extensive additions to content from Julien McHardy

web/app/conversations.py

@@ -18,9 +18,33 @@ def index():
     return render_template('conversations-overview.html', text=text)
 
 # route for Martha Gowans page
-@conversations.route('/conversations/martha')
+@conversations.route('/conversations/i-martha-gowans')
 def martha():
     with open('content/section_2/I-Martha-gowans.md', 'r') as f:
         text = f.read()
         text = markdown.markdown(text)
+    return render_template('text.html', text=text)
+
+# route for Sewing the Archive page
+@conversations.route('/conversations/sewing-the-archive')
+def sewing():
+    with open('content/section_2/sewing-the-archive.md', 'r') as f:
+        text = f.read()
+        text = markdown.markdown(text)
+    return render_template('text.html', text=text)
+
+# route for Caribbean Quiilt page
+@conversations.route('/conversations/caribbean-quilt')
+def caribbean():
+    with open('content/section_2/caribbean-quilt.md', 'r') as f:
+        text = f.read()
+        text = markdown.markdown(text)
+    return render_template('text.html', text=text)
+
+# route for Women on the Move page
+@conversations.route('/conversations/women-on-the-move')
+def women():
+    with open('content/section_2/women-on-the-move.md', 'r') as f:
+        text = f.read()
+        text = markdown.markdown(text)
     return render_template('text.html', text=text)

web/app/making.py

@@ -27,9 +27,17 @@ def interface():
     return render_template('text.html', text=text)
 
 # route for databases essay
-@making.route('/making/search-engine-book/')
+@making.route('/making/database-book/')
 def databases():
     with open('content/section_3/on-combining-databases-and-books.md', 'r') as f:
         text = f.read()
         text = markdown.markdown(text)
+    return render_template('text.html', text=text)
+
+# route for interview
+@making.route('/making/interview/')
+def interview():
+    with open('content/section_3/making-of-interview.md', 'r') as f:
+        text = f.read()
+        text = markdown.markdown(text)
     return render_template('text.html', text=text)

web/app/templates/conversations-overview.html

@@ -9,10 +9,10 @@
 {{ text|safe }}
 
 <div class="allThemes mt-5">
-    <a href="/conversations/sewing_the_archive">Sewing the archive</a>
-    <a href="/conversations/martha">I, Martha Gowans</a>
-    <a href="/conversations/caribbean_quilt">Caribbean Quilt</a>
-    <a href="/conversations/women_on_the_move">Women on the Move</a>
+    <a href="/conversations/sewing-the-archive">Sewing the archive</a>
+    <a href="/conversations/i-martha-gowans">I, Martha Gowans</a>
+    <a href="/conversations/caribbean-quilt">Caribbean Quilt</a>
+    <a href="/conversations/women-on-the-move">Women on the Move</a>
 </div> 
 
 {% endblock %}

web/app/templates/making-overview.html

@@ -10,8 +10,8 @@
 
 <div class="allThemes mt-5">
     <a href="/making/interview">Making of—a collective interview</a>
-    <a href="/making/search-engine-book">On making the search engine book</a>
-    <a href="/making/interface">A note on interface design</a>
+    <a href="/making/database-book">On combining databases and books</a>
+    <a href="/making/interface">Interface the Archive (WIP)</a>
 </div> 
 
 {% endblock %}

web/content/TOC.md

@@ -32,16 +32,16 @@
     <span class="code">↪ Archival conversations enter into conversation with the materiality of the patents bringing aspects of the archive to the fore that computational search cannot capture.</span>
 </span>
 
-- [Sewing the archive](/conversations/#sewingthearchive)
-- [I, Martha Gowans](/conversations/martha "links to conversations section")
-- [Caribbean Quilt](/conversations/caribbeanquilt)
-- [Women On The Move](/conversations/womenonthemove)
+- [Sewing the archive](/conversations/sewing-the-archive)
+- [I, Martha Gowans](/conversations/i-martha-gowans "links to conversations section")
+- [Caribbean Quilt](/conversations/caribbean-quilt)
+- [Women On The Move](/conversations/women-on-the-move)
 
 ###  [Making of](/making)
 <span class="info" style="display: none;">
     <span class="code">↪ Reflections from the makers of Performing Patents Otherwise.</span>
 </span>
 
-- [Making of—a collective interview](/making/#interview "links to making-of section collective interview")
-- [On making the search engine book](/making/search-engine-book "links to making-of section on making search-engine book")
-- [A note on interface design](/making/interface "links to making-of section on interface design")
+- [Making of—a collective interview](/making/interview "links to making-of section collective interview")
+- [On combining databases and books](/making/database-book "links to making-of section on combining databases and books")
+- [Interface the Archive (WIP)](/making/interface "links to making-of section on interface design")

web/content/frontmatter.md

@@ -1,29 +1,53 @@
-# Frontmatter
+# Performing Patents Otherwise
 
-## <a name="publisher"></a>Publisher
+Edited by Julien McHardy and Kat Jungnickel
 
-Add info + Mattering Press Logo
+Interface design and front-end development by Joana Chicau
 
-## <a name="copyright"></a>Copyright     
+Search engine, database, and backend development by [Simon Bowie](https://simonxix.com)
 
-Add info....
+With contributions by Yemi Awosile, Philippa Battye, Simon Bowie, Nahuel Cano, Joana Chicau, Lee Craigie, Ellen Fowles, Juan Fernández Gebauer, Emma Hoette, Kat Jungnickel, Alice Lemkes, Julien McHardy, Rosalind Sinclair, Maciek Tomiczek and Margo van de Linde.
 
-## <a name="citation"></a>Citation     
+### Making this book
 
-Add info....
+Books contain multitudes. Mattering Press is keen to render the unseen processes of bookmaking more visible. This publishing experiment would not have not  possible without the support of COPIM’s experimental publishing group. We thank our colleagues at the experimental publishing group Janneke Adema, Gary Hall and Rebekka Kiesewetter for developing this book project with us as one of COPIM’s experimental pilot publications. Going forward, we will use this space to thank reviewers, copy editors, and proofreaders.
 
