o .+ ( ( ) . ⊹ .. ⊹<br />
( ) ,-. ) ( ) o _ <br />
( ( ,-''''')_( ```-.,' ) ( . * o . <br />
`-( ) ) ( ⊹ <br />
__|`-..._______...-'|__ ( ) *<br />
[=== |==] _______ __,.--. <br />
| |__,-_''.------.``_-.-''__,.--'<br />
| | (( ))-' /|<br />
| | \`-...______...-'/ / / |<br />
`-..._______...-' `-...______...-' / / | <br />
/ /`- ,-----. -' `- ,----. -' / / |<br />
/ /___________________________________/ / |<br />
`---------------------------------------' |<br />
| _________&#11089;var kitchen&#11089;__________| <br />
| | - - - - - - - - - - - - - - - - | | |<br />
| |___-_-___-___-_-___-_-_____-_-___| | |<br />
| (___________________________________) |<br />
| | - - - - - - - - - - - - - - - - | |<br />
| | - - - - - - - - - - - - - - - - | | By Chef Michel, Riviera, Wang<br />
<br />
The var kitchen"The Greasy Chip," a pop-up restaurant where you can experience our delectable recipes. <br />
We strive to interrogate the terms of serving and service through acts of hospitality.<br />
Feel free to take a zine and started to explore the adventure! If you are starving, we have our <br />
special dish - Chickpea curry!<br />
<br />
</pre><br />
<br />
==Description==<br />
<br />
/var/kitchen, otherwise known as The Greasy Chip, is the kitchen in this feminist data center which traverses the digital and physical. We have our content page on the webquilt, as well as zines and some food to takeaway. To visit /var/kitchen is to embark on a culinary journey. <br />
The digital cooking experience takes place through the web interface. You are welcome to experiment with applying different preparatory methods to different ingredients. On the one hand it is possible to relocate items from inside the fridge. To interact with the filesystem, move ingredients from the fridge to the bin or stove directories with the 'mv' command. On the other hand, it is possible to cook a chickpea curry recipe from inside a python interface. You are encouraged to figure out the key words for cooking the recipe by deciphering the method in the digital Zine. Don't worry if you get stuck, the secret steps for making chickpea curry are located at the end of the Zine. <br />
The zine itself draws parallels between ingredients in the recipe, feminist servers and data centres. <br />
For example, tomatoes are analgous to web servers, whilst chillies are like firewalls and onions are like VPNs. These ingredients are made of ascii art and there are discriptions below when you read the zine. Moreover, we have printed copies of the zine and the webquilt is accessible over the internet. If someone is busy cooking, we invite you to join them in making something together. Technically, The Greasy Chip is made possible thanks to a variety of Free / Libre and Open Source Software. For example, Xterm.js, a javascript library for making TTYs. As well as the Nginx web server, the linux background task manager (Systemd), various Web-languages and Python.<br />
<em>And remember to keep an eye on our head chef, the printer in the corner.</em><br />
<br />
* Original idea pad: https://pad.xpub.nl/p/Kitchen<br />
<br />
==Python game==<br />
<br />
==Terminal file system==<br />
<br />
==Cooking Zine==<br />
<br />
===Concept===<br />
<br />
<br />
===Content===<br />
<br />
====⭑Ingredients====<br />
<br />
* 2 tbsp oil<br />
<br />
* 1 diced onion<br />
<br />
* 1 chopped chillies<br />
<br />
* 9 cloves of garlic<br />
<br />
* 1 thumb-sized piece of peeled ginger<br />
<br />
* 2 tbsp tomato puree<br />
<br />
* 1 tbsp ground coriander<br />
<br />
* 2 tbsp ground cumin<br />
<br />
* 1 tbsp garam masala<br />
<br />
* 2 x 400g cans of chickpeas, drained 400g chopped tomatoes<br />
<br />
* 100g creamed coconut<br />
<br />
* 100g spinach <br />
<br />
<pre><br />
<br />
("`-/")_.-'"``-._<br />
. . `; -._ )-;-,_`) Let's start cookingggg!<br />
(v_,)' _ )`-.\ ``-'<br />
_.- _..-_/ / ((.' :)<br />
((,.-' ((,/ <br />
<br />
</pre><br />
<br />
====⭑Methods====<br />
<br />
<ol><br />
<li>To begin, heat some oil in the pan along with the onions and chillies. Ensure to stir the pan.<br />
<br />
<li>Combine the peeled garlic, ginger, pureed tomatoes and leftover oil in a blender along with the contents of the pan. Season with the herbs, spices and salt before blending the ingredients into a smooth paste.<br />
<li>Heat the contents of the blender in the pan and stir. Cook for a couple of minutes.<br />
<br />
<li>Add the chickpeas and tomatoes to the pan. Stir and allow to simmer for five minutes so that it can reduce.<br />
<li>Heat the coconut in the pan for five minutes, maybe with a splash of water. Mix in the spinach and allow to wilt.<br />
<br />
<li>Garnish with chopped coriander and a squeeze of lemon, dish up and serve with dhal or rice.<br />
</ol><br />
<pre><br />
(\ <br />
\ \<br />
__ \/ ___,.-------..__ __<br />
//\\ _,-'\\ .:.. `'--._ //\\ <br />
\\ ;' \\ .::: ...:--. `: //<br />
`( .:::: \\ .:.. )'<br />
:. .:. \\,----, -=:. ,;<br />
`.`--.___ ( / ___.--','<br />
`. ``-----'-'' ,'<br />
-. ,-<br />
`-._______.-'<br />
</pre><br />
<br />
====⭑Parallels between ingredients and feminist data centers/servers====<br />
<br />
<pre> <br />
<br />
.:=*+=.<br />
.:-====++=.<br />
..:-=-=+=-:... Recipe --- Server<br />
...=#%%%%%%@@@@@%*:.. ..-+=--+-. <br />
.:=#%###****####%%%%%%%%%%*========. <br />
.-#%##*+=------====+++****##%%%#-=+:. The feminist server is a shared digital space for information, <br />
.=%##*++==------===-----=+++**#%%@=.. communication, meeting and gathering. <br />
.*##*+++++++*************++++**##%%: <br />
.=#**++++**++++*+***********++**#%%. <br />
.-=**++++++++++++++++++++*******#*-. <br />
.=#*+++++++++++++++++++++++**++++. <br />
.-#%%#**+=+++++++++++++==+**##=.. <br />
.:#%%%%%%%%%%%%%%%%%%%%##%+. <br />
.:+#%%%%%%%%%%%%%%#*+:.. <br />
..:---==--:..... <br />
<br />
</pre><br />
<br />
<pre><br />
..:.<br />
...:....<br />
...........<br />
.:-.. ..::..........: <br />
.:=-::..........::-::<br />
.::=:.......:::::::..<br />
.... ...+-..::::::... Oil ---- SSH <br />
+**+-... ...-+=-:::.. <br />
...-*%#=:.. ..:==+-. <br />
.:+##+-:... .:===. These ingredients find an affinity as essential for smooth <br />
.:-+##+:.. .--:. operation. Oil serves as a lubricant, ensuring the seamless <br />
.:**:... :.:. processing of dishes, while SSH (Secure Shell) acts as a <br />
.-=-:.............:. . channel for remote access and management of web servers and <br />
.:--....::-====+=++-:::. systems. <br />
.=**++++*****##**++*=. <br />
..:=+*##%%#####*-.. <br />
.:-..:. <br />
:.:. .. <br />
:.: <br />
.:. . .<br />
</pre><br />
<br />
<pre><br />
<br />
. <br />
=%##=- <br />
*%%%%#- <br />
=*#####- Onion --- tinc<br />
.=*#%%%###-. <br />
.:-=+*+*#######%#*=-: Much like an onion with its concentric layers, <br />
:=+*####*#####***#%%%##*-.. Tinc is a Virtual Private Network (VPN) software that operates <br />
******####%%%##**++***##=:.-% by creating encrypted tunnels between nodes. <br />
==+=--=-=::--:=:.. ..:-::::===*#*: <br />
*****=::=--:::::=:.. ...::..::-==-=*: <br />
:+***=-=--::-::::... ...:...::-=-===*: Each layer of encryption adds a level of security,<br />
=**====-::::::::.. ..... ..:--:=:=:*: similar to how the layers of an onion provide protection<br />
.+====-:::::::.. .... :.::-:-:-:+- to its core.<br />
.:-:::::::.....::.... ..::::::-==**+. <br />
..:::---:::.:.-:... ..:::::--=*##*: <br />
...-==::::.::.. ..::::-==+#%###*: <br />
...::=-:..........:::::-==*%%%%#*=. <br />
...::-*:::::::.:----=*%%#%%##*=:.. <br />
....::::--=+**##%%%%##**+=-::... <br />
..::::::--======--:::.. <br />
.......... <br />
</pre><br />
<br />
<pre><br />
<br />
.. Chillies --- Firewall<br />
.-: <br />
.-. Firewalls can provide an extra amount of security for <br />
--. servers. They are, for some, a deterrent and for others <br />
:+*+=-==: a welcome feature.By allowing and denying communication <br />
. .=*#%##**+-. on specific ports, a restricted environment is ensured.<br />
=#####*+=:. .:=+*#%####%%##*==*: <br />
.=##########%##**################**: <br />
:=*#%%%##%#############***+: <br />
.-=+*********+=:. <br />
<br />
</pre><br />
<br />
<pre><br />
-- - -+ Cumin --- Encryption<br />
---++---++ <br />
-- + +++++++ ++ - --- <br />
+++ ++++ +-#+-++++++- +++++ + Just as cumin adds depth to a dish, encryption adds complexity <br />
-- +++--++++++++++-+ and security to data stored and transmitted within the <br />
- ++++++++++++++++++++ feminist server. <br />
-+-+----+++++++++++++++++ --# --- <br />
+++++++++++++++++-+++++ +# + <br />
-- +++++++++++++++++++++++---++ Cumin, however, is not illegal in some countries! <br />
-++++++#+++++++++++++ + <br />
---+ ++++++##++++##+- + - <br />
-- -- -+++++++++++-+++++--++++ +++ <br />
+ --+++#--+++-+ +++----- <br />
-+# +# +# <br />
</pre><br />
<br />
<pre> <br />
<br />
717133 <br />
7771123 <br />
7771123 <br />
111122 Garlic --- Systemd<br />
1111351 <br />
713133551 This is a system-wide daemon manager for Linux. <br />
133333332237 It is responsible for running services in the background.<br />
13333333333333331 Systemd can run websevers, vpns, custom code... <br />
711133332333333333313331 It's versatile and thoroughly necessary.<br />
711777111133113111133333133331 <br />
71777777777171111111111333333333331 <br />
71777777777777711131111711332333131337 <br />
7177 7777 777 77131311771333333111133 <br />
177 777 77 771313117771133333131337 <br />
177 77 77 77111177777133222331331 <br />
177 7777 77 7711117177713255533332 <br />
717771777777777 77111117777713255523327 <br />
7311317777777777111311777771354455557 <br />
73333111111111333331111113246642377 <br />
7333333333333233333335444523317 <br />
77771111113313111111777777 <br />
<br />
</pre><br />
<br />
<pre><br />
<br />
...... <br />
.::::::::... ............ <br />
.--=::::..::::........:::..::..:::::. Ginger --- Root <br />
.::::::::::::::.::::::----:::::---==. <br />
.---=--:::-:::::::-----*=-----=-=++. Feminist servers have been known to grant all users root<br />
.-==---::.::::::------##+====+=+=. privileges in order to democratise the interactions on the <br />
..:--:::::-:::-:--=-::.::-::-------. server and allow opportunities for learning. <br />
..====+******-----:--:..:::::::::. Becoming root, which is possible in several ways, <br />
..:::::::::::::::-=---:::::::--:. is to position oneself at the helm of the server.<br />
..-::::::-+=----:--:.. <br />
..:----:......... <br />
<br />
</pre><br />
<br />
<pre><br />
<br />
.:;+++++;:+.. <br />
:;;;+++x+++xx+;;;:. <br />
:;::;++++xxxXX++;++xxX+: Tomatoes --- Web server <br />
:;;;.;+++xXXXX$X+x+++++++XX. <br />
+XX+++;;;++++;+++;++++++xXXXX+ Just as a tomato forms the core of many dishes,<br />
:+xxX++;;++xx+++++x++;;;;;+XX++:;;::. a web server acts as the backbone of online communication <br />
:;+XX++++++XXXx++XXx+;;;++;;;;;;;;;;;;;;;. and information dissemination. <br />
:;;xxx++++xXXXXXXXXX++;;;;;++;;;;XXx+;;;;;;; Both are essential components that provide <br />
.;+++++++xxXXXXXXXXX+;;;+XXX+X;;+X+XXXX+;;;++. substance and sustenance.<br />
:;+++++xxxxxxXxxXX+;+Xxxx+;:X;:;+.:+X+;;;;;;+: <br />
.;++++xxxXXXXXX;;;;;;+;;;::::::::;;::++X+;;+: <br />
.;xXXXXXXXX++;;XXx;::::::::::::;++xxXXx;;+; <br />
:+XXXXXX+;;;xXXX+;;;::+:::xx+;;;;;;++;+: <br />
..:::;;;;;;;;;:;+X::xX;::::;XX+;;;;++; <br />
..:::;;;++;;;;+XxX;X+;;+:+xxXXXx;;;;; <br />
..:::::::;+;;;;::;;;+;;;;:;;;;;;. <br />
....:::::;++;;+;;;;;;;;;;;;:.. <br />
.....:::;++++++++;:... <br />
........... <br />
<br />
<br />
</pre><br />
<br />
<pre><br />
<br />
-++++++++++++++-------------......................<br />
--------------------..............................<br />
...----......--.......-....---------++++++++++++++ <br />
...............----................--+++++++++++++ Chickpeas --- apt<br />
............--------..+-..-.--.--......-++++++++++<br />
.........----.--........--+.-----+-.......++++++++ The parallel between chickpeas and apt<br />
.......------++-.-.--.-...--+#+--------....-####++ ( Advanced Package Tool)<br />
......---.-+++..-+..----.--+#+++++-----++-...+#+-- lies in their roles as essential components that <br />
.....---+-......-------.--++#+++---##-------.-#++- facilitate growth and development within their <br />
.....--++----+++--#+--++----++.-----++-+++++..+#++ respective domains. <br />
.....-----.....--.-----..-+.--++#+-+++--++++..+###<br />
.....-+--+#----++-+++-++-++--++--+--++++-++-..####<br />
......-+---..--.--+-.--+-..--++++-.-++-++#+..-####<br />
....-+.-+--++.-+-#+++---+--+#+--+#+.--#+++-.-####+<br />
....-++..+#+---+-..--+-+-.-+..-++++++++-#-.+######<br />
....-++++..++------++#++++--+--+#---+##--+#######+<br />
....-++++++-..-+--+#+--##------+#+-----+#########+<br />
.....++++++++---...----+-----...----+###########++<br />
......-++---------++----------++++++++++++++++##++<br />
..........-+++++++++++++++++++++++++++++++++++++#+<br />
<br />
</pre><br />
<br />
<pre><br />
<br />
####%#-#*#####**++++++=+==*##*********************<br />
###*%#-++**+*+++++++*++-::-*%%%#####*************#<br />
#*####:=**++=++++++++=::::::-#%%%%######*********#<br />
###*##:=**++===+====:::::::::--%%%%%######*******# Coconut ------ Text editor<br />
#**###-++**+===++=-:::::::::::--=%%%%%#####*******<br />
####%#-+**+==+=+=::::::::::::::---+%%%%%#########* Coconuts are not everyone's taste.<br />
######-=++++=++::::::::::::::-:::---+%%%%%#######* However, they are paramount for ensuring a creamy <br />
######-+***++-:::::::::::::::--:::----*%%%%%###### texture. Likewise, people have different text editor<br />
######-+*##+:::::::::::::::::::---::----%%%%%##### preferences.<br />
######=+*+:::::::::::::::::::::--:-------#%%%%####<br />
######=+***:::::::::::::::::::::-------+%%%%%#####<br />
######=**###+#+:::::::::::::::::------==#%%%%%####<br />
##*##%+*#**+##**+:::::::::::::::----%%%##########=<br />
##*###*#*######***+::::::::::::---%%%#############<br />
*#####+*#*#####**###=:::::----+%%%%###############<br />
######+##*###########*=::::-+%%#%##############%%%<br />
######**#######%####*###=-=%%###%%%########%##%%%%<br />
<br />
</pre><br />
<br />
<pre><br />
<br />
.::. <br />
:====-: .:-==--. <br />
.======--. .:===+++*+- Spinach --- Aliases<br />
:====--=-=----==++*****+: <br />
=*+===========+***#***++==. Aliases are useful substitutes for lengthy commands<br />
:**++==+++==++++**==+++++==:.:: which are difficult to remember or cumbersome to type. <br />
..:+***++**++*+****+********+=++- They might be deployed in order to foreground the default <br />
...=+==****+*##*++**#**##****+*#**: terminology of the command line. <br />
:-==+***++***%%#*+++##%%###**+##**- In some shells there is a dedicated file for aliases<br />
::=+**++**%%%#**+*%%%###****==== but it's optional.<br />
:===++=***%%%****#%********++*- <br />
-+====+**#%**#%##***++=*##* <br />
.=*+=+******%#%****++*##* <br />
:==**+***##%#*****#**= <br />
:++**+==*##*#%***=. <br />
-*+*+===***#***+: <br />
.:***+===*%###*=: <br />
:+*******#*#*: <br />
:===++*#+****: <br />
:-====*%***+*- <br />
::-==+**+=+=+:. <br />
:---==+==-===: <br />
.:::--==::=-:. <br />
.:::::::::... <br />
..... . <br />
<br />
</pre><br />
<br />
<pre><br />
<br />
:......:::::: <br />
-:.::::::::::::--:. Lemon Juice --- Availability<br />
#**#-:::::::------------== <br />
*#####*:::------------==+****#**+ +* Lemon adds a burst of tangy freshness to dishes,<br />
*#######----------============-::-=+**++# the availability of a feminist server injects vitality <br />
++***###---------========+-:..::::::::- and dynamism into the digital landscape. <br />
@@@@###+.......:-======-:::::::::----:+** It serves as a platform where marginalized voices can <br />
:..:::::--:.:==+=:::::::-----====-### be heard, be exchanged, and activism can flourish. <br />
..::.:::::--::-=+:::::-----========#### <br />
..:::::::----::-=::-----===========+##### <br />
=.::::::.-----::===----=============*##### <br />
=.:::::::--:-::-==+=--=============+@##### <br />
..:::::::--::-===%=-=============* @%## <br />
+:.:-::--:.-==== +++==========% @# <br />
@-:....:-===* @@@#+++#@ <br />
@@@@@ <br />
<br />
</pre><br />
<br />
<pre><br />
<br />
%%%%%* <br />
%%%%%%*#**** <br />
#%###*%%####***** Coriander --- Community Guidelines <br />
#*#%%%#**##***#*% <br />
%#%#*#%%***#%%*##***#@ Coriander, with its distinctive flavor, can be divisive. <br />
%%%*+*%*#%#%#=++%#**% Community guidelines aim to maintain a positive and constructive <br />
%%%%*#***%###%***%#@ *#**** atmosphere within online communities. <br />
%#%*#**###**@ *=#@ *++*+=+**** Such guidelines express the different rules for <br />
+****#***+*#**+**++#*##%****%%@ such communities. Some of these guidelines may not <br />
***@@@%=+=+***#*****+-*#*#@++ go down well with certain people. <br />
+%==***+=+==+=**%% @ <br />
%*#%**=*+*%%%%%@ <br />
+*% @@@@@@+++ <br />
* <br />
+ <br />
+* <br />
%= <br />
*== <br />
%== <br />
%=: <br />
@+- <br />
<br />
</pre><br />
<br />
====⭑Secret cooking steps====<br />
<br />
<br />
heat oil<br />
<br />
chop chillies<br />
<br />
dice onions<br />
<br />
heat chillies<br />
<br />
heat onions<br />
<br />
stir<br />
<br />
combine pan<br />
<br />
peel ginger<br />
<br />
combine ginger<br />
<br />
peel garlic<br />
<br />
combine garlic<br />
<br />
puree tomatoes<br />
<br />
combine tomatoes<br />
<br />
combine spices<br />
<br />
combine herbs<br />
<br />
combine salt<br />
<br />
blend<br />
<br />
heat blender<br />
<br />
chop tomatoes<br />
<br />
fry tomatoes<br />
<br />
drain chickpeas<br />
<br />
fry chickpeas<br />
<br />
stir<br />
<br />
cream coconut<br />
<br />
heat coconut<br />
<br />
heat spinach<br />
<br />
stir<br />
<br />
===Colophon===<br />
<br />
<pre><br />
, ,<br />
\\ \\<br />
) \\ \\ _p_ This lovely cooking zine was designed and printed by Michel M.H. Wang.<br />
)^\))\)) / *\<br />
\_|| || / /^`-' Texts by Riviera Taylor, Ziheng Wang and Michel M.H. Wang.<br />
__ -\ \\--/ /<br />
<' \\___/ ___. )'. Published at XPUB Studio, Piet Zwart Institute, <br />
`====\ )___/\\ Willem de Kooning Academie, Rotterdam, in March, 2024.<br />
// `"<br />
\\ / \<br />
`" +========+<br />
| The |<br />
| Greasy |<br />
| Chip |<br />
""""""""""<br />
<br />
</pre></div>Michel Whttps://pzwiki.wdka.nl/mediadesign/WordQuilt_tocWordQuilt toc2024-03-27T13:21:41Z<p>Marloes: </p>
<hr />
<div>= Table of Contents = <br />
<br />
Editorial Services LTD.............................p. 3<br />
((in)ter)dependence................................p.15<br />
Quilt INC..........................................p.25<br />
Colophon...........................................p.35<br />
<br />
[[Category:Wordquilt]]</div>Marloeshttps://pzwiki.wdka.nl/mediadesign/WordQuilt_TitlePageWordQuilt TitlePage2024-03-27T12:25:06Z<p>Marloes: /* Quilting Infrastructures Reader */</p>
<hr />
<div>[[Category:Wordquilt]]<br />
<br />
== Quilting Infrastructures Reader ==<br />
[[File:si23.png|thumb|center|alt=qr code]]</div>Marloeshttps://pzwiki.wdka.nl/mediadesign/SI23_/table/_Loading:_Feminist_Server...SI23 /table/ Loading: Feminist Server...2024-03-25T23:38:45Z<p>Mxrwho: </p>
<hr />
<div><br><br />
<br><br />
[[File:Decoration table4.png|frameless|upright=0.5]] <img src="https://see.fontimg.com/api/renderfont4/A606/eyJyIjoiZnMiLCJoIjo0OCwidyI6MTI1MCwiZnMiOjM4LCJmZ2MiOiIjQjc4MjcyIiwiYmdjIjoiI0UwQzBCQiIsInQiOjF9/TG9hZGluZzogRmVtaW5pc3QgU2VydmVyLi4u/libre-baskerville-bold.png"> [[File:Decoration table5.png|frameless|upright=0.5]]<br />
<br><br />
<br><br />
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'''A card-browser game!'''<br><br />
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Get a card, type the command in the browser. Receive an interpretation of its function, a connected feminist concept and instructions to execute. Serve and be served as you turn into a feminist server yourself by playing and interacting with the cards both online or one-on-one in the space.<br />
<br />
Central to the project is the analogy between software and the material world. This allows for an exploration of the interaction between online and offline environments, and making conscious how this interaction shapes us.<br><br />
The performative and educational elements are the means of this exploration, as the game invites actions in the physical space.<br />
<br />
Through self-reflective and relational qualities, it calls upon the feminist method and literature. A reconsideration of words with a set meaning will occur while playing. The player(s) will get acquainted with important computational terms and commands, which enable associations extending beyond the terminal, into the social and eventually the personal spheres.<br />
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Interact with the browser part of the game:<br><br />
'''Check: https://hub.xpub.nl/chopchop/si-23-website-table/'''<br />
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<big><big>'''Our project'''</big></big><br><br />
<br><br />
'''physical space:'''<br><br />
Card decks<br><br />
Thermal printer<br><br />
Screen with browser game (+ mouse + keyboard)<br><br />
<br><br />
'''technical space:'''<br><br />
Browser game on chopchop (xpub1 server) <br><br />
Chopchop connected to printer<br><br />
<br><br />
'''content space:'''<br><br />
Cards with command and description<br><br />
Browser command line and players receiving commands<br><br />
Text adding informational layer behind cards (in browser? printed?)<br><br />
Instructions/documentation on how to play<br><br />
<br><br />
'''Meeting - Feedback:'''<br><br />
How much guidance do people need?<br><br />
How long do they have to play / do they understand the goal of the station?<br><br />
Where is the explanation / introduction to the station, how is it displayed?<br><br />
<br><br />
<br><br />
<br><br />
<big><big>'''Texts explored'''</big></big><br><br />
<br><br />
Star, S.L. (1994) Misplaced Concretism and Concrete Situations: Feminism, Method, and Information Technology. In: Bowker, G. et al. (eds) '''Boundary objects and beyond: working with Leigh Star'''. Cambridge, Massachusetts: The MIT Press (Infrastructures series)<br />
<br><br />
'''Feminist Server Manifesto''' https://areyoubeingserved.constantvzw.org/Summit_afterlife.xhtml<br />
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<!--[[File:Screenshot 2024-03-25 at 23.58.46.png||thumb|upright=0.8|studying]]<br />
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[[File:Screenshot 2024-03-26 at 10.19.51.png||thumb|upright=0.8|studying]]<br />
to fix later:[[img src="https://media.giphy.com/media/v1.Y2lkPTc5MGI3NjExZTF4ZHlmcjNmYWw5Z2kwZDhidjlqbGlvMXJ4eG9lZWpuajZmdmE1dyZlcD12MV9pbnRlcm5hbF9naWZfYnlfaWQmY3Q9Zw/ydFbUFOFUc78zP7UBL/giphy.gif"]]--><br />
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'''[ k i l l ]''' ━━━━━━━━━━━ The necessity of the end<br />
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'''[ z o m b i e ]''' ━━━━━━━━ An empty, wandering hull<br />
