SI20/web/00-booklet/booklet.html

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        <p>Co-published by</p>
<p>Experimental Publishing,<br />
Willem de Kooning Academie,<br />
Wijnhaven 61, Rotterdam</p>
<p>and</p>
<p>Page Not Found<br />
Space for publishing as artistic practice<br />
Boekhorststraat 126-128, Den Haag</p>
<h3 id="licensing-information">Licensing Information</h3>
<p>This publication is free: you can redistribute it and/or modify it
under the terms of the SIXX License as published by XPUB, either version
1 of the SIXX License or any later version.</p>
<p>See the SIXX License for more details. You should have received a
copy of the SIXX License along with this publication. If not, see
issue.xpub.nl/20/license</p>
<h3 id="xpub">XPUB</h3>
<p>XPUB is the Master of Arts in Fine Art and Design: Experimental
Publishing of the Piet Zwart Institute. XPUB focuses on the acts of
making things public and creating publics in the age of post-digital
networks. Find out more at xpub.nl</p>
<h6 id="console">CONSOLE</h6>
<p><br class="page-break"></p>
<h3 id="xpub-special-issue-xx">xpub special issue xx</h3>
<p>Console is an oracle; an emotional First Aid Kit that helps you help
yourself. Console invites you to open the box and discover ways of
healing. Console provides shelter for your dreams, memories and worries.
Face the past and encounter your fortune. Console gives you a new
vantage point; a set of rituals and practices that help you cope and
care. Console asks everyday questions that give magical answers. Are you
ready to play?</p>
<p>Ada, Aglaia, Boyana, Cara, Stephen, Suzan.</p>
<p><br class="page-break"></p>
<p><br class="page-break"></p>
<h3 id="section">❤️</h3>
<h3 id="this-publication-was-made-possible-thanks-to">this publication
was made possible thanks to:</h3>
<p>Lídia Pereira (ed.)<br />
Artemis Gryllaki (ed.)<br />
Manetta Berends<br />
Joseph Knierzinger<br />
Steve Rushton<br />
Leslie Robbins<br />
Michael Murtaugh<br />
Sébastien Tien and the Page Not Found team<br />
Anna M. Szaflarski<br />
Paul DD Smith<br />
Shana Moulton<br />
Bérénice Serra<br />
The Sun is its father<br />
The Moon its mother<br />
The Wind hath carried it in its belly<br />
The Earth is its nurse</p>
<p><br class="page-break"></p>

    </section>
    <section class="toc">
        <h3>Contents</h3>
        <ul>
            
            
            <li class="toc-title"><a href="#section-3">Introduction</a></li>
            
            <br>
            
            
            <li class="toc-title"><a href="#section-4">Games and Rituals, Kick off sessions</a></li>
            
            
            <li class="toc-title"><a href="#section-5">Monday Morning Rituals</a></li>
            
            
            <li class="toc-title"><a href="#section-6">Click-Click</a></li>
            
            
            <li class="toc-title"><a href="#section-7">Fruitual (fruit + ritual)</a></li>
            
            
            <li class="toc-title"><a href="#section-8">Some Gossip on Gossip</a></li>
            
            
            <li class="toc-title"><a href="#section-9">History of Tarot</a></li>
            
            
            <li class="toc-title"><a href="#section-10">Holographic Oracle Deck</a></li>
            
            
            <li class="toc-title"><a href="#section-11">Long Time</a></li>
            
            
            <li class="toc-title"><a href="#section-12">Pacifist Fortnite</a></li>
            
            
            <li class="toc-title"><a href="#section-13">Papa Louie’s Ghosteria</a></li>
            
            
            <li class="toc-title"><a href="#section-14">Peace</a></li>
            
            
            <li class="toc-title"><a href="#section-15">Sims Mod</a></li>
            
            
            <li class="toc-title"><a href="#section-16">Super(de)construction</a></li>
            
            
            <li class="toc-title"><a href="#section-17">Tetris Fantasies</a></li>
            
            
            <li class="toc-title"><a href="#section-18">The Wheel of Fortune</a></li>
            
            
            <li class="toc-title"><a href="#section-19">Youtube Tarot</a></li>
            
            <br>
            
            
            <li class="toc-title"><a href="#section-20">Fiction Friction</a></li>
            
            
            <li class="toc-title"><a href="#section-21">Oracolotto</a></li>
            
            
            <li class="toc-title"><a href="#section-22">The Wheel of Fortune</a></li>
            
            
            <li class="toc-title"><a href="#section-23">The Legend of the Worry</a></li>
            
            <br>
            
            
            <li class="toc-title"><a href="#section-24">Bibliography</a></li>
            
            
            <li class="toc-title"><a href="#section-25">SIXX license</a></li>
            
            
            <li class="toc-title"><a href="#section-26">Colophon</a></li>
            
            
        </ul>
    </section>
    
    
    <!-- <section class="header-page" id="Games and Rituals, Kick off sessions">
        <h1>Introduction</h1>
    </section> -->
    <section id="section-3" class="section">
        <h1 id="introduction">Introduction</h1>
<p>This Special Issue has been an attempt to understand games and
rituals. Instead of an introduction, we will try to unravel this
mysterious journey as well as keep questioning and collaging.</p>
<p>We mapped the common characteristics and the differences between
games and rituals in relation to ideology and counter-hegemony. We
practiced, performed and annotated rituals, connected (or not) with our
cultural backgrounds while we questioned the magic circle. We dived into
the worlds of text adventure games and clicking games while drinking
coffee. We talked about class, base, superstructure, (counter)hegemony,
ideology and materialism. We discussed how games and rituals can
function as reproductive technologies of the culture industries. We
annotated games, focusing on the role of ideology and social
reproduction. We reinterpreted bits of the world and created stories
from it (modding, fiction, narrative) focusing on community,
interaction, relationships, grief and healing.</p>
<p>The eventual outcome of this process is a console, a magical object,
a wooden container, a promise of healing. How can the unpacking of
games, rituals, ideology and superstructure in relation to witch hunting
become the midwife of a healing box? How can practices of healing and
care work as counter-hegemonic acts which cure and liberate our souls
and bodies from patriarchal and capitalistic fetters?</p>
<p>We didn’t manage to provide you with comprehensive answers or
conclusive statements. The truth is that this wasn’t our plan. Our
intention was to create openings for debate or even conflict, to map a
territory, to invite those who would like to join us.</p>
<blockquote>
<p><em>“What if you are playing tetris and the tetris gods give you
something apart from the usual seven tetrominoes, like an unexpected
pregnancy or the end of capitalism?” (Stephen)</em></p>
</blockquote>
<p>Starting with rituals, we claim that they can be understood as
instruments in the struggle for the exercise of power. Organized by
<em>repetition</em>, they (re)connect the individual to the collective,
creating a vision towards a given perception of society. Participation
in this creative act is determined by several factors: a ritual’s
function, its relationship to hegemonic power, a collective’s politics
and objectives, etc.</p>
<blockquote>
<p><em>“Ritual is a means of performing the way things ought to be in
conscious tension to the way things are in such a way that this
ritualized perfection is recollected in the ordinary, uncontrolled,
course of things. Ritual relies for its power on the fact that it is
concerned with quite ordinary activities, that what it describes and
displays is, in principle, possible for every occurrence of these acts.
But it relies, as well, for its power on the fact that, in actuality,
such possibilities cannot be realized.” (Smith, 1980)</em></p>
</blockquote>
<blockquote>
<p><em>“Ideology talks of actions: I shall talk of actions inserted into
practices. And I shall point out that these practices are governed by
rituals in which these practices are inscribed, within the material
existence of an ideological apparatus(…)Ideas have disappeared as such
to the precise extend that it has emerged that their existence is
inscribed in the actions of practices governed by rituals defined in the
last instance by an ideological apparatus.” (Althusser, 1970)</em></p>
</blockquote>
<p>Similarly, videogames create worlds. Often, those worlds mirror our
own, reproducing certain ideals and values as norms through their
narrative, game play, design. This trimester we explored world-building
characteristics found both in rituals and videogames. We critically
considered those worlds, identifying the key points and elements through
which specific videogames and rituals circulate political, cultural and
social values. While this world-building might be interpreted from an
angle of implicit and explicit bias rooted in hegemonic values, we
investigated the generative, creative possibilities of such
characteristics.</p>
<blockquote>
<p><em>“The main task of mass culture is to create, reproduce, and
manage particular kinds of subjects — workers, consumers, individuals,
citizens — required for current conditions. To perpetuate their own
existence, mass media must succeed at representing the violent coercion
of capitalist systems as natural laws: Of course you have to pay rent to
live inside; of course you have to buy food to eat; of course you have
to work if you want to survive. The production of a fungible, disposable
and migratory working class requires the alienation and atomization of
communities into individuals, which involves destroying the village,
kinship structures, indigeneity, and many other previous forms of
meaning-producing structures, leaving a gap which ideology must fill.
While the fundamental structures of domination — racism, patriarchy,
heterosexuality, etc. — form the bedrock of this ideological apparatus,
the complexity of the always expanding and changing capitalist system
requires an equally flexible set of subsidiary tools capable of rapidly
adjusting ideology en masse. In general, media emerge not to meet the
demands or desires of individual users but to accommodate what the
predominant mode of production requires.” (Osterweil, 2018)</em></p>
</blockquote>
<p>Our intention was to look into rituals and their overlap with video
games as a way to explore “forbidden” or otherwise lost knowledge erased
by oppressive systems (e.g. witch hunts). Understanding games and
rituals as gateways to alternative ways of relating to Nature, each
other and (re)production of life, labour, etc, we played together by
writing fan fiction and spells, developing rituals, analysing and
creating games together.</p>
<blockquote>
<p>“<em>Sims as social reproduction: some values are certainly given by
the game (make money to buy nicer things, progress in your career by
doing tasks that improve your skill, charisma is a skill but not
kindness) , but also ideology is put into the game by the player. The
player chooses what to reproduce and often share in the “gallery” or on
social media. Community being so important in this game then means that
the crux of the social reproduction is happening when the choices you
have made in the game are broadcasted. Did you create a heteronormative
white thin nuclear family that made a lot of money? Or did you choose to
play differently?” (Ada)</em></p>
</blockquote>
<blockquote>
<p><em>“The Communist Party of Second Life (CPSL) aims to be a Marxist,
internationalist and revolutionary organization for all communists in
Second Life. The CPSL aims to spread understanding of Marxism among SL
citizens, to organise support in SL for the class struggle in RL,
including all struggles of the working class against imperialism and the
bourgeoisie, its state and wars.” (keksakallu.klata)</em></p>
</blockquote>
<blockquote>
<p><em>“The act of the modder’s appropriation of the pre-existing game
is also similar to Michel de Certeau’s cultural ‘poaching’. De Certeau’s
everyday bricolors make do with remixing the privatized spaces and
products of consumer society that they find themselves inhabiting and
using. Rather than being passive consumers, ordinary people invent
varied subversive tactics for stealing back the given of everyday life.
De Certeau writes, ‘Everyday life invents itself by poaching in
countless ways on the property of others.’” (Schleiner, 2017)</em></p>
</blockquote>
<p>Meanwhile, we explored the figure of the witch as a magical
practitioner, as a resisting body, a border figure. <em>“Federici
presents the witch”as the embodiment of a world of female subjects that
capitalism had to destroy: the heretic, the healer, the disobedient
wife, the woman who dared to live alone, the obeha woman who poisoned
the master’s food and inspired the slaves to revolt.” Behind the witch
hunt, she uncovers a joint effort by the Church and the state to
establish mechanisms of gendered control of bodies that immanently
resisted newly instituted regimes of productive and reproductive work.”
(Timofeeva, 2019)</em></p>
<blockquote>
<p><em>“Sorcerers have always held the anomalous position, at the edge
of the fields or woods. They haunt the fringes. They are at the
borderline of the village, or between villages. But sorcerers not only
exist at the border: as anomalous beings, they are the border itself. In
other words, the borderline passes through their bodies.” (Deleuze,
Guattari, 1980)</em></p>
</blockquote>
<p>How does the understanding of the hunting of the witches that
happened a few centuries ago in relation to the figure of the witch as a
marginal, rebellious entity shed light on contemporary witch-hunting?
How does this knowledge provide us with tools of empowerment,
emancipation and resistance, and make us reimagine counter-hegemonic
practices of collective care and healing?</p>
<figure>
<img src="wall.jpg" alt="Never stop questioning, never stop mapping." />
<figcaption aria-hidden="true">Never stop questioning, never stop
mapping.</figcaption>
</figure>
<h6 id="documentation">DOCUMENTATION</h6>