-## <a name="acknowledgements"></a>Acknowledgements     
+### Acknowledgments
 
-Add info....
+This book is a truly collaborative exploration of what a datebook could be. It would not have been possible without Simon Bowie and Joana Chicau whose roles oscillated between developer, designer, co-editor, and author. The search interventions, in particular, are, in large part, their achievement. Further, this book would be unthinkable without our collaborations with the composers, actors, researchers, machine operators and designers who developed the Archival Conversations with us; thank you, Rosalind Sinclair, Yemi Awosile, Alice Lemkes, Lee Craigie and Philippa Battye of The Adventure Syndicate and Maciek Tomiczek of Oxford Atelier, Ellen Fowles, Nahuel Cano, Juan Fernández Gebauer, Margo van de Linde and Emma Hoette, it was a joy to enter into archival conversations with you. Finally, this entire project rests on the European Patent Office's exemplary open data policy that allowed us to download and modify the underlying patent database.
 
-## <a name="funders"></a>Funders  
+![IMG_fullreslogo_long.png](/static/images/IMG_fullreslogo_long.png)Public beta edition 1.0 published by Mattering Press, April 2023, Manchester
 
-Add info....   
+### Copyright
 
-## <a name="partners"></a>Partners    
+Copyright © Julien McHardy & Kat Jungnickel, chapters by respective authors, 2023. Design © Joana Chicau, 2023. Coding © Simon Bowie, 2023. 
 
-Add info.... 
+Patent data is primarily drawn from the  [European Patent Office](<https://www.epo.org/>)  and reconfigured by Goldsmiths, University of London’s [Politics of Patents](https://www.politicsofpatents.org/) research project.
 
-## <a name="contributors"></a>Contributors 
+This is an open access book, with the design, code, content and patent data licensed under a [Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)](http://creativecommons.org/licenses/by-nc-sa/4.0/) license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the material is not used for commercial purposes and the authors and source are cited and resulting derivative works are licensed under the same or similar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are unaffected by the above. 
 
-Add info....
+Read more about the license at [creativecommons.org/licenses/by-nc-sa/4.0/](http://creativecommons.org/licenses/by-nc-sa/4.0/) 
+
+![by-nc-sa@0.5x.png](/static/images/by-nc-sa%400.5x.png)
+
+The backend code is available on GitHub at [https://github.com/COPIM/performing_patents_otherwise](https://github.com/COPIM/performing_patents_otherwise) and is licensed under the [MIT License](https://github.com/COPIM/performing_patents_otherwise/blob/main/LICENSE).
+
+DOI: coming shortly
+
+Mattering Press has made every effort to contact copyright holders and will be glad to rectify, in future editions, any errors or omissions brought to our notice. 
+
+### Citation
+
+McHardy, Julien, and Kat Jungnickel, eds. 2023. *Performing Patents Otherwise: Archival Conversations with 320000 Clothing Inventions*. Beta 1.0. Manchester: Mattering Press.
+
+### Partners
+
+Performing Patents Otherwise is a co-production by 
+
+[POP - Politics of Patents](<https://www.politicsofpatents.org>): Re-imagining Citizenship via Clothing Inventions (1820-2020) at Goldsmiths, University of London [COPIM](<https://www.copim.ac.uk>) — Community-led Open Publication Infrastructures for Monographs at Coventry University and Lancaster University & [Studio Julien McHardy](<https://www.julienmchardy.info>)
+
+### Funders
+
+This project would not have been possible without the generous support of our funders. The POP - Politics of Patents project is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant agreement No. 819584).
+
+COPIM and COPIM's experimental publishing group are funded by Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin and the Research England Development (RED) Fund. Additional funding for Performing Patents Otherwise and the ‘I, Martha Gowans’ contribution came from The Creative Industries Fund NL.

web/content/introduction.md

@@ -1 +1,19 @@
-# Introduction
+# Introduction
+
+This book is an attempt to “push conversations on what constitutes an archive”[[1]](#1), to have “more tactical engagements with the role of archives”[[2]](#2) and to “reimagine the bounded nature of the monograph”[[3]](#3). It is based on Kat’s ERC funded Politics of Patents (POP) project hosted at Goldsmith College at the University of London. In this research, Kat and her team use a mixed-methods approach to ambitiously explore an extensive global database of historical clothing patents that covers more than 230.000 entries over a period of 200 years. Applying quantitative, qualitative and practice research methods to large amounts of data poses the question of how such a massive archive can be navigated, sorted and made sense of while staying committed to the careful, detailed, and embodied potential meanings of wearable data from the past and for the future.
+
+Performing Patents Otherwise started as a collaboration between Kat Jungnickel and Julien McHardy, bringing together POP’s research that grappled with how to do a mixed-methods analysis of a large dataset and Julien’s interest as a publisher in how digital books might blur the boundary between scholarly texts and their source data. Together, they questioned how large amounts of material can be made available for readers without dumping the labour of sorting and sense-making on them or resorting to but one simplified account that renders the underlying complexity and diversity of the material invisible. This also addresses the relationship between qualitative texts and quantitative data, and how one renders the other, and who has the power to frame such renderings, and how-thanks to machine-assisted reading of large databases and the machine generation of human-readable texts, sounds and images, there is no longer a clear distinction in kind, of scale or otherwise, between qualitative and quantitative data.
+
+Besides our shared interest in experimenting with opening the archive to multiple readings, we share an interest in making a form of research. This notion, informed by work on inventive and performative methods, inspired the search interferences and the archival conversations that make up the bulk of this volume.
+
+POP researchers drew most data from the European Patent Office Espacenet and Patstat databases. They spent countless hours enriching the data with additional sources, cleaning, translating, adding and trimming, to create a unique dataset and valuable resource for other researchers, designers and makers. Once the research is published, the underlying extensive data work is frequently lost or hidden in public but hard-to-navigate formats and repositories. Search interferences offer a series of search interfaces that allow readers to search the entire database of patent data within the pages of this digital book. The basic search function works much as one would expect from a search engine, making this rich data available in an accessible form.
+
+Alongside the conventional search function, the volume offers a range of other search interferences that introduce moments of serendipity, juxtaposition, mapping, fragmentation and poetic rendering, contributing entry points to the archive that challenge and enrich the unspoken conventions of computational search. Interfering with the conventions of search engines, however, necessarily remains within the reductive sorting logic of computational search, which is why we commissioned four archival conversations alongside the search interventions. The archival conversations offer ways of engaging with the materiality of the archive bringing colonial, gender and labour relations to the fore that permeate the patent archive but are nowhere made explicit.
+
+Future versions of this introduction will provide an overview of each section and the many contributors who have collaborated to create it. Drawing on the notion that there is no meaningful distinction between doing and disseminating research, we consider the making of ‘Performing Patents Otherwise’ as research, which is why we dedicate the final section of this book to ‘making of.’
+
+<a name=1>[1]</a> Nydia A. Swaby and Chandra Frank. “Archival Experiments, Notes and (Dis)Orientations”, Feminist Review, 125 (2020), 5.
+
+<a name=2>[2]</a> Maryanne Drever, “Archives and New Modes of Feminist Research”, Australian Feminist Studies, 32:91-92 (2017), 3.
+
+<a name=3>[3</a>] Janneke Adema, Living Books: Experiments in the Posthumanities, MIT Press, (2021), 29.

