User:Senka/Project Proposal - Revision history

Senka: /* How do you plan to make it? */

2024-11-20T20:48:56Z

How do you plan to make it?

← Older revision		Revision as of 22:48, 20 November 2024
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	I want to use 3D to build worlds and tell stories through landscape in a less text-driven manner. I want to discover the potential of constructing counter-narratives (to those that exist about queer people) using more than words. I find digital 3D an ample medium to explore critical fabulation beyond words (that don't follow the hero narrative Ursula K. Le Guinn warns about in the Carrier Bag of Fiction theory). <br>		I want to use 3D to build worlds and tell stories through landscape in a less text-driven manner. I want to discover the potential of constructing counter-narratives (to those that exist about queer people) using more than words. I find digital 3D an ample medium to explore critical fabulation beyond words (that don't follow the hero narrative Ursula K. Le Guinn warns about in the Carrier Bag of Fiction theory). <br>
	I will have testing sessions with both queer and cishet people from the Balkans and people living in the Netherlands. Some of these sessions will be conducted online, and some in real life, to accommodate people living in either place. <br><br>		I will have testing sessions with both queer and cishet people from the Balkans and people living in the Netherlands. Some of these sessions will be conducted online, and some in real life, to accommodate people living in either place. <br><br>
			[[File:Airport2.png\|center\|600px]]

	'''2)'''		'''2)'''

Senka at 17:22, 20 November 2024

2024-11-20T17:22:11Z

← Older revision		Revision as of 19:22, 20 November 2024
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	= What do you want to make?=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> What do you want to make? </span>=
	My project is an interactive digital narrative about queer histories in the Balkans, something close to but not quite a game. It counters a popular notion in the Balkans that local queer people and communities are an export of the "rotten West". This is unimaginative at best, and violent and detrimental at worst (also blatantly false and just dumb). Through this project, I will be exploring what the political imaginary of queerness in the Balkans could be. <br>		My project is an interactive digital narrative about queer histories in the Balkans, something close to but not quite a game. It counters a popular notion in the Balkans that local queer people and communities are an export of the "rotten West". This is unimaginative at best, and violent and detrimental at worst (also blatantly false and just dumb). Through this project, I will be exploring what the political imaginary of queerness in the Balkans could be. <br>
	The narrative will make use of non-normative or non-linear time (time-travel, loops in space-time) and 3D models, and will include text while not being solely text-driven. <br>		The narrative will make use of non-normative or non-linear time (time-travel, loops in space-time) and 3D models, and will include text while not being solely text-driven. <br>
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	* A centralized archive is more accessible, but a distributed one is safer. And in the case of this sensitive material access must be learned through trust.		* A centralized archive is more accessible, but a distributed one is safer. And in the case of this sensitive material access must be learned through trust.

	=How do you plan to make it?=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> How do you plan to make it? </span> =
	A minimum viable product that transmits the message is a digital choose-your-own-adventure game that allows you to discover different histories and gives you the option to download the journey you’ve taken in asa compiled PDF. The MVP would be entirely digital and focus on the narrative, a moderate amount of 3D worldbuilding, and getting archival information. It will include a regular interaction with a mouse, keyboard and screen. This is described in detail in section 1).  If this is done, then I will work on a more elaborate idea of the distribution outside of the digital realm 2). <br>		A minimum viable product that transmits the message is a digital choose-your-own-adventure game that allows you to discover different histories and gives you the option to download the journey you’ve taken in asa compiled PDF. The MVP would be entirely digital and focus on the narrative, a moderate amount of 3D worldbuilding, and getting archival information. It will include a regular interaction with a mouse, keyboard and screen. This is described in detail in section 1).  If this is done, then I will work on a more elaborate idea of the distribution outside of the digital realm 2). <br>
	'''1)''' <br>		'''1)''' <br>
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	* 3D printing USB sticks or USB keychains which would contain the game		* 3D printing USB sticks or USB keychains which would contain the game

	=What is your timetable?=		=<span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> What is your timetable? </span>=
	Sept–Oct:		Sept–Oct:
	* Contact and meet with researchers		* Contact and meet with researchers
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	* Thinking about how the work will be made public in the graduation show		* Thinking about how the work will be made public in the graduation show