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'''[ d e m o n ]''' ━━━━━━━━━━ Invisible and invincible<br />
<br />
'''[ s e r v e r ]''' ━━━━━━━ A wish is no one's command<br />
<br />
'''[ p a r e n t ]''' ━━━━━━━━━━━━━━ Every creator<br />
<br />
'''[ c l i e n t ]''' ━━━━━━━━━━━━━ Asking is an art<br />
<br />
'''[ n i c e ]''' ━━━━━━━ Sometimes you just shouldn't be<br />
<br />
'''[ g h o s t ]''' ━━━━━ In case the real thing goes missing<br />
<br />
'''[ i n t e r r u p t ]''' ━ Sometimes you can't avoid being rude<br />
<br />
'''[ e c h o ]''' ━━━━━━━━━━━━━━━ Just checking<br />
<br />
'''[ a l i a s ]''' ━━━━━━━━━━━━━━ Making it short<br />
<br />
'''[ l e s s ]''' ━━━━━━━━━━━━ Sometimes it's more<br />
<br />
'''[ t a i l ]''' ━━━━━━━━━━━━━━ The latest gossip<br />
<br />
'''[ t o u c h ]''' ━━━━━ Changing time and making space<br />
<br />
'''[ h i s t o r y ]''' ━━━━━━━━━━━ It is often repeated<br />
<br />
'''[ u n a m e ]''' ━━━━━ Sometimes you just have to know<br />
<br />
'''[ w h i c h ]''' ━━━ The right question leads to the right path<br />
<br />
'''[ s h r e d ]''' ━━━━━━━━━━━━ Like it never existed<br />
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'''[ k i l l ]''' ━━━━━━━━━━━━━━━━━ Define a negative thought and ask it to stop<br />
<br />
'''[ z o m b i e ]''' ━━━━━━━━ Think of a past event that still takes up space in your mind<br />
<br />
'''[ d e m o n ]''' ━━━━━━━━━ Think of all the unconscious processes that run your body<br />
<br />
'''[ s e r v e r ]''' ━━━━━━ Give what someone asks for only when they use the right words<br />
<br />
'''[ g h o s t ]''' ━━━━━━ Give something that represents you to someone you care about<br />
<br />
'''[ p a r e n t ]''' ━ Formulate an idea and let it spread. Congratulations, you are a parent now<br />
<br />
'''[ i n t e r r u p t ]''' ━ Distract someone for a second and notice how this affects their actions<br />
<br />
'''[ c l i e n t ]''' ━━━━━━━━━━━━━━━━━━━ Go to the kitchen and ask for food<br />
<br />
'''[ n i c e ]''' ━━━━ When you're asked to do something, first do something more important<br />
<br />
'''[ e c h o ]''' ━━━━━━━━━━━ Choose a sentence you hear in the room and repeat it<br />
<br />
'''[ a l i a s ]''' ━━━━━━━ Choose one of your complex thoughts and give it a simple name<br />
<br />
'''[ l e s s ]''' ━━━━━━━━━━━━ Take a snack, break it in smaller bites and eat it slowly<br />
<br />
'''[ t a i l ]''' ━━━━━━━━━━━━ Ask a friend what they were doing just a moment ago<br />
<br />
'''[ t o u c h ]''' ━━━━━━━━━ Go to the shelves. Don't touch anything but mark the time<br />
<br />
'''[ h i s t o r y ]''' ━━ Go to the kitchen and make a (mental) list of the latest clients' requests<br />
<br />
'''[ u n a m e ]''' ━━━━━━━━━━━ Ask someone to describe themselves in a few words<br />
<br />
'''[ w h i ch ]''' ━━ Take a look at the info you received at the entrance and locate the shelves<br />
<br />
'''[ s h r e d ]''' ━━━━━━━━━━━━━━━━━━ Rip this paper until no one can read it<br />
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'''Loading: Feminist Server...'''<br><br />
is part of Special Issue 23, an Xpub projects<br><br />
for the academic year 2023/24. <br><br />
Alessia, Anita, Bernadette and Maria<br><br />
worked on this, yes! ৻( •̀ ᗜ •́ ৻)<br><br />
<br><br />
For further details, please visit the course website '''https://xpub.nl/'''</div>Mxrwhohttps://pzwiki.wdka.nl/mediadesign/RapidPrototypeandProject_that_MayRapidPrototypeandProject that May2024-03-25T14:35:09Z<p>Steven Rushton: Created page with "https://pad.xpub.nl/p/Problemsofnotation-for_annotation References: Scratch Orchestra's Nature Study Notes (1969) http://intuitivemusic.dk/iima/sonsn.pdf John Cage's Song Books Vol 1 (1970) https://monoskop.org/images/0/03/Cage_John_Song_Books_Volume_1.pdf Pad: https://pad.xpub.nl/p/LensBasedScratchNov2 Addition to small library: Eno: Oblique Strategies (card game) https://monoskop.org/images/8/8c/Eno_Brian_Schmidt_Peter_Oblique_Strategies.pdf Project That May or..."</p>
<hr />
<div>https://pad.xpub.nl/p/Problemsofnotation-for_annotation<br />
<br />
References:<br />
<br />
Scratch Orchestra's Nature Study Notes (1969) http://intuitivemusic.dk/iima/sonsn.pdf<br />
<br />
John Cage's Song Books Vol 1 (1970) https://monoskop.org/images/0/03/Cage_John_Song_Books_Volume_1.pdf<br />
<br />
Pad: https://pad.xpub.nl/p/LensBasedScratchNov2<br />
<br />
Addition to small library: Eno: Oblique Strategies (card game)<br />
<br />
https://monoskop.org/images/8/8c/Eno_Brian_Schmidt_Peter_Oblique_Strategies.pdf<br />
<br />
<br />
Project That May or May Not Be Made: template<br />
<br />
What is it?<br />
<br />
Why make it?<br />
<br />
Workflow<br />
<br />
Timetable<br />
<br />
Rapid prototypes (scratches)<br />
<br />
Previous practice<br />
<br />
Relation to a wider context<br />
<br />
Choice made<br />
<br />
Rapid prototype template</div>Steven Rushtonhttps://pzwiki.wdka.nl/mediadesign/Tesse%27s_reading_listTesse's reading list2024-03-25T11:04:48Z<p>Tesse B: </p>
<hr />
<div>'''Have read:'''<br />
<br />
<br />
'Grandma’s Story' in ''Woman, Native, Other'' by Trinh T. Minh-ha (in Kate's seminar)<br />
<br />
<br />
<br />
'''Have yet to read:'''<br />
<br />
<br />
Errant Journal issue #1 'When Are We?' (recommended by Natasha)<br />
<br />
''Revolutionary Time: On Time and Difference in Kristeva and Irigaray'' by Fanny Söderbäck<br />
<br />
''One Hundred Years of Solitude'' by Gabriel García Márquez (recommended by Yana)<br />
<br />
''A Geography of Time'' by Robert Levine</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/A_little_log_of_the_inspirations_floating_by_in-_and_outside_of_the_walls_of_the_school.A little log of the inspirations floating by in- and outside of the walls of the school.2024-03-25T09:37:19Z<p>Tesse B: Created page with " After a day of being stuck looking at a screen full of waves, lines and spoken things, I dropped by the exhibition 'Choreographed events' at Garage Rotterdam. There was the work '''Kadans 2.0 by Aliki van der Kruijs and Jos Klarenbeek'''. They had taken the movement of the sea as a guide for patterns in fabric. Their use of data reminded me of what had drawn me to the sea in the first place, the moments of ebb and flow that denote a measure of time only shared between t..."</p>
<hr />
<div><br />
After a day of being stuck looking at a screen full of waves, lines and spoken things, I dropped by the exhibition 'Choreographed events' at Garage Rotterdam. There was the work '''Kadans 2.0 by Aliki van der Kruijs and Jos Klarenbeek'''. They had taken the movement of the sea as a guide for patterns in fabric. Their use of data reminded me of what had drawn me to the sea in the first place, the moments of ebb and flow that denote a measure of time only shared between the moon and the water. I had looked up the hours of the tides before going there to film, perhaps to catch a six hour block with the levels at its highest and lowest (I didn't do this in the end, the timings weren't handy and also six hours is quite long). I think I will go back to this essence for a bit, see what I can do with data, or perhaps simply with this form of timekeeping.<br />
<br />
Also at the exhibition was a work by '''Heleen Blanken''', of which I happened to have seen another work last Sunday as well at the Stedelijk Museum Schiedam. I don't think my work relates to hers at all, but it is incredibly cool.<br />
<br />
<br />
'''Hira Nabi - ''How to Love a Tree: Wild Encounters''''' Currently shown at Foam, a gorgeous three-channel video installation about Pakistani forests put at risk by imperialist and capitalist hands. Speaks from a sense of deep time, rather than human time. https://www.foam.org/events/hira-nabi-3h <br />
<br />
<br />
I was thinking about what feeling, or perhaps what style I would like to explore and move into for the Eye project and I had to think back on '''Eva Giolo - ''[https://elephy.org/works/the-demands-of-ordinary-devotion?profile=eva-giolo The Demands of Ordinary Devotion]''''' with its cyclical movements, its creation of meaning through repetition and how this of course builds over time, but also doesn't need that long to do so. And on the '''Beatriz Santiago Muñoz's - ''[https://www.argosarts.org/event/beatriz-santiago-muñoz-oriana Oriana]''''' exhibition at Argos a few months back, with how incredibly sensorial it was without necessarily focusing on that in an obvious way. How the videos in the installation didn't feel looped because there was no beginning and end, but still there was a progression to be felt. <br />
<br />
<br />
During our introduction to podcasting with Leah Howd, she showed us an example by the podcaster/visual artist/writer '''JT Green'''. I haven't looked into her work that much yet, and I don't know what exactly it is that appeals to me so much, but for some reason her [https://www.jtgreen.me website] just makes a lot of sense to me. The way of presenting everything and the messy collage-ness of it all just feels very right.<br />
<br />
<br />
'''Geographies of Solitude''' - the texture, the landscapes, the rhythm, the playing with the medium, just absolutely gorgeous. Who wants to sponsor me so I can shoot on 16mm? :p<br />
<br />
<br />
There must have been plenty of inspiration at IFFR, but maybe it was too much to remember. Let me try... <br />
<br />
There were of course the films that were overwhelmingly powerful in their story, but in terms of forms and sensitivities that stood out to me in relation to my own dreams and plans, '''The Wool Aliens''' '''by Julia Parks''' was an incredible piece of very embodied and mesmerising research, definitely made me want to spend more time with sheep. Also '''Ana Hušman's''' '''I Would Rather Be a Stone''' was very inspiring in how it visualised landscapes. Again, can I find a way to be happy without 16mm?<br />
<br />
<br />
The video installations of '''Sung Hwan Kim''' in his [https://vanabbemuseum.nl/nl/zien-en-doen/tentoonstellingen-activiteiten/sung-hwan-kim exhibition] at the Van Abbe museum. His mythical-ness, but ever more so his use of layered materials, materiality to add layers. I should use more glass, fabric, sand, plastic, paper. <br />
<br />
<br />
In the Handmade Film seminar, Nan showed us some '''chemigrams''', definitely would love to play around with that as well. <br />
<br />
<br />
The heartbreakingly beautiful '''Samsara by Lois Patiño'''. The softness of the people, the landscapes, the sunlight on the sea, the red nature shots, the courage it must take to have your viewers close their eyes for 10? 20? minutes. Stay safe, little Neema.</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/Text_On_Practice_-_FinalText On Practice - Final2024-03-23T18:58:05Z<p>Tparolin: </p>
<hr />
<div>ToP Final<br />
<br />
[[File:Text On Practice Final Tom Parolin.pdf|thumb]]</div>Tparolinhttps://pzwiki.wdka.nl/mediadesign/Aratrika%27s_Final_ToPAratrika's Final ToP2024-03-23T00:29:32Z<p>Aratrikak: Created page with "thumb"</p>
<hr />
<div>[[File:Text on Practice Aratrika March 2024.pdf|thumb]]</div>Aratrikakhttps://pzwiki.wdka.nl/mediadesign/Tessa%27s_Final_ToPTessa's Final ToP2024-03-22T23:43:26Z<p>Tessalangeveld: Created page with "thumb"</p>
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<div>[[File:Top Tessa FINAL.pdf|thumb]]</div>Tessalangeveldhttps://pzwiki.wdka.nl/mediadesign/Jingfeng%27s_Final_ToPJingfeng's Final ToP2024-03-22T22:06:07Z<p>Jingfeng Shen: </p>
<hr />
<div>[[File:Text of Practice Jingfeng Shen.pdf|thumb]]</div>Jingfeng Shenhttps://pzwiki.wdka.nl/mediadesign/Tom%27s_Final_TopTom's Final Top2024-03-22T22:00:22Z<p>Tparolin: </p>
<hr />
<div>Tom's Final ToP<br />
<br />
[[File:Text On Practice Final Tom Parolin.pdf|thumb|474x474px|Text On Practice Final Tom Parolin]]</div>Tparolinhttps://pzwiki.wdka.nl/mediadesign/Nihal%27s_Final_ToPNihal's Final ToP2024-03-22T19:04:28Z<p>Nihal Goel: Created page with "thumb"</p>
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<div>[[File:Nihal Text on practice - trim2.pdf|thumb]]</div>Nihal Goelhttps://pzwiki.wdka.nl/mediadesign/Zhuang%27s_Final_TopZhuang's Final Top2024-03-22T18:17:20Z<p>Lengzhuang97: Created page with "thumb"</p>
<hr />
<div>[[File:Zhuang Leng Text On Practice.pdf|thumb]]</div>Lengzhuang97https://pzwiki.wdka.nl/mediadesign/Do%27s_Final_TopDo's Final Top2024-03-22T14:51:02Z<p>Rodolfovferro: Created page with "thumb"</p>
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<div>[[File:ToP Do Westphal.pdf|thumb]]</div>Rodolfovferrohttps://pzwiki.wdka.nl/mediadesign/Yana%27s_Final_ToPYana's Final ToP2024-03-22T13:53:52Z<p>Yanalin: Created page with "thumb"</p>
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<div>[[File:YanaLineva ToP.pdf|thumb]]</div>Yanalinhttps://pzwiki.wdka.nl/mediadesign/Rodolfo%27s_Final_TopRodolfo's Final Top2024-03-22T13:07:22Z<p>Rodolfovferro: Created page with "thumb"</p>
<hr />
<div>[[File:Text on Practice Rodolfo Ferro.pdf|thumb]]</div>Rodolfovferrohttps://pzwiki.wdka.nl/mediadesign/((in)ter)dependence/Code_of_Conduct((in)ter)dependence/Code of Conduct2024-03-22T11:17:59Z<p>Thijshijsijsjss: Add interdependence category tag</p>
<hr />
<div>[[Category:((in)ter)dependence]]<br />
This is an in-progress Code of Conduct.<br />
From the paper we were writing on:<br />
[TO ADD PHOTO OF MAP]<br />
<br />
Encourage the following:<br />
* Respect differences <br />
* Practice active listening<br />
* Provide support and care (update those that have been absent)<br />
* Be aware of the space you take up.<br />
* Try not to dominate conversations and care about giving everyone space to speak or just be.<br />
<br />
Discourage the following:<br />
* Discrimination<br />
* Violence<br />
<br />
How to react when the code of conduct is not respected:<br />
# Do not host interventions of the collective kind<br />
## Try to communicate one-on-one where the situation allows for it (non-immediate intervention)<br />
# De-escalation<br />
# Diverging<br />
# Asking others for help<br />
<br />
Additional:<br />
* Try not to assume and address people based on appearance, or name. An author is not strictly female because their name ends with a. Attempt to use words that emphasize where your assumption of gender expression comes at play, eg. by using 'male-presenting' instead of male.</div>Thijshijsijsjsshttps://pzwiki.wdka.nl/mediadesign/((in)ter)dependence/Seamless_and_Seamful((in)ter)dependence/Seamless and Seamful2024-03-22T10:56:05Z<p>Thijshijsijsjss: Add interdependence category tag</p>
<hr />
<div>[[Category:((in)ter)dependence]]<br />
We read the text "Beautiful Seams": Strategic Revelations and Concealments<ref>Inman, S. and Ribes, D. (2019) 'Beautiful Seams.' https://doi.org/10.1145/3290605.3300508.</ref>, that talks about the seeming dichotomy between seamful and seamless.<br />
<br />
Roughly, seamless design emphasizes<br />
clarity, <br />
simplicity,<br />
ease of use, <br />
and consistency to facilitate technological interaction.<br />
<br />
In contrast, seamful design emphasizes <br />
configurability, <br />
user appropriation, <br />
and revelation of complexity, <br />
ambiguity, <br />
or inconsistency<br />
</blockquote><br />
<br />
To us, the properties of seamless and seamful are not mutually exclusive. For example, thinking about seams in software: if everything was open source, everything would be 'perfectly configurable'. However, without a certain ease-of-use, this configurability wouldn't be accessible to many. So for there to be this seamful configurability, there has to be a certain ease of use, a certain level of seamlessness. <br />
<br />
Similarly, we are experiencing this tension between seamless and seamful in our editorial group, in our reading and communicating. <br />
<br />
Language is a complex thing.<br />
We need to cooperate with eachother as individuals,<br />
in a seamful way,<br />
by keeping an eye out for configurability through access needs,<br />
finding appropration of communication together,<br />
cherishing revelations of complexity, ambiguity or inconsistency<br />
but require a certain seamless,<br />
for example in clarity of access needs and communication.<br />
<br />
The text proposed to make seams “into explicit resources for interaction" (Chalmers), meaning that users are able to interact with information that is usually hidden away. The example of showing that the wi-fi connection is bad is a fruitful one, because when the strength of the signal is displayed, people had agency and suggestion in terms of how to get better connectivity. They could move with their electronic device to find better signal, instead of remaining both passive and without enough information on why something is not working 'properly'.<br />
<br />
How might we find seamful agency in our editorial approach?<br />
<br />
<noinclude><br />
==References==<br />
<references /><br />
</noinclude></div>Thijshijsijsjsshttps://pzwiki.wdka.nl/mediadesign/Chan%27s_Final_TopChan's Final Top2024-03-22T10:30:47Z<p>Parmesanfish: Created page with "Chan_TOP"</p>
<hr />
<div>[[File:TOP chan.pdf|thumb|Chan_TOP]]</div>Parmesanfishhttps://pzwiki.wdka.nl/mediadesign/((in)ter)dependence/Play((in)ter)dependence/Play2024-03-22T10:13:30Z<p>Thijshijsijsjss: Fix header level of digital quilting section</p>
<hr />
<div>[[Category:((in)ter)dependence]]<br />
It is always interesting to observe how play is interpreted in humans in a practical sense while in animals as an instinctual response.<br />
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We can talk about the little miniature kitchens, baby dolls to take care of, coloured plastic carpenter sets, these toys reflect a child's exploration of their future roles within society, mimicking adult behaviours. To train oneself to be the grown-ups, to behave like the grown-ups, it is normal for that to happen, to reject that and to try to distort the game itself as just manipulation goes to failing to analyse the very heart of what it actually means to play, to what might be its real utility, which always turns out to be only social. Play is always social, and when a person plays alone it always goes to recreate situations of artificial sociality. A child who plays with a doll imagine it as alive, a man who inserts a coin into the slot machine relishes the idea that by becoming rich he will inevitably improve his life, and except in rare cases it is always about improving one's life in the eyes of others and to improve one's relationship with others.<br />
It all sounds trivial to say, in the end as social creatures we are inclined to be like that, loneliness leads the game to become a distraction overcoming that conception of didacticism. To waste time, not to think.<br />
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<div style="text-align:left"><br />
<pre>> Here there is a friction between viewing play as social, and viewing play as a phenomenon that just exists for itself. The writer of this patch sees the parallel play as another social game, and argues that each game has a role and a societal purpose.</pre></div><br />
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>> 'He found his four-year-old son sitting at the front of a row of chairs, playing "trains". As he hugged him the boy said: "Don't kiss the enginge, Daddy, or the carriages won't think it's real."'<ref>Huizinga, J. (1949b) Homo Ludens: A Study of the Play-element in Culture. Routledge/Thoemms Press.</ref> In Huizinga's <i>Homo Ludens</i>, the second characteristic of play is that play is not 'ordinary' or 'real life'. The adult gambling their way to fortune is curious, as the implications of this 'play' are hoped to be carried over to 'real life'. Arguably, this example also doesn't satisfy Huizinga's first characteristic: all play is a volunatry activity. In a world ever increasing in complex and interwoven social dynamics, we can wonder if we need to reconsider our idea of play: not just as a voluntary act, but as a necessity to cope with and traverse these dynamics. And, maybe, something we need a ((in)voluntary) break from time to time.<br />
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Reflecting on my own understanding of playing with dolls, at 23 years old, I don't think I will play with them anymore (I would never admit it anyway). My play is pastime, with friends, to exercise sociability to the point of colliding with unsociability, or waste of time, and there I try not to fall into the trap as it is definitely part of a system that constantly reminds you how time is of the essence, it's all about money, money is important, I don't need I guess to say more, we're all in the same stifling situation. Then you try to play and make the game useful, coscently, while at an early age you are not aware of how much your playing affects your personality. I want to improve my knowledge of Dutch, to become a better person, understand people better, I play duolingo. I want to learn programming, I play mime. I create games by myself to force myself to wash dishes, get up in the morning. To block intrusive thoughts I create a thousand different games.<br />
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<div style="text-align:left"><br />
<pre>> This speaks to me as well, I often try to gamify my life through a rigid routine, this routine appears to me as levels to come to, battle and overcome. It's stupidly boyish, yet these are the early web games that motivated me into spending time with friends.</pre></div><br />
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>> The gamification of life, in my mind, goes hand in hand with the ongoing trend of the illusory optimization of life. The idea that wellbeing can be <i>min-maxed</i>, that time can be used to 'a full potential', that there is an orderly notion of routines and activities that are ranked in a society's (sub)consious mind. I fall victim to this way of thinking, too. I don't know better and don't know how to live without it.<br />
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It is good to see how creativity itself is a coping mechanism. Could it be? Creativity seems intrinsic, we simply cannot escape it. In a world brimming with stimuli and hyperconnectivity, the sense of overwhelm amplifies. There is no end to it, it is an abyss, loneliness expands in such a world, loneliness leads to confusion, boredom. Play is the most straightforward instinctual way to evade the awareness of that abyss.<br />
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> 'No one is bored, everything is boring' is what Mark Fischer voiced in his writing <ref>Fisher, M. (2018) K-Punk: The Collected and Unpublished Writings of Mark Fisher. National Geographic Books.</ref>. This also connects to the [[((in)ter)dependence/Care#(Un)availability|'(Un)availability' patch]], the pressure of being 'connected'.<br />