web/content/section_2/I-Martha-gowans.md

@@ -1,14 +1,28 @@
-# I Martha Gowans
+# I, Martha Gowans
 
-'I Martha Gowans,' makes audible the choreography of labour that is written into the patent archive but nowhere made visible. Every patent contains instructions for the labouring bodies and machines that are used in production. This performance is an experiment in reading the rhythmical information contained in patents, it is based on the choreography of labour that is written into the archive, but nowhere made explicit. 
+*I, Martha Gowans* is based on a UK patent for improved pockets for women workers, filed by Martha Gowans (Milliner) in Dundee, Scotland, 1903. *I, Martha Gowans* is an experiment in translating the historical clothing patent into a score for two sewing machines, a voice and a computer. Performing the piece brings untold archival stories and possibilities to the fore.
 
-A series of translations formalise the work of invention into a patent, and then into production. The performance'I Martha Gowans' is based on the patent Nº5835 filed by Martha Gowans in 1903 in Dundee. The patent is a design for a suspended pocket for working women. Around that time, women workers formed an important part of the industrial labour force but constrained to women's clothing they lacked suitable pockets to hold the tools of the trade. Martha is one of several women inventors who invented suspended pockets to address this issue. 
+Every patent contains instructions for labouring bodies and machines, yet while labour is all over the archive it is nowhere to be found. This performance experiments with making the explicit choreography of working bodies and machines that is written into the archive audible.
+
+A series of translations formalise the work of invention into a patent. Seemingly dry and dusty patents, in turn, inform the deployment, beat and rhythm of labour.
+
+UK patent Nº5835, filed by Martha Gowans in 1903 in Dundee, is a design for a suspended pocket for working women. Around that time, women workers were forming an important part of the industrial labour force, but women's constraining clothing was dysfunctional for industrial labour, lacking, for example, suitable pockets to hold the tools of the trade. Martha is one of several women inventors who invented suspended pockets to address this issue.
 
 <maybe include the search or images from other chatelaines here>
 
-For the purpose of the performance, the fashion designer Ellen Fowles drew on Martha's patent to create a sewing pattern. The sewing pattern contains rhythmic information, it contains a beat, fast long stretches, intimate details and textual information. For the performance we read the patterns as a notation and the composition is based on the pattern. The two sewing machine operator following the pattern and lead the performance in conversation with the composer. The voice performer improvises to the rhythm of the machines. A rearranged version of the original patent text, alongside the sewing pattern and a range of symbols commonly found on sewing patterns such as *shorten, fuse, reduce, puncture or reinfore* form the material for the voice improvisation.
+For this performance, the fashion designer Ellen Fowles drew on Martha's patent to create a sewing pattern. The sewing pattern is a template that makes the musical information that is contained in the patent visible. Long-steady stretches, dense staccato sections, zigzag and straights stitches, padding, reinforcement and a range of symbols commonly found on sewing patterns such as *shorten, fuse, reduce, puncture or reinforce.*
+
+The sewing pattern, in concert with a script that we composed from the original patent text, served as the basis for the musical improvisation by two operators on Global industrial sewing machines and the composer. The voice performer improvises to the rhythm of the machines, using the script and sewing pattern to guide their choice of pitch, length and emphasis.
+
+*I, Martha Gowans* is an ongoing experiment, that will change every time that it is performed. The video below provides documentation of a three-day performance workshop that took place in the autumn of 2022 at Het Huis in Utrecht.
+
+<iframe src="<https://archive.org/embed/i-martha-gowans>" width="640" height="480" frameborder="0" webkitallowfullscreen="true" mozallowfullscreen="true" allowfullscreen></iframe>
 
-I Martha Gowans (2022). Julien McHardy (concept, script), Nahuel Cano (concept, composition), Kat Jungnickel (research, operator), Margo van de Linde (voice), Emma Hoette (operator), Juan Fernández Gebauer (camera, montage). 
+Contributors: Julien McHardy, Nahuel Cano, Kat Jungnickel (Concept & Direction), Nahuel Cano (Sound composition), Juan Fernández Gebauer (Camera & Montage), Kat Jungnickel, Julien McHardy (Research), Margo van de Linde (Text collaborator & Voice), Kat Jungnickel, Emma Hoette (Machine operators), Ellen Fowles (Sewing pattern).
+
+*I, Martha Gowans* is a co-production of [__POP – Politics of Patents__](https://www.politicsofpatents.org/pm/): Re-imagining Citizenship via Clothing Inventions, [__COPIM__](https://www.copim.ac.uk/workpackage/wp6/) – Community-led Open Publication Infrastructures for Monographs, and [__Studio Julien McHardy__](https://www.julienmchardy.info/).
+
+*I, Martha Gowans* was funded by Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin, Research England Development (RED) Fund, The Creative Industries Fund NL & the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant agreement No. 819584). Special thanks to Het Huis, Utrecht, Goldsmiths, University of London & Coventry University.
 
