"What the Probes Report": An Exercise in Operative Fiction by Elena Peytchinska

With Operative Fiction, we propose a practice of spatial storytelling that proceeds along the lingual dynamic of prepositions rather than verbs. The text body is embedded in the medial spatiality of a printed book, a digital interface, or a performance space. Thus, the site (of the text) becomes a constituent and inextricable part of the storytelling. Methods of spatial production invade the text's very texture; in turn, textual compositions influence the unfolding of space, place, and site. Not only the story (conveyed through the text) but the text itself, with its material and procedural potential, activates the site of its action; it entangles itself in the texture of the digital surface. Furthermore, our prepositional practice shifts the spatial (and textual) focus from “location“ to “position” and “positioning”, thus activating the relational potential of multiple textual and chrono-topical layers. We begin our exercise in Operative Fiction with Thomas Ballhausen’s “What the Probes Report” by transposing the text from the surface of a printed page (FLORA, 2020) into the digital interface of a Research Catalogue exposition. The non-human protagonist, evoked through and evolving throughout the text, disrupts a subject-centred mode of narration: it is entangled in the word- and landscape of its development, thus becoming—by means of its procedural logic and function—a constituent part of its staging. The line, speculatively re-enacting the machines' functions, is the same, drawing the digital landscape's topographic texture. Applying a drawing technique typically used in a performance design draft, we explore the friction between staging and spacing by deploying minimally visible images and textual suggestions of direction. The operational plasticity of the technical images enables the congregation of dramaturgical intensities (staging) while disseminating and dispersing the story through the technological means of the exposition into hyperlinked virtual spaces (spacing). In addition to a linear reading mode, following the initial chronology of the story, we also propose a contingent reading mode activated through time codes. Acting simultaneously as elements of the drawing and as hypertext, these timelines imply the duration of a staged terrain, sometimes congregating multiple time zones within a topographic entity. Timelines act as “more-than-texts”, creating a multiplicity of positions and neighbourhoods, intertwining temporal aspects of space with the speculative grammar of the story.

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With Operative Fiction, we propose a practice of spatial storytelling that proceeds along the lingual dynamic of prepositions rather than verbs. The text body is embedded in the medial spatiality of a printed book, a digital interface, or a performance space. Thus, the site (of the text) becomes a constituent and inextricable part of the storytelling. Methods of spatial production invade the text's very texture; in turn, textual compositions influence the unfolding of space, place, and site. Not only the story (conveyed through the text) but the text itself, with its material and procedural potential, activates the site of its action; it entangles itself in the texture of the digital surface. Furthermore, our prepositional practice shifts the spatial (and textual) focus from “location“ to “position” and “positioning”, thus activating the relational potential of multiple textual and chrono-topical layers. We begin our exercise in Operative Fiction with Thomas Ballhausen’s “What the Probes Report” by transposing the text from the surface of a printed page (FLORA, 2020) into the digital interface of a Research Catalogue exposition. The non-human protagonist, evoked through and evolving throughout the text, disrupts a subject-centred mode of narration: it is entangled in the word- and landscape of its development, thus becoming—by means of its procedural logic and function—a constituent part of its staging. The line, speculatively re-enacting the machines' functions, is the same, drawing the digital landscape's topographic texture. Applying a drawing technique typically used in a performance design draft, we explore the friction between staging and spacing by deploying minimally visible images and textual suggestions of direction. The operational plasticity of the technical images enables the congregation of dramaturgical intensities (staging) while disseminating and dispersing the story through the technological means of the exposition into hyperlinked virtual spaces (spacing). In addition to a linear reading mode, following the initial chronology of the story, we also propose a contingent reading mode activated through time codes. Acting simultaneously as elements of the drawing and as hypertext, these timelines imply the duration of a staged terrain, sometimes congregating multiple time zones within a topographic entity. Timelines act as “more-than-texts”, creating a multiplicity of positions and neighbourhoods, intertwining temporal aspects of space with the speculative grammar of the story.
Elena Peytchinska, Thomas Ballhausen - "What the Probes Report": An Exercise in Operative Fiction - 2024
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This exposition displays a link between our monographs "Flora: Language Arts in the Age of Information" (2020) and "Fiction Fiction: Language Arts and the Practice of Spatial Storytelling" (2023, both De Gruyter/Edition Angewandte).

https://www.researchcatalogue.net/shared/1b398140b0c821f6978d3cc6b770307f

Thomas Ballhausen’s text "What the Probes Report", published in "Flora", prompted our further exploration of non-linear, non-finite and more-than-text formats by unexpectedly entangling themselves and operating with Elena Peytchinska’s topographical text(ure)s, which in turn shaped "Fiction Fiction".

We would like to warmly thank David Ender for the translation of the original text "Was die Sonden berichten" and Katharina Holas (De Gruyter), Anja Seipenbusch-Hufschmied (Edition Angewandte) and their teams for the wonderful support throughout the process of our monograph’s becoming.

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