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I watched a classic MrBeast's video where he locked himself in a room for a week without any stimulation from the outside world and resolved, after losing track of time, to count the grains of rice on his plate, and then at some point he stopped. There is no more utility in the game the moment there is no more stimulation to deal with.<br />
Right now I'm reading this book, I'm reading it because I like to read, I love to analyse things, talking about it with a fellow editorial team member makes the game more interesting, I'm putting myself out there trying then to describe what I've figured out, asking for their opinion, meanwhile another layer of the game is added, we're creating this messaging platform with wiki pages, I'm reading to not think, to block out the realisation maybe that this doesn't make sense anyway, all the result of a combined obsession between my and my fellow editorial team member's personality. Would I be reading this book without this game? No, I would be playing other games. You never play alone even when you claim to be.<br />
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> If it has been said that 'method is a way to survive experience' <ref>Star, S.L. (2016) 'Misplaced concretism and concrete situations: feminism, method, and information technology,' in The MIT Press eBooks, pp. 143–168. https://doi.org/10.7551/mitpress/10113.003.0009.</ref> can the same not be said of games? Games could merely be a method to survive stimuli and facilitate sociality. Although I do not know whether I would agree that all games are inherently social.<br />
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>> Same for me. Ultimately, this essay seems bleak and cynical to me, and it leaves me saddened. I am not ready to give up on the merit of play.<br />
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Sorry fellow editorial member for making you saddened (づᴗ _ᴗ)づ<br />
<br />
==Terminal Games==<br />
Kanishka Goonewardena's entry for <i>space</i> in <i>Keywords for Radicals</i><ref><br />
Fritsch, K., O’Connor, C. and Thompson, A. (2016) Keywords for radicals: The Contested Vocabulary of Late-Capitalist Struggle. AK Press.</ref> makes a case for the spatiality of politics, the social and politcal power that a space has, and the undeniable, inevitable connection between them. <br />
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A terminal interface is the portal to many a communal technology, in particular many servers. It is a space much like any physical space, and thus, holds a power just like any such physical space. As a result, there are implicit social dynamics at play. For example: not everyone might be as familiar, comfortable and confident with the way one typically interacts with the space of a terminal interface.<br />
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The zine The Map is the Territory <ref>Solarpunk Magic Computer Club (no date) The Map is the Territory. https://solarpunk.cool/zines/map-is-the-territory/.</ref> is a webgame that served as our introduction into thinking about making a terminal a more accessible, inviting and inclusive space. This led us to explore games as a medium more.<br />
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====Electrifying====<br />
[[File:Electrifying3.png|thumb|right|Screenshot of ''Electrifying'' gameplay]]<br />
A terminal game created as an escape room, in which you have to find a way out of a server room in which you, and sleeping server (chopchop), are located in. You navigate only using the terminal command 'cat', which is normally used to print out the content of a file. In this game, files are comprised of ASCII art that builds each wall of the room you're trying to escape out of. Instead of typing cat, you use the alias for 'look' for it (typing look left, look right, look up...). With each each look you are given breadcrumbs, clues of what you can do to not only free yourself, but wake up a sleeping server from it's 'undesirable' slumber.<br />
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At the end the player is stuck with a question about whether they should take the server with them, which would require them to cut its life force (unplug it) or leave it to remain in the claustrophobic server room.<br />
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====Digital Quilting====<br />
A terminal game, you weave a digital quilt with ASCII art characters and emojis. You can use fabric and scissors, fabric creates the patterns and that become a quilt, while scissors cut it in half. The digital quilting game was a first step in thinking how all of this different information, elements of texts that have had an influence on us, can start to unravel a narrative together. The idea is that when you finish a quilt in the terminal, you could print it out and get a physical outcome, a patchwork of quotes, decorations and cut outs.<br />
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==References==<br />
<references /><br />
</noinclude></div>Thijshijsijsjsshttps://pzwiki.wdka.nl/mediadesign/Luca%27s_Final_ToPLuca's Final ToP2024-03-22T00:31:42Z<p>Luca: </p>
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<div>https://pzwiki.wdka.nl/mediadesign/File:Text_on_practice_The_fusion_of_film_and_dance_Luca_Neumann.pdf</div>Lucahttps://pzwiki.wdka.nl/mediadesign/Riccardo%27s_Final_ToPRiccardo's Final ToP2024-03-21T23:48:02Z<p>Rick: Created page with "Text on Practice"</p>
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<div>[[File:Riccardo_Santalucia_TOP.pdf|thumb|center|Text on Practice]]</div>Rickhttps://pzwiki.wdka.nl/mediadesign/Noura%27s_Final_ToPNoura's Final ToP2024-03-21T23:05:48Z<p>Nourabb: Replaced content with "thumb"</p>
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<div>[[File:ToP 1.pdf|thumb]]</div>Nourabbhttps://pzwiki.wdka.nl/mediadesign/Tesse%27s_Final_ToPTesse's Final ToP2024-03-21T22:20:19Z<p>Tesse B: Created page with "thumb"</p>
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<div>[[File:TEXT ON PRACTISING - Tesse Baardman.pdf|thumb]]</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/Yana%27s_3rd_Day_WIP_version_of_ToPYana's 3rd Day WIP version of ToP2024-03-21T16:28:31Z<p>Yanalin: Created page with "thumb"</p>
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<div>[[File:ToP.pdf|thumb]]</div>Yanalinhttps://pzwiki.wdka.nl/mediadesign/Jingfeng_text_on_practice_3rd_draftJingfeng text on practice 3rd draft2024-03-21T15:51:10Z<p>Jingfeng Shen: </p>
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<div>'''Rotterdam Syndrome, Photography, 2023-'''<br />
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[[File:Rotterdam Syndrome Selected.jpg]]<br />
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'''1.What have you been making?'''<br />
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This is my first project after I came to Rotterdam. When I was new to the city and the country, I wanted to find my connection with it through visual exploration, even with the people and communities, at the same time to express some of my feelings about it during the shooting process. The outcome is a collective of photos, about Rotterdam city and its suburban places. After that maybe I can find my own position in this city better, and the most important part, similar with my previous works, is to look at the cracks of modernity here, usually they are hiding behind the daily emotions, behaviors and even productions, revealing different kinds of feelings about modern life. <br />
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'''2.How did you do it? (method)'''<br />
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This practice is partly based on my previous experience on visual creation, as well as a combination of my new thoughts on photography, the style/method and the objects of shooting is not stable yet. And the first step for me was to get familiar with this city, hang around, find out if there is any interesting landscapes. Then I would try to understand how do they operate, and influence the society. After the first touch, I can decide whether to separate them into different projects. I could capture people's sense of discomfort in modern life and thus direct my gaze to relevant objects and events, using photographs to visualise this discomfort.<br />
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'''3.Relation to previous practice?'''<br />
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Actually I mainly used my previous experience on photography to see/gaze the objects I was shooting. But I also tried some new methods and thoughts to analyze them, especially because they are totally new to me, and having new context which I may not understand so well. The outcome is quite a hybrid of my previous and new understanding on photos. In my previous practice, I usually use the flash light to create a theatrical dreamy(maybe nightmare) atmosphere, and to magnify the object itself. Through my study here, I started to learn to understand images in a broader way, tried to liberate them from that kind of mode. I was trying to see more from seemed ordinary daily scenes, to formulate a new method of look.<br />
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'''Copper Dream, Film, 2024'''<br />
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[[File:Copper Dream still.jpg]]<br />
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'''1.What have you been making?'''<br />
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A short film, in which I want to blend fragments of my father's childhood intersecting with our country's contemporary history, and my personal situation in a new country. Through an approximation of a letter, different little corners across time and space are revealed as overlapping gestures from a private emotional connection.<br />
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'''2.How did you do it? (method)'''<br />
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I rewrote one story my dad has told me before into the monologue, as a clue to combine his childhood, with that special period of our society and my life abroad today. Instead of telling this story directly, I used a form of dream, to blend the past and the present. The story in monologue is not real daily, but more metaphorical and atmospheric. And it costed me a lot of time to think about visualizing, finally I decided to take the images of my shadows on the buildings of streets. They are a symbol of my isolated situation as a foreigner, and also a figure of my dad in my dream/story, they merged into a ghost figure which is in between of the past and the present, and even spaces. The video phone call in the film is an entrance to the spiral intertwined story, as well as an exit of the dream scene, or just an illusion.<br />
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'''3.Relation to previous practice?'''<br />
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This is about my first time to make video work, with timelines, sounds, voice-over, subtitles and so on. I felt I was liberated from some certain images, instead got into a wider space with more dimensions. My previous photo works were mainly focusing on society conditions, metaphors of images, and this film is also about these topics, but in a more subtle way, combined with more elements like sounds and texts. Besides some experience and knowledges learned from photography, I think I was also inspired on my structure of film by some Asian films too, for example the works by Apichatpong Weerasethakul, A Letter To Uncle Boonmee, Uncle Boonmee Who Can Recall His Past Lives, Memoria, Blue, and AKA Serial Killer by Masao Adachi screened by Cihad also gave me brand new knowledge on landscape images.<br />
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'''Zoo, Photography, 2024-'''<br />
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[[File:Zoo.jpg]]<br />
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'''1.What have you been making?'''<br />
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This is another one of my practices and explorations about landscapes. Usually, when visiting a zoo, our attention is focused on those animals. But this time, I noticed those moments when the animals are absent. When the animals are not there, what kind of landscape does the zoo become? Do those special designs gain a new context? What would we experience if we were to remove the animals as a subject of experience and place ourselves in these landscapes? This practice is in fact an extension of my exploration of the landscapes of human societies, which can provide me with more thoughts about "landscapes" and, in turn, help me to understand our conditions in our own contexts.<br />
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'''2.How did you do it? (method)'''<br />
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I visited some zoos, and tried to look/gaze at the landscapes without animals, or wait for the animals to leave, to find some scenes I thought were related with animal/human’s life, and can become a metaphoric image. The difficulty is, to recognize which scene is important, but I think this is a universal question for every photographers.<br />
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'''3.Relation to previous practice?'''<br />
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This series of photos is another chance for me to explore “landscapes”, and the knowledge behind the images. When the animals were absent, I felt something new growing from the photos, and they have some connections with the human society, as well as the situations of animals themselves. It’s not only showing a sympathy on animals in zoos, but also a reflecting about our conditions today. Zoos and cities are both human-made environment for the residents, we may see ourselves through the animals, as well as their living places.<br />
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'''Ferry In Wild, Documentary, 2024'''<br />
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[[File:Ferry In Wild.jpg]]<br />
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'''1.What have you been making?'''<br />
<br />
I’ve contacted with an owner of a Chinese bookstore named “野渡”, which means a ferry in wild, and asked her if I can take some footages about them. Coincidentally, they recently decided to rent and renovate a space in real for the store, so I got a chance to take some document footages about them. I plan to make it into a short documentary, but the shooting is still going on, not very sure about the future direction.<br />
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'''2.How did you do it? (method)'''<br />
<br />
I found some interviews on internet about the bookstore, and they are at Rotterdam. So I get contact with the owner, then meet them in real life to take some footages about the renovation of bookstore and some other materials. Compared to the shooting process, it’s even more important to communicate in a documentary production.<br />
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'''3.Relation to previous practice?'''<br />
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This is also the first time to make a documentary independently, so I’m actually learning about sound recording, interviewing and other skills on documentary making. Besides the practice on technical aspects, the topic is also about Chinese people living abroad, and how do they treat their own culture, build community and so on.<br />
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'''What do you want to make next?'''<br />
<br />
I want to go deeper with my exploration on landscapes and human conditions. Thus I may will continue my project Rotterdam Syndrome, Zoo, and Ferry In Wild, to try to develop them into a more complete version, into photobooks and shortfilms. And I want to try more on filmmaking and writing, maybe I will write a fiction script with metaphoric figures and monologues, about my thoughts on the global society environment. More with a universal perspective, and the living conditions of (Asian)people of young generation.<br />
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'''Why do you want to make it?'''<br />
<br />
It’s a continuation about my work on landscapes and human conditions, even Asian culture. Basically it’s a desire on visual creation research, plus some voice about my identity and community, or, origin.<br />
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'''Relation to a larger context'''<br />
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I want to explore the ways in which landscapes operate on a larger cultural scale. They may be born of different regions (developed or undeveloped), industries (industrial, agricultural, residential, etc.), and may interact with human or non-human groups in different ways. But today they are all inevitably very closely linked to human society and history, whether in the form of human presence or absence. By understanding these landscapes, it may be possible to gain a deeper awareness of the different slices of human's conditions, so that we can understand the way humans themselves behave through historical and contemporary perspectives, and to guide our understanding about ourselves and the actions in the future.<br />
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'''References'''</div>Jingfeng Shenhttps://pzwiki.wdka.nl/mediadesign/Tesse_slightly_more_recentTesse slightly more recent2024-03-21T15:06:16Z<p>Tesse B: Created page with "thumb"</p>
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<div>[[File:TEXT ON PRACTICE - slightly more recent.pdf|thumb]]</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/Chan%27s_latest_versionChan's latest version2024-03-21T14:39:12Z<p>Parmesanfish: </p>
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<div>'''What have you been making?'''<br />
<br />
The Drone<br />
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I'm currently working on a project to explore the potential of storytelling extracted from digital media. In my short film, "The Drone", I aimed to explore various narrative structures that a specific subject could generate, inspired by a chance encounter with a random clip on YouTube.<br />
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I crafted the drone to continuously pose questions, offering comfort to those encountering similar circumstances. Despite its ever-changing appearance, the drone remains unaware of the passage of time and the presence of other similar entities.<br />
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It was produced as a black-and-white animation lasting approximately 3 minutes. Particularly in the narrative surrounding drones, the rapid and natural phenomenon of change and disappearance reflects the characteristics of modern society, where past desires quickly evolve.<br />
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'''How did you do it?'''<br />
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''( practical Method)''<br />
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The requirement was to produce fresh images depicting a drone object that aligns with the revised story.<br />
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I began with standard drone shapes but adjusted them multiple times by repeating, stretching, shrinking, and distorting them.<br />
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The grand concept I envisioned for the recreated drone aims to convey a sense of accumulated time and space. It reminds me of some remains floating around the bottom of the sea. It somehow looks melted, but you can still see the original structure of that object. In the process, I crafted drone objects solely with hot glue, producing variations in design. I then employed 3D scanning to refine texture clarity and harmonize aesthetic coherence.<br />
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Ultimately I wanted to reflect these transformative behaviors to resonate with a series of phenomena that exist and occur in the digital media space. Digital media possesses a flexible nature. Contents generated through the internet are easily altered, reinterpreted, and repurposed with various meanings. This process differs from alterations in physical spaces. Content modified on the internet exhibits a more proactive and rapid fluctuation in form, quantity, and potential.<br />
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Therefore, I believe that drone images I slightly modify also resemble digitally altered media rather than naturally evolving entities, embodying similar characteristics shaped by someone's active intervention.<br />
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''( Narrative Method )''<br />
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The original video that inspired this project was about 1 minute and 30 seconds in duration, featuring an intense yet straightforward narrative. In the footage, a drone slowly fell into water for unknown reasons, while in the distance, the owner of the drone, appearing like a guardian, rushes towards it.<br />
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Through my analysis, I aimed to understand why the video captivates viewers and sought to grasp the essence of a fresh narrative structure. The determined actions of the figure, likely the owner, from the drone's perspective, resemble those of a protagonist, evoking a sense of heroism akin to traditional storytelling.<br />
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As the camera angle zooms in on the person, the drone's dramatic plunge into the water intensifies suspense, prompting viewers to experience a mix of joy, relief, and anxiety. I was capturing these emotional fluctuations to serve as crucial elements in shaping a new narrative.<br />
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The original video that sparked this project lasted about 1 minute and 30 seconds, featuring an intense yet straightforward narrative. In the footage, a drone slowly descends into the water for unknown reasons, while in the distance, the owner rushes towards it, resembling a guardian.<br />
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Through personal analysis, I aimed to discern why the video captivates viewers and grasp a fresh narrative structure. The determined actions of the figure, likely the owner, from the drone's perspective, evoke the role of a protagonist, akin to traditional storytelling. As the camera zooms in on the person, the drone's plunge into the water intensifies suspense, evoking a mix of joy, relief, and anxiety in viewers. Capturing these emotional fluctuations serves as crucial elements in shaping a new narrative.<br />