    </section>
    
    
    <!-- <section class="header-page" id="Monday Morning Rituals">
        <h1>Games and Rituals, Kick off sessions</h1>
    </section> -->
    <section id="section-4" class="section">
        <h1 id="games-and-rituals-kick-off-sessions">Games and Rituals, Kick off
sessions</h1>
<h2
id="we-are-looking-at-rituals-and-their-overlap-with-video-games-as-a-way-to-explore-forbidden-or-otherwise-lost-knowledge-erased-by-oppressive-systems.">We
are looking at rituals and their overlap with video games as a way to
explore “forbidden” or otherwise lost knowledge erased by oppressive
systems.</h2>
<h3 id="on-rituals-and-traditions">On Rituals and Traditions</h3>
<p>What is a ritual? And tradition? What makes a ritual “ritual”, and
how does it differ from the traditions? Or are the two the same thing?
What do rituals and traditions mean through the lens of culture,
location and time? These and other questions we asked ourselves and one
another during the first few collaborative sessions of this Special
Issue. We kept talking and reading for hours about the commonalities and
differences between the two. There is a lot to explore! We went down
memory lane and shared memories, childhood recollections, and personal
stories. Perhaps, dear reader, you have your thoughts on this too?</p>
<p>But let’s enter a parallel universe!</p>
<h3 id="on-game-and-play">On Game and Play</h3>
<p>What is a game? And play? What makes a game “game”, and how does it
differ from play? Or are the two the same thing? What makes a game? It
is the rules, the limitations, or perhaps the wins and the losses. Do
you really need to win in order to play? Or were you being played? To
try to answer some of these questions, we read and collectively
annotated the chapter “Defining Games” from the book “Rules of Play -
Game Design Fundamentals” by Katie Salen and Eric Zimmerman. We
discovered that games and rituals alike are the gateways to alternative
ways of relating to Nature, each other and (re)production of life.</p>
<p>We played together by writing fanfiction and spells, developing
rituals, and analysing and creating games. What emerged as a tangible
result from all these discussions is this experimental publication you
are holding in your hands right now. We named it Console.</p>
<figure>
<img src="Candlestarotjoysticks.png" alt="Candles Tarot Joysticks" />
<figcaption aria-hidden="true">Candles Tarot Joysticks</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="Game-ritual-graph-2.jpeg" class="white-caption"
alt="Graphing the game-ritual field" />
<figcaption aria-hidden="true">Graphing the game-ritual
field</figcaption>
</figure>
</div>
<p>Another thing that came out of our first two sessions was the <em>One
Sentence Ritual</em>. Each week for six weeks in a row, we wrote down a
ritual of our own and took turns performing the ritual from the list.
Coffee fortune-telling, hard drive purifications, collective eating,
sound meditations, and talking to worry dolls made us reflect on the
content of the week and our lives.</p>
<div class="full-image">
<figure>
<img src="map.jpeg" class="white-caption" alt="Mapping somewhere new" />
<figcaption aria-hidden="true">Mapping somewhere new</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Click-Click">
        <h1>Monday Morning Rituals</h1>
    </section> -->
    <section id="section-5" class="section">
        <h1 id="monday-morning-rituals">Monday Morning Rituals</h1>
<p>For eight weeks, students from XPUB prepared a ritual to perform at
the top of Monday morning class. We explored cultural rituals such as
the birthday cake and coffee-ground reading, but also more personal
rituals such as ‘going to sleep’ rituals, a personal hard-drive
purification, and the creation of worry-dolls.</p>
<h4 id="week-1-january-9th-2023-tea-and-cookies">Week 1, January 9th
2023: Tea and Cookies</h4>
<p><em>Performed by Artemis and Lídia</em></p>
<p>Artemis and Lídia introduced us to Monday Morning Rituals on the
first cold, dark, wintery Monday morning. We shared cookies with tea as
a way to open up the semester and get to know each other. The ritual of
a hot drink and cookies is well-known around the world as a moment of
gathering, peace, gossip, and self-care.</p>
<figure>
<img src="Lidia_Ritual.jpeg" alt="Artemis and Lídia’s Preparations" />
<figcaption aria-hidden="true">Artemis and Lídia’s
Preparations</figcaption>
</figure>
<h3 id="week-2-january-16th-2023-coffee-fortune-telling">Week 2, January
16th 2023: Coffee Fortune-Telling</h3>
<p><em>Performed by Aglaia</em></p>
<p>For Aglaia’s ritual, we sat in a circle while the coffee was being
prepared by the ancient Stove priestess placed in the middle. When done,
it was served to the participants in special coffee cups. We drank our
coffee while gossiping and eating cookies. When everybody finished, we
swirled the cup counter-clockwise three times and turned the coffee cup
upside down over the cup’s saucer. We waited patiently for five minutes
for the Fortune to be prepared. Everybody had to tell the Fortune of the
person sitting on their left side by reading the coffee grounds until we
completed the circle.</p>
<figure>
<img src="Aglaia_Ritual.jpeg" alt="Aglaia’s Ritual" />
<figcaption aria-hidden="true">Aglaia’s Ritual</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="Aglaia_ritual_2.jpeg" class="white-caption"
alt="Overturned Coffee Grounds" />
<figcaption aria-hidden="true">Overturned Coffee Grounds</figcaption>
</figure>
</div>
<h3 id="week-3-january-23rd-2023-hard-drive-purification">Week 3,
January 23rd 2023 Hard Drive Purification</h3>
<p><em>Performed by Stephen</em></p>
<p>Stephen prepared a few zines with instructions to conduct a
ceremonial cleansing of not only our browser history and cookies but
also our trash cans/recycle bins. All operating systems were welcome.
The zine was a reminder to ‘clean’ messy space up (for yourself),
written in such a way that instructed us to recite sentences at the same
time, with one person leading the group – a play on the magic
circle.</p>
<figure>
<img src="Stephen_Ritual.jpeg" alt="Stephen’s Ritual" />
<figcaption aria-hidden="true">Stephen’s Ritual</figcaption>
</figure>
<h3 id="week-4-january-30th-2023-birthday-cake">Week 4, January 30th
2023: Birthday Cake</h3>
<p><em>Performed by Boyana</em></p>
<p>To celebrate Aglaia’s birthday, Boyana baked a cake, and Ada made
jellies. We sat in a circle around the cake. The person who had their
birthday most recently sliced the cake, and we took turns to wish them
our blessings. After going through a round, we ate together.</p>
<figure>
<img src="Boyana_Ritual_Cake-jelly.jpeg"
alt="Boyana’s Birthday Cake and Ada’s Jellies" />
<figcaption aria-hidden="true">Boyana’s Birthday Cake and Ada’s
Jellies</figcaption>
</figure>
<h3
id="week-5-february-6th-2023-special-issue-prediction-ritual-sipr">Week
5, February 6th 2023: Special Issue Prediction Ritual (SIPR)</h3>
<p><em>Performed by Ada</em></p>
<p>For Ada’s ritual, Ada brought in a deck of tarot cards to read the
fortune of the Special Issue you are holding in your hands right
now.</p>
<p>Her text made us laugh, and we have chosen to include it in full:</p>
<p>“The priestess Ada will start the ritual by playing the ceremonial
music on the sacred Spotify. Candles shall be turned on. Then three
human sacrifices will be selected amongst the group through a collective
decision. The three sacrificial people will then select three cards from
either of the two decks given by the priestess. While they do so, they
must think of the special issue. The priestess will then interpret the
cards and together we shall rejoice in having found out our Special
Issue’s future.”</p>
<div class="full-image">
<figure>
<img src="ada_ritual.jpeg" class="white-caption"
alt="Unfortunately, we were too distracted by our fortune to take a picture. Here is a stock image instead." />
<figcaption aria-hidden="true">Unfortunately, we were too distracted by
our fortune to take a picture. Here is a stock image
instead.</figcaption>
</figure>
</div>
<h3
id="week-6-february-13th-2023-guided-meditation-a-nighttime-ritual">Week
6, February 13th 2023: Guided Meditation (A Nighttime Ritual)</h3>
<p><em>Performed by Cara</em></p>
<p>Cara’s ritual relates to her history of having a hard time falling
asleep at night. Over the years, she has found that music - especially
quiet music with the sound of nature (field recordings) – really helps
her fall asleep. She DJs outside of class and plays a lot of ambient,
narrative DJ sets. For her ritual, she played a sound piece made of
field recordings around Rotterdam (the sound of water lapping against a
water taxi, the sound of wind, the sound of rain) and read a poem about
sleeplessness from a collection of literature about the Night. The
ritual meant to lull everyone to a moment of peace.</p>
<figure>
<img src="Cara_Ritual.jpeg" alt="Cara’s Ritual" />
<figcaption aria-hidden="true">Cara’s Ritual</figcaption>
</figure>
<h3 id="week-7-february-20th-2023-worry-dolls">Week 7, February 20th
2023: Worry Dolls</h3>
<p><em>Performed by Irmak</em></p>
<p>Irmak’s ritual was about how to ease our worries. We wrote down our
worries on a pink piece of paper and shared them with a handmade doll
that Irmak brought. These dolls are called Worry dolls (also called
trouble dolls; in Spanish, Muñeca quitapena) and originate from
Guatemala. There is one in each box of our special issue.</p>
<figure>
<img src="Irmak_Ritual.jpeg" alt="Irmak’s Ritual – A Worry Doll" />
<figcaption aria-hidden="true">Irmak’s Ritual – A Worry
Doll</figcaption>
</figure>
<h3
id="week-10-march-13th-2023-that-distant-future-when-we-share-a-tea">Week
10, March 13th 2023: That Distant Future When We Share a Tea</h3>
<p><em>Performed by Chae</em></p>
<p>Special Guest Chaeyoung Kim joined us in a ritual involving drinking
tea, steaming glasses and collective healing through care and
conversation. Over bubbling background sounds, we talked about our
experiences of a recent global pandemic that had an effect on us all,
and we recreated the isolating experience of wearing glasses with a
mask. Finally, we wiped each others glasses back to clarity, from a
distance but somehow at the same time closer.</p>
<div class="full-image">
<figure>
<img src="chae3.jpg" class="white-caption"
alt="Collective clearing of the fog." />
<figcaption aria-hidden="true">Collective clearing of the
fog.</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Fruitual (fruit + ritual)">
        <h1>Click-Click</h1>
    </section> -->
    <section id="section-6" class="section">
        <h1
id="click-click-the-clicking-game-a-matter-of-accumulation">click-click,
the clicking game — a matter of accumulation</h1>
<p>A couple of months ago, I didn’t even know clicking games existed.
When I played for the first time, I couldn’t understand why people were
intrigued enough to devote themselves to clicking, and I still struggle
to understand it. I wanted to create a clicking game that would
highlight the act of clicking to the player through the interface of the
screen. People would see a hand clicking on their screen, and then at
the next stage, a person in front of a screen (with a hand clicking)
clicking etc. My poor java script skills didn’t allow me to realise my
initial idea, so eventually, I came up with a really simple version of
the click_click game. People click on the click button that makes a
“click” sound. Every time they click, a new button is generated. The aim
is to click and accumulate bricks. A repetitive performance. You click,
you gain. The game ends when you fill your screen and build a wall of
click buttons. Then the screen clears automatically, and a small victory
message appears. What happens when the only function performed is
clicking? Nothing, I guess.</p>
<figure>
<img src="click.png" alt="the click wall" />
<figcaption aria-hidden="true">the click wall</figcaption>
</figure>