	=Why do you want to make it?=		=<span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> Why do you want to make it? </span> =
	There is a whole history of overlooked queer practices and thinking that we are yet to find a vocabulary for in order to make sense of them. Different histories require different treatment, and copy-pasting activist approaches from a different context with a radically different history doesn’t fully work.. <br>		There is a whole history of overlooked queer practices and thinking that we are yet to find a vocabulary for in order to make sense of them. Different histories require different treatment, and copy-pasting activist approaches from a different context with a radically different history doesn’t fully work.. <br>

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	In terms of public, I want to be part of a current of queer Balkan artists, designers and thinkers who imagine and inspire a new future in being. So, this project speaks to the Balkan context and is looking towards there, but equally since it will be thinking about archival approaches and (in part) queer theory, I find that it would be interesting for practitioners working with archives here. (But the project will cater to queer people predominantly.) <br>		In terms of public, I want to be part of a current of queer Balkan artists, designers and thinkers who imagine and inspire a new future in being. So, this project speaks to the Balkan context and is looking towards there, but equally since it will be thinking about archival approaches and (in part) queer theory, I find that it would be interesting for practitioners working with archives here. (But the project will cater to queer people predominantly.) <br>

	=Who can help you and how?=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> Who can help you and how? </span> =
	* Ana Milić - can help with research, and theoretical grounding in the post-Yugoslav migrant queer histories by facilitating a knowledge exchange between our research.		* Ana Milić - can help with research, and theoretical grounding in the post-Yugoslav migrant queer histories by facilitating a knowledge exchange between our research.
	* Bojan BIlić - can help with research and theoretical grounding in post-Yugoslav queer topics with a possible interview.		* Bojan BIlić - can help with research and theoretical grounding in post-Yugoslav queer topics with a possible interview.
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	* Özgür Koldaş from saltpeperpeace.com - can help by sharing their insights about archival approaches to queer histories in Turkey		* Özgür Koldaş from saltpeperpeace.com - can help by sharing their insights about archival approaches to queer histories in Turkey

	=Relation to previous practice=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> Relation to previous practice </span> =
	I've been obsessed with alternative ways of archiving and knowledge production for quite a few years now. From previous projects I would like to highlight Momentary Lapse in Memory, from which I’m building on using 3D for worldbuilding and learning how to handle memory and trauma within archives. This project focused on how archives weaponize personal memories to create grand narratives and build national identities. Which contributed to this project further diving into how the entire existences of queer people is weaponized and what alternatives there are. <br>		I've been obsessed with alternative ways of archiving and knowledge production for quite a few years now. From previous projects I would like to highlight Momentary Lapse in Memory, from which I’m building on using 3D for worldbuilding and learning how to handle memory and trauma within archives. This project focused on how archives weaponize personal memories to create grand narratives and build national identities. Which contributed to this project further diving into how the entire existences of queer people is weaponized and what alternatives there are. <br>
	[[File:Momentary-lapse-5.png\|none\|600px]]		[[File:Momentary-lapse-5.png\|none\|600px]]
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	From the SI24 project Fly on the Wall, I’m building upon creating handheld gadgets and 3D printing devices that can have political consequences. I want to expand on what effects 3D printing has when it is shared and distributed, and what added level of immersion it gives to a game. <br>		From the SI24 project Fly on the Wall, I’m building upon creating handheld gadgets and 3D printing devices that can have political consequences. I want to expand on what effects 3D printing has when it is shared and distributed, and what added level of immersion it gives to a game. <br>