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The process evolved into several steps for creating compelling narratives from fragmented drone images. Firstly, establishing a Narrative Framework to explore the main ideas and concepts depicted in the footage to shape the narrative direction. Secondly, identifying key characters to anchor the story. Then, utilizing fragmented Imagery to generate diverse images, incorporating elements of decay and fragmentation to evoke intrigue. Lastly, reconstructing associated Stories to develop narratives that complement the fragmented imagery, creating a cohesive and engaging storyline. Therefore, I sought to explore how this process could enhance the relationship and interaction between the newly developed narrative and the original materials.<br />
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'''Relation to previous practice'''<br />
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The previous works reflect a process of recombining various elements to create new meanings. The process of reinterpreting personally accumulated images in new contexts highlights the versatility of perception, which can vary significantly depending on the situation.<br />
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The "Artificial Landscape 01/02 “ is based on the observation that landscape images encountered in the digital environment are becoming universal, forming a new natural landscape. This project originated from a question about how truthfully the external environments such as cities, mountains, and oceans, which we experience in reality, can be conveyed to us. This curiosity arises because the landscapes we encounter through the internet or media can be distorted compared to actual experiences.<br />
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This project aims to explore the boundary between our real experiences and virtual images, understanding how the environments we know and those presented by others combine to form the boundary between reality and virtuality. This illustrates how experiences through specific media are recreated and consumed in new forms. The previous works reflect a process of recombining various elements to create new meanings.<br />
<br />
<br />
<br />
"The Drone" project shares similarities in generating new artworks by reworking materials experienced in digital media into different mediums. These works present new perspectives and interpretations in their respective contexts, delivering diverse experiences through various media.<br />
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I believe that there are always new ways to utilize digital media through fresh combinations, distortions, and reproductions. Among them, another project I worked on in the past is the "Snack Plants" project. This project also stemmed from stumbling upon the music of Mort Garson's 1976 album 'Plantasia' on YouTube. The phrase "warm earth music for plants" written on the album cover left a profound impression. The overall flashy and electronic sound of music has made artificially augmented plants more intuitively evocative than natural ones.<br />
<br />
This led me to recall an image of a Haribo tree, jokingly created as an AI image by someone in the past. However, due to the overload of information on the internet, I couldn't find that image again. Subsequently, I concluded that creating artificial plants personally would be more effective, and I created my series of growing jelly plants that suit the music.<br />
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"Snack Plants," developed in this manner, is a project that, while not possessing a uniquely structured narrative, finds its roots in internet media. It emerges from a blend of sound and processed images discovered there. My work revolves around consistently exploring, broadening, and reshaping diverse digital mediums to reveal both major and minor elements at their essence.<br />
<br />
'''What do you want to make next?'''<br />
<br />
I plan to expand my previous study on digital media images, utilizing this knowledge for current research or personal exploration. My focus lies in integrating content from platforms like TikTok, YouTube, and Instagram to delve into the deeper implications of memes and easily consumable media. Initially, I'll adopt a visual approach, constructing narratives around social media fragments, memes, and images.<br />
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I also want to highlight the importance of recycling images and discovering their background narratives.<br />
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This type of artwork plays a crucial role in expanding our perspectives by reshaping digital media like social media into new visual representations. Cory Arcangel's piece "Disclaimer:" reinterprets his social media scrolling recordings by projecting them onto large screens in exhibition spaces, highlighting how digital content we unconsciously consume can be reinterpreted and illuminated in a new light. This process of reusing and reprocessing existing material connects with the concept of "reuse" and underscores the importance of exploring and utilizing the values lost or omitted during the transmission process, emphasizing the significance of background and narratives.<br />
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By doing so, I plan to create new content by using existing material, focusing on rediscovering what I already know or experienced, and using available resources again. Additionally, I'm curious about how visual communication shapes digital languages, especially through activities like sharing reels with friends. I term this exploration "digital linguistics," aiming to understand the subtle dynamics of digital communication better.<br />
<br />
'''Why do you want to make it?''' '' ''<br />
<br />
In digital media, information, or some images and stories can be confusing and distorted due to various sources and viewpoints online. This makes it hard to understand in one solid form, and digital media covers a wide range of topics, making it even more complex. So, I want to look at this content from my perspective. I hope to provide different and new insights based on my experiences and wish to resonate with others amidst this digital chaos. By doing this, I aim to find deeper meanings in digital content and encourage thoughtful discussions in this vast digital landscape.<br />
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'''Relation to a larger context'''<br />
<br />
I'm interested in exploring creative works beyond digital image reproduction, exploring how they're consumed and inspire diverse artworks. For instance, in projects like the drone project, I'll move beyond screens by installing physical objects in real spaces, facilitating interaction between digital and physical realms. Additionally, works from Eva & Franco Mattes' innovative use of internet media and unique screen display techniques will amplify and enrich my artistic pursuits.<br />
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This serves as a clear example guiding the integration and examination of images and subjects within my current artistic approach.<br />
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'''References'''<br />
<br />
- original drone video<br />
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https://www.youtube.com/watch?si=LgT5GME6JvxQI2ND&v=72OhmRGrLLE&feature=youtu.be<br />
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- Artificial Landscape<br />
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https://youtu.be/PY0_g4ow9mc?si=kDVsqDj9ZeYgY6BM<br />
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https://youtu.be/zSHKS1FpZbg?si=IJkIagzx2w3CG5hm<br />
<br />
- Cory Arcangel <br />
<br />
''Disclaimer: (Single-channel screen recording of a live bot performance on Instagram, November 26, 2019)''<br />
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https://coryarcangel.com/shows/flying-foxes <br />
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- Eva & Franco Mattes<br />
<br />
https://0100101110101101.org/<br />
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- Rachel Maclean [ Over the Rainbow ]<br />
<br />
https://www.rachelmaclean.com/over-the-rainbow/</div>Parmesanfishhttps://pzwiki.wdka.nl/mediadesign/Toto%27s_latest_versionToto's latest version2024-03-21T14:15:05Z<p>Totoleheros: </p>
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<div><br />
A Humble endeavor.<br />
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To create something meaningful and<br />
to share my journey, and obstacles throughout creating, reflecting, and positioning myself during the first two semesters studying LBM. <br />
I have created several video works, most of which can be described as non-fiction, socially engaged, reflective, and nonlinear. An exemplary work for my self-directed research was a short film called 'The Cruise from Tallinn’, which explored conflicting narratives surrounding cruise ships in Rotterdam in a playful manner. This film was created for the Eye Research Lab and allowed me to experiment with new methodologies in my practice as a (film)maker. However, before diving into this project, I initially started out on the concept of Utopia and went through several iterations before completing my film for the Eye Research lab. <br />
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Typically, my artistic projects start with a visual inspiration, such as an image or a concept, and evolve from there. Contrary to starting visually, the first semester I began with a concept: the exploration of Utopia. <br />
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[[File:Map of Utopia.png|600px|thumb|center|Caption]]<br />
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In a time of turmoil and inequality, I have the feeling that I am neither the cause nor the solution to these problems that are a threat to a lot of us. <br />
By this ambiguous feeling towards crises and being unsure of my role in solving them, I felt compelled to delve into the idea of Utopia as a form of hope or escapism.<br />
This desire for alternative realities and escape routes led me to research it and explore it through film and art. Additionally, the fantastical and unreachable nature of Utopia added to its appeal for a visual exploration.<br />
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Drawing on my background In journalism, I began by asking others about their visions of Utopia, seeking to understand how different people perceive this ideal world.<br />
Could they envision a Utopia, a perfect world, that goes beyond just wealth in a capitalist society?<br />
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I conducted interviews at various public street markets to gather strangers' perspectives on this question. I was pleasantly surprised how many people wanted to engage and interact on this topic and the interviews led to the creation of a short video. <br />
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[[File:Still from man interviewed on Blaak market for 1st Draft Utopia video.png|800px|thumb|left|Caption]]<br />
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While I was initially pleased with the outcome, I realized that to capture a diverse range of viewpoints, I needed to interview a larger and more varied group of people. This approach felt it didn't align with the time constraints of the Eye Project, which limited videos to 3 to 4 minutes.<br />
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During this time, I also visited the port of Rotterdam with my classmate, Zhuang, as we were both intrigued by exploring this significant yet often overlooked location.<br />
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[[File:Zhuang and me exlporing the port still of layer experiment of different port combined.jpeg|800px|thumb|left|Caption]]<br />
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As I delved into the origins of the concept of utopia, I discovered the strong link to seafaring and the exploration of unknown territories, sparking fantasies of isolated islands with imaginative societies…<br />
While examining the scenery of the port area, I attempted to draw connections to the idea of Utopia. However, the industrialized landscape seemed far from utopian. I was curious about the individuals operating the machinery: the workers, the seamen. Did they ever envision a utopia for themselves? Through a news article, I discovered a volunteer-run establishment that provided a sanctuary for seamen in a small village (Oostvoorne) near the port. During our second visit with Zhuang, a Chinese seaman agreed to participate in an interview. This led to a 20-minute conversation where he shared insights into his daily life at sea, his thoughts on his job, past and present, his time away from home, his aspirations, and his vision of utopia. While this encounter was incredibly meaningful to me, practical considerations and ethical concerns made it challenging to conduct multiple interviews with seamen in a short period of time. As a result, I decided to put this project on hold for the time being.<br />
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[[File:Still of a interview conducted with a seaman in Oostvoorne.jpeg|800px|thumb|left|Caption]]<br />
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However, I still have the contact details of the seaman we interviewed, <br />
and an already discussed idea for the future is : to exchange our day-to-day life experience by self shot phone videos. Hopefully I can work on this in the upcoming semester.<br />
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At the same time, while still pondering utopia and the port, I rode my bike across the Erasmus bridge and spotted a massive cruise ship docked at the Wilhelminakade. This sight sparked a realization in me: cruise ships serve as spaces where a perfect world is recreated, a miniature utopia filled with all sorts of pleasures. Then, I also recalled that these same <br />
cruise ships have been used recently as temporary housing for refugees in Rotterdam. This strange paradox intrigued me instantly, and as I delved deeper into the topics of cruises, tourism, and refugees, I knew that the cruise ship would be the focal point of my EYE project.<br />
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[[File:Me looking the MSC Euribia Cruise docked at Wilhelminahaven.jpeg|600px|thumb|center|Caption]]<br />
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I was captivated by some of these paradoxes I observed, particularly the different uses of cruise ships. The idea of traveling over the sea struck me, with cruise tourists seeking adventure while refugees are forced to leave their homes. In the Netherlands, right-wing politicians labeled refugees as "fortune seekers," but in reality are cruise tourists not the genuine ones seeking fortune?<br />
Exploring the history of the early cruise industry in Rotterdam, I discovered that many Europeans who migrated to the United States were also considered fortune seekers. These contrasting perspectives made me want to explore and visualize this peculiar reality.<br />
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I pondered how to merge these separate realities into one cohesive piece. Finally various methodologies are utilized in the creation of the final film, playing with different narratives to highlight the contrast between them. So the process of making the film felt like an exploration of methods and histories, as I navigated how to tell the story, provide guidance, and determine where to draw the line.<br />
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[[File:The Tallink cruise, docked in Rotterdam west, used for refugee housing.jpeg|600px|thumb|center|Caption]]<br />
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Initially, I took on the role of an observer, capturing images of the ships from a distance. I also wanted to engage in a participatory approach by conducting interviews. My original plan was to board the different ships to directly contrast the tourist cruise with the one housing refugees. However, accessing the refugee cruise at short notice proved to be impossible. Beside the practical challenges, there was a moral dilemma regarding the portrayal of vulnerable individuals in art projects. Cihad Caner proposed the idea of incorporating reenactment to address, play or find a solution with these ethical and practical concerns.<br />
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[[File:Me presenting 'complicated' histories and facts in front of the AIda Nova cruise.png|600px|thumb|center|Caption]]<br />
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To push myself out of my comfort zone, I decided to try a new approach that I had never used in my previous non-fiction projects. I performed in the film as a presenter and took on the role of a neutral narrator.<br />
Taking inspiration from Wendelien van Oldenborgh's work "No False Echoes, "In addition to use both observation and performance, I incorporated (another) playful element by using a miniature Playmobil cruise ship to further explore characterizations of cruise culture. <br />
Throughout the film and performing in front of the screen, I recognized the importance of humor in addressing these complex issues.<br />
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[[File:Me prepping the Playmobil cruise ship.jpeg|600px|thumb|center|Caption]]<br />
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Reflecting on my experiences in past semesters, I realized themes of self-confrontation, revelation, exploration, and humor. I found myself drawn to creating social impact through humor and playful reflections, while also grappling with the challenges of self-exploration and questioning my own position.<br />
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Throughout my projects, I consistently found myself looking for contradictions and interviewing others, as well as using observation to explore social clashes and paradoxes. This thematic exploration has been a common thread in my work, including the cruise ship film and other projects.<br />
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In the final film, humor became a key element to engage throughout the frictions. I knew I already had these humorous side but apart from fun I noticed it serves a very important function actually and I am more then willing to explore this in the future.<br />
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[[File:Still of the playmobil captain with a recreated disco light inspired on the real disco lights on the Aida Nova cruise.jpeg|600px|thumb|center|Caption]]<br />
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The eye project led me to new insights and reflections on different methodologies, prompting me to question how to incorporate additional perspectives into my work. Cihad Caner's seminar <br />
challenged me to consider how art can create social impact and left me pondering the possibilities. Moving forward, I aim to refine my project and delve deeper into the questions it has raised. I am also interested in exploring power dynamics in my work as a filmmaker and potentially creating a project surrounding that topic in the form of a dialogue.<br />
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I was considering providing unseen refugees with cameras to document their experiences on the Cruise asylum or just observing the Netherlands. Another idea I had was to create a portrait of a seaman who sends me videos of their diary through their phone and create a shared project.<br />
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Additionally, I am interested in exploring the concept of utopia further. <br />
What other realities, that I was hoping for, do actually exist or are being planned out? What drives these people to look for something else? Utopia’s are proved to be dangerous and absolute ideas mean repression to others, how come we could never agree on something for all of us?<br />
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In addition to these projects, I have one other concepts that I wish to explore further: a film that places emphasis on audio and rhythm, delving into the technical aspects of filmmaking rather than traditional storytelling. Two years ago, I produced a short film that depicted <br />
the controversial demolition of a neighborhood amidst ongoing construction of high-rise buildings. The film captured the repetitive cycle of destruction and creation in Rotterdam, creating a rhythmic portrayal of the cityscape. Upon revisiting these images, I am inspired to expand upon this theme by utilizing sound and visuals in a non-linear yet rhythmic manner.<br />
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[[File:Still image of earlier video work about constructing and demolition in Rotterdam, we see demolition of tweebos buurt with cranes buiilding the New Rijnhaven boulevard.png|600px|thumb|center|Caption]]</div>Totoleheroshttps://pzwiki.wdka.nl/mediadesign/Aratrika%27s_latest_versionAratrika's latest version2024-03-21T13:06:02Z<p>Aratrikak: </p>
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<div>In my practice thus far, image-making has been the first step to discovery and meaning-making. I follow the rhythms of my body and surroundings to make images and then look back on them and see what they could mean to me, what narrative they create for me and my experiences. They also are a way of discovery and documentation of the world around me. ''[not so sure if this kind of vague intro adds any value to the text, but it’s what i have at the moment]''<br />
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'''Portals, a film'''<br />
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I have been working on a short film for the EYE-project, titled “where is a portal?”. It is a 3-minute long, 4:3 film made up of clips taken on a 2000's digital camera. The footage retains the in-camera colour and light and the sound is the raw ambient sound from the footage itself. It is a visual poem about gateways to other worlds I noticed, looked for and found, or were thrust upon me in my everyday life. Like the winter sun shimmering on the water outside my window, a disappearing and reappearing shadow of my hand on the plastic train seat, a box of wet orange fruit at night. I made it by spending a few days shooting as I went about my daily routines and travels, whipping out the digicam whenever something caught my attention. Then, closer to the deadline, I sat down and looked at the footage all together and used my newfound Da Vinci Resolve skills to see how I could bring a sense of rhythm and flow to the clips so they could inform each other. <br />