    </section>
    
    
    <!-- <section class="header-page" id="Some Gossip on Gossip">
        <h1>Fruitual (fruit + ritual)</h1>
    </section> -->
    <section id="section-7" class="section">
        <h1 id="fruitual">Fruitual</h1>
<h2 id="text-adventure-game-about-fruits-and-rituals">text adventure
game about fruits and rituals</h2>
<p>Creating a text adventure game is no easy feat. It takes a lot of
time, creativity, trial and error. The key to creating an interesting
game is putting yourself in the player’s shoes and making sure there are
plenty of fun twists and turns along the way.</p>
<p>I decided to keep my game simple and tell a linear story. I used a
web engine called Twine (twinery.org, an open-source tool for telling
interactive, nonlinear stories) to help generate the game’s storyline,
and I adapted the script from a Bulgarian fairytale (“The Most Precious
Fruit”). But things didn’t always go smoothly. When the python script
started generating the wrong messages for players who strayed from the
script, I tried to find solutions on StackOverflow, but it was all too
complicated for me.</p>
<p>In the end, the game took me around 6-7 hours to make, including
writing, coding, mapping, editing, and lots of trial-and-error. It was a
great learning experience, but it also taught me that game development
can be tough if you don’t have much coding experience. I had to approach
it more from a writer’s perspective and figure out the coding later.</p>
<p>I learned that game development is an iterative process, and
sometimes your initial ideas might be more complex than what you end up
with. It’s all part of the journey. Before starting this project, I had
no idea text adventure games existed, but now I’m happy to say I’ve made
one in just a few weeks. Lastly, I would like to express my appreciation
for the guidance and support provided by our prototyping tutors in
developing these projects.</p>
<p>(Full story “The Most Precious Fruit” available at:
https://fairytalez.com/the-most-precious-fruit/)</p>
<figure>
<img src="twine-map.png" alt="Twine" />
<figcaption aria-hidden="true">Twine</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="twine-map.png" class="white-caption" alt="" />
<figcaption aria-hidden="true"></figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="History of Tarot">
        <h1>Some Gossip on Gossip</h1>
    </section> -->
    <section id="section-8" class="section">
        <h1 id="some-gossip-on-gossip-and-what-coffee-has-to-do-with-it.">Some
Gossip on gossip and what coffee has to do with it.</h1>
<div class="centered-image">
<figure>
<img src="image1.jpg"
alt="Tittle Tattle; or The Feveral Branches of Gofsipping, British Museum Collection" />
<figcaption aria-hidden="true">Tittle Tattle; or The Feveral Branches of
Gofsipping, British Museum Collection</figcaption>
</figure>
</div>
<p>In the 12th century, “Godsipp” (God and sib (akin), godmother or
godfather) was a word used for both men and women in fables and society.
The church also recognized this word. It was used to name companions
present at childbirth, e.g. the midwife. Sometimes, it was used to
mention close friends. It represented the strong ties between women,
which surpassed their relationship with their husbands. Was it witchery
that strong and independent women preferred their gossip over their
husbands? Well, that is something that hasn’t changed since the middle
ages. </p>
<figure>
<img src="image2.jpg"
alt="Tittle Tattle; or The Feveral Branches of Gofsipping, British Museum Collection" />
<figcaption aria-hidden="true">Tittle Tattle; or The Feveral Branches of
Gofsipping, British Museum Collection</figcaption>
</figure>
<p>“Godsipp” began its journey with nothing but good and emotionally
strong connotations. Women bloomed and blossomed among each other and
were autonomous in their existence. Men were never a part of this party
women were throwing. By the 16th century, as things began to change, the
traditional meaning lingered on. In 1602, the word was still used to
signify female friendships. This can be seen in Samuel Rowlands’s
<em>Tis Merrie When Gossips Meete</em>, a satirical piece describing
three London women spending hours in a tavern talking about men and
marriages. It implied that ‘women could create their social networks and
their own social space’ and stand up to male authority (Federici,
2019).</p>
<p>Solidarity and friendship amongst women were demeaned and
female-exclusive parties were banned; women who met in public were
identified as “witches” and women’s first duty was now to be obedient
and quiet. The talk about husbands at taverns was too hurtful for the
sensitive male ego. The public, the church and the law punished women
who engaged in “idle talk”. Centuries past, the sensitive male ego
remains and continues to attack women from many angles which now include
cyberbullying, mobbing at the workspace and other violent
iterations. </p>
<p>Wives who were seen as “scolds” and “witches” were forced under
sadistic torture with a “scold bridle”. Looking back, I can’t help but
see these sadistic, desperate acts as a meek scream of how men couldn’t
get even close to satisfying women physically or mentally. If they spent
some time working on female anatomy rather than these horrifying torture
methods, we would be living in a different world today… </p>
<p>Here is an excerpt from a song which portrays women in a tavern.
These words on ale and wine are an ancient remedy for us to consider
today when we are out drinking with our “gossips”:</p>
<p>“In a 1630s song, Fowre wittie gossips disposed to be merry, a group
of married women in a tavern debate the merits of ale and wine in
relation to cost and value. They conclude, ‘If our opinions do not
faile: / a quart twelve cups [of wine] containeth, / Its cheaper then a
dozen of ale, / where froth and snuffes remaineth’. (‘Snuffes’ was the
‘backwash’ left when, as was common, multiple people drank from a single
vessel.) The wives also point out that the after-effects of drinking
sack (a Spanish white wine) are much less injurious than those of
drinking too much ale. In consequence, they will not suffer hangovers
from drinking all night, as all their husbands are. (McShane,
2016)” </p>
<p>It was in this context that “gossip” turned from a word of friendship
and affection into a word of denigration and ridicule (Federici,
2019).</p>
<p><strong>So what does coffee have to do with it?</strong></p>
<p>Fortune telling over coffee stretches back to the 16th century, when
the beans made it to the Middle East and the Ottoman Empire. In the
Ottoman Empire, concubines in the Harem were banned from talking and
“gossiping”. They had a great influence on sultans (although not
officially recognized by men themselves), and therefore affected the
political decisions and affairs of the Empire. Out of solidarity, women
began to perform fortune-telling over the remains of coffee inside and
outside coffee cups. This way, they could talk about their fears and
inner</p>
<div class="centered-image">
<figure>
<img src="image3.jpg" alt="kahvegibikahve.com/blog" />
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
</figure>
</div>
<p>worlds freely. I can’t help but see the similarity with the
oppression women went through in relation to “gossip”. The striking
difference is that fortune telling over coffee didn’t change its
connotation with time. Today, it is also an act of solidarity or a
chance to “gossip”, one might say. </p>
<p>“In this painting, an Ottoman woman drinking coffee and her maid
serving her is depicted. It is known that the painting is from the first
half of the 18th century. The work of Jean-Baptiste Vanmour, ‘Turkish
Girl Drinking Coffee on the Sedir’ was based on this Ottoman woman, who
is the main figure of the painting. The maid, who is positioned on the
right side of the painting and serves on her knees, is noticed as the
other interesting side of the painting. The large and ostentatious
headdress on the head of the Ottoman woman stands out as another element
that focuses attention on the work. It is also known that the headdress
in question was inspired by the picture of a serpentine woman in the
book of the Dutch painter Cornelis de Bruyn, who visited Turkey in the
17th century.”</p>
<p>Whether with gossip or chatting over coffee, women have always found
a way to express themselves regardless of oppression. These rituals were
performed by women as an act of sisterhood and out of respect for both
their inner worlds and each other. It is undeniable that gossip still
brings people together and that centuries of oppression failed to change
that. Through the centuries, as the word began to be weaponized against
women and became a tool to turn against each other, I can’t help but
wonder how unfair pop culture has been to women. In any magazine or TV
series, anyone can spot a gossip scene</p>
<div class="full-image">
<figure>
<img src="image4.jpg" class="white-caption"
alt="kahvegibikahve.com/blog" />
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
</figure>
</div>
<p>with negative consequences or aim. A woman is sassy, “bitchy” or evil
when she gossips, but why do we still let our acts be defined by the
misogynistic portrayal of men?</p>
<p>Nowadays, the notions of gossip or fortune telling may be used as
something you wouldn’t want to be a part of because it could harm
someone. Let’s oppose the negative connotation assigned by men to these
words and use them as a joyful gathering. Reclaiming gossip and fortune
telling as an intimate support system, a strong web, is the least we can
do to honour the women who met at taverns and shared a part of their
souls with each other.</p>
<p><br class="page-break"></p>
<h3
id="how-to-make-the-perfect-turkish-coffee-and-some-guides-for-fortune-telling">How
to make the perfect Turkish coffee and some guides for
fortune-telling:</h3>
<ol type="1">
<li>Put two teaspoons of coffee in “cezve”, the traditional pot. </li>
<li>Add one cup of cold water to the pot. Mix once with the spoon. The
ratio is one cup, and two teaspoons of coffee. </li>
<li>Begin cooking at a low temperature until the top coat gets
darker. </li>
<li>Cook at a high temperature until the point where the coffee begins
rising. </li>
<li>Take the pot off the oven right before it overflows. </li>
<li>Take the foamy part with a teaspoon and put it in the cup before
pouring the rest. This will protect the foam. The foam is important for
quality check.</li>
</ol>
<p>😊</p>