 ![patent_header.png](/static/images/patent_header.png)  
 ![Patent_image.png](/static/images/Patent_image.png)
@@ -19,7 +33,7 @@ I Martha Gowans (2022). Julien McHardy (concept, script), Nahuel Cano (concept,
 
 ### I.
 
-Pockets, for Personal Wear.
+Pockets: for Personal Wear.
 
 I, Martha Gowans, of 6 Whitehall Crescent, Dundee, in the county of Forfar, Scotland, Milliner, do hereby declare the nature of this invention to be as follows…
 
@@ -27,7 +41,7 @@ This invention relates to improvements in
 
 Pockets
 
-Office pockets 
+Office pockets
 
 Factory pockets
 
@@ -37,15 +51,15 @@ Pockets for personal wear
 
 Pockets for holding or carrying implements necessary to the wearer’s calling or occupation.
 
-Pockets… for carrying implements 
+Pockets… for carrying implements
 
 A detachable appliance for the wearer’s occupation.
 
-in mantle or millinery saloons, 
+in mantle or millinery saloons,
 
 In drapery establishments
 
-In offices 
+In offices
 
 or factories
 
@@ -53,9 +67,9 @@ A suspensory pocket… necessary to the wearers calling
 
 I, Martha Gowans, hereby declare…
 
-Smart, up to date saleswomen, clerkesses and the like… require a appliance to hold pencils, scissors, pincushion, knife and other tools. 
+Smart, up-to-date saleswomen, clerkesses and the like… require an appliance to hold pencils, scissors, pincushions, knives and other tools.
 
-For example, 
+For example,
 
 In some cases,
 
@@ -81,7 +95,7 @@ Are lost
 
 Or their points become broken
 
-I make a suspensory pocket… 
+I make a suspensory pocket…
 
 I declare that what I claim:
 
@@ -89,27 +103,27 @@ I declare that what I claim:
 
 It is to meet this want that I, Martha Gowans have invented…
 
-It is to meet this want that I have invented… a suspensory pocket… at such a distance below the waist that the wearers hand can quite readily obtain any of the tools carried, without having to stop/ without having to stoop.
+It is to meet this want that I have invented… a suspensory pocket… at such a distance below the waist that the wearer's hand can quite readily obtain any of the tools carried without having to stop/ without having to stoop.
 
-It is to meet this want that I have invented a series of pockets each of a width and depth suitable for the tool which is to be carried
+It is to meet this want that I have invented a series of pockets, each of a width and depth suitable for the tool which is to be carried
 
-I have invented… pockets which are intended for carrying sharp pointed instruments
+I have invented… pockets which are intended for carrying sharp-pointed instruments
 
 I have invented the above…
 
-A pincushion protected with a shield 
+A pincushion is protected with a shield
 
 in order that the points of the pins may not injure the wearer.
 
-It is to meet this want that I have invented… 
+It is to meet this want that I have invented…
 
 ### III.
 
-I, Martha Gowans, 
+I, Martha Gowans,
 
 Require a convenient appliance to hold
 
-Pencils 
+Pencils
 
 Scissors
 
@@ -121,7 +135,7 @@ other necessary tools
 
 Pencils again
 
-Are lost in hair, 
+Are lost in hair,
 
 Pencils again, their points
 
@@ -133,7 +147,7 @@ I make a pocket of linen
 
 I make a pocket of American cloth
 
-I make a pocket of velvet, of Italian cloth 
+I make a pocket of velvet, of Italian cloth
 
 Sateen, silk, satin…
 
@@ -141,7 +155,7 @@ I Martha, make a pocket of leather, metal or the like… with a suitable hook
 
 a hook for engaging with the waist… belt
 
-A series of pockets. 
+A series of pockets.
 
 of a width and depth suitable for the tool
 
@@ -151,11 +165,11 @@ A series of pockets
 
 of ordinary construction
 
-except that in all cases 
+except that in all cases
 
-its backing consists 
+its backing consists
 
-of some more or less 
+of some more or less
 
 impenetrable substance
 
@@ -163,15 +177,15 @@ Such as metal or cardboard
 
 With metallic sheaths.
 
-Provided  with protective sheath
+Provided with protective sheath
 
 Padded parts for pins
 
 protected with a shield
 
-IV.
+### IV.
 
-Patent Nª 5835   A.D. 1903 
+Patent Nª 5835   A.D. 1903
 
 Date of Application, 13th March, 1903
 
@@ -181,9 +195,9 @@ Accepted, 14th January, 1904
 
 Provisional specification.
 
-Complete specification. 
+Complete specification.
 