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Prior to starting this program, my practice has leaned more heavily on making photographs rather than moving images, for various reasons like access to equipment, software, storage, my physical ability… and the process of taking a photograph on a camera, of choosing where to arrange your frame and clicking, has always felt transportive to me, as if the process were a portal, and the outcome a portal to the process. That’s where the seed of the idea of this film comes from. I transposed that into making moving images; for the first time, I intentionally began a project with a topic in mind, shot footage for it, and pieced fragments together in a video editing software. As opposed to my usual image-first approach, which is to be quick to reach for my camera in moments of euphoria when a great song comes on, when I spy a tree branch on a walk that soothes my restlessness, in rare moments of stillness of seeing my shadow on the sidewalk. And at a later moment, looking through my archive and seeing what common themes emerge – nature at night, bodily fluids, spaces with a sense of memory… and grouping my favourite pieces together, playing with their form to work out what the outcome means to me (something I’m still working out). Portals was also my first time shooting on this old digicam and discovering its textures and rhythms.<br />
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This project also made me consider portals as unique from person to person, moment to moment. Something you not only stumble upon, but also ones you search for and create. I was talking to a friend about how your portal is telling of you and your desires. It’s also telling of what you want to escape about your reality. A feeling of going elsewhere, like another world is possible and within reach. <br />
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[[File:Portals screenshot 1 aratrika.png|center|thumb|480x480px]]<br />
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It has not been so much a part of my research thus far, but in feedback on my work from colleagues and tutors, I have learnt that there is a rich tradition of diaristic work, like the work of Moyra Davey. Coincidentally, around the time I was recommended her work was also the time I had been considering working with collage as a medium of play and sketch. ''[would be nice to tie this collage bit into my “shift” section]''<br />
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[[File:Moyra Davey, "Fifty Minutes Grid", 2006.png|center|thumb|480x480px]]<br />
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Although I haven’t studied poetry as part of my research, poems often ground me in my practice because they are accessible, and an almost momentary transporting to another world. I find poems, like photographs, to be portals. For instance, this poem by Pat Schneider, titled “The Patience of Ordinary Things”, really speaks to what drew me to making this film. <br />
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[[File:Pat Schneider, The Patience of Ordinary Things.png|center|thumb|500x500px]]<br />
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'''Untitled Project, collection of moving images'''<br />
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As part of a different ongoing project, I have also been gathering self-recorded clips of myself, mostly in my room where I spend most of my time, often along with clips of things I see from my bedroom window. Because what is more generous than a window? <br />
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The clips are of me, dating from 2019-now, alone in my space, performing daily routines, dancing to a song, close shots of my body like my eyes, hair, hands, or mouth while eating lychees, looking into the camera. The videos are all in portrait, taken on my phone, handheld or leaned against a nearby object. These videos are taken on different days but always in moments of solitude, such as after a shower, or while relaxing on the balcony. I am moved to film something because of a certain sound I hear, the way I see light hit my body, certain textures of wetness or stickiness, or extreme emotions of joy or sadness. These clips are often taken using glitchy or over-processed-looking filters. The videos retain their original sound, some of which are a song playing in the background, or the sound of the rain, or leaves rustling in the wind. My current vision for these clips is that of a montage (by the process of putting them into a video editing timeline, playing around with them in terms of order, duration, colour, taking note of what themes or narratives emerge, and experimenting with various iterations) ''[can cut this bracketed text altogether perhaps]'', or a multi-channel video installation in a space, maybe automated in a sense via a software like TouchDesigner (a skill I would like to pick up). There may or may not be overlaying audio or text that builds a narrative.<br />
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[[File:Screenshot self video with filter 2024 aratrika.jpg|centre|thumb|400x400px]]<br />
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Looking back, my reasons for taking this footage have evolved since I began this program. Initially, I was interested in the interaction of camera movement with disembodied details of the physical body and live sound. I was also interested in what quality distortion and overlaying filters can bring out in these videos, and in the materiality and textures of the surface of the screen. What does it mean to manipulate a digital surface, whether the manipulation happens in-camera or in post? I wanted to explore what kind of mood these combinations of techniques can elicit in video work. <br />
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The other reason for my interest, which has grown in significance these past few months, is that I am interested in the ways we choose to depict ourselves, and who has the agency to choose and build their identities. ''[“Under this umbrella, I’m considering themes of performance, which is something I would like to explore more by learning about other works that interest me in this field.” will probably leave this performance bit out since i’m not sure how to flesh it out]''<br />
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''[this feels like a good place to lead into the “shift” section, but i’m not sure if it’s a good place/necessary to add a subheading to clearly indicate it’s not part of the second project’s description?]''<br />
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I’m writing this in a moment of what feels like a shift in what I value in the outcomes of my practice. In the past year or so, I have been grappling with things happening in the world that were once in the back of my mind, but are now in the forefront as I go about my daily life. The genocide in Gaza, the ongoing mass death and disabling event of the pandemic, my delayed introduction into anti-caste schools of thought, to name a few, are things that have led me to become (for lack of a better word) more radicalised. I am more cognisant of the world’s response to these events, and critically and urgently considering my role in them. Perhaps moving away from home has provided me with the space for a clearer sense of my position to come about. Which now has me questioning… What does this shift demand from my practice? What is the space in my existing practice, if any, to incorporate these new elements into it?<br />
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These are big questions I’m still finding tools to work through. A possible answer I have to the second question can be illuminated by this quote from a Toni Morrison interview,<br />
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[[File:Toni morrison on beauty.png|center|thumb|500x500px]]<br />
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A possible entrypoint for these new elements into my work is the relationship, or possible tension between finding the beauty in the mundane, and the rapidly worsening lives of people under caste dominance, capitalism, imperialism. Is a radical commitment to finding beauty in your everyday life a possible tool of counterbalancing overconsumption and the industry of death, of true connection? In terms of tension, I’m thinking of the function of time: of the urgency of the issue of growing atrocities around me, and the neutral pace of my daily routine. Where does this tension begin and what does it illuminate?<br />
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With these in mind, I’m envisioning moving forward by spending a lot of time playing and sketching, maybe trying different media like collage and photo and text and see what that brings up for me. I want to get out of my head and channel my energy into making and see where that leads me. I want to use playing and sketching as a tool to explore this shift in me, and to use this shift in me to explore my work. <br />
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I also want to return to my practice of making more photographs. I feel like the program so far has been focused a lot more on moving images (which I want to continue exploring), and I think returning to the feelings of extended time and compact information I find in photographs may provide me with the right grounds for further contemplation.<br />
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A commitment,<br />
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[[File:Black Liturgies (Cole Arthur Riley), on mirrors and the self.png|center|thumb|400x400px]]<br />
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And a final poem, "On Seeing and Being Seen", by Ama Codjoe:<br />
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[[File:Ama Codjoe, On Seeing and Being Seen.png|center|thumb|500x500px]]<br />
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final word count: around 1600</div>Aratrikakhttps://pzwiki.wdka.nl/mediadesign/Nihal%27s_latest_versionNihal's latest version2024-03-21T11:57:31Z<p>Nihal Goel: </p>
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<div>[[File:Text on practice trim2 day 3.pdf|thumb]]</div>Nihal Goelhttps://pzwiki.wdka.nl/mediadesign/Luca%27s_latest_versionLuca's latest version2024-03-21T11:37:53Z<p>Luca: Created page with "https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File%3AText_on_practice_3rd_day_draft_in_progress.pdf&page=4"</p>
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<div>https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File%3AText_on_practice_3rd_day_draft_in_progress.pdf&page=4</div>Lucahttps://pzwiki.wdka.nl/mediadesign/Do%27s_latest_versionDo's latest version2024-03-21T11:31:07Z<p>Do.westphal: </p>
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<div>[[File:Do text on practice draft day 3 .pdf|thumb]]<br />
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This year my goal was to focus on elaborating my own vision and developing my skills as a director of photography.<br />
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This journey began with the kickoff of the EYE which was a major inspiration for me. With no specific guidelines, I was challenged to create a prototype of a final short film of about 3 minutes within 2 weeks. I immediately gravitated towards a topic that I haven’t let go of to this day: TIME. <br />
Time is everywhere and nowhere. It’s something we’re obsessed with or forget entirely. The link with time that I find fascinating is the time we leave behind and store as our memories. Our memories which we often leave untouched and gradually letting them fade into the past and forget. Which I think is a shame, because I see our memories as small puzzle pieces that each of us shapes as humans, thus giving color to our perspectives on things.<br />
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Something else that I started to intertwine within my work, which has a lot of overlapping with time and memories, is emotional realism. This is a concept I was introduced to during my final year at HKU, and it’s something I will never let go of. It concerns the emotional journey or arc of characters in connection with their psychology and motivations. Emotional realism is what comes closest to the real world in film, yet at the same time, it doesn’t. For the viewer, this is the closest they come because, like any individual, they experience things in their own world, through their own lens, creating their own ‘truth’, shaped by their own memories.<br />
This ‘realism’ is therefore far removed from ‘actual reality’, if we can even speak of such a thing.<br />
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Time, emotional realism and memories are things that deeply intrigued me, and I quickly had a visual idea in mind for the EYE. This visual idea stemmed from my encounters with ‘tangible memories’ in recent times, specifically old slide photographs. Not just any old slides, but slides of complete strangers. You see, sometimes bins full of these items can be found in thrift stores or markets. The idea that people essentially ‘discard’ their memories from the past and likely no longer attach any value to them lingered in my mind as a perplexing question.<br />
I was personally captivated by these images; I could gaze at them endlessly, so I decided to take some home with me. Subsequently, I called my parents to inquire whether they still had any of these slides. I was fortunate; they had three boxes full of slide photographs, a slide viewer, and a projector all gathering dust somewhere in the basement.<br />
My father and I began to look through the slides, and just like in the thrift store, I couldn’t tear my eyes away from them. Once again, I was almost hypnotised by these small photographs, which I like to call ‘frozen memories’. I noticed that something truly special happened to my parents as they looked back at these photos; there was a kind of vitality that I don’t see in people when they look back at vacation pictures, if they even bother to look back at them at all (which is another topic I’ll address later).<br />
But it wasn’t just my parents experiencing this sense of vitality as they looked back at their own memories; I experienced it too. As a complete stranger to both the depicted scene and the people in the old slide photographs, I began to relive this frozen memory. This experience inspired me greatly and only fueled my fascination with ‘time’, particularly in the past.<br />
I visualised this reliving experience in my short film, Slideshow.<br />
In this film, I visualized my own experience of looking at these frozen memories. My emotional realism is thus evident here. In the film, we see several of the slide photographs that I purchased from a thrift store or received from my parents. I selected a few where I felt as if I was being hypnotized while looking at them. <br />
While observing these ‘frozen memories’, I felt both confined and remarkably free as a spectator. Watching these ‘frozen memories’ momentarily halted ‘time in the real world’ for me, yet allowed ‘time’ in this ‘frozen world’ to progress. It felt like hypnosis, as if this small window came to life, and I, as a curious voyeur, peered into the lives of these individuals. Very little seemed to happen, yet simultaneously, a great deal unfolded. A whole story unfolded in my mind. And because I wasn’t being directed but rather directing myself as I watched, my imagination ran wild. <br />
I could haunt the frozen memory like a spirit and take a glimpse into a moment from the past at any point in time. I was a free spectator, and it truly felt that way. ‘It was okay.’<br />
I experimented with color, light, and camera composition in each slide. In this way, I translated the feeling and the story that unfolded within me into the visuals.<br />
It’s in these small details here, but these small things have made me incredibly warm and curious about bigger things. Bigger things that I was also searching for.<br />
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Something else I really wanted to achieve this year was to undertake a larger project where I could apply my vision and skill as a D.O.P. And then, the collaboration for: WAIT FOR NOW came about.<br />
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When my first documentary, Born to be Alive, premiered in September of last year, I got in touch with Noemi Bär, a Dutch filmmaker with a background of 4 years at the New York Film Academy. We decided to sit down together and discuss our own and each other's work. We quickly realized that our visions aligned closely, and we decided to further develop the script, which was still nameless at the time and which Noemi had already started, into the script for Wait for Now.<br />
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Our visions aligned well because, for instance, the script Noemi had begun writing, which essentially consists solely of a 'dialogue' between two people, provided ample room to build tension between the two characters not only through dialogue but also through all visual aspects, which I, as the Director of Photography, will be tasked with conceptualizing.<br />
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This is precisely the space I need and what I was searching for to further develop from the techniques I became familiar with during my previous project, Slideshow.<br />
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In addition to creating the visual challenge, I also assist in transcribing the script and devising 'sub-scenes'. One of the most crucial aspects for which I have shared responsibility in the story, and simultaneously the aspect that excites me the most and presents the greatest challenge, is that we are telling the story from end to beginning. As we do so, the viewer remains unaware that they are moving backward in time.<br />
**Wait for Now.**<br />
"How strong the feeling can return from when you first saw and met someone is when the moment arrives to bid each other goodbye. In the film "Wait for Now," you are taken along as you simultaneously go back in time to the conversation between Giulia (Italy) and Reinier (Netherlands), who 'accidentally' met in a nightclub in Elst, Netherlands, and decide to spend the night together, in which they not only get to know each other but also themselves. And as their conversations flow and they grow closer to both themselves and each other, they also increasingly approach the moment when they will part ways."<br />
I was and still am very passionate about the subject of 'time' and also searching for a project, or someone with a story, where I could use my visual vision as a translation. When Noemi was not only looking for someone who could visually translate her ideas but also for someone with whom she could give the story an additional twist, both in terms of content and in co-writing, everything fell into place, and the project Wait for Now began to take shape.<br />
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The film Wait for Now takes us back in time. Back in time because as the film progresses, we get to know the characters better and better. And you truly get to know someone when you know where they come from. By choosing this narrative <br />
approach, the entire film becomes a memory, and a memory is made up of a feeling. In Wait for Now, we convey this feeling not only through dialogue; in fact, the story is told through emotional realism and its visual translation. In this project, What I aim to achieve during this project is to elevate my cinematography to a new level by working meticulously and crafting a comprehensive lighting / camera movement plan in advance. The lighting plan and camera movements will be linked to the message of the dialogue, the character development, and the progression of time in each scene. I can therefore apply the techniques I learned during EYE in a large-scale film project, the project I was searching for.</div>Do.westphalhttps://pzwiki.wdka.nl/mediadesign/Riccardo%27s_latest_versionRiccardo's latest version2024-03-21T11:21:17Z<p>Rick: </p>
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<div>[[File:Riccardo_Santalucia_Text_on_Practice.pdf|thumb|center|Text on Practice]]</div>Rickhttps://pzwiki.wdka.nl/mediadesign/Tesse%27s_latest_versionTesse's latest version2024-03-21T11:19:38Z<p>Tesse B: Created page with "thumb"</p>
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<div>[[File:TEXT ON PRACTICE - day 3 feedback.pdf|thumb]]</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/Jingfeng_text_on_practice_2nd_draftJingfeng text on practice 2nd draft2024-03-21T10:53:30Z<p>Jingfeng Shen: </p>
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<div>'''Rotterdam Syndrome, Photography, 2023-'''<br />
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[[File:Rotterdam Syndrome Selected.jpg]]<br />
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'''1.What have you been making?'''<br />
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This is my first practice project since I came to Rotterdam. When I was new to the city, I wanted to find my connection with it through visual exploration, and at the same time express some of my feelings about it during the process. The outcome is a collective of photos, about Rotterdam city and its suburban places. I may have some personal perspective about this place, because I don’t have much experience living abroad, Rotterdam is the first foreign city I will live for a long time, I want to get linked with it, even with the people and communities, through my eyes and paces. Then maybe I can know myself and the city better, and the most important part, similar with my previous works, is to look at the cracks of modernity here, find some emotions, productions and behaviors behind the surface, and to express my perception about it through images.<br />
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'''2.How did you do it? (method)'''<br />
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This practice is partly based on my past experience on visual creation, as well as a combination of my new thoughts on photography, the style/method and the objects of shooting is not stable yet. And the first step for me was to get familiar with this city, hang around, find out if there is any interesting landscapes. Then I would try to understand how do they operate, and influence the society. After the first touch, I can decide whether to separate them into different projects.<br />
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'''3.Relation to previous practice?'''<br />