    </section>
    
    
    <!-- <section class="header-page" id="Holographic Oracle Deck">
        <h1>History of Tarot</h1>
    </section> -->
    <section id="section-9" class="section">
        <h1 id="an-hypothesised-and-randomly-factual-history-of-tarot-cards">An
hypothesised and randomly factual History of Tarot Cards</h1>
<p>What follows is the story of a deck of cards and all the more-or-less
believable claims made about its origin. This brief history was compiled
following sources that attempted accurate historic recalling instead
of the most commonly shared semiotic, occultist story. However, despite
all efforts, the found sources told a convoluted tale due to the
misinterpretation of age, sources and authorship common to any ancient
texts on magic and mysticism (Dummett, 1993). As such, the following
text will recall the disproven stories that were told about the origin
of Tarot, some factual sourced material and a modern description of its
usage.</p>
<p>When we talk about Tarot cards, we are talking about a deck of
playing cards composed of ten numeral cards and four court cards (Jack,
Knight, Queen and King) for each of the four suits (Swords, Batons, Cups
and Coins). Alongside these more common cards, Tarot includes 22 ‘trump’
cards with allegorical illustrations. The trumps form a sequence,
usually numbered from 1 to 21, with the single card of The Fool being
separated (Decker, Depaulis &amp; Dummett, 1996). </p>
<p>This specific deck of cards’ history begins at the bottom of a well
in 1440’s Northern Italy, where we place its first appearance in
history. From there on we can easily find links to the common usage of
these cards in Northern Italy; from Milano to Bologna and Ferrara
(Steele, 1900). These cards, initially called <em>Trionfi</em> and then
<em>Tarocchi</em>, are thought to have been intended for card games,
regardless of their occasional usage in future-telling (Dummet,
1993). This finding helps us trace a factual beginning of Tarot but
leaves an open question as to how these cards gained their place as the
primary tool used in modern occultism and mysticism for cartomancy. </p>
<figure>
<img src="Visconti-Sforza-Tarot.jpg"
alt="Image of the First Tarot Deck" />
<figcaption aria-hidden="true">Image of the First Tarot
Deck</figcaption>
</figure>
<p>While this is where the story begins to get intricate, it is clear
that the first wide spread future-telling performance appeared in France
in the 18th century. At this point, the history of tarot was to be
influenced by what each fortune teller imagined the history of the cards
to be. To fully reveal this, I will first attempt to map the most
notable occultists that used the cards and wrote historical notations
about their deviance, and the stories they told about them.</p>
<p>The first encounter we have between Tarot, magical theory and
practice happens in the <em>Monde primitif,</em> an incredibly long
essay about Tarot cards written in 1781 by Antoine Court de Gébelin.
With this text, the pastor began what would be the endless repository of
arcane esoteric wisdom within Tarot that would follow the cards for
generations (Chisholm, 1911). In this text, Gébelin attributed the
cards’ origin to ancient Egypt, a theory that is to this day accepted as
truthful. This belief was based on an erroneous link to “The Book of
Thoth”, an ancient Egyptian text about magic that is believed to have
been spread through Europe by Romans. This belief was then substantiated
with a similar essay by Comte de Mellet (Decker,1993). Promptly, a
Parisian fortune teller named Jean-Baptiste Alliette, professionally
known as Etteilla, having found these theories, adapted the esoteric
view of the cards to his own uses. He switched his own practice from
traditional French piquet cartomancy to the use of a self-made Tarot
card deck. This deck was based on the previously shared Hermetic
ideologies and was named “The Book of Toth” (Decker, 1993).</p>
<p>The next fundamental spin that was applied to the cards’ background
was done by Éliphas Levi, another French esoterist. Levi repudiated
Etteilla’s theory and integrated a version of the cards that were closer
to the original than his own Cabalistic magical system. While Levi’s
understanding of the cards’ travel from Egypt to Judea and into Jewish
tradition was historically mistaken, it nonetheless revolutionized Tarot
in ways that survive to this day. His Cabalistic theory about signs
being letters, letters being absolute ideas and absolute ideas being
numbers can still be seen in modern iterations of Tarot.</p>
<p>At this point, Tarot’s journey speeds up as the cards leave France
and become absorbed into new esoteric movements like Swedenborgianism,
Mesmerism and Spiritualism (Decker, Depaulis &amp; Dummet, 1996).</p>
<p>Before we make another jump through time towards the next relevant
development of Tarot, I will share the last of the three false
widespread theories about the origin of Tarot (the first two being
ancient Egypt and Judaism, despite the latter’s influence on modern
Tarot).</p>
<p>This last theory is harder to trace back to one esoteric influence,
and it claims a Chinese origin to the cards. This is most likely due to
the similarity between Tarot and the I Ching, a divination manual from
around 1000 BC. This manual was grounded in cleromancy, i.e. the
production of random numbers with the purpose of predicting divine
intention. However, there is no traceable connection between Chinese
cleromancy and Tarot divination. Modern analyses of Chinese Tarot
divination draw a direct correlation between Western occultism and Tarot
divination, leaving little room to imagine any direct causation starting
from China (Fu, Li, Lee, 2002).</p>
<p>The next big step will bring us to Britain in the late 19th century,
to the Hermetic Order of the Golden Dawn. The Golden Dawn was a secret
society devoted to occult Hermetic Kabbalah and one of the largest
single influences on Western occultism as a whole (Jenkins, 2000). While
the society itself had a wide curriculum including astrology, alchemy
and geomancy (soil divination), our concern at this moment are their
links to Tarot cards.</p>
<div class="centered-image">
<figure>
<img src="etteilla.jpg" alt="Image from Etteilla’s Deck" />
<figcaption aria-hidden="true">Image from Etteilla’s Deck</figcaption>
</figure>
</div>
<p>In 1909, two mystics and members of the Golden Dawn, A.E. Waite and
Pamela Colman Smith, published a deck of re-made Tarot cards through the
Rider Company which reflected Golden Dawn’s magic system. Later, these
cards became known as the Rider-Waite Tarot (Dean, 2015). This deck was
based on the Sola Busca tarot, with symbolism derived from Egyptian and
Christian traditions and Levi’s descriptions. This deck has since become
the paradigm and touchstone through which modern occultists think of
Tarot. Between the distribution of this deck and the use of the cards in
the Golden Dawn, it became axiomatic among followers of various
traditions of mysticism that Tarot is an essential component of any
occult science.</p>
<p>Today, Tarot is emblematic and incredibly wide spread as the most
common future-telling method and device. Tens and thousands of different
formats exist, often falling under the category of Oracle cards. While
these do not share the clear formatting rules of Tarot, they are still
used for divination and self-reflection purposes through the
interpretation of allegorical illustrations.</p>
<div class="centered-image">
<figure>
<img src="Rider-Waite_Pents.jpg"
alt="Image from the Raider-Waite deck" />
<figcaption aria-hidden="true">Image from the Raider-Waite
deck</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Long Time">
        <h1>Holographic Oracle Deck</h1>
    </section> -->
    <section id="section-10" class="section">
        <h1 id="holographic-oracle-deck">Holographic Oracle Deck</h1>
<h2
id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-nature-of-crystals-and-minerals-as-energy-storing-matter.">‘Crystals
&amp; Energy’ is a holographic oracle deck exploring a range of energy
sources through the nature of crystals and minerals as energy-storing
matter.</h2>
<p>Lídia and Artemis, Special Issue 20 guest editors, asked us to modify
an oracle deck of our choice. We, Cara and Boyana, prototyped a
holographic oracle deck where a type of crystal is coupled with a type
of energy resource in a single card in an attempt to talk about the
global energy crisis we are facing today. It was important to us to
provide multiple perspectives not only on how energy is used but where
and under what conditions it is sourced. We attempted this by using
crystals sourced in particular areas to provide a specific insight and
perspective onto a facet of the global energy ecosystem. In practice,
our deck provides an educational experience through the use of a DIY
prism and complimentary audiovisual materials, which serve to create an
immersive learning environment.</p>
<p>After a quick research, we decided to couple Aquamarine and Liquified
Natural Gas (LNG) which we thought would fit nicely as a first example
of such a card.</p>
<p><strong><em>Why Aquamarine?</em></strong> It looks like water that
has been crystallised; stored energy; compression; solidified; put under
pressure, or exposed to a specific temperature so that it changes its
state (from liquid to solid).</p>
<p><strong><em>Why LNG?</em></strong> It is natural gas that has been
liquified; compressed; liquified; put under pressure, or exposed to a
specific temperature so it changes its state (from gas to liquid);
stores energy that can be channelled later.</p>
<figure>
<img src="LNG-and-Aquamarine.jpg" alt="LNG and Aquamarine" />
<figcaption aria-hidden="true">LNG and Aquamarine</figcaption>
</figure>
<p>Next, we wrote a short poem weaving these two elements into an
everyday narrative. Later, this poem served as a script to create a
voice narration (a one-minute-long audio piece) that went into the video
creation process. Although the final text deviates slightly from our
initial idea, we felt the change was appropriate, as it was inspired by
a conversation we had with our tutor, Steve, earlier that day. He talked
about his childhood memories of collecting rocks in notebooks, perhaps
similar to what geologists do when documenting their discoveries. He
also mentioned a few things about caverns and a mine (which later turned
into a museum) located near the city in which he used to live.</p>
<div class="full-image">
<figure>
<img src="Aquamarine-Poem.jpg" class="white-caption"
alt="Aquamarine Poem" />
<figcaption aria-hidden="true">Aquamarine Poem</figcaption>
</figure>
</div>
<p>To visualise the card, we used a hologram video-maker app. The
process was fun and easy. All we had to do was simply find a
high-resolution image of the Aquamarine crystal on a black surface and
upload it into the app. Lastly, we made a model of a pyramid prism so
that we could demonstrate the prototype fully. To get the full
holographic effect, we had to put it on top of a phone screen and play
the video, which we uploaded on YouTube and embedded as a link onto our
Special Issue’s website.</p>
<p>We saw in this prototype a potential to provide new knowledge, to
create an engaging learning experience around energy sources, and also
to provide a bit of wonder and immersion into a discourse that can often
feel dense. By combining these different elements, we were hoping to
create an unusual experience that can help people better understand and
appreciate the importance of energy sources and sustainability. It will
be interesting to see how our prototype evolves and impacts people’s
perceptions of these topics.</p>
<p><img src="Diamond-holo.jpg" alt="Diamond" /> <img
src="Earth-holo.jpg" alt="Earth" /> <img src="Jellyfish-holo.jpg"
alt="Jellyfish" /> <img src="UFO-holo.jpg" alt="UFO" /></p>