-This invention relates to 
+This invention relates to
 
 the Construction of
 
@@ -193,17 +207,17 @@ the above mentioned article
 
 a convenient and unobtrusive appliance
 
-And in order that 
+And in order that
 
 the manner of performing
 
-or carrying the same into effect 
+or carrying the same into effect
 
 may be properly understood
 
-I have hereunto appended 
+I have hereunto appended
 
-an explanatory sheet of drawings 
+an explanatory sheet of drawings
 
 reference numerals are used to indicate corresponding parts in all the figures, that is to say
 
@@ -213,11 +227,11 @@ reference numerals are used to indicate corresponding parts in all the figures,
 
 In connection with and part of the lower extremity, a series of pockets 5
 
-Having now particularly described and ascertained 
+Having now particularly described and ascertained
 
- I declare that what I claim:
+I declare that what I claim:
 
-…as described and illustrated on the drawings annexed. 
+…as described and illustrated on the drawings annexed.
 
 This drawing is a reproduction of the original on a reduced scale.
 
@@ -225,88 +239,90 @@ Photo-litho Malby & Sons
 
 Dated this 11th day of December 1903.
 
-Agents for the applicant. 
+Agents for the applicant.
 
-George C Douglas & Co, 
+George C Douglas & Co,
 
 Chartered patent agent
 
-41 reform street, Dundee 
+41 reform street, Dundee
 
 Printed for His Majety’s Stationery Office by Love & Malcomson.
 
-## Performing the Archive: Reflections on ‘I Martha Gowans’ 
+## Performing the Archive: Reflections on ‘I Martha Gowans’
 
 **Kat Jungnickel & Julien McHardy**
 
+*The following are notes we took after the performance. We are writing these up into a more coherent reflection that will in time replace the notes below.*
+
 The layout of the text was spatial, social, inviting – formed/ held the group – in silence
 
-While the text did not make it into the final piece it helped to form the group – reinforced shared understanding of the point/ purpose of the day/ Stay true to the text
+While the text did not make it into the final piece, it helped to form the group – reinforced shared understanding of the point/ purpose of the day/ Stay true to the text
 
-We reduced, amplified, montage and deletion, repetition of key words – I, Martha Gowans….. I have invented, …… pockets. “Take this piece and sculpt it so it fits through the mouth”. Tried to disentangle diff discourses of the document – personal, problem, solution, technical
+We reduced, amplified, montage and deletion, repetition of keywords – I, Martha Gowans….. I have invented, …… pockets. “Take this piece and sculpt it so it fits through the mouth”. Tried to disentangle diff discourses of the document – personal, problem, solution, technical
 
-The bureaucratic reduction of ideas hasn’t totally erased the personal – we see and hear Martha Gowans, what was important to her, what she wanted to change, how she envisioned this change. When J theorises, he feels he has to add stuff to feel the substance or prove something, or build a machine. We paired it back to the material, bodies, interactions – scary and liberating. To trust that something will emerge in collaboration. To bring a frame, materials, people, disciplinary emotional orientation and share them
+The bureaucratic reduction of ideas hasn’t totally erased the personal – we see and hear Martha Gowans, what was important to her, what she wanted to change, and how she envisioned this change. When J theorises, he feels he has to add stuff to feel the substance or prove something, or build a machine. We paired it back to the material, bodies, and interactions – scary and liberating. To trust that something will emerge in collaboration. To bring a frame, materials, people, disciplinary emotional orientation and share them
 
 And trust that people with diff skills will do something together and something will emerge
 
-It conflicts with desire to control, plan
+It conflicts with the desire to control, plan
 
 Actually v liberating. Nahuel – will hear the dynamic range
 
 J + K – read the text and image and see the discourses
 
-Emma – held her body / grace/ focused tension – 
+Emma – held her body / grace/ focused tension –
 
 Margot – could express verbally
 
-We could all see, recognise and understand - complement these diff translation. All brought into the space – some words were given to it but mostly not what happens with translations
+We could all see, recognise and understand - complement these diff translations. All brought into the space – some words were given to it, but mostly not what happens with translations
 
-also about letting go. seeing translations = something new emerging and not trying to match it to expectations  just let it be there embodied knowledge can conflict with ideas of control
+also about letting go. seeing translations = something new emerging and not trying to match it to expectations, just let it be there; embodied knowledge can conflict with ideas of control
 
 also interesting in relation to shared embodied knowledge – shared bodies learning and making together
 
-### Drama, affect 
+### Drama, affect
 
-satisfying to be carried by a beat and cinematic graphic,density, emotional scape, long for it and distrust it it moved from being dry and dramatic. smiling. could feel it and see it on people faces and in bodies. this is good or this is true. blissful broad smiles, collective feelings. what happens in this moment – when you feel held, when beauty is emerging. Emotions mark ontological ruptures
+satisfying to be carried by a beat and cinematic graphic,density, emotional scape, long for it and distrust it moved from being dry and dramatic. smiling. could feel it and see it on people's faces and in bodies. this is good or this is true. blissful broad smiles, collective feelings. what happens in this moment – when you feel held, when beauty is emerging. Emotions mark ontological ruptures
 
-(used in EM paper). What happens when this feeling of harmony emerges – a landmark – feeling of falling into place. To do with rhythm also
+(used in EM paper). What happens when this feeling of harmony emerges – a landmark – a feeling of falling into place? To do with rhythm also
 
-For things to goon long enough for parts that don’t work or are useless, then there is density, then things fall into place or can be given more shape later – improvisations. Constraints. When too much flexibility can be limiting – need edges/ scripts/ constrains so freedom is possible
+For things to go on long enough for parts that don’t work or are useless, there is density, and then things fall into place or can be given more shape later – improvisations. Constraints. When too much flexibility can be limiting – need edges/ scripts/constraints so freedom is possible
 
-When Nahuel said Margot needed more constrains to be free. What is this for? Free-ing to not have this be for anyone. Yet the camera gave it gravitas, seriousness. Experimentation – learn things in the moment. Discipline – not really a thing
+When Nahuel said Margot needed more constraints to be free. What is this for? Free-ing to not have this be for anyone. Yet the camera gave it gravitas, seriousness. Experimentation – learn things in the moment. Discipline – not a thing
 
-Everyone at ease. Seemed natural that everyone had a set of skills, overlaps, but not regulated/defined. Acceptance of diff skills at diff points. Not articulated, problemed. A naturalised condition.
+Everyone at ease. Seemed natural that everyone had a set of skills, and overlaps, but not regulated/defined. Acceptance of diff skills at diff points. Not articulated, problemed. A naturalised condition.
 