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Actually I mainly used my previous experience on photography to see/gaze the objects I was shooting. But I also tried some new methods and thoughts to analyze them, especially because they are totally new to me, and having new context which I may not understand so well. The outcome is quite a hybrid of my previous and new understanding on photos. In my previous practice, I usually use the flash light to create a theatrical atmosphere, and to magnify the object itself. Through my study here, I started to learn to understand images in a broader way, tried to liberate them from that kind of mode. I was trying to see more from seemed ordinary scenes, to formulate a new method of look.<br />
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'''Copper Dream, Film, 2024'''<br />
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[[File:Copper Dream still.jpg]]<br />
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'''1.What have you been making?'''<br />
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A short film, in which I want to blend fragments of my father's childhood intersecting with our country's contemporary history, and my personal situation in a new country. Through an approximation of a letter, different little corners across time and space are revealed as overlapping gestures from a private emotional connection.<br />
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'''2.How did you do it? (method)'''<br />
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I rewrote one story my dad has told me before into the monologue, as a clue to combine his childhood, with that special period of our society and my life abroad today. Instead of telling this story directly, I used it as a dream, as well as a window, by which I could blend the past and the present. The story in monologue is not real daily, but more metaphorical and atmospheric. And it costed me a lot of time to think about visualizing, finally I decided to take the images of my shadows on the buildings of streets. They are a symbol of my isolated situation as a foreigner, and also a ghost figure which is in between of the past and the present. The video phone call in the film is an entrance, as well as an exit of the dream scene.<br />
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'''3.Relation to previous practice?'''<br />
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This is about my first time to make video work, with timelines, sounds, voice-over, subtitles and so on. I felt I was liberated from some certain images, instead got into a wider space with more dimensions. My previous photo works were mainly focusing on society conditions, metaphors of images, and this film is also about these topics, but in a more subtle way, combined with more elements like sounds and texts. Finally I found that filmmaking may be a more interesting method for me, because it has more dimensions to extend.<br />
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'''Zoo, Photography, 2024-'''<br />
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[[File:Zoo.jpg]]<br />
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'''1.What have you been making?'''<br />
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This is another one of my practices and explorations about landscapes. Usually, when visiting a zoo, our attention is focused on those animals. But this time, I noticed those moments when the animals are absent. When the animals are not there, what kind of landscape does the zoo become? Do those special designs gain a new context? What would we experience if we were to remove the animals as a subject of experience and place ourselves in these landscapes? This practice is in fact an extension of my exploration of the landscapes of human societies, which can provide me with more thoughts about "landscapes" and, in turn, help me to understand our conditions in our own contexts.<br />
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'''2.How did you do it? (method)'''<br />
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I visited some zoos, and tried to look/gaze at the landscapes without animals, or wait for the animals to leave, to find some scenes I thought were related with animal/human’s life, and can become a metaphoric image. The difficulty is, to recognize which scene is important, but I think this is a universal question for every photographers.<br />
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'''3.Relation to previous practice?'''<br />
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This series of photos is another chance for me to explore “landscapes”, and the knowledge behind the images. When the animals were absent, I felt something new growing from the photos, and they have some connections with the human society, as well as the situations of animals themselves. It’s not only showing a sympathy on animals in zoos, but also a reflecting about our conditions today. Zoos and cities are both human-made environment for the residents, we may see ourselves through the animals, as well as their living places.<br />
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'''Ferry In Wild, Documentary, 2024'''<br />
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[[File:Ferry In Wild.jpg]]<br />
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'''1.What have you been making?'''<br />
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I’ve contacted with an owner of a Chinese bookstore named “野渡”, which means a ferry in wild, and asked her if I can take some footages about them. Coincidentally, they recently decided to rent and renovate a space in real for the store, so I got a chance to take some document footages about them. I plan to make it into a short documentary, but the shooting is still going on, not very sure about the future direction.<br />
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'''2.How did you do it? (method)'''<br />
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I found some interviews on internet about the bookstore, and they are at Rotterdam. So I get contact with the owner, then meet them in real life to take some footages about the renovation of bookstore and some other materials. Compared to the shooting process, it’s even more important to communicate in a documentary production.<br />
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'''3.Relation to previous practice?'''<br />
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This is also the first time to make a documentary independently, so I’m actually learning about sound recording, interviewing and other skills on documentary making. Besides the practice on technical aspects, the topic is also about Chinese people living abroad, and how do they treat their own culture, build community and so on.<br />
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'''What do you want to make next?'''<br />
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I want to go deeper with my exploration on landscapes and human conditions. Thus I may will continue my project Rotterdam Syndrome, Zoo, and Ferry In Wild, to try to develop them into a more complete version, into photobooks and shortfilms. And I want to try more on filmmaking and writing, maybe I will write a fiction script with metaphoric figures and monologues, about my thoughts on the global society environment. More with a universal perspective, and the living conditions of (Asian)people of young generation.<br />
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'''Why do you want to make it?'''<br />
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It’s a continuation about my work on landscapes and human conditions, even Asian culture. Basically it’s a desire on visual creation research, plus some voice about my identity and community, or, origin.<br />
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'''Relation to a larger context'''<br />
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I want to explore the ways in which landscapes operate on a larger cultural scale. They may be born of different regions (developed or undeveloped), industries (industrial, agricultural, residential, etc.), and may interact with human or non-human groups in different ways. But today they are all inevitably very closely linked to human society and history, whether in the form of human presence or absence. By understanding these landscapes, it may be possible to gain a deeper awareness of the different slices of human's conditions, so that we can understand the way humans themselves behave through historical and contemporary perspectives, and to guide our understanding about ourselves and the actions in the future.<br />
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'''References'''</div>Jingfeng Shenhttps://pzwiki.wdka.nl/mediadesign/Do%27s_second_full_draft_TOPDo's second full draft TOP2024-03-21T10:11:29Z<p>Do.westphal: Created page with "This year my goal was to focus on elaborating my own vision and developing my skills as a director of photography. This journey began with the kickoff of the EYE research labs which was a major inspiration for me. With no specific guidelines, I was challenged to create a prototype of a final short film of about 3 minutes within 2 weeks. I immediately gravitated towards a topic that I haven’t let go of to this day: TIME. Time is everywhere and nowhere. It’s somethin..."</p>
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<div>This year my goal was to focus on elaborating my own vision and developing my skills as a director of photography.<br />
<br />
This journey began with the kickoff of the EYE research labs which was a major inspiration for me. With no specific guidelines, I was challenged to create a prototype of a final short film of about 3 minutes within 2 weeks. I immediately gravitated towards a topic that I haven’t let go of to this day: TIME. <br />
Time is everywhere and nowhere. It’s something we’re obsessed with or forget entirely. The link with time that I find fascinating is the time we leave behind and store as our memories. Our memories which we often leave untouched and gradually letting them fade into the past and forget. Which I think is a shame, because I see our memories as small puzzle pieces that each of us shapes as humans, thus giving color to our perspectives on things.<br />
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Something else that I started to intertwine within my work, which has a lot of overlapping with time and memories, is emotional realism. This is a concept I was introduced to during my final year at HKU, and it’s something I will never let go of. It concerns the emotional journey or arc of characters in connection with their psychology and motivations. Emotional realism is what comes closest to the real world in film, yet at the same time, it doesn’t. For the viewer, this is the closest they come because, like any individual, they experience things in their own world, through their own lens, creating their own ‘truth’, shaped by their own memories.<br />
This ‘realism’ is therefore far removed from ‘actual reality’, if we can even speak of such a thing.<br />
<br />
Time, emotional realism and memories are things that deeply intrigued me, and I quickly had a visual idea in mind for the EYE research labs. This visual idea stemmed from my encounters with ‘tangible memories’ in recent times, specifically old slide photographs. Not just any old slides, but slides of complete strangers. You see, sometimes bins full of these items can be found in thrift stores or markets. The idea that people essentially ‘discard’ their memories from the past and likely no longer attach any value to them lingered in my mind as a perplexing question.<br />
I was personally captivated by these images; I could gaze at them endlessly, so I decided to take some home with me. Subsequently, I called my parents to inquire whether they still had any of these slides. I was fortunate; they had three boxes full of slide photographs, a slide viewer, and a projector all gathering dust somewhere in the basement.<br />
My father and I began to look through the slides, and just like in the thrift store, I couldn’t tear my eyes away from them. Once again, I was almost hypnotised by these small photographs, which I like to call ‘frozen memories’. I noticed that something truly special happened to my parents as they looked back at these photos; there was a kind of vitality that I don’t see in people when they look back at vacation pictures, if they even bother to look back at them at all (which is another topic I’ll address later).<br />
But it wasn’t just my parents experiencing this sense of vitality as they looked back at their own memories; I experienced it too. As a complete stranger to both the depicted scene and the people in the old slide photographs, I began to relive this frozen memory. This experience inspired me greatly and only fueled my fascination with ‘time’, particularly in the past.<br />
I visualised this reliving experience in my short film, Slideshow.<br />
In this film, I visualized my own experience of looking at these frozen memories. My emotional realism is thus evident here. In the film, we see several of the slide photographs that I purchased from a thrift store or received from my parents. I selected a few where I felt as if I was being hypnotized while looking at them. <br />
While observing these ‘frozen memories’, I felt both confined and remarkably free as a spectator. Watching these ‘frozen memories’ momentarily halted ‘time in the real world’ for me, yet allowed ‘time’ in this ‘frozen world’ to progress. It felt like hypnosis, as if this small window came to life, and I, as a curious voyeur, peered into the lives of these individuals. Very little seemed to happen, yet simultaneously, a great deal unfolded. A whole story unfolded in my mind. And because I wasn’t being directed but rather directing myself as I watched, my imagination ran wild. <br />
I could haunt the frozen memory like a spirit and take a glimpse into a moment from the past at any point in time. I was a free spectator, and it truly felt that way. ‘It was okay.’<br />
I experimented with color, light, and camera composition in each slide. In this way, I translated the feeling and the story that unfolded within me into the visuals.<br />
It’s in these small details here, but these small things have made me incredibly warm and curious about bigger things. Bigger things that I was also searching for.<br />
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Something else I really wanted to achieve this year was to undertake a larger project where I could apply my vision and skill as a D.O.P. And then, the collaboration for: WAIT FOR NOW came about.<br />
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When my first documentary, Born to be Alive, premiered in September of last year, I got in touch with Noemi Bär, a Dutch filmmaker with a background of 4 years at the New York Film Academy. We decided to sit down together and discuss our own and each other's work. We quickly realized that our visions aligned closely, and we decided to further develop the script, which was still nameless at the time and which Noemi had already started, into the script for Wait for Now.<br />
<br />
Our visions aligned well because, for instance, the script Noemi had begun writing, which essentially consists solely of a 'dialogue' between two people, provided ample room to build tension between the two characters not only through dialogue but also through all visual aspects, which I, as the Director of Photography (D.O.P), will be tasked with conceptualizing.<br />
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This is precisely the space I need and what I was searching for to further develop from the techniques I became familiar with during my previous project, Slideshow for EYE researchlabs.<br />
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In addition to creating the visual challenge, I also assist in transcribing the script and devising 'sub-scenes'. One of the most crucial aspects for which I have shared responsibility in the story, and simultaneously the aspect that excites me the most and presents the greatest challenge, is that we are telling the story from end to beginning. As we do so, the viewer remains unaware that they are moving backward in time.<br />
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'''Wait for Now.'''<br />
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"How strong the feeling can return from when you first saw and met someone is when the moment arrives to bid each other goodbye. In the film "Wait for Now," you are taken along as you simultaneously go back in time to the conversation between Giulia (Italy) and Reinier (Netherlands), who 'accidentally' met in a nightclub in Elst, Netherlands, and decide to spend the night together, in which they not only get to know each other but also themselves. And as their conversations flow and they grow closer to both themselves and each other, they also increasingly approach the moment when they will part ways."<br />
I was and still am very passionate about the subject of 'time' and also searching for a project, or someone with a story, where I could use my visual vision as a translation. When Noemi was not only looking for someone who could visually translate her ideas but also for someone with whom she could give the story an additional twist, both in terms of content and in co-writing, everything fell into place, and the project Wait for Now began to take shape.<br />
<br />
The film Wait for Now takes us back in time. Back in time because as the film progresses, we get to know the characters better and better. And you truly get to know someone when you know where they come from. By choosing this narrative approach, the entire film becomes a memory, and a memory is made up of a feeling. In Wait for Now, we convey this feeling not only through dialogue; in fact, the story is told through emotional realism and its visual translation. In this project, I can therefore apply the techniques I learned during EYE Research Labs in a large-scale film project, the project I was searching for.<br />
<br />
What I aim to achieve during this project is to elevate my cinematography to a new level by working meticulously and crafting a comprehensive lighting plan/camera movement plan in advance. The lighting plan and camera movements will be linked to the message of the dialogue, the character development, and the progression of time in each scene.</div>Do.westphalhttps://pzwiki.wdka.nl/mediadesign/Tom%27s_second_draftTom's second draft2024-03-21T03:40:11Z<p>Tparolin: </p>
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<div>Second draft<br />
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[[File:Text On Practice Draft 2 rework.pdf|thumb|536x536px]]</div>Tparolinhttps://pzwiki.wdka.nl/mediadesign/Tessa%27s_second_draftTessa's second draft2024-03-21T01:08:43Z<p>Tessalangeveld: Created page with "thumb ]]"</p>
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<div>[[<br />
[[File:Tessa 2n day.pdf|thumb]]<br />
]]</div>Tessalangeveldhttps://pzwiki.wdka.nl/mediadesign/Chan%27s_second_draftChan's second draft2024-03-20T21:59:54Z<p>Parmesanfish: </p>
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<div>(1,518 words)<br />
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=== What have you been making? ===<br />
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I'm currently working on a project to explore the potential of storytelling extracted from digital media.<br />
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In my short film, "The Drone", I aimed to explore various narrative structures that a specific subject could generate, inspired by a chance encounter with random clip on YouTube, the largest video-sharing platform on the internet. The primary focus is on capturing the essence of original footage while introducing a fresh perspective as drones take on personified roles.<br />
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In this narrative, the drone serves as a comforting presence, posing questions to alleviate individuals facing similar challenges or emotions, such as the fading of once cherished aspirations. Particularly in the narrative surrounding drones, the rapid and natural phenomenon of change and disappearance reflects the characteristics of modern society, where past desires quickly evolve.<br />
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As a narrative component, the goal is to progress the story like an unexpected tale, seamlessly interjecting without a defined beginning or end. Moreover, the intention is to create a story that can conclude at any moment without leaving a sense of incompleteness, allowing it to flow smoothly while engaging the audience's attention.<br />
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=== '''How did you do it?''' ===<br />
''( practical Method)''<br />
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The requirement was to produce fresh images depicting a drone object that aligns with the revised story. <br />
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I began with standard drone shapes but adjusted them multiple times by repeating, stretching, shrinking, and distorting them. <br />
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The grand concept I envisioned for the recreated drone aims to convey a sense of accumulated time and space.It reminds me of some remains floating around the bottom of the sea. It somehow looks melted, but you can still see the original structure of that object. In the process, I crafted drone objects solely with hot glue, producing variations in design. I then employed 3D scanning to refine texture clarity and harmonize aesthetic coherence.<br />
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Ultimately I wanted to reflect these transformative behaviors to resonate with a series of phenomena that exist and occur in the digital media space. Digital media possesses a flexible nature. Contents generated through the internet are easily altered, reinterpreted, and repurposed with various meanings. This process differs from alterations in physical spaces. Content modified on the internet exhibits a more proactive and rapid fluctuation in form, quantity, and potential. <br />
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<br />
Therefore, I believe that drone images I slightly modify also resemble digitally altered media rather than naturally evolving entities, embodying similar characteristics shaped by someone's active intervention.<br />
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''( Narrative Method )''<br />