    </section>
    
    
    <!-- <section class="header-page" id="Pacifist Fortnite">
        <h1>Long Time</h1>
    </section> -->
    <section id="section-11" class="section">
        <h1 id="long-time">Long Time</h1>
<h2 id="six-sigma-fortune-telling">Six Sigma Fortune Telling</h2>
<p>The future cannot be predicted with certainty, but our current
understanding in various scientific fields means we can predict some
far-future events, if only in the broadest outline. These fields include
astrophysics, particle physics, evolutionary biology, plate tectonics
and sociology. The far future begins after the end of the current
millennium, in 3001 CE, the start of the 4th millennium, and continues
until the furthest reaches of future time. This timeline includes
alternative future events that address unresolved scientific questions,
and is, in fact, not six sigma accurate at all.</p>
<p>This timeline (based on Wikipedia’s <a
href="https://en.wikipedia.org/wiki/Timeline_of_the_far_future">Timeline
of the Far Future</a>) claims to make accurate predictions far into the
future at timescales that are difficult to comprehend; beyond our
lifetimes, beyond the death of the earth, beyond the death of atoms. The
scientific method claims to have an intense relationship to the material
world which is “orders of magnitude” more accurate than other ways of
interacting with and understanding where we are. Scientist often pits
themself “against” the fortune-teller, the tarot reader, or the mystic,
and yet they make even bigger claims about our collective future. Is
there any way to disprove the scientist’s method in their own mind?</p>
<p>This web-based game attempts to highlight the uselessness of this
approach. Sometimes a human can have no effect on the extreme truth that
science offers, or to put it more usefully, sometimes, science has
nothing to offer humans. This timeline uses scientific and objective
distance to avoid the most inevitable and obvious event in the future:
your own death. Death is non-relational: no one can die in one’s place,
and we cannot understand our own death through the death of others
(Heidegger, Being and Time, 1962). Just like the scientist, the
philosopher doesn’t have much to offer solace here. So where do we go to
talk about death?</p>
<div class="centered-image">
<figure>
<img src="long-time-2.png" alt="The future" />
<figcaption aria-hidden="true">The future</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Papa Louie’s Ghosteria">
        <h1>Pacifist Fortnite</h1>
    </section> -->
    <section id="section-12" class="section">
        <h1
id="sometimes-the-world-as-it-is-and-the-world-as-it-could-be-are-devastatingly-close-to-each-other.">Sometimes
the world as it is and the world as it could be are devastatingly close
to each other.</h1>
<div class="full-image">
<figure>
<img src="fortnite-full1.jpg" class="white-caption"
alt="Screenshot of Fortnite gameplay" />
<figcaption aria-hidden="true">Screenshot of Fortnite
gameplay</figcaption>
</figure>
</div>
<p>Is there any point in imagining something that is so similar to the
nightmare we already live in? The future is a dream but it’s just that
dream where you remember putting your keys somewhere, but where? You’re
wandering around looking for them for what feels like hours. Whether it
was real or not isn’t important, you were still there. Why do we stay
here? What’s even here for us? If you don’t get them first, they’ll get
you. Then you wake up and you still can’t find the fucking keys. But
sometimes it’s sunny and you’re standing there and there’s something
cinematic about the whole thing, is it worth it just to be there for
that maybe. There’s really no difference between a dream about falling
and a dream about flying.</p>
<p>You search the entire planet, all seven planets, drinking every last
drop, and still no fucking keys. You’re just watching the whole thing
anyway so enjoy it, I guess. If you get the rifle you can use the scope
on it to see things in the distance, but then again, maybe you don’t
need to see that far. The start is always the best part. Maybe I left
them in the bathroom? Can I help them, even one of them? They are all so
busy killing each other I don’t think they can hear. The forests are
beautiful here. One time I sat down with some of the bots and really got
to know them. Until the players arrive they just sit there together,
chatting. They’re really nice actually. And then a player ran up beside
us, saw that we weren’t trying to hurt them, and left. Maybe they were
helped, or changed somehow.</p>
<p>The only reason I’m still here is because you’re still here.</p>
<p>🚶</p>
<div class="full-image">
<figure>
<img src="fortnite-full3.jpg" class="white-caption"
alt="Screenshot of Fortnite gameplay" />
<figcaption aria-hidden="true">Screenshot of Fortnite
gameplay</figcaption>
</figure>
</div>
<!-- ![screenshot from Fortnite](fortnite-0.jpg)
![screenshot from Fortnite](fortnite-1.jpg)
![screenshot of Fortnite gameplay](fortnite-3.jpg)

Screenshots of Fortnite gameplay

:::::{.full-image}

![Screenshots of Fortnite gameplay](fortnite-full2.jpg){.white-caption}

::::: -->

    </section>
    
    
    <!-- <section class="header-page" id="Peace">
        <h1>Papa Louie’s Ghosteria</h1>
    </section> -->
    <section id="section-13" class="section">
        <h1 id="papa-louies-ghosteria">Papa Louie’s Ghosteria</h1>
<h2
id="papa-louies-ghosteria-is-a-comic-like-fan-fiction-written-by-us.">Papa
Louie’s Ghosteria is a comic-like fan fiction written by us.</h2>
<p>Following a discussion about the texts ‘Notes on Deconstructing The
Popular’ by Stuart Hall and ‘Game Modding: Cross-Over Mutation and
Unwelcome Gifts’ from The Player’s Power to Change the Game by
Anne-Marie Schleiner, we started dissecting the ideology behind the
games we have played as children. To do that, we utilised several
prompts to help us examine the ideology that two popular video games
enforce through their narrative and gameplay.</p>
<p>The list of questions we needed to answer while playing the game
includes:</p>
<p>What are the win conditions?</p>
<p>If the game is quest based, what types of quests are you asked to
complete?</p>
<p>What is the gameplay?</p>
<p>What is the narrative?</p>
<p>How much space is there for alternative ways of playing this
game?</p>
<p>What is missing?</p>
<p>What type of relationships are you allowed to form?</p>
<p>What is the role of non-player characters?</p>
<p>What are the requirements for surviving the game?</p>
<p>Which behaviours are rewarded?</p>
<p>What real-world values are reproduced in the game you are
playing?</p>
<p>How are you situated in the hierarchy of the game?</p>
<p>What change in status is promised?</p>
<p>What are you being trained for?</p>
<p>What fantasies are lived out or explored?</p>
<p>Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie:
When Pizzas Attack. Soon after we started investigating the game, its
elements and modifications, we discovered that other players had already
written heaps of fan fiction about it. We were bewitched by the
multitude of stories fans have written and the really good memes they
have created about Papa and his businesses. Yes, plural. Papa’s
Freezeria. Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco
Mia. Taco Mia To Go. You name it.</p>
<p>After spending some time analysing the ideology behind the game, we
discovered a few elements that reinforce a capitalist narrative, such as
the need to fight to survive and collect coins to purchase weapons. In
response, we decided to create a new version of the game with a
storyline that focuses on healing and coping as a response to grief and
loss, rather than violence. To link the new storyline to SI20’s topic we
added ritualistic elements as actions during the gameplay.</p>
<p>What was changed was the topic, purpose and outcome of the game. Papa
no longer fought to save his customers, but he dealt with his loss and
grief over what happened. Our version promoted rest and rituals for
healing instead of revenge-seeking, violence and toxic pizzeria
culture.</p>
<p>We started by putting some keywords and suggestions on a blackboard
about “How To Cope With Grief” and “How to Use Rituals and Ceremonies to
Overcome Grief” to define what Papa Louie lost and what rituals could
help him heal.</p>
<figure>
<img src="papa-louie-story.jpg" alt="The Storyboard" />
<figcaption aria-hidden="true">The Storyboard</figcaption>
</figure>
<p>We then made a comic-like storyboard that visualised the new
narrative for Papa Louie’s Ghosteria. To create a few scenes depicting
some of the 5 levels we outlined, we used an app called Papa Louie Pals.
The images turned out pretty nice! Playing around with the app was fun
mainly because it allowed us to materialise our idea in just a couple of
hours.</p>
<p>The gameplay revolves around things Papa lost and the needs he needs
to fulfil. Different types of losses are organised into the five levels
of the game:</p>
<ol type="1">
<li>loss of safety (innocence, physical safety)</li>
<li>loss of community (clients, belonging)</li>
<li>loss of future (hope, dreams)</li>
<li>loss of identity (dignity, making things himself)</li>
<li>loss of labour (money, time, effort, pizza)</li>
</ol>
<p>To cope with grief Papa Louie performed various rituals, each
unlocking a new stage in his grieving process and healing from that
loss. Rituals thus are the actions players needed to execute at each
level.</p>
<p>And so our story went like this: <em>The Onion ring mafia kidnapped
Papa Louie’s clients, and he lost his Pizzeria. However, along with this
external change, he lost his identity as a pizza owner/maker. He was
full of grief and sought ways to cope with grief and ease himself. He
tried different rituals throughout this process, built his new identity
and overcame his troubles.</em></p>
<div class="comic-image-main">
<figure>
<img src="papa-louie-final.jpg" alt="The Comic" />
<figcaption aria-hidden="true">The Comic</figcaption>
</figure>
</div>
<div class="comic-images">
<figure>
<img src="Papa-new-identity.jpg" alt="Papa’s new identity" />
<figcaption aria-hidden="true">Papa’s new identity</figcaption>
</figure>
<figure>
<img src="Papa-on-therapy.jpg" alt="Papa in therapy" />
<figcaption aria-hidden="true">Papa in therapy</figcaption>
</figure>
<figure>
<img src="Papa-tomato-pet.jpg" alt="Papa’s tomato pet" />
<figcaption aria-hidden="true">Papa’s tomato pet</figcaption>
</figure>
<figure>
<img src="New-Papa-friends.jpg" alt="Papa’s new friends" />
<figcaption aria-hidden="true">Papa’s new friends</figcaption>
</figure>
</div>
<h2 id="papa-louies-text-adventure-healing">Papa Louie’s Text-Adventure
Healing</h2>
<p>Following this comic production, a small text-adventure Pyhton game
was developed following the same storyline. The game was fundamentally
an explorative game in which the player could follow four levels of
healing. Playing as Papa Louie and helping him heal his shattered soul,
the player would go into each room and type “take” or “carry” to pick up
possibilities for healing. The possibilities for each room were:</p>
<pre><code>1. empty pizzeria: [closure, catharsis, anger]
2. living room: [connection, understanding, support]
3. study room: [expression, hope, new experiences]
4. bedroom: [self-discovery, self-care]
5. kitchen: [work, nourishment, purpose].</code></pre>
<p>Once one had picked up enough healing chances, the game would end and
thank you for healing Papa. The following picture shows the introductory
illustration.</p>
<div class="centered-image">
<figure>
<img src="healinggame.png" class="white-caption" alt="The Game" />
<figcaption aria-hidden="true">The Game</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Sims Mod">
        <h1>Peace</h1>
    </section> -->
    <section id="section-14" class="section">
        <h1 id="peace">Peace</h1>
<p><em>Peace</em> is a mindfulness game Cara created as an in-class
exercise in creating text adventures in python. The game will break at
any time by saying: “I am now at peace”, but will also break if you
simply type “peace.”</p>
<p><em>Peace</em> works less as a game per se, and more as an exercise
in reconnecting to your senses (smell, temperature, touch) by imagining
oneself in imaginary landscapes. It takes on the text-adventure format
by asking its players to respond “yes” to continue at each step.</p>
<p><br class="page-break"></p>
<p>Here is an excerpt:</p>
<pre><code>You are wearing thin cotton. Can you feel 
the warm ground through the layer?
Can you feel the warmth of the sun on your face?</code></pre>
<p><em>if yes, then…</em></p>
<pre><code>The smell of lavender and warm soil is thick in the air. 
The flowers are so full.
When you just touch them, 
it feels like they burst with beads of lavender oil.

Their nectar is sweet. 

The air is clear.
The sky is blue.
There are no clouds.
There is only sun and peace and lavender.