-Ideas: Of making martha’s voice emerge. How dd this happen? Why? Was this organised? Was this something that we just did. We all agreed  - to bring out her voice. Hysteria: When Margo used the cultural repertoire. Does this recreate and change the data/ story/ what this person was or could be? Transmissions: In this kind of performative work, you work with performers in similar way to the audience. You have to figure out how to transit something for both. A lot of the work is similar – Event – we are seeing what can be draw from a patent, and in relation to who is here. We invite you to come with us on this exploration we don’t know what will happen, or how it will flow
+Ideas: Of making Martha’s voice emerge. How did this happen? Why? Was this organised? Was this something that we just did? We all agreed - to bring out her voice. Hysteria: When Margo used the cultural repertoire. Does this recreate and change the data/ story/ what this person was or could be? Transmissions: In this kind of performative work, you work with performers in a similar way to the audience. You have to figure out how to transit something for both. A lot of the work is similar – Event – we are seeing what can be drawn from a patent, and about who is here. We invite you to come with us on this exploration. We don’t know what will happen or how it will flow
 
-Creates the gaze, is the gaze, becomes the audience, 
+Creates the gaze, is the gaze, becomes the audience,
 
 Focuses attention. wants certain things. Creates temporal edges
 
-Steals shots, makes frames. Requires repeats, transforms players into actors to repeat, deliver emotional labour
+Steals shots, make frames. Requires repeats, transforms players into actors to repeat, delivers emotional labour
 
-The relationship is reversed – from respectful observer to becoming demanding -0 do it again, get louder/softer, Stretches where things develop or don’t work so well. The idea that sewing machines had long intro
+The relationship is reversed – from respectful observer to becoming demanding -0 do it again, get louder/softer, Stretches where things develop or don’t work so well. The idea that sewing machines had a long intro
 
-Created a logic for things to flow from rather than create competition. Nahuel nerded out on dynamic range of sewing machines, as if they have infinite range and vcal capacity
+Created a logic for things to flow from rather than create competition. Nahuel nerded out on a dynamic range of sewing machines, as if they have infinite range and vocal capacity
 
 Does text have this? A more normalised volume? But they get edited, to tighten, adjust. We needed some times when things didn’t work. We did this in perf, live, to create space for things to happen, for improvisation
 
 ### Working on the machines
 
-Solidarity. global machine. Incredibly responsive, to the point that it sometimes responded to things I didn't  expect,  my foot was having these communications with the machines that surprised me. Three things: my intention, the machine responding and then another element, the surprise. The machine wasn't doing things without me, I was involved but sometimes I wasn't completely in control of it. (That moment when the machine did klick klack when Kat go put and everybody was laughing).
+Solidarity. global machine. Incredibly responsive, to the point that it sometimes responded to things I didn't expect, my foot was having these communications with the machines that surprised me. Three things: my intention, the machine responding and then another element, the surprise. The machine wasn't doing things without me, I was involved but sometimes I wasn't completely in control of it. (That moment when the machine did klick klack when Kat go put and everybody was laughing).
 
-So interactive. My knee. I was sitting to low, I would have  used a cushion to saw properly. I was also aware of the power of it, because it goes so fast, the danger of it, because it was unfamiliar. I was directing the sawing, but also the way Nahuel was responding to me, and I was also responding to Margo but she was also responding to me and the machine, and I found that really exciting, but it also required lot of energy, which meant my sawing went a bit rubbish because normally my sawing gets all the attention, because a mixed choreography of the machine, material, body and other players, and the sound. I like thinking about the sawing machine as a musical instrument. We were thinking about that in the poplar anyway because we have such a different sonic footprint compared to everyone around us, because we're sandwiched by politics (scholars) and we have three machines running at the same time. But here they took on a different musical range, as a player, in an ensemble. 
+So interactive. My knee. I was sitting to low, I would have used a cushion to saw properly. I was also aware of the power of it, because it goes so fast, the danger of it, because it was unfamiliar. I was directing the sawing, but also the way Nahuel was responding to me, and I was also responding to Margo but she was also responding to me and the machine, and I found that really exciting, but it also required lot of energy, which meant my sawing went a bit rubbish because normally my sawing gets all the attention, because a mixed choreography of the machine, material, body and other players, and the sound. I like thinking about the sawing machine as a musical instrument. We were thinking about that in the poplar anyway because we have such a different sonic footprint compared to everyone around us, because we're sandwiched by politics (scholars) and we have three machines running at the same time. But here they took on a different musical range, as a player, in an ensemble.
 
-I listed to it in relation to other sounds. It was part of this composition. In a way that was quite deliberate and organised, structured by both the pattern in front of us, but also in relation to the happenings. Multiple readings at once: reading the fabric that was reading the pattern, and in a multidimensional sense, reading the room, and other people. I felt that I was part of the conducting but also being conducted and in that way it felt like an ensemble. And having Emma. Having the two sewing machines together, I was quite delighted, they worked together and in tandem but also as complementary instruments. And at that speed  we ended up staying with, we didn't really oscillate the speed, which we didn't - we could have been more ambitions with what the machines could do, we stuck with three modes - the sewing speed, the clanking, the lifting of the foot, putting the heel back was the clanking noise, the knee was the lift and the pivot, so the needle would remain in the fabric, and the knee lifted, and pivot and paused to reset again. And then we start again. Sometimes however, if you leant slightly forward then it reversed, because of the sensitivity of the pedal. 
+I listed to it in relation to other sounds. It was part of this composition. In a way that was quite deliberate and organised, structured by both the pattern in front of us, but also in relation to the happenings. Multiple readings at once: reading the fabric that was reading the pattern, and in a multidimensional sense, reading the room, and other people. I felt that I was part of the conducting but also being conducted and in that way it felt like an ensemble. And having Emma. Having the two sewing machines together, I was quite delighted, they worked together and in tandem but also as complementary instruments. And at that speed we ended up staying with, we didn't really oscillate the speed, which we didn't - we could have been more ambitions with what the machines could do, we stuck with three modes - the sewing speed, the clanking, the lifting of the foot, putting the heel back was the clanking noise, the knee was the lift and the pivot, so the needle would remain in the fabric, and the knee lifted, and pivot and paused to reset again. And then we start again. Sometimes however, if you leant slightly forward then it reversed, because of the sensitivity of the pedal.
 