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The original video that inspired this project was about 1 minute and 30 seconds in duration, featuring an intense yet straightforward narrative. In the footage, a drone slowly descends into water for unknown reasons, while in the distance, the owner of the drone, appearing like a guardian, rushes towards it.<br />
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Through my personal analysis, I aimed to understand why the video captivates viewers and sought to grasp the essence of a fresh narrative structure.<br />
The determined actions of the figure, likely the owner, from the drone's perspective, resemble those of a protagonist, evoking a sense of heroism akin to traditional storytelling. The scene where the figure rushes fearlessly into the water to retrieve his drone conveys positive emotions to the audience.<br />
<br />
As the camera angle zooms in on the person, the drone's dramatic plunge into the water intensifies suspense, prompting viewers to experience a mix of joy, relief, and anxiety. These emotional fluctuations serve as crucial elements in shaping a new narrative.<br />
This analysis suggests that the video's ability to evoke diverse emotions can serve as a focal point for creating a compelling new story.<br />
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It evolved into several steps for creating compelling narratives from fragmented drone images.<br />
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Establish a Narrative Framework: Explore main ideas and concepts depicted in the footage to shape the narrative direction.<br />
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Identify Key Characters: Select central figures or subjects from the footage to anchor the story.<br />
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Utilize Fragmented Drone Imagery: Generate diverse drone images, incorporating elements of decay and fragmentation to evoke intrigue.<br />
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Reconstruct Associated Stories: Develop narratives that complement the fragmented imagery, creating a cohesive and engaging storyline.<br />
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Moreover, I sought to explore how this process could enhance the relationship and interaction between the newly developed narrative and the original materials.<br />
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=== '''Relation to previous practice''' ===<br />
The previous works reflect a process of recombining various elements to create new meanings. The process of reinterpreting personally accumulated images in new contexts highlights the versatility of perception, which can vary significantly depending on the situation. <br />
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The "Artificial Landscape 01/02 “ is based on the observation that landscape images encountered in the digital environment are becoming universal, forming a new natural landscape. This project originated from a question about how truthfully the external environments such as cities, mountains, and oceans, which we experience in reality, can be conveyed to us. This curiosity arises because the landscapes we encounter through the internet or media can be distorted compared to actual experiences. <br />
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The aim of this project is to explore the boundary between our real experiences and virtual images, understanding how the environments we know and those presented by others combine to form the boundary between reality and virtuality. This illustrates how experiences through specific media are recreated and consumed in new forms. The previous works reflect a process of recombining various elements to create new meanings.<br />
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"The Drone" project shares similarities in generating new artworks by reworking materials experienced in digital media into different mediums. These works present new perspectives and interpretations in their respective contexts, delivering diverse experiences through various media.<br />
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I believe that there are always new ways to utilize digital media through fresh combinations, distortions, and reproductions. Among them, another project I worked on in the past is the "Snack Plants" project. This project also stemmed from stumbling upon the music of Mort Garson's 1976 album 'Plantasia' on YouTube. The phrase "warm earth music for plants" written on the album cover left a profound impression. The overall flashy and electronic sound of music has made artificially augmented plants more intuitively evocative than natural ones. <br />
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This led me to recall an image of a Haribo tree, jokingly created as an AI image by someone in the past. However, due to the overload of information on the internet, I couldn't find that image again. Subsequently, I concluded that creating artificial plants personally would be more effective, and I created my own series of growing jelly plants that suit the music. <br />
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"Snack plants," developed in this manner, is a project that, while not possessing a uniquely structured narrative, finds its roots in internet media. It emerges from a blend of sound and processed images discovered there. My work revolves around consistently exploring, broadening, and reshaping diverse digital mediums to reveal both major and minor elements at its essence.<br />
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=== '''What do you want to make next?''' ===<br />
I plan to expand my previous study on digital media images, utilizing this knowledge for current research or personal exploration. My focus lies in integrating content from platforms like TikTok, YouTube, and Instagram to delve into the deeper implications of memes and easily consumable media. Initially, I'll adopt a visual approach, constructing narratives around social media fragments, memes, and images.I also want to highlight the importance of recycling images and discovering their background narratives. By doing so, I plan to create new content by using existing material, focusing on rediscovering what I already know or experienced, and using available resources again.<br />
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Additionally, I'm curious about how visual communication shapes digital languages, especially through activities like sharing reels with friends. I term this exploration "digital linguistics," aiming to understand the subtle dynamics of digital communication better.<br />
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=== '''Why do you want to make it? '' ''''' ===<br />
In digital media, information, or some images and stories can be confusing and distorted due to various sources and viewpoints online. This makes it hard to understand in one solid form, and digital media covers a wide range of topics, making it even more complex. So, I want to look at this content from my own perspective. I hope to provide different and new insights based on my experiences and wish to resonate with others amidst this digital chaos. By doing this, I aim to find deeper meanings in digital content and encourage thoughtful discussions in this vast digital landscape.<br />
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=== '''Relation to a larger context''' ===<br />
I'm interested in exploring creative works beyond digital image reproduction, exploring how they're consumed and inspire diverse artworks. For instance, in projects like the drone project, I'll move beyond screens by installing physical objects in real spaces, facilitating interaction between digital and physical realms. Additionally, drawing from Eva & Franco Mattes' innovative use of internet media and unique screen display techniques will amplify and enrich my artistic pursuits.<br />
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Additionally, I believe incorporating Eva & Franco Mattes' inventive utilization of internet media and distinct screen presentation methods could greatly enhance my artistic endeavors. Furthermore, delving into Rachel Maclean's artworks, which delve into the characteristics of subjects from a personal perspective, could provide valuable insights. For instance, her video "Over the Rainbow" utilized audio sourced from platforms such as YouTube, enabling her to craft distinctive narratives and imagery. This serves as a clear example guiding the integration and examination of images and subjects within my current artistic approach.<br />
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=== '''References''' ===<br />
- original drone video<br />
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https://www.youtube.com/watch?si=LgT5GME6JvxQI2ND&v=72OhmRGrLLE&feature=youtu.be<br />
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- Artificial Landscape<br />
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https://youtu.be/PY0_g4ow9mc?si=kDVsqDj9ZeYgY6BM<br />
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https://youtu.be/zSHKS1FpZbg?si=IJkIagzx2w3CG5hm<br />
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- Eva & Franco Mattes<br />
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https://0100101110101101.org/<br />
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- Rachel Maclean [ Over the Rainbow ]<br />
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https://www.rachelmaclean.com/over-the-rainbow/</div>Parmesanfishhttps://pzwiki.wdka.nl/mediadesign/Nihal%27s_second_draftNihal's second draft2024-03-20T20:42:51Z<p>Nihal Goel: </p>
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<div>[1511 words, not including references] <br />
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In my time so far in Piet Zwart's master program, I have worked on several films. A recurring pattern that appears in my work is a use of symbolism and metaphors to explore topics of inaction, deprived desires and effects of environment on the consciousness. <br />
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The short film I made for the eye film museum's research labs is titled "I'm here" and it explores the phenomena of the distance between subconscious thought and conscious action. The film constitutes of moving images of everyday residential surroundings that takes the perspective of the viewer as the key character and takes them through sequences of images layered with text. Dying house plants are used as a metaphor for ideas, actions and/or ambitions that were neglected and forgotten even though they were of potential importance and perhaps even assumed necessity to the viewer. The images are meant to emphasise feelings of neglect and inaction despite awareness of the consequences.<br />
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The project started with generation of ideas for scenes<ref>Scribbled scenes and ideas by me:<br />
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_pigeon explodes, urgency, sirens, fluorescence, space, ambience, focus on the darkness<br />
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re-contextualise, the future, ice sheets, glistening, bubbles, pop, bright red orange yellow, geometric boxes, solid patterns flat<br />
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viewer must be aware that the maker is aware of the space they inhabit<br />
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graphic imagery, pigeons exploding, skin, veins, blood.<br />
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Point the viewers in space and bring them to current space<br />
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use strobe to wake them<br />
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skin splits slowly, gross and grotesque musculature<br />
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whale fat, demolished, dark<br />
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feeble, weak, pathetic, skinny man falling apart<br />
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breathing and heartbeats_</ref> that were loosely connected with the theme of urgency and broader topics such as war, climate change and industrialisation. Most of these were transcribed from voice recordings that I would make during night outs in clubs. These places seemed to exacerbate feelings of urgency and neglect for me and I would record any idea that was even remotely connected to the topic.<br />
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I wanted to use these broader topics as an example of consequence of neglect and inaction and employ the feelings of helplessness in relation to such events. Since awareness or lack thereof was a key artifact of consciousness that i wanted to explore, I wanted the viewer to become aware of the space that they were watching this film in hopes of pointing out how selective our awareness is. To realise these broad images, the intention was to use Artificial Intelligence for image generation and use very long duration, static white shots to light up the cinema room so that the viewer can easily see the space and their neighbours and would have time to break out of the screen. However the limitations of current state of Artificial Intelligence quickly made it clear that such image generation tools would be insufficient to realise the aforementioned moving image sequences.This lead to reflection on the origins of my interest in this topic and why I wanted to make such a film. <br />
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I have a deep interest in psychology of addiction and the writings of psychologist and researcher Anna Lembke<ref>[https://www.cambridge.org/core/journals/cambridge-quarterly-of-healthcare-ethics/article/dopamine-nation-finding-balance-in-the-age-of-indulgence-by-anna-lembke-new-york-dutton-2021/842AFC7D6FD2FA806FAE123C77B87B43 Dopamine Nation: Finding Balance in the Age of Indulgence by Anna Lembke] </ref>. Specifically the research on role of dopamine in decision making<ref>[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3055502/ The Roles of Dopamine and Serotonin in Decision Making: Evidence from Pharmacological Experiments in Humans] </ref> and how its very easy for short term gratification to overpower long term decisions. She discusses the notion of subconscious mind and how some actions generated by it can only be realised by the conscious brain in retrospect. For the project I decided to take a more personal and individualised approach. Instead of addressing the theme through such broad topics as climate change, a more personal metaphor of neglect was used which in my case are my dying houseplants.<br />
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[[File:Nihal_eye_1st_version.png|654x654px]] <br />
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The first version of the film consisted of black and white shots of plants with their leaves falling apart, images of a person working in the background who is the neglectful caretaker and warped shots of various plants and trees in the residential neighbourhood to generate an eerie and depressing atmosphere, symbolic of loss of life and connecting it to the death of plants. In this version, the film lacked linearity and it seemed that the phenomena of neglect needed a past, present and potential future to make sense. Also the symbols and scenes felt too direct to me. I aspire to make visual and textual sequences as open-ended as possible while preserving the core themes so that viewers can project their own experiences and memories on the metaphors. I have been greatly inspired by songwriting of artists like Thom Yorke. In the song "Nude" he opens with "Don't get any big ideas they're not gonna happen"<ref>[https://genius.com/Radiohead-nude-lyrics Song - Nude by Radiohead]</ref> without a mention of what the "big ideas" are, allowing the listener to translate it into the current/past events of their lives. <br />
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The second and final version of the film also consisted of shots of flora in residential neighbourhood, but this time in very vivid and saturated colours and also slow moving shots of water and trees and birds. <br />
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The slow moving shot of water and trees were symbolic of a flourishing and hopeful past<br />
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[[File:Nihal eye reflection.png|704x704px]]<br />
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I tried to put the viewer in the scene as the key character using a shot of a reflection of a person looking directly at themselves and also partially at the houseplants in front of them. Time was slowed down in most sequences to give the viewer, space for recalling memories and generating projections.<br />
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[[File:Nihal eye dying plant.png|676x676px]]<br />
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The present is embodied using a shot of dry and dying houseplant slowly moving with the wind. This signifies the neglect and inattention on part of the viewer. Then the plant pot breaks which is used as a transition to the unchangeable future. The final scene is a long slow motion shot of bird flying in blue skies which simultaneously signifies acceptance of the consequences of action which are now permanent in nature and despair / regret in light of a potentially free and vivid future which was never realised.<br />
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[[File:Nihal eye bird flying through space.png|679x679px]]<br />
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After making the two versions I realised that the differences in the two films were in part due to the effects of my own environment. The first version was mostly shot and edited in the month of December when the skies were grey, days were short with barely any light and I was mostly isolated with most of my friends away for holidays. Perhaps this translated into the images being grey and a bit depressing in nature.<br />
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In contrast the first few weeks of January were quite sunny and a relief from the previous months. That sense of relief was also translated into the final version of the film in the form of the various vivid colours and slow motion shots. I usually now try to listen to certain types of music while filming various material with the goal of manufacturing a reality for myself which aligns with the mood and purpose of my film. <br />
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[[File:Nihal ijsje.png|681x681px]]<br />
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The first draft i made for the eye project in November, titled "Ijsje", has a few parallels in terms of the themes of the current actions affecting the future and the importance and weight of current decisions. Both films are without spoken dialogue and the plot is conveyed via subtitles and metaphors and long shots. Both films also end on a unresolved unambiguous note, tending in the direction of despair and regret. I like the exploration of sombre reality in film. Films like Manchester by the Sea where the protagonist doesn't end up victorious and with resolved internal conflicts have had great influence on me. In Manchester by the sea <ref>https://en.wikipedia.org/wiki/Manchester_by_the_Sea_(film) </ref> the character's life takes a dark turn through one unfortunate event and even though he sees glimpses of hope, he still is unable to get himself out of the hole of despair even rejecting opportunities to get better and help from his friends/family. I think thats a more accurate picture of reality for a lot of lives and individuals.<br />
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For my next project I want to make a film about industrial landscapes. Like the port of Rotterdam and Amsterdam and the industrial areas just outside big cities. For this project I am working backwards from my usual methodology, starting with recording the images first before writing a script. I am pointing my camera at the unique and massive industrial structures and trying to identify what it is that draws me to them and have the story be an emergent property of the process.<br />
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[[File:Nihal Chimney - Industrial landscapes.png|572x572px]]<br />
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The seed for this project originated when I showed my eye film to my housemate. He is very familiar with the locations that the film was shot in but nonetheless he told me that he saw the images in a new way, perhaps because they were my interpretation of those surroundings. Ports and industries play a big role in our lives, but they are quite abstract presences. Weird unfamiliar structures that people don’t know much about. What kind of events happen in these surroundings? What kind of rules do you need to comply with to negotiate your presence in these spaces? There is a lot of illegal activities in these places and its a very masculine atmosphere. It feels like you are not supposed to be there. It feels like an otherworldly jungle but perhaps one that is not meant to support bodies. <br />
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I am drawn to spaces which are not easy to access. For instance I like to do a lot of hiking especially on difficult trails where you really need to plan the route, you need to learn some techniques and be very focused at all times, otherwise it can be quite dangerous. Perhaps I am hoping to discover something rare in these spaces, something that maybe you only get to see or feel if you put in the work.<br />
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References:</div>Nihal Goelhttps://pzwiki.wdka.nl/mediadesign/Rodolfo%27s_second_draftRodolfo's second draft2024-03-20T20:40:40Z<p>Rodolfovferro: Created page with "thumb"</p>
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<div>[[File:Rodolfo top second draft.pdf|thumb]]</div>Rodolfovferrohttps://pzwiki.wdka.nl/mediadesign/Tesse%27s_second_draftTesse's second draft2024-03-20T20:14:34Z<p>Tesse B: Created page with "thumb"</p>
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<div>[[File:TEXT ON PRACTICE - end of day 2.pdf|thumb]]</div>Tesse Bhttps://pzwiki.wdka.nl/mediadesign/Luca%27s_second_draftLuca's second draft2024-03-20T19:37:49Z<p>Luca: Created page with "thumb"</p>
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<div>[[File:2nd draft-Text on Practise.pdf|thumb]]</div>Lucahttps://pzwiki.wdka.nl/mediadesign/Yana%27s_second_draftYana's second draft2024-03-20T19:18:20Z<p>Yanalin: Created page with "thumb"</p>