Would you like to explore another daydream?</code></pre>
<p><em>if yes, then… and so on</em></p>
<p>You can find the game on our website.</p>
<div class="centered-image">
<figure>
<img src="dovecara.jpg"
alt="Duif met kroon by Claude Mellan 1608 - 1688, courtesy of the Rijksmuseum’s Free Archive." />
<figcaption aria-hidden="true">Duif met kroon by Claude Mellan 1608 -
1688, courtesy of the Rijksmuseum’s Free Archive.</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Super(de)construction">
        <h1>Sims Mod</h1>
    </section> -->
    <section id="section-15" class="section">
        <h1 id="the-player-is-the-author">The Player is the Author</h1>
<p>In The Sims™ 4, some values are certainly given by the game; make
money to buy nicer things, progress in your career by doing tasks that
improve your skills, and charisma is a skill but not kindness. But also
ideology is put into the game by the player. The player chooses what to
reproduce and often shares in the “gallery” or on social media. In
contrast with what has been said by game design theorists in the past
(Aarseth, 2004), the narrative power and “richness of character” of a
game like The Sims™ 4 lies precisely in the freedom left open to the
players. “The positive potential of authorship” comes precisely from the
malleability and user control once you see that the player is the
author. Community being so important in this game then means that the
crux of social reproduction is happening when the choices you have made
in the game are broadcasted. Did you create a heteronormative white thin
nuclear family that made a lot of money? Or did you choose to play
differently?</p>
<p>The development of this community has also led to a strong culture of
modding or rewriting the game’s actual code to change appearance,
performance and behaviour. This brings the power of authorship even more
into the hands of the players and users.</p>
<p>In a spirit of respect and love for this community, we have published
Console as downloadable content for The Sims™ 4. Find out more on
issue.xpub.nl/20</p>
<div class="simlish">
<p><br class="page-break"></p>
<p>The player es the author</p>
<p>so the sims™ 4, some values woka certainly given by the game; make
money to buy nicer things, progress so depper career by doing tasks
wibbs improve depper skills, aey charisma es a skill but not kindness.
But also ideology es put into the game by the player. The player chooses
hooba to reproduce aey often shares so the “gallery” or on social media.
So contrast with hooba has been said by game design theorists so the
past (aarseth, 2004), the narrative power aey “richness of character” of
a game like the sims™ 4 lies precisely so the freedom left open to the
players. “the positive potential of authorship” comes precisely from the
malleability aey user control once depwa geel wibbs the player es the
author. Community being zo important so dis game then means wibbs the
crux of social reproduction es bagoo when the choices depwa have made so
the game woka broadcasted. Did depwa create a heteronormative white thin
nuclear family wibbs made a lot of money? or did depwa choose to
fredishay differently?</p>
<p>the development of dis community has also led to a strong culture of
modding or rewriting the game’s actual code to change appearance,
performance aey behaviour. Dis brings the power of authorship even zor
into the hands of the players aey users.</p>
<p>so a spirit of respect aey love for dis community, we have published
console as downloadable content for the sims™ 4. Find out zor on
issue.xpub.nl/20</p>
<div class="centered-image">
<figure>
<img src="sims.png" alt="Console in Sims" />
<figcaption aria-hidden="true">Console in Sims</figcaption>
</figure>
</div>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Tetris Fantasies">
        <h1>Super(de)construction</h1>
    </section> -->
    <section id="section-16" class="section">
        <h1 id="superdeconstruction">Super(de)construction</h1>
<h2 id="text-adventure-game">text adventure game</h2>
<p>My text-adventure game was (first and foremost a struggle and) an
attempt to dive a little bit into the world of python and deal
peacefully with the potential trauma of coding. The first unsuccessful
try started by making a map on paper with all the possible rooms,
corridors, spaces and the potential inputs of the player. It proved to
be a too-ambitious plan though. So this was the time when the
super(de)construction game was born! I intended to make a fan fiction
text adventure game(!) of the Marxist superstructure theory. There are
three basic rooms where the player can navigate: the Base-ment, the
Apparatus and the Megaroom. People can grab specific “objects” from each
room and check their inventory (for example you can have unpaidlabour,
church, mostlywhitemen from base-ment, apparatus and megaroom
respectively in the same bag!). The game aims to accumulate enough
points in order to bring eventually the revolution and win. The
fermentation and the radicalization happen only in the base-ment.</p>
<p>Will you be part of the revolutionary class?</p>
<p>``` import os , time , random</p>
<p>#   Setting up the current (saved) state</p>
<p>currentRoom = "base-ment"</p>
<p>start = True</p>
<p>graduation = False</p>
<p>study = 0</p>
<p>items = {</p>
<p>    "base-ment": ["unpaidlabor", "consiousness", "lackoftime",
"dipression", "commodities", "collectivememory", "laborforce",
"survivalmode"],</p>
<p>    "apparatus": ["game", "work", "symbols", "family", "church",
"institutionalmemory", "army", "ideology"],</p>
<p>    "megaroom": ["hegemony", "control", "power", "violence",
"accumulationofwealth", "property", "mostlywhiterichmen"]</p>
<p>}</p>
<p>inventory = []</p>
<p>#   Seperating the text and printing in delay so the content on the
screen is readable and easy to comprehend</p>
<p>def printer (text):</p>
<p>    for t in text:</p>
<p>        print(t, end = "", flush= True)</p>
<p>        time.sleep(random.choice([0.0001, 0.005, 0.007]))</p>
<p>    print()</p>
<p>#   Defining the "taker" function and setting it up in each of the
three rooms below</p>
<p>def taker(room):</p>
<p>    if any(x in spliti for x in ["get", "grab", "take", "carry",
"steal", "expropriate"]):</p>
<p>        for item in items[room]:</p>
<p>            if item in spliti:</p>
<p>                printer("You took " + item)</p>
<p>                inventory.append(item)</p>
<p>                items[room].remove(item)</p>
<p>#   Creating the while-loop</p>
<p>while True:</p>
<p>    if (start == True):</p>
<p>        printer("""</p>
<p>        Super(de)construction: The game</p>
<p>       </p>
<p>       </p>
<p>                                       __                            
            __                           __                        
 </p>
<p>                                      /\ \                          
            /\ \__                       /\ \__  __                  
 </p>
<p>  ____  __  __  _____      __   _ __  \_\ \     __    ___    ___    
___     ____\ \ ,_\  _ __   __  __    ___\ \ ,_\/\_\    ___     ___  
 </p>
<p> /',__\/\ \/\ \/\ '__`\  /'__`\/\`'__\/'_` \  /'__`\ /'___\ / __`\ /'
_ `\  /',__\\ \ \/ /\`'__\/\ \/\ \  /'___\ \ \/\/\ \  / __`\ /' _ `\
 </p>
<p>/\__, `\ \ \_\ \ \ \L\ \/\  __/\ \ \//\ \L\ \/\  __//\ \__//\ \L\ \/\
\/\ \/\__, `\\ \ \_\ \ \/ \ \ \_\ \/\ \__/\ \ \_\ \ \/\ \L\ \/\ \/\
\</p>
<p>\/\____/\ \____/\ \ ,__/\ \____\\ \_\\ \___,_\ \____\ \____\ \____/\
\_\ \_\/\____/ \ \__\\ \_\  \ \____/\ \____\\ \__\\ \_\ \____/\ \_\
\_\</p>
<p> \/___/  \/___/  \ \ \/  \/____/ \/_/ \/__,_ /\/____/\/____/\/___/
 \/_/\/_/\/___/   \/__/ \/_/   \/___/  \/____/ \/__/ \/_/\/___/
 \/_/\/_/</p>
<p>                  \ \_\                                              
                                                                   
 </p>
<p>                   \/_/                                              
                                                                   
 </p>
<p>        """)</p>
<p>        printer("""</p>
<p>         ’Welcome to the super(de)costruction game or How to destroy
the ideological apparatus and capitalism in small steps.</p>
<p>You are a witch in the body of a cultural worker leaving in the poor
south. However, you cannot make a living only by selling your labor
power so you have to use your magic powers to maintain yourself. You can
become invisible in order to expropriate goods from chain supermarkets
and share them with your comrades and girlfriends. That’s okay!
Inflation ...</p>
<p>You will have an extraordinary chance to walk a lead bit through an
enormous architectural miracle and why not dismantle the master's
house!</p>
<p>Are you readyyy???</p>
<p>        """)</p>
<p>        start = False</p>
<p>       </p>
<p>    if (graduation == True):</p>
<p>        printer("You Win!")</p>
<p>        exit()</p>
<p>#   Clearing the screen: "cls" for Windows; "clear" for macOS    
 </p>
<p>    i = input()</p>
<p>    #os.system("cls")</p>
<p>    spliti = i.split(" ")</p>
<p>#   Creating an inventory</p>
<p>    if "inventory" in i:</p>
<p>        printer("The truth is that you don't own anything. You are
proletarian. You don't really have private property. However, in you
current inventory you can find " + ", ".join(inventory))</p>
<p>   </p>
<p>    if i in ["talk","discuss","debate","ask","say"]:</p>
<p>        printer("Hiiiiiii witch, how can I help you, now that nobody
is watching us?")</p>
<p>        i = input()</p>
<p>        if i in ["revolution","finish","free", "freedom"]:</p>
<p>            if study &gt;= 119:</p>
<p>                printer("You did so many things! You struggle a lot,
you care, you respect! You are a true witch fighter! Revolution is in
the corner.")</p>
<p>                graduation = True</p>
<p>            else:</p>
<p>                printer("We should keep the hard work. Do not give up
though. Things do change and your contribution is valuable! You have
gained " + str(study) + "  points. Shall we go again to the base-ment?
We have to organise stuff! Please don't give up. Here is something small
for you!")</p>
<p>                printer("""</p>
<p>                                   </p>
<p>                For it is not the anger of Black Women which is
dripping down over this globe like a diseased liquid. It is not my anger
that launches rockets, spent more than 60,000 dolars second on missiles
and other agents of war and death, slaughters children in cities,
stockpiles nerve gas and chemical bombs, sodomizes our daughters and the
earth. This is not the anger of Black Women which corrodes into blind,
dehumanising power, bent upon the annihilation of us all unless we meet
it with what we have, our power to examine and to redefine the terms
upon which we will live and work; our power to envision and to
reconstruct, anger by painful anger, stone upon heavy stone, a future of
pollinating difference and the earth to support our choices.</p>
<p>                We welcome all women who can meet us, face to face,
beyond objectification and beyond guilt.</p>
<p>                by Audre Lorde</p>
<p>               </p>
<p>                """)</p>
<p>     </p>
<p>#   Choices in the base-ment</p>
<p>    if currentRoom == "base-ment":</p>
<p>        if i in ["look","see","view","explore"]:</p>
<p>            printer("Oh I'm in an base-ment, cool. There is little
light here. Soooo many people. TheY do work hard. The seem unhappy and
dipressed")</p>
<p>            printer("You can find here: " + ",
".join(items["base-ment"]))</p>
<p>                           </p>
<p>        elif i in ["exit","walk","run","door","leave"]:</p>
<p>            printer("You can use this tiny door to exit the
base-ment. To be completely honest, you cannot escape that easily the
base-ment. You wish you could. It can be really suffocating. However you
are a witch, you have class consiousness and you have your caring
comrades. So now let's move. ")</p>
<p>            currentRoom = "apparatus"</p>
<p>#   The ECTS condition, or the point-gaining system. Every "study"
adds 30 points to the player's score. The goal is to reach 120 points or
credits.            </p>
<p>        elif i in ["disconstruct", "dismantle", "poetry", "street",
"public", "library", "counter-culture","read", "struggle", "collective",
"solidarity", "fight", "feminism", "queer", "act", "expropriate",
"parasite", "organise", "care", "reclaim", "speak", "counterhegemony",
"escape", "burn", "collective", "demonstrate", "zine", "create",
"enjoy", "disobedience", "occupy", "protest", "manifest", "shout",
"sing", "anarchy", "radical", "barricade", "putaspell", "witchcraft",
"unlearn"]:</p>
<p>            printer("You have struggled soo much!")</p>
<p>            study = study + 30</p>
<p>            printer("The revolution seems to be closer. Cracks still
happen and are completely important and vital and powerful. You have
gained " + str(study) + " points")</p>
<p>        else:</p>
<p>            taker("base-ment")</p>
<p>           </p>
<p>#   Choices in the neutral zone</p>
<p>    elif currentRoom == "apparatus":</p>
<p>        if i in ["look","see","view","explore", "open"]:</p>
<p>            printer("Vrooom, vroom, vroom. You are now in the
apparatus room! What a contradictory place to be. A wise-structured
organised chaos ... Monumental huge buildings, computers, archives,
cameras, people in uniforms, banks campus and other big buildings, and
borders. Where is the public, though? If you see a little bit closer, it
is not that solid.")</p>
<p>            printer("Oh look in the apparatus you can find: " + ",
".join(items["apparatus"]))</p>
<p>           </p>
<p>        elif i in ["exit","walk","run","door","leave"]:</p>
<p>            printer("You may use this door to exit the
apparatus.")</p>
<p>            i = input("which door? (1 or 2)")</p>
<p>            if i == "1":</p>
<p>                printer("You use the door to the base-ment")</p>
<p>                currentRoom = "base-ment"</p>
<p>            elif i == "2":</p>
<p>                printer("You use the door to the megaroom")</p>
<p>                currentRoom = "megaroom"</p>
<p>        else:</p>
<p>            taker("apparatus")</p>
<p>   </p>
<p>#   Choices in the megaroom</p>
<p>    elif currentRoom == "megaroom":</p>
<p>        if i in ["look","see","view","explore", "open"]:</p>
<p>            printer("Oh You are in the megaroom! You can tell that it
is luxurious, monumental structure classical and contemporary in the
same time. You haven’t seen something similar before! Wowww. But why are
so little people? Why the are mostly white men? Don’t be stressed - they
will not notice you! You enter the mansion as a cleaning lady. You are
invisible to them. However, YOU know how radical our marginal identities
are! ")</p>
<p>            printer("Oh look in the megaroom! There is : " + ",
".join(items["megaroom"]))</p>
<p>           </p>
<p>        elif i in ["exit","walk","run","door","leave"]:</p>
<p>            printer("You use the door to exit the megaroom.")</p>
<p>            currentRoom = "apparatus"</p>
<p>        else:</p>
<p>            taker("megaroom")</p>
<p>```  </p>