-At the end of the performance, either I didn't look at Emma, or she didn't look at me, but she felt what I was going to do anyhow, so there was something about this connectivity that comes from learning in an orchestra, because you know something is about to happen, because of a silence or beat that you play with. And the arrangement of the players was quite, not that there was any conductor, but we were in an ensemble orientation in this space. Actually a sewing circle could be like that too. We were just communicating differently. 
+At the end of the performance, either I didn't look at Emma, or she didn't look at me, but she felt what I was going to do anyhow, so there was something about this connectivity that comes from learning in an orchestra, because you know something is about to happen, because of a silence or beat that you play with. And the arrangement of the players was quite, not that there was any conductor, but we were in an ensemble orientation in this space. Actually a sewing circle could be like that too. We were just communicating differently.
 
 How do you come to these conclusions, of how to setup a space?
 
-Two sewing machines. At first she [Emma] was the only one I really looked  at, because I was trying to doing the sewing, and looking at Emma, trying to become comfortable with the  choreography that was emerging. We didn't start with a certain choreography. We started together a sophisticated non-verbal communication with the group. Maybe that's what everybody started to feel. 
+Two sewing machines. At first she [Emma] was the only one I really looked at, because I was trying to doing the sewing, and looking at Emma, trying to become comfortable with the choreography that was emerging. We didn't start with a certain choreography. We started together a sophisticated non-verbal communication with the group. Maybe that's what everybody started to feel.
 
-\-> we let the machines run together for a long stretch first, because that felt right. Now, that was the moment when then machines/operators established the emerging choreography. This was the moment of tuning. 
+\-> we let the machines run together for a long stretch first, because that felt right. Now, that was the moment when then machines/operators established the emerging choreography. This was the moment of tuning.
 
-The joy when things align, into harmony. The joy when things contrast. 
+The joy when things align, into harmony. The joy when things contrast.
 
 We fell into a phrasing that makes sense. Again that wasn't articulated, because the pieces of pattern did that, because before I didn't know how this was going to work, but then we came together... And then it was just so easy. If we hadn't felt that early on, it might have been quite stressful. They didn't bang. They came together. All these elements of music and manufacture came together and that surprise was kinda delightful and made it kinda easy. And then we were just playing. It was also nice to see Juan's delight, when he get caught in the moment. People were skilful and respectful.

web/content/section_2/caribbean-quilt.md

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+# Caribbean Quilt
+
+The Caribbean Quilt is a collaboration between **Kat Jungnickel (POP), Dr Roselind Sinclair**, a designer, curator and researcher whose work explores Caribbean women’s histories of art, design and material practice through the domestic space and **Yemi Awosile**, a designer expressing cultural insights through textiles and printed matter. Roselind and Yemi bring research interests in race, intellectual property and Jamaican women’s craft and practices of curation and installation to the project. In this collaboration, we highlight the work of Caribbean inventors whose ingenious contributions to wearable technologies have not been acknowledged or have been erased in the overwhelmingly white patent archive. Together we are drawing attention to some of the innovative voices that have been silenced, erased, or overlooked in a dataset rife with colonial traces.
+
+Our collaboration pays attention to what is missing in the archive by piecing the material history of Caribbean fabric, printmakers and designers into a quilt, seeking to create a fabric that points to the vast richness of the Caribbean design lexicon, creative voices and histories that shaped global clothing making and makers while being rendered invisible in pan-European narratives. The final piece will be interactive – materially and digitally – with edges that fold in different orientations, creating relationships between layered stories and histories of work, invisibility, and the entrepreneurial activities of creative Caribbeans.
+
+*A digital version of the Caribbean Quilt and an interview with the makers will be published here in due time.*

web/content/section_2/conversations.md

@@ -1 +1,5 @@
-Some things are all over the patent archive but never made explicit. Off the record presents four artistic works that render these absent-present realities visible...
+Intimate engagement with the materiality of the archive brings aspects of the archive to the fore that the seeming comprehensiveness of computational search obscures. There are numerous things, stories and relations inscribed in the patent archive that computational search, however unconventional, cannot capture. While search algorithms index data, they tend to reproduce implicit race and gender bias and pass over relationships that constitute the archive but are nowhere made explicit, such as colonial and labour relations or the histories of women inventors. Interfering with search engines' unspoken conventions and archives' inscribed ordering principles only goes so far in rendering such absent-present relationships visible in the archive.
+
+With this in mind, we complement the search interventions with four works that engage more intimately with the materiality of the archive. We consider these archival conversations because they open a generative dialogue with the materials. Each archival conversation collaborates with practitioners who brought their situated practices to the table.
+
+'Sewing the archive' introduces the practices of the Politics of Patents lab, which experiments with sewing, reconstructing and reimagining historical clothing patents as one way of entering into an intimate conversation with the materiality of the archive. 'Women on the move,' presents a short film, that was realised in collaboration with The Adventure Syndicate and Mòr Diversity, in which the team puts historical women's sports clothing through their paces in the Scottish hills, establishing running, jumping, hiking, flying, cycling, swimming, hunting, riding horses, catching trains and driving cars, climbing up and rolling down hills as a second mode of embodied archival conversation. 'I, Martha Gowans' translates a historical clothing patent into a score for a performance that aims to bring the labour of bodies and machines largely absent from the archive into experience. 'Caribbean Quilt' is a collaboration with the designer, curator and researcher Roselind Sinclair and the designer Yemi Awosile. The piece will take the form of a quilt that will draw attention to the vast richness of the Caribbean design lexicon, creative voices and histories that shaped global clothing while being rendered largely invisible in pan-European archives rife with colonial traces.

