■ 2026 
■ artist book/BA thesis
■ 374 p.
■ 245 x 356 mm
■ Swiss binding (book), stapled (appendix)
■ Munken Print Cream 115 g/m²
□ Munken Pure Rough 120 g/m² 
□ Munken Rough 80 g/m²
□ ColorCopy 80 80 g/m² 
□ Clairefontaine 1939C 60 g/m²
□ Clairefontaine 1971C 80 g/m² 
■ Overused Grotesk
□ Redacted Script
□ Forma DJR Arabic Text
■ Buch- & Kunstdruckerei Kessler
□ Jörg von Stuckrad, BUW
□ Buchbinderei Steinhagen, Weimar
■ Al-Majnoun Books
■ “Limona [Love Letter/Lament]” is an artist book, a biographical artefact, and a goodbye to the photo workshop of the Bauhaus-Universität Weimar, colloquially referred to as the “Limona”. For Jacob, like many students, it has been a central element in his studies in photography – based upon archival tracing, he frequented the space some 270 times between September 2022 and his thesis defence in February 2026. ■ The book’s core centres on three elements whose entanglements constitute the workshop, those being human, tool, and room. A portrait series shows 25 students, lecturers, and staff in the rooms and working situations of the Limona: labouring, posing, resting – artificially lit, provoking a fictionalisation of the lived environment. These images are sublimated with detailed investigations of the natural light, colours, and textures the rooms and tools present for themselves. Their narrative is sequenced according to a work day’s structure, from commute to the closing protocol which Jacob had been responsible for as a student assistant.  ■ Textually, “Limona” presents a gradual turn. Beginning with a breakdown of the principles of the workshop as designated space, its history in higher education, theories around learning and social collectives, drawing from post-phenomenology, anthropology, and linguistics are introduced. This is succeeded by more personal passages, summarisng Heine’s studies, contextualising not only the importance of photography, but also commenting upon the process of producing his thesis. Questions around studying with a disability – autism – take the forefront and present the photographic process as a form of productive, stabilising form of labour. This topic concludes the book in a polemic and pleading epilogue, which details frustrations around the seclusion of pho-tographic education into the academic field and hopes for its democratisation.  ■ The thesis’ appendix expands upon the metatextuality of the book, drawing heavily on ergodic literature. Presented as an archival folder, it brings together data from eleven semesters of studying: an account of all days worked at the workshop, detailed analyses of files accumulated before and around the making of “Limona”, a list of music suggestions, and more.