    </section>
    
    
    <!-- <section class="header-page" id="The Wheel of Fortune">
        <h1>Tetris Fantasies</h1>
    </section> -->
    <section id="section-17" class="section">
        <h1 id="tetris-fantasies">Tetris Fantasies</h1>
<h2 id="death-geometry-and-the-structure-of-the-individual">Death,
Geometry and the Structure of the Individual</h2>
<p>Tetris is a game where a single player is encouraged to organise the
chaos given to them from above, a limited space for play of ten by
twenty units leads to a limited ability to approach the perfection
implied by the simple shapes that are encountered in the world (always a
collection of four squares, in their seven permutations). The harnesses
of time and gravity make perfection impossible in this world; instead,
the player can only attempt, approach, and increase their efficiency. A
life’s function approaching the limit, there is no way to win, only to
get higher and higher scores, to live as long as possible through
increased throughput. Death is inevitable in Tetris, and each passing
block seems to come faster than the last. Why does it feel like
everything just keeps getting harder?</p>
<p>There are many squares to be organised in Tetris, an infinite number
apparently, but only one player is organising them. Other people can
only be seen by this individual in faint ghosts; their high scores are
there only to be beaten. And the current player can only hope to reach
those people by leaving their own mark on the high score table.
Employee-of-the-month, world’s-best-mom. But maybe there is an
alternative, a world where there is more to each falling tetromino than
simply an obstacle to be overcome, a problem to be solved. Maybe there
is a story behind the fatal pixels, a bigger space than the 10 x 20 grid
on the screen. Maybe there are humans out there with more to them than
what they produce.</p>
<p>This fanfic takes the form of a series of hand-drawn illustrations
depicting fantastical Tetris pieces, each of which is accompanied with a
fragment of a story. The cards can be read and arranged in any order,
intentionally removing the linear and framed limits of the original
Tetris, although the illustration and text on any one card have some
sort of relationship with each other.</p>
<figure>
<img src="tetris-documentation-1.jpg" alt="hand drawn tetris fanfic" />
<figcaption aria-hidden="true">hand drawn tetris fanfic</figcaption>
</figure>
<figure>
<img src="tetris-documentation-2.jpg"
alt="printed fanfic: imagined four-sided realities" />
<figcaption aria-hidden="true">printed fanfic: imagined four-sided
realities</figcaption>
</figure>
<!-- ![printed fanfic: imagined four-sided realities](tetris-documentation-3.jpg) -->
<div class="centered-image">
<figure>
<img src="tetris-documentation-4.png"
alt="imagining a tetris without labour" />
<figcaption aria-hidden="true">imagining a tetris without
labour</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="Youtube Tarot">
        <h1>The Wheel of Fortune</h1>
    </section> -->
    <section id="section-18" class="section">
        <h1 id="the-wheel-of-fortune">The Wheel of Fortune</h1>
<h2 id="a-tool-for-self-inquiry">a tool for self-inquiry</h2>
<p>The Wheel of Fortune (not to be mistaken with the tarot card) is a
tool for self-inquiry that you, dear reader, can engage in daily, weekly
or at any frequency that suits you best. Beware: the game can be played
individually or in small groups.</p>
<p>The main components of the game are a virtual spinning wheel,
accessible at issue.xpub.nl/20/wheel , a deck of 20 photo slides, a
notebook, and a pen(cil) to store the potential insights you might find
for yourself.</p>
<p>To start the exercise, you need to visit the website and spin the
virtual wheel. The Wheel of Fortune spins for quite some time, and then
it gives you a random question. Take these questions as an invitation to
have an explorative conversation with yourself. The list of 404
questions is carefully collected, modified (where needed) and presented
to you through a random web generator. Psychotherapists, philosophers,
writers, and students from XPUB 2023 are among the authors of this long
list of sentences ending with “?”.</p>
<p>Another collection that can help you delve deeper into your inner
world is a deck of photo slides. Hopefully, these captured memories of
other people, paired with a random question on the screen, would evoke
new emotions or prompt you to imagine possible futures.</p>
<p>The use of collective resources in this piece highlights the power of
collaboration in creating works that encourage people to engage in
self-reflection and introspection. As such, it may contribute to any art
publication exploring the human experience.</p>
<p>Courtesy to: Casey Horner (unsplash.com/<span class="citation"
data-cites="mischievous_penguins">@mischievous_penguins</span>)</p>
<h2 id="excerpt-from-the-404-questionnaire">Excerpt from the 404
Questionnaire:</h2>
<p>What do you want?</p>
<p>Why do you do what you do each day?</p>
<p>What do you think you’re here for?</p>
<p>What are you doing with this day, today?</p>
<p>What are you searching for?</p>
<p>What are you looking at?</p>
<p>Have you learned something new today? This week?</p>
<p>What filters would you apply to your mood right now if it was an
analogue film frame?</p>
<p>Is this what you really want to do or it is your way of delaying your
realisation?</p>
<p>What would your day look like if you were a pirate?</p>
<p>If you could be any animal for a day, which one would you choose and
why?</p>
<p>If you could be any animal for a day, how would you experience the
world differently?</p>
<p>Do you speak horse language? (wild question)</p>
<p>If you were Kim, who would that person be? (wild question)</p>
<p>What does your body need today?</p>
<p>What does your mind need today?</p>
<p>What does your soul need today?</p>
<p>If your life was a treasure hunt, what would you be searching
for?</p>
<p>How would you describe your personality?</p>
<p>What would a person that loves you tell you if know you’re
suffering?</p>
<p>If you were in search of a new identity, what clues would you need to
find it?</p>
<p>If you could see the world through the eyes of any animal, which one
would you choose and why?</p>
<p>If you were a pirate, what kind of treasure would you be searching
for?</p>
<p>If you were a pirate, what obstacles would you face on your
journey?</p>
<p>If you owned a boat, to which destination you would go first and
why?</p>
<p>Think of your favourite food. How does it make you feel when looking
at it? And when eating it?</p>
<p>What is one “yes” that you’ve been ignoring lately?</p>
<p>What advice would you give to someone else who is experiencing
loss?</p>
<p>What emotions have you been experiencing lately?</p>
<p>How has my relationship with others changed in the last 5 years?</p>
<p>How have my thoughts and beliefs about life and death changed in the
last 5 years?</p>
<p>What positive memories can you hold on to about a person you’ve
lost?</p>
<p>What activities or hobbies bring me comfort in times of grief?</p>
<p>How can you take care of yourself during difficult times?</p>
<p>What were the 6 things you wanted to be when you were a kid?</p>
<p>What is time? How can you describe it?</p>
<p>What is beauty? How can you describe it?</p>
<p>What is happiness? How can you describe it?</p>
<p>What is love? How can you describe it?</p>
<p>What is faith? How can you describe it?</p>
<p>What is hope? How can you describe it?</p>
<p>What is fear? How can you describe it?</p>
<p>What is play? How can you describe it?</p>
<p>What is a ritual? How can you describe it?</p>
<p>What is a game? How can you describe it?</p>
<p>How does your body feel when you are in pain?</p>
<p>How does your body feel when you are in love?</p>
<p>How does your body feel when you are anxious?</p>
<p>Do you talk negatively to yourself?</p>
<p>Are you mean to yourself? If yes, why? If not, also why?</p>
<p>Think of all your past partners. What are some qualities and traits
they had in common?</p>
<p>Is sex usually the best aspect of a relationship or the worst for
you?</p>
<p>What do your friends say about your partners?</p>
<p>Did you ever have any kind of unwanted touch from a friend, a partner
or a family member?</p>
<p>Did you ever have any kind of unwanted touch from a stranger?</p>
<p>What does sex mean for you?</p>
<p>How does sex make you feel?</p>
<p>What words, metaphors or images do you associate with sex?</p>
<p>What is your attitude towards your body?</p>
<p>Do you have any tendencies for self-sabotage, procrastination or
self-doubt?</p>
<p>Have you tried to get advice, help or guidance from
professionals?</p>
<p>Do you sometimes feel like a victim?</p>
<p>How much sex is normal for you?</p>
<p>Were your first sexual experiences positive or negative?</p>
<p>How did you learn about sexuality?</p>
<p>What are your values around sexuality?</p>
<p>What losses have you experienced in your life, and how have you coped
with them in the past?</p>
<p>What self-care practices can you incorporate into your daily routine
to help you cope with grief?</p>
<p>What self-care practices can you incorporate into your daily routine
to help you cope with anxiety?</p>
<p>What new perspectives have you gained about life as a result of loss
in the past?</p>
<p>What triggers your feelings of grief, and how can you manage them
when they arise?</p>
<p>How has your sense of identity been affected by a loss?</p>
<p>How can you stay connected to someone you lost even though they are
no longer physically present?</p>
<p>What role does forgiveness play in your healing process after
experiencing loss?</p>
<p>What can you do to take care of your physical health during times of
grieving?</p>
<p>How can you create a support network that will help you through
difficult times?</p>
<p>What have your friends taught you about friendship?</p>
<p>What have your friends taught you about life?</p>
<p>What have your friends taught you about love?</p>
<p>What have your parents taught you about friendship?</p>
<p>What ideas have changed your life?</p>
<p>What subconscious behaviours are keeping you from the life you
want?</p>
<p>In which direction has your life expanded in the last five years?</p>
<p>Are you afraid of being who you truly are?</p>
<p>Have you adapted to a certain way of thinking?</p>
<p>Do you suppress your feelings?</p>
<p>Have your thoughts been chosen for you?</p>
<p>Who do you trust? Why?</p>
<p>Have you forced yourself to forget something painful?</p>
<p>What is art for?</p>
<figure>
<img src="wheel-wip.png" alt="Wheel website, work in progress" />
<figcaption aria-hidden="true">Wheel website, work in
progress</figcaption>
</figure>