web/content/section_2/sewing-the-archive.md

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+# Sewing the archive
+
+The Politics of Patents research team, under the leadership of Kat Jungnickel at Goldsmith, University of London, is researching global patent archives to reconstruct and reimagine 200 years of wearable technologies, combining big data and in-depth visual & document analysis with ethnography, interviews and practice-research.
+
+The POP lab is a research sewing studio where the team reconstructs historical clothing inventions. Sewing the archive in the POP lab is a research method that treats the archive as a resource for emerging socio-technical, political and sensory insights that enable the team to travel into possible pasts and futures hidden within the archive. The POP lab stands in a long research tradition in the history of science & technology studies where theoretical and creative experiments like ‘reconstructions’ have been situated.
+
+Sewing, reconstructing and reimagining historical clothing patents is one way of entering into an intimate conversation with the materiality of the archive.
+
+This forthcoming chapter 'sewing the archive' will introduce the sewing practices of the POP lab and the archival conversations they facilitate.
+
+![pop_lab.jpg](/static/images/pop_lab.jpg)

web/content/section_2/women-on-the-move.md

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+# Women on the move
+
+As part of reimagining historical patents project, the Politics of Patents (POP) team, led by Dr Kat Jungnickel, focused on the challenges facing women over time to play sports and live active public lives. They unearthed hundreds of clothing inventions for all kinds of sports and activities in historic patent archives. This data reveals how women and girls have had to creatively and persistently work around barriers to their freedom of movement. Often this required clothing that did more than one thing - enabling them to conform to social norms AND convert into safe and comfortable sportswear. 
+
+![women_otm_fog.jpg](/static/images/women_otm_fog.jpg)
+
+The POP team reconstructed a collection of lesser-known costumes spanning 50 years (1890 to 1940) and invited The Adventure Syndicate and Mòr Diversity to try this collection of reconstructed convertible, reversible, multiple, and hidden sports and activewear in the Scottish hills. Together they went running, jumping, hiking, flying, cycling, swimming, hunting, riding horses, catching trains and driving cars, climbing up and rolling down hills and otherwise put these amazing costumes through their paces. Making and wearing this data, and putting it through its paces, offers another way of entering into embodied conversations with the archive.  
+
+<iframe width="560" height="315" src="<https://www.youtube.com/embed/SsS_woEaTeE>" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+
+The short film “Women On The Move” was brought to life by Alice Lemkes, Lee Craigie and Philippa Battye of The Adventure Syndicate and Maciek Tomiczek of Oxford Atelier. 
+
+This film is based on research findings discussed in: Jungnickel, K. (2023). Convertible, multiple and hidden: The inventive lives of women’s sport and activewear 1890–1940. *The Sociological Review*, *0*(0). [https://doi.org/10.1177/00380261231153754](https://doi.org/10.1177/00380261231153754)

web/content/section_3/making-of-interview.md

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+# Making of: A collective interview
+
+Creating *Performing Patents Otherwise* took a different set of expertise and foregrounded different roles than those that shape conventional print books. Simon Bowie, who did much of the backend coding, made it possible to integrate a fully searchable database of more than 230.000 clothing patents, and far from just being technical, this work shaped how the book works and, thus, how it can be read. Joana Chicau — a professional dancer, coder and designer — worked with us to create several ways readers might navigate the book and the underlying database in conceptually rich ways without becoming overwhelming. Her understanding of interface design as a kind of choreography shaped this book project in ways that go far beyond its look and feel. Meanwhile, Kat Jungnickel and Julien McHardy closely collaborated in conceptualising the project. Conceived as a collaboration between a publisher and an author, the project changed the publishing process. It challenged our functions in the publishing process as coders, designers, authors, editors and publishers. To capture that this shift has different implications for each of the involved roles, we choose to have a chat with the book publishing team to document our process.
+
+In due time we will post an edited transcript and the audio file of our conversation about making *Performing Patents Otherwise* here. The discussion will take place on 15 April 2023 at the launch event of the project beta version at the feminist data and art space [Varia](https://varia.zone/en/PoP.html), Rotterdam.

web/content/section_3/making.md

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-A series of essays from the makers on the research, methods, tools developed...
+*Performing Patents Otherwise* is one of several experimental book pilot projects conducted by the experimental publishing group at the Community-led Open Publication Infrastructures for Monographs project. In the spirit of open infrastructures, we documented the publication process for each pilot book. Towards this end, the experimental publishing group curated the Experimental Publishing Compendium, which collates experimental book publishing tools and practices and examples of experimental scholarly publications. While we share some insights on the making of experimental scholarly books in the compendium, we will zoom in here on what it takes to make database books and *Performing Patents Otherwise* in particular.
+
+In the Compendium, we categorised *Performing Patents Otherwise* as a database book. We define database books as books containing a dynamically searchable database within their pages; or books generated from a database. In 'making of,' we reflect on the making *Performing Patents Otherwise* in the hope that it will be helpful to other authors and publishers who are experimenting with database books.
+
+Simon Bowie's essay 'on combining databases and books' reflects on the theoretical and practical implications of bringing books and databases into conversation from his perspective as the project's coder and co-author. Joana Chicau, the project's interface designer, shares how her design interfaces with the archive. The project team comes together to share reflections on making this book in 'making of-a collective interview.'