	= Relation to a larger context=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> Relation to a larger context </span> =
	I want to join the practitioners who work on alternative (read: intersectional queer feminist) archival approaches to western knowledges. Here Saidiya Hartman is an obvious reference in terms of her reparative work in the archive along (2021) with Carmen Maria Machado (2018), who created an anthology of abuse within queer relationships, taking each chapter as an opportunity to experiment with narrative format and the effect it might have on the reader. Lastly, the work of Johanna Hedva in relation to advocating for different narrative structures for those who are mentally ill and think differently are ones I want to align myself next to (2016). <br>		I want to join the practitioners who work on alternative (read: intersectional queer feminist) archival approaches to western knowledges. Here Saidiya Hartman is an obvious reference in terms of her reparative work in the archive along (2021) with Carmen Maria Machado (2018), who created an anthology of abuse within queer relationships, taking each chapter as an opportunity to experiment with narrative format and the effect it might have on the reader. Lastly, the work of Johanna Hedva in relation to advocating for different narrative structures for those who are mentally ill and think differently are ones I want to align myself next to (2016). <br>
	Additionally, I want to contribute to feminist Balkan thinkers who have conceptualized the political reality of the region (Todorova, 1997), how it is at the crossroads of othering and further others others (Bakic-Hayden, 1995) and how memory and narrative have been shaped by a turbulent and violent history (Ugrešić, 1996). I want to contribute here by reclaiming historical erasure while also fighting nationalistic currents of historical revisionism.  <br>		Additionally, I want to contribute to feminist Balkan thinkers who have conceptualized the political reality of the region (Todorova, 1997), how it is at the crossroads of othering and further others others (Bakic-Hayden, 1995) and how memory and narrative have been shaped by a turbulent and violent history (Ugrešić, 1996). I want to contribute here by reclaiming historical erasure while also fighting nationalistic currents of historical revisionism.  <br>
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	* Fighting homonationalist ideas of the non-Western contexts.		* Fighting homonationalist ideas of the non-Western contexts.

	= References/bibliography=		= <span style="font-family: Helvetica; color: white; font-size: 24px; background-image: linear-gradient(180deg, white, #9300FF); padding: 5px;"> References/bibliography </span> =
	Alreadymade. (2023) [Mp4]. Directed by Barbara Visser. The Netherlands: Tomtit Film and VPRO. <br>		Alreadymade. (2023) [Mp4]. Directed by Barbara Visser. The Netherlands: Tomtit Film and VPRO. <br>
	Bakić-Hayden, M. (1995) "Nesting Orientalisms: The Case of Former Yugoslavia". Slavic Review, Vol. 54, No. 4. pp. 917–931. Available at: https://www.jstor.org/stable/2501399 (Accessed: 21 October 2024). <br>		Bakić-Hayden, M. (1995) "Nesting Orientalisms: The Case of Former Yugoslavia". Slavic Review, Vol. 54, No. 4. pp. 917–931. Available at: https://www.jstor.org/stable/2501399 (Accessed: 21 October 2024). <br>

Senka: /* How do you plan to make it? */

2024-11-20T16:55:29Z

How do you plan to make it?

← Older revision		Revision as of 18:55, 20 November 2024
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	* Critical fabulation (Saidiya Hartman’s method which uses historical information, archival material and fiction to do reparative work in the archives.)		* Critical fabulation (Saidiya Hartman’s method which uses historical information, archival material and fiction to do reparative work in the archives.)
	* Imagination exercises: Since I will be exploring what the political imaginary of queerness in the Balkans could be, I want to facilitate what I’m calling ‘imagination exercises’ and indulge in fictioning with others to see what kind of information the narrative could contain, and what kind of distribution is necessary.		* Imagination exercises: Since I will be exploring what the political imaginary of queerness in the Balkans could be, I want to facilitate what I’m calling ‘imagination exercises’ and indulge in fictioning with others to see what kind of information the narrative could contain, and what kind of distribution is necessary.
			[[File:Passport presentation-ed-01.png\|center\|800px]]
	~~<gallery mode=packed heights=300px style="text-align:left;">~~
	File:~~Passports.jpg~~
	~~File:Passports1~~.~~jpg~~
	~~</gallery>~~
	{\| width=70% align=center		{\| width=70% align=center
	\|<pre style="border:1px solid black; background:#~~B4C5FF~~; color:black;">		\|<pre style="border:1px solid black; background:#D5B4FF; color:black;">
	Choose your own adventure passports for travelling through time instead of space. The player is always trans, and always gets stopped by passport security (even if they come from a different time.) </pre>		Choose your own adventure passports for travelling through time instead of space. The player is always trans, and always gets stopped by passport security (even if they come from a different time.) </pre>
	\|}		\|}
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	{{video\|mp4=https://pzwiki.wdka.nl/mw-mediadesign/images/d/df/Disappearing_menu.mp4\|style=width:100%\|;}}		{{video\|mp4=https://pzwiki.wdka.nl/mw-mediadesign/images/d/df/Disappearing_menu.mp4\|style=width:100%\|;}}
	{\| width=70% align=center		{\| width=70% align=center
	\|<pre style="border:1px solid black; background:#~~B4C5FF~~; color:black;">		\|<pre style="border:1px solid black; background:#D5B4FF; color:black;">
	Disobediant interfaces that include friction in the narrative </pre>		Disobediant interfaces that include friction in the narrative </pre>
	\|}		\|}
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	'''2)'''		'''2)'''
	In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>		In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>
	<gallery mode=packed heights=~~500px~~ style="text-align:left;">		<gallery mode=packed heights=300px style="text-align:left;">
	File:Usb 1.~~jpg~~		File:Usb 123.png
	File:Usb.~~jpg~~		File:Usb 3-ed-02.png
	</gallery>		</gallery>
	{\| width=70% align=center		{\| width=70% align=center
	\|<pre style="border:1px solid black; background:#B4C5FF; color:black;">		\|<pre style="border:1px solid black; background:#B4C5FF; color:black;">
	USB design for possible 3D printing		USB design for possible 3D printing and possible interface
	</pre>		</pre>
	\|}		\|}

