document.addEventListener("DOMContentLoaded", function () { const wordForm = document.getElementById("wordForm"); const wordInput = document.getElementById("wordInput"); const message = document.getElementById("message"); // Initialize Email.js with your email service user ID emailjs.init("Z1v3Tk0_CueH6vCBr"); wordForm.addEventListener("submit", function (e) { e.preventDefault(); const userWord = wordInput.value; // Send the word to the website owner via Email.js emailjs.send("service_bxokdxr", "template_tw45bnb", { userWord: userWord }).then(function(response) { console.log("Email sent successfully:", response); message.textContent = "your gift was received."; wordInput.value = ""; // Clear the input field }, function(error) { console.error("Email send error:", error); message.textContent = "An error occurred while sending the word."; }); }); });
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KJR Studios

Kameelah Janan Rasheed is a learner* from East Palo Alto, CA

Brooklyn | Berlin | Johannesburg



© Kameelah Janan Rasheed. All rights reserved.
Visual Art
I believe in multipathways and a sort of choose your own adventure experience with websites. I am deeply inspired by the webdesign poetics of Chia Amisola as well as Octavia Estelle Butler’s invitation to primitive hypertext.

Choose your own adventure:

︎︎︎ by chronology (1)

︎ ︎︎

︎︎︎ by form (2)



︎︎︎ by chance (3)

Click here if you are feeling lucky!



(1) A quick note on chronology and time in my practice. This chronology applies to the public presentation of the work, not the sprawling and non-linear interior and sometimes immaterial research processes. The dates exist for bureacratic clarity, but are not intended to signal the beginning or end of a process. For example, a work marked “2023” means certain ideas concretized for public engagement, but much came before that moment and much will come after. I imagine my work as a series of networks or even call-and-response. I may call in 2002, but may not have the material and immaterial wisdom or methods to respond until years later.

(2) I have divided my work into the sections below not because I believe in the distinctions between these practices; they leak into one another. I did this as I oscillate between modes of legibility as an artist. Sometimes, people are invested in the wandering. In other cases, directness is desired. The registers in my practice leak into one another. I want to offer leakiness as a liberatory technology--leakiness or the porous boundaries between rituals (syncretism); leakiness or the porous boundaries between bodies of text (intertextuality); leakiness or the porous boundaries between modes of communication (across language systems, across substrates, across species, across disciplines, across temporalities).

Leakiness is a politics of intimacy: an invitation to wander and wade in the wet; to touch and make anew what has not been made solid; to [un]know and [un]learn; to return to the scene of presumed certainty for revision. Leakiness is a kind of interdisciplinarity, or a yearning to move, to be alive in many ways - to be without the grasp of a body of knowledge or a narrative arc. It is to be imminent in ways that exceed the predictability of a singular discipline.

(3) This is powered by just a little bit of javascript. Much of my work is rooted in aleatoric activities.