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

Operative Fiction is a pre-positional spatio-textual practice which, in its first steps, is situated in (and operates with) the concreteness and mediality of a digital platform. We begin our exercise in Operative Fiction with Thomas Ballhausen’s text "What the Probes Report" by transposing it from the surface of a printed page (Flora, 2020) into the digital interface of a Research Catalogue exposition. Not the story (conveyed through the text) but the text itself, with its material and operative potential, activate the site of its action, thus becoming "more-than-text": it enables entrances and generates fields of dramaturgical intensities, it entangles itself in the texture of the digital surface. Spatial operativeness is usually linked to the linguistic operativeness of verbs; however, in our exercise, we choose to operate with prepositions, shifting the spatial focus from "location" to "position/positioning", thus activating the relational potential of multiple textual and chrono-topical layers. In addition to a linear reading mode, following the initial chronology of the story, we propose a contingent reading mode activated through time codes. Acting simultaneously as elements of the drawing and as hypertext, the "timelines" (emerging through the time codes) imply the duration of a staged terrain and sometimes activate multiple time zones in a topographic entity. Timelines are also "more-than-texts", intertwining the time aspects of space with the speculative grammar of the story. The non-human protagonist evoked through and evolving throughout the text "What the Probes Report" disrupts a subject-centred mode of narration: it is entangled in the word- and land-scape of its development, thus becoming – by means of its procedural logic and functioning – a constituent part of its staging. The line speculatively re-enacting the machines’ functions is the same, which draws the topographic texture of the digital landscape. Applying a drawing technique, typically involved in the draft process of a performance design work, we explore the friction between staging and spacing: detecting intensities within a given site and inventing/producing spatial narratives. The "text-work" is always in progress; the questionable materialities of digital lines slowly and softly approach realities and their potential. As a result, we enter the aesthetics of a "diminished reality": the techniques of marking, proposing, pre-posing, and positioning elude the recognisable. They do not augment it but diminish it, not by abstracting but by concretely exploring the agency of dramaturgical fields embedded in the medial affordance of the digital surface and digital tools.

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Operative Fiction is a pre-positional spatio-textual practice which, in its first steps, is situated in (and operates with) the concreteness and mediality of a digital platform. We begin our exercise in Operative Fiction with Thomas Ballhausen’s text "What the Probes Report" by transposing it from the surface of a printed page (Flora, 2020) into the digital interface of a Research Catalogue exposition. Not the story (conveyed through the text) but the text itself, with its material and operative potential, activate the site of its action, thus becoming "more-than-text": it enables entrances and generates fields of dramaturgical intensities, it entangles itself in the texture of the digital surface. Spatial operativeness is usually linked to the linguistic operativeness of verbs; however, in our exercise, we choose to operate with prepositions, shifting the spatial focus from "location" to "position/positioning", thus activating the relational potential of multiple textual and chrono-topical layers. In addition to a linear reading mode, following the initial chronology of the story, we propose a contingent reading mode activated through time codes. Acting simultaneously as elements of the drawing and as hypertext, the "timelines" (emerging through the time codes) imply the duration of a staged terrain and sometimes activate multiple time zones in a topographic entity. Timelines are also "more-than-texts", intertwining the time aspects of space with the speculative grammar of the story. The non-human protagonist evoked through and evolving throughout the text "What the Probes Report" disrupts a subject-centred mode of narration: it is entangled in the word- and land-scape of its development, thus becoming – by means of its procedural logic and functioning – a constituent part of its staging. The line speculatively re-enacting the machines’ functions is the same, which draws the topographic texture of the digital landscape. Applying a drawing technique, typically involved in the draft process of a performance design work, we explore the friction between staging and spacing: detecting intensities within a given site and inventing/producing spatial narratives. The "text-work" is always in progress; the questionable materialities of digital lines slowly and softly approach realities and their potential. As a result, we enter the aesthetics of a "diminished reality": the techniques of marking, proposing, pre-posing, and positioning elude the recognisable. They do not augment it but diminish it, not by abstracting but by concretely exploring the agency of dramaturgical fields embedded in the medial affordance of the digital surface and digital tools.
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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