Senka at 13:44, 20 November 2024

2024-11-20T13:44:26Z

← Older revision		Revision as of 15:44, 20 November 2024
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	'''2)'''		'''2)'''
	In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>		In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>
	<gallery mode=packed heights=~~300px~~ style="text-align:left;">		<gallery mode=packed heights=500px style="text-align:left;">
	File:Usb 1.jpg		File:Usb 1.jpg
	File:Usb.jpg		File:Usb.jpg

Senka: /* Relation to previous practice */

2024-11-19T17:11:25Z

Relation to previous practice

← Older revision		Revision as of 19:11, 19 November 2024
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	=Relation to previous practice=		=Relation to previous practice=
	I've been obsessed with alternative ways of archiving and knowledge production for quite a few years now. From previous projects I would like to highlight Momentary Lapse in Memory, from which I’m building on using 3D for worldbuilding and learning how to handle memory and trauma within archives. This project focused on how archives weaponize personal memories to create grand narratives and build national identities. Which contributed to this project further diving into how the entire existences of queer people is weaponized and what alternatives there are. <br>		I've been obsessed with alternative ways of archiving and knowledge production for quite a few years now. From previous projects I would like to highlight Momentary Lapse in Memory, from which I’m building on using 3D for worldbuilding and learning how to handle memory and trauma within archives. This project focused on how archives weaponize personal memories to create grand narratives and build national identities. Which contributed to this project further diving into how the entire existences of queer people is weaponized and what alternatives there are. <br>
			[[File:Momentary-lapse-5.png\|none\|600px]]
	From the Archival Crevices workshop and NFF research fellowship, I’m building on the first stepping stones of using fictioning and critical fabulation when encountering archival material. With the scavenger method (mentioned in the thesis), I hope to gain a more grounded understanding of the effects of all the counter-archival tools at my disposal in a non-Western context.<br>		From the Archival Crevices workshop and NFF research fellowship, I’m building on the first stepping stones of using fictioning and critical fabulation when encountering archival material. With the scavenger method (mentioned in the thesis), I hope to gain a more grounded understanding of the effects of all the counter-archival tools at my disposal in a non-Western context.<br>
	I've worked on more non-linear and fragmented narratives as a way of transmitting stories, knowledge, information in a variety of ways. One such project that I’m building from is the SI23 project sick host. From it I’m expanding on this idea of error as prolific, and what kind of parasitic practices could constitute a new status quo. <br>		I've worked on more non-linear and fragmented narratives as a way of transmitting stories, knowledge, information in a variety of ways. One such project that I’m building from is the SI23 project sick host. From it I’m expanding on this idea of error as prolific, and what kind of parasitic practices could constitute a new status quo. <br>
			[[File:Sick-host-fin.png\|none\|600px]]
	Similarly, from the project Balkan Futurism, I’m building on the possibilities of choose-your-own-adventure-games to be an amble ground for theory fiction. In this project I explored the political reality of not having a choice in text adventures, which prompted me to want to further explore how could I subvert expectations in regards to this medium. <br>		Similarly, from the project Balkan Futurism, I’m building on the possibilities of choose-your-own-adventure-games to be an amble ground for theory fiction. In this project I explored the political reality of not having a choice in text adventures, which prompted me to want to further explore how could I subvert expectations in regards to this medium. <br>
			<gallery mode=packed heights=400px style="text-align:left;">
			File:Balkan Futurism.png\|Balkan Futurism
			File:Fly_on_the_wall.jpg\|Fly on the Wall
			</gallery>
	From the SI24 project Fly on the Wall, I’m building upon creating handheld gadgets and 3D printing devices that can have political consequences. I want to expand on what effects 3D printing has when it is shared and distributed, and what added level of immersion it gives to a game. <br>		From the SI24 project Fly on the Wall, I’m building upon creating handheld gadgets and 3D printing devices that can have political consequences. I want to expand on what effects 3D printing has when it is shared and distributed, and what added level of immersion it gives to a game. <br>