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<div>[[File:Text On Practice trim2-3.pdf|thumb]]</div>Yanalinhttps://pzwiki.wdka.nl/mediadesign/Riccardo%27s_second_draftRiccardo's second draft2024-03-20T17:46:00Z<p>Rick: Created page with "80 words to much -- This year I have been researching on the ways of perceiving and the ways of deploying colours and light. I did so by carrying on different approaches. In the work For Seven Time We Woke Up developed for the Eye Research Labs, I have been studying the technological staging of colours - as editable materialities in the context of software editing and software development - and their effects on perception. I started this process after founding, durin..."</p>
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<div>80 words to much<br />
<br />
--<br />
<br />
This year I have been researching on the ways of perceiving and the ways of deploying colours and light. I did so by carrying on different approaches. <br />
<br />
In the work For Seven Time We Woke Up developed for the Eye Research Labs, I have been studying the technological staging of colours - as editable materialities in the context of software editing and software development - and their effects on perception. I started this process after founding, during a bike tour in Rotterdam organised by Leslie Robbins, Becoming Invisible, a book from Ian Whittlesea where in a meditation exercise based on breathing techniques and the imaginative synthesis of colours clouds allows the practitioner to reach the esoteric purpose of becoming invisible. At the age of 11 I had a similar experience. At that time my mother was carrying on a variation of this type of meditation aimed at healing, successfully she later said, a disease. Under her guide I experienced the exercise myself, which, I recall, resulted in a feeling of deep relaxation and strong physical awareness.<br />
With the idea of translating the book of Ian Whittlesea into a moving-image piece, I firstly tried to have on-screen text that would give directions on the steps to follow, but after trying this route, I decided to spoil the vision of any direct instruction and to focus solely on the evolution of a colour choreography and the composition of a layered sonic drone.<br />
Rather than giving to the audience the feeling of being following a meditation, I decided to work toward the presentation of a time-based experience - an immersive journey that I would describe in terms of ‘atmospheric storytelling’.<br />
<br />
Another instance of this research on light and colours conducted this year, is the film Yellow Message, composed of three shoots based on the observation of atmospheric changes. How lights changes over the course of an hour? How is it refracted when the leafs are moved by wind? How it encounters the textile of a flag upon which the shadows of branches of a nearby tree are cast? This film combines footage that I took in Sansepolcro (IT) during a period of study to learn the practice of flag waving, with two other different recordings made in a little swamp situated in the south of Rotterdam. The three scenes that forms the short movie are formally associated by the presence of the colour yellow, while the main subject is the light and its way of interacting with different materialities. <br />
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Throughout this two movies I feel to be exploring concept as opacity and transparency and how these physical dynamics of overlaying and overlapping construct images. I feel these do be metaphors of an approach oriented toward the appreciation of phenomenas that take place all around us, from site-specific locations to synthetic landscapes, from the light emitted by the sun to the one rendered by computational engines. This approach makes me able to celebrate rituals, the coming together in a place to watch and listen.<br />
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Both light and sound acts in the range of a spectrum of waves, the first through electromagnetic waves, the second through acoustic waves.<br />
As composer, in the past years I have been working with sounds by developing my own software and implementing digital signal processing techniques as filters, reverbs, resonators and distortions. <br />
This year I developed a new sound performance (you can listen to excerpts of it with the mp3 file Live Electronics @ Sonoscopia) where I treat sounds recordings of a french horn being played by musician Luca Medioli as if they are light waves filtered by prisms. Inspired by the music made by composer Phil Niblock, based on sampling techniques of musicians, and more in general by drone music, I am expanding my research toward the creation of audio and visual explorations that creates slowly evolving atmospheres.<br />
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In similar ways, this year, with For Seven Times We Woke Up, I have been working with light as I would with sound: through digital filters that alters the perception of an original image. This workflow starts with the mathematical effort of putting together the pieces of code that enables me to manipulate and alterate in expressive ways sounds and images. After this developing stage, I explored the combination of these techniques and composed the piece by tuning the parameters that defines the system behaviour. In this way I was able to create a score composed of different settings, and to move between these through smooth evolutions of automation and movements.<br />
I first started to compose and build instruments in this way back in 2018 when collaborating with choreographer Ariella Vidach on dance pieces that involved other than dancers, the combination of different medias - sounds, light, videos, robots - that had to be synchronised in order to reach predefined scenes, as well as to be able to last indefinitely, as the dancer where no machines and they could not be as precise as the other medias. Developing software to process media, I’m still embedding in my works dynamics that are not totally controllable.<br />
The system that I developed for For Seven Times We Woke Up combine these two temporalities (predictable and unpredictable), involving both generative parameters (the movement of the spheres is generated by mathematical functions that distributes partially-random values) and precise automations that follows a predetermined path. <br />
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Exporting high quality images proved particularly challenging, as the computation efforts required by high resolutions settings is too high for a computer to be able to compute, let’s say, 24 frame per second. For this reason I came up with my own code to render the video output in “non-real time”. This means: instead of generating 24fps or more and recording the result, the computer computes each frame taking all the time it needs for it to be properly exported. I could then combine the resulting series of frames together inside a video editing software. This is a workflow that I am working on since two years and during the creation of this movie I reached a stage of usability that gives me a good base for further use and development.<br />
<br />
(connection with dance and theater, and the movement toward narration? Add reference to seminars!)<br />
Inspired by practices as dance and music I am interest in the movements between postures, and the pace with which these changes are carried: sometimes this lead to animated movies, others to virtual photographies.<br />
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As a continuation of my research in the field of digital animation, and with the desire of combining it with a narrative structure, I am planning on working on a project that combines all these aspects, in particular I want continue a research started with with the movie Enter the ♥. It is an animation movie that I presented last summer in Bruges as an installation in loop about the “Pentolaccia” tradition, mostly known as Piñata. With this movie I wanted to talk about the story we hear so many times: there is something to gain by excavating value, or, there is something to loot by breaking containers.<br />
The Pentolaccia is a container filled with treats that is broken as part of a celebration that occurs in different cultures for different occasions. The essence of this practice is that of celebrating abundance. The movie that I produced ended up being a visual and sonic meditation, an experience without words and meaning being conveyed, and I now feel to have the awareness and the tools required to tell the story behind it.<br />
(See the video for a reference of how it looks and sound like).<br />
Three years ago I was watching my brother playing a video game wherein one of the main aim is that of building up the power of your avatar by finding rare items that you can wear, from weapons to amors and gems. The boss fights (fights against particularly strong characters) would resemble the ‘Pentolaccia’ celebration, as the body of the slain opponent, often monstrous, would spill coins and precious artefacts as much as graphic blood: treasures and treats all around, labeled with color codes that highlights the rarity of these items.<br />
I am in the process of thinking how to approach this topic, without addressing video games as necessarily bad, but relating with our dreams of being heroes, making great deeds and slaying monsters, wanting to suggest another approach: no need to break the jar, because it is beautiful, better to look at it.<br />
During the seminar with Cihad Caner I got inspired to challenge myself into approaching narrative practices, being critical about colonialism and getting acquaintance with artistic practices that takes in account the origin and reproducibility of violence.<br />
During Kate Briggs seminar I found relevant our talks about Ursula K. Le Guin “The Carrier Bag Theory of Fiction” about the need to gather bundles rather than casting arrows, and got to think about the pentolaccia as an object that conveys this urge.<br />
In the first half of this work the relation between a mother watching her kid playing videogames is explored (see the script in the text folder for further explanations on the camera movement, the kind of relation between these two figures and more), while the second half would be composed by an audiovisual experience based on color and sounds (an expansion on the video previously made). I imagine a work that is sad, serene, meaningful, boring and cathartic, to speak about our use of simulation engines and challenge the use we make out of them.</div>Rickhttps://pzwiki.wdka.nl/mediadesign/((in)ter)dependence/Nested_entry_adding_keywords((in)ter)dependence/Nested entry adding keywords2024-03-20T15:54:02Z<p>Michel W: Michel W moved page ((in)ter)dependence/Nested entry adding keywords to ((in)ter)dependence/Adding keywords</p>
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<div>[[Category:Wordquilt]]<br />
[[Category:((in)ter)dependence]]<br />
<br />
(from the first editorial team meeting 2024-01-24, first patch creation)<br />
<br />
'''Protocol for writing the keywords:'''<br />
<br />
It seems like the protocol can differ per keyword. To start, we have chosen the keyword ((in)ter)dependence (our name). We will go about this quilt patch as follows:<br />
<br />
0 We have the idea to use 'recursive definitions'<br />
1 On paper, discuss how we want to dissect this word and how these subwords relate to each other<br />
2 Each with a different color, place a mark next to the subword you would like to contribute to<br />
3 Create a wiki page: https://pzwiki.wdka.nl/mediadesign/((in)ter)dependence<br />
4 Populate the wiki page with sections for each of the subwords, and a section for the tree<br />
5 Start wikifying for each of one of your selected subwords</div>Michel Whttps://pzwiki.wdka.nl/mediadesign/Noura%27s_second_draftNoura's second draft2024-03-20T15:38:16Z<p>Nourabb: </p>
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<div>When starting this programme I had some themes in mind that I wanted to focus on being: preserving memory, senses of home, migration and diaspora, the subconsciousness, community, nostalgia and decolonization. Even though my interests are not limited to, it is a big interest of mine that I have worked with in previous projects as well. Currently, due to the current circumstances, I feel an even bigger sense of urgency to inform, humanize, spread a hopeful message and to contribute to reconnect and sustain a community that is dislocated. This lead me to phrasing three research questions to explore through my work: <br />
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What kind of non-tangible senses can create a sense of home; think of memories, smells, stories, dreams, languages, traditions etc?<br />
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How do ⅔ generations stay in touch with their home?<br />
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What mixed media approaches can be applied to visualize preservation to gain a sense of home?<br />
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With these questions in mind, I planned my first long awaited trip to Palestine, one of the places that is geographically and culturally home to me. I hoped to gain answers to what home means and what that means in terms of my identity as well. Coincidentally, at the same time, we got an assignment through school to make a film. I made plans to film with family and friends in Palestine, with the goal to create a film that highlights our community in a way that isn't directly related to war and pain - as this has become normality when seeing anything about Palestine in western society. When the war escalated I wasn't able to go anymore. I realized that any film that I would make related to Palestine would most likely be linked to the war anyway, which contrasted my aim for the project, so I took a different approach. One that I was aiming for would touch people and convey a message of motivation and hope. <br />
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This is how my first project ‘FurFur and the watermelon’ was created. Inspired by a childhood story told by my grandmother, this short animation highlights the occupation in Palestine. Despite limited experience with animation, this approach catered as a solution for me in a time where I couldn’t get the real footage that I wanted and searching for online footage confronted me with a lot of war images that I didn't want to constantly be faced with. <br />
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By applying the ‘yes and..’ method (taught in the first seminar) I eventually came up with multiple stories. Some of which were not going to be able to be used as they went way off subject (as that method can lead to). I was however, able to mix and match versions of the story to eventually come up with the final script. <br />
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Next, I went through the family archive of Palestine to create an aesthetic for the drawings. I then made a shotlist and the drawings. The editing process was a lot of trial and error as I never worked with the software After Effects before. However, wanting to use my strength of drawing and to be able to finalize it in a timely manner, After Effects was the software that could create movement in my 2d drawings and it had the smallest learning curve for what I wanted to achieve. <br />
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My next project began with reflections on the previous work I mentioned above. During this process, I found myself contemplating how to add a personal perspective, one that can show more about myself as well, in order to captivate the audience even more deeply and to feel more connected to the story I was telling. I felt this was a gap in the story, prompting me to consider a new approach for my next endeavor.<br />
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Inspired by this realization, I resolved to infuse my next project with a more personal touch. With a plan to delve deeper into myself through my family history, I will go on a journey to Tunisia, following in the footsteps of my grandfather, particularly through exploring landscape theory, as taught in Chiads seminar (SOURCE). My intention is to observe, research, and delve into the essence of my grandfather's experiences, as he was able to make connections here that he would later on use for the Palestinian cause. Furthermore, I aim to draw inspiration from the landscape and environment he once traversed. A further aspect I might want to add to this project is the importance of Tunisia for Palestine, as it became the headquarters of the Palestine Liberation Organization and the Tunesian President was one of the reasons that the anti colonization movement in the Arab world started (SOURCE). It would be interesting to have these stories parallel through the lens of me following the footsteps of my grandfather in a landscape matter.<br />
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I've been grappling with the political undercurrents in much of my art. While I'm passionate about addressing these issues, I don't want to limit myself because of them. Therefore, I've been drawn to the idea of incorporating surrealism and absurdism into my work, allowing me to explore themes in a more abstract and imaginative way. Aligned with my themes and research questions as well, I want to use this interest of mine to ‘fill in the gaps’ of these stories being passed down on generations. For this specific project I want to experience adding animated drawings over Tunesias landscape where certain parts of the story that I have been told seem to be missing (for instance; certain buildings aren't there anymore, or an event that happened). <br />
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Another way I intend on approaching this is inspired by Kate’s seminar. We explored different perspectives in storytelling. This eventually lead me to write a small story about a girl and her siblings. From the perspective of the girl and the sun. The story is about migration and a longing for home. It is inspired by my family members telling me how they remember poppy flowers growing at the beach. As a kid I always envisioned these flowers growing through the sand. Which wasn't the case, but these stories have altered my memories of my home country. These blurred lines between reality, memory and imagination are scenes in which I hope to apply absurdism/surrealism. The absurdism lies in the lost translation of these stories being told down to different generations, even so, if I ever see a flower growing through the sand I will get a sense of home.<br />
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While preparing for the trip to Tunis in April and continuing the project about migration afterwards, I have started a project centered around Tatreez; a traditional Palestinian embroidery style that is unfortunately becoming increasingly extinct in the meantime (SOURCE). I envision creating a photo series where I incorporate this embroidery style, using it as a means to honoring and preserving a cultural tradition that holds deep significance for me, but by applying it in a modern way through illustrations of my everyday western life. <br />
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To conclude, my bigger goal is for all these projects to serve as research for a bigger film project: Eventually it is not only about showing different cultures (main focus currently Palestine), but it is to connect different cultures as well. In this series, I want the story to be about a Palestinian person and their friends as they navigate a strange seemingly otherworldly creative industry, searching for stability. Much of the focus will be set on examining race, class, identity, existentialism and modern arabic-western culture through a surrealist lens.</div>Nourabbhttps://pzwiki.wdka.nl/mediadesign/WordQuilt_ColophonWordQuilt Colophon2024-03-20T15:29:37Z<p>Marloes: /* Colophon */</p>
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<div>= Colophon =<br />
<br />
The Word Quilt Reader is a publication by XPUB1, written and patched together during Special Issue 23: ''Quilting infrastructures'', led by Cristina Cochior and Alice Strete, between January 15 and March 28 2024.<br />
<br />
The work on the reader was done by three editorial teams: <br />
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== ((in)ter)dependence ==<br />
Senka Milutinovich, Alessia Vadacca, Thijs van Loenhout and Michel M.H. Wang.<br />
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== Quilt INC ==<br />
Riviera Taylor, Rosa Schuurmans. Anita Burato Colamedici, Lorenzo Quint and Ziheng Wang.<br />
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== Editorial Services LTD == <br />
Maria Exarchou, Nianzu Su (Zuzu), Victor Stiberg, Maria Napiórkowska (Mania) and Bernardette Geiger.<br />
<br />
<br />
The SI23 methods classes were led by Lidia Pereira, Steve Rushton and Marloes de Valk. <br />
<br />
[[File:Frame.png|thumb|center|alt=qr code]]<br />
[[Category:Wordquilt]]</div>Marloeshttps://pzwiki.wdka.nl/mediadesign/((in)ter)dependence/Editorial_approach_and_CoC((in)ter)dependence/Editorial approach and CoC2024-03-20T15:28:12Z<p>Michel W: Michel W moved page ((in)ter)dependence/Editorial approach and CoC to ((in)ter)dependence/Editorial approach</p>
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<div>[[Category:Wordquilt]]<br />
[[Category:((in)ter)dependence]]<br />
<ol><br />
<li>We will preserve the spatial approach to writing that we have started with (but not every text needs to fully embrace this). We started writing spatially to make sense of every part of a given keyword and its origin.</li><br />
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<li>We will not strive for objectivity or a lack of contradiction.</li><br />
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<li>We will attempt to preserve multiple voices—who is coming from which point of view. The conversational element in our writing is already heavily present.<br />
<ol><br />
<li>Stay anonymous, while keeping some kind of visual cue (eg. colour, text alignment) to distinguish voices.</li><br />
</ol></li><br />
<br />
<li>Non-text formatting is allowed. This includes images, memes, audio, and video (on a conditional basis) as long as you do the translation work to another medium afterwards.</li><br />
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<li>Everything could be an entry or quilt patch. Nested patches are allowed.</li><br />
<ol><br />
<li>Every patch needs to follow a yet to be decided upon structure.</ol></li><br />
</ol><br />
</ol></div>Michel W