Senka: /* Relation to a larger context */

2024-11-19T16:28:10Z

Relation to a larger context

← Older revision		Revision as of 18:28, 19 November 2024
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	= Relation to a larger context=		= Relation to a larger context=
	I want to join the practitioners who work on alternative (read: intersectional queer feminist) archival approaches to western knowledges. Here Saidiya Hartman is an obvious reference in terms of her reparative work in the archive along with Carmen Maria Machado, who created an anthology of abuse within queer relationships, taking each chapter as an opportunity to experiment with narrative format and the effect it might have on the reader. Lastly, the work of Johanna Hedva in relation to advocating for different narrative structures for those who are mentally ill and think differently are ones I want to align myself next to. <br>		I want to join the practitioners who work on alternative (read: intersectional queer feminist) archival approaches to western knowledges. Here Saidiya Hartman is an obvious reference in terms of her reparative work in the archive along (2021) with Carmen Maria Machado (2018), who created an anthology of abuse within queer relationships, taking each chapter as an opportunity to experiment with narrative format and the effect it might have on the reader. Lastly, the work of Johanna Hedva in relation to advocating for different narrative structures for those who are mentally ill and think differently are ones I want to align myself next to (2016). <br>
	Additionally, I want to contribute to feminist Balkan thinkers who have conceptualized the political reality of the region (Todorova), how it is at the crossroads of othering and further others others (Bakic-~~Huyden~~) and how memory and narrative have been shaped by a turbulent and violent history (~~Dubravka~~). I want to contribute here by reclaiming historical erasure while also fighting nationalistic currents of historical revisionism.  <br>		Additionally, I want to contribute to feminist Balkan thinkers who have conceptualized the political reality of the region (Todorova, 1997), how it is at the crossroads of othering and further others others (Bakic-Hayden, 1995) and how memory and narrative have been shaped by a turbulent and violent history (Ugrešić, 1996). I want to contribute here by reclaiming historical erasure while also fighting nationalistic currents of historical revisionism.  <br>
	Aside from this, the practitioners working on reclaiming queer narratives from weaponization through fiction and worldbuilding are important to me. Ursula K. le Guin is an inspiration as she has brought queer and other political realities to the front and Octavia Butler’s work in Kindred and imagining the embodied effects of the past. In line with that, my strivings to find a vocabulary for non-Western queer discourse is part of a larger current. From 2010 onwards, there have been academics and artist working on this through different approaches and I would like to contribute to this with a lens that attempts not to reproduce knowledge form the Western context (Bilić and Milanović).  <br>		Aside from this, the practitioners working on reclaiming queer narratives from weaponization through fiction and worldbuilding are important to me. Ursula K. le Guin (1969) is an inspiration as she has brought queer and other political realities to the front and Octavia Butler’s work in Kindred (1979) and imagining the embodied effects of the past. In line with that, my strivings to find a vocabulary for non-Western queer discourse is part of a larger current. From 2010 onwards, there have been academics and artist working on this through different approaches and I would like to contribute to this with a lens that attempts not to reproduce knowledge form the Western context (Bilić and Milanović, 2014).  <br>
	* Fighting homonationalist ideas of the non-Western contexts.		* Fighting homonationalist ideas of the non-Western contexts.

Senka: /* What is your timetable? */

2024-11-19T15:41:19Z

What is your timetable?

← Older revision		Revision as of 17:41, 19 November 2024
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	* Collecting the material that will be printed		* Collecting the material that will be printed
	* Make models for 3D printing?		* Make models for 3D printing?
			* Thinking about how to make the work public (share it)
	Feb—March		Feb—March
	* First round of testing		* First round of testing

Senka: /* What is your timetable? */

2024-11-19T15:40:00Z

What is your timetable?

← Older revision		Revision as of 17:40, 19 November 2024
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	* Write down the narrative of the game		* Write down the narrative of the game
	Jan		Jan
	* ~~Finalizing~~ narrative		* Preliminary narrative ready
	* Implementing 3D models		* Implementing 3D models
	* ~~First round of~~ testing		* Getting the game ready for testing
	* Collecting the material that will be printed		* Collecting the material that will be printed
	* Make models for 3D printing?		* Make models for 3D printing?
	~~Feb~~		Feb—March
			* First round of testing
			* Adjusting based on feedback
			* Debugging code
			* Refining narrative
			* Refining 3D models
			April—May
	* Second round of testing		* Second round of testing
	* Adjusting based on feedback		* Adjusting based on feedback
	~~March~~		* Debugging code
	* ~~Third round of testing~~
	~~April~~
	* Test paper		* Test paper
	* Testing playability
	~~May~~
	* Thinking about how the work will be made public in the graduation show		* Thinking about how the work will be made public in the graduation show

Senka: /* How do you plan to make it? */

2024-11-19T15:33:53Z

How do you plan to make it?

← Older revision		Revision as of 17:33, 19 November 2024
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	=How do you plan to make it?=		=How do you plan to make it?=
	A minimum viable product that transmits the message is a digital choose-your-own-adventure game that allows you to discover different histories and gives you the option to download the journey you’ve taken in asa compiled PDF. The MVP would be entirely digital and focus on the narrative, a moderate amount of 3D worldbuilding, and getting archival information. It will include a regular interaction with a mouse, keyboard and screen. This is described in detail in section 1).  If this is done, then I will work on a more elaborate idea of the distribution outside of the digital realm 2). <br>		A minimum viable product that transmits the message is a digital choose-your-own-adventure game that allows you to discover different histories and gives you the option to download the journey you’ve taken in asa compiled PDF. The MVP would be entirely digital and focus on the narrative, a moderate amount of 3D worldbuilding, and getting archival information. It will include a regular interaction with a mouse, keyboard and screen. This is described in detail in section 1).  If this is done, then I will work on a more elaborate idea of the distribution outside of the digital realm 2). <br>
	''1)'' <br>		'''1)''' <br>
	The storyline will start from the airport as a site where both national and gender identity are examined and put under scrutiny. The journey from there will include elements of a choose your own adventure game, and instead of travelling through space it will allow for travelling across time. <br>		The storyline will start from the airport as a site where both national and gender identity are examined and put under scrutiny. The journey from there will include elements of a choose your own adventure game, and instead of travelling through space it will allow for travelling across time. <br>
	I will try to experiment with the following methods to write the narrative/storyline: <br>		I will try to experiment with the following methods to write the narrative/storyline: <br>
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	I will have testing sessions with both queer and cishet people from the Balkans and people living in the Netherlands. Some of these sessions will be conducted online, and some in real life, to accommodate people living in either place. <br><br>		I will have testing sessions with both queer and cishet people from the Balkans and people living in the Netherlands. Some of these sessions will be conducted online, and some in real life, to accommodate people living in either place. <br><br>

	''2)''		'''2)'''
	In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>		In terms of distribution, I want this project to reach many people and to be something that a person can intimately interact with. Somehow, I’m most driven to think it might work best in the comfort of one’s own home, although I would love to have it as a work that can be distributed through queer networks/initiatives. I would like it to combine a gallery set up and a more intimate form of distribution. <br>
	<gallery mode=packed heights=300px style="text-align:left;">		<gallery mode=packed heights=300px style="text-align:left;">

Senka at 16:15, 17 November 2024

2024-11-17T16:15:46Z

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