    </section>
    
    
    <!-- <section class="header-page" id="Fiction Friction">
        <h1>Youtube Tarot</h1>
    </section> -->
    <section id="section-19" class="section">
        <h1 id="youtube-tarot">YouTube Tarot</h1>
<h2 id="youtube-comments-as-tarot-readings">YouTube comments as Tarot
readings</h2>
<p>The question for me (Irmak) at the beginning was why people feel the
need to know the future or their oracles that they go on YouTube and
subscribe to a channel there. Knowing the future made me anxious when
for many people it is something to look forward to or head towards. For
Ada, the answer to that question was simple. Everyone needs some clarity
and a sense of belonging and safety, and it’s better and easier to
believe when told by someone else. The problem we were facing was then
about, how can a performance so intimate and personal be transferred
online for thousands to see. Doesn’t that strip the whole act of the
tarot reading of its authenticity or specificity to you? Once you have
someone read your tarot online, you are exposed to advertisement and
capitalism in a very ironic sense. The sole reason you are there is to
have a peaceful and perhaps sentimental moment with yourself, however,
you are interrupted by unintended messages.</p>
<p>Moving from these discussions, we searched for the answers in the
comments below certain tarot videos. Many commenters mentioned how their
life changed after the reading, how their luck came back and their work
life improved, or how the reading helped them get their life straight.
This was a community that needed tarot and used it as a remedy. In the
end, we decided to use some of these comments as the interpretation of
some cards. The main themes in the comments were luck, love and work. We
picked three comments for each theme and made tarot cards for them with
a divination board. We modified the illustrations on existing tarot
cards and renamed them according to the commenters’ names.</p>
<p>The divination board:</p>
<figure>
<img src="001.jpg" alt="The Divination Board" />
<figcaption aria-hidden="true">The Divination Board</figcaption>
</figure>
<figure>
<img src="002.jpg" alt="Cards on love" />
<figcaption aria-hidden="true">Cards on love</figcaption>
</figure>
<figure>
<img src="003.jpg" alt="Cards on luck" />
<figcaption aria-hidden="true">Cards on luck</figcaption>
</figure>
<figure>
<img src="004.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
<figure>
<img src="005.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
<figure>
<img src="006.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
<p>Part of the dictionary of YouTube Tarot cards:</p>
<figure>
<img src="007.jpg" alt="The Cassandra" />
<figcaption aria-hidden="true">The Cassandra</figcaption>
</figure>
<figure>
<img src="008.jpg" alt="The Bella Vita" />
<figcaption aria-hidden="true">The Bella Vita</figcaption>
</figure>
<figure>
<img src="009.jpg" alt="Vibing" />
<figcaption aria-hidden="true">Vibing</figcaption>
</figure>
<figure>
<img src="010.jpg" alt="Help get gas price down" />
<figcaption aria-hidden="true">Help get gas price down</figcaption>
</figure>
<figure>
<img src="011.jpg" alt="The Jessica" />
<figcaption aria-hidden="true">The Jessica</figcaption>
</figure>
<figure>
<img src="012.jpg" alt="The dhananjai" />
<figcaption aria-hidden="true">The dhananjai</figcaption>
</figure>
<figure>
<img src="013.jpg" alt="The Hummingbird" />
<figcaption aria-hidden="true">The Hummingbird</figcaption>
</figure>
<h6 id="manuals">MANUALS</h6>

    </section>
    
    
    <!-- <section class="header-page" id="Oracolotto">
        <h1>Fiction Friction</h1>
    </section> -->
    <section id="section-20" class="section">
        <h1 id="fiction-friction">Fiction Friction</h1>
<h2 id="storytelling-tool">storytelling tool</h2>
<p>The Fiction Friction cards are made by two wanderers who spent a fair
amount of time thinking about healing, witchcraft and (contemporary)
witch-hunting, rituals, and Tarot culture. This approach can be seen as
a way to create a ritual or a (personal) journey into a collective
representation. The cards are carriers of our identities, individual
past, memory, momentary frictions and fictions. We intended to reclaim
the tarot reading ritual and reconsider the relation between the given
card interpretation and the figure of the fortuneteller by reversing it.
A group of players is invited to explore each card and reimagine its
meaning as a collective. We are keen to see how similar or completely
different experiences can be shared and new insights learned through
each round of exercise. This game serves as a tool that gives the
possibility to write together, meet, connect, talk about unspeakable
things, share, interpret or even get into conflict. Each card is a
starting point, an interface for an opening, a promising healing, a
collective moment.</p>
<p>Fiction Friction is a tool for (hyper)textual conversations on (via)
abstract/symbolic/surrealistic collage cards. We based our collaging on
political events that we have experienced or have been part of our
memories, mythological figures from our cultures, collective memory
moments, literature that has inspired us, musical references,
individuals etc. The main components of the game are: a deck of
illustrated cards, a dice with different methods of interpretation, an
empty deck to host the new potential stories, along with a deck of
questions created by the players.</p>
<h2 id="how-to-play">How to play:</h2>
<ul>
<li><p>One player picks a card from the illustrated card deck along with
a question card and places them in the middle. The card is the starting
point of a collective story.</p></li>
<li><p>Everyone takes an empty card.</p></li>
<li><p>In turns, players write their own interpretation of the collage
card having in mind the revealed question card that works as a navigator
for the story. (There is the possibility to use the dice in the process
to specify the method that a player should use to “write”)</p></li>
<li><p>At the end of the round, a small story will be created out of the
interpretations of each player.</p></li>
</ul>

    </section>
    
    
    <!-- <section class="header-page" id="The Wheel of Fortune">
        <h1>Oracolotto</h1>
    </section> -->
    <section id="section-21" class="section">
        <h1 id="oracolotto">oracolotto</h1>
<p><em>Those who dream of drinking wine may weep when morning comes;
those who dream of weeping may in the morning go off to hunt. While they
are dreaming they do not know it is a dream, and in their dream they may
even try to interpret a dream. Only after they wake do they know it was
a dream. And someday there will be a great awakening when we know that
this is all a great dream.</em></p>
<p><em>And when I say you are dreaming, I am dreaming, too.</em></p>
<p><strong>Zhuàngzi</strong> <strong>莊子</strong></p>
<h3 id="preface">✧ Preface</h3>
<p>Have you ever woken up feeling like there is a word on the tip of
your tongue in a language you don’t quite understand?</p>
<p>It’s the feeling you feel when a dream leaves too quickly after you
wake up, like a regretful lover. You grasp and reach out, but it’s gone,
and you forget something so fundamentally important that your stomach
caves into itself.</p>
<p>This deck of oracle cards invites you to go back into that cave, that
pit. Back to the start of that word. Tarot and oracle cards are always
tools for self-exploration, but the Oracolotto invites you to travel
deep into the subconscious realm of your dreams.</p>
<p>Oracolotto includes twenty-one cards and one guidebook. The cards
follow the paved journey of Tarot’s major arcana, but do not be fooled
by the numbers – they will not give you insight into the path. You do
not need prior knowledge to use these cards, only the ability to dream
and a soul – your own or the soul of another.</p>
<p>The Oracolotto cards present illustrations of collective dream
archetypes as delineated by Neapolitan tradition. While the cards
symbolically follow the traditional Tarot journey from the fool to the
world (minus the Emperor), they are based on the Neapolitan art form of
the Smorfia, intended not as the grimace but as a method for
interpreting dreams.</p>
<p>The Smorfia is an ancient art form in which symbols and archetypes
from a person’s dreams are analysed and converted into numbers. To use
the Smorfia, you would recall every event, person and object that
appeared in your dream, and then use the extensive list of dream
archetypes to find the associated numbers. This may be used to find the
meaning of your dreams or, most commonly, to find numbers to play the
lottery (Ricciardone, 1987; Zezza, 1835).</p>
<p>In Oracolotto, the archetypes are used as a storytelling device, an
exploration tool for imagination and self-discovery. You may choose to
use these cards in the two ways I have imagined or create your own.</p>
<ol type="1">
<li>The first method, and the one I recommend, asks your soul to sit
with the cards, ask them a question, read the answer in the following
pages and find a language for new or old feelings.</li>
<li>The second method requires you to keep the deck next to your bed.
Once you wake up, while the dream is still supple and alive, reach for
the Oracolotto and try and find the cards that most closely resemble the
dream. This allows you to give language to the unformed and reveal the
apparent truths the cards hold.</li>
</ol>
<p>If you have read this far, you may want to remember your dreams and
connect to your subconscious, but feel unable to do so. You may never
remember your dreams and think that they are random. If that’s the case,
I recommend using the Oracolotto with the method I first describe. As
the subconscious seeps into our daily thoughts and feelings, the deck
will reveal hidden patterns.</p>
<p>You may also choose your path, disregard what I said and make your
own game, read old or future dreams or even play the lottery. The tools
are in your hands.</p>
<h4 id="how-to-care-for-the-oracolotto">✧ How to care for the
Oracolotto</h4>
<p>You may have grown up believing that objects do not have spirit. If
so, I suggest you tuck the inner sceptic into bed and let the curious
child out to play. The Oracolotto, like any Tarot or Oracle, does not
believe itself to be an object. It thinks that no object is simply a
thing but also exists in a spiritual plane. All objects have a soul, a
spirit that connects to yours.</p>
<p>The Oracolotto has a playful and deep soul. It asks to be cared for
as a living thing (more like a plant than a pet). It asks to be touched,
used, cried on, and laughed with. Most importantly, it asks for a place
to rest every night. I would recommend, at your discretion, to free all
negative intentions from the cards. This may happen if you do a reading
for someone with bad intentions, or a heavy, painful load to carry. Or
it may happen if you use them alone in a moment of intense sadness or
anger. In such cases, find a way to release these feelings from the
cards, leave them out to breathe, or hold them in your hands and think
positive thoughts.</p>
<h3 id="how-to-do-a-reading">✧ How to Do a Reading</h3>
<p>Set an intention at the start. You or the person you are reading for
will ask a question, out loud or in your mind, as you shuffle the cards.
You then have two options: either spread them out or fan them and choose
one card at a time with your dominant hand; or place the whole deck on a
surface and run your fingers alongside it until you feel like splitting
the deck and picking a card. Do it as you wish, it is important to let
your intuition guide you to a card.</p>
<p>Lay the card in front of you (the “How to Lay Out the Cards” section
follows). Turn the card over and feel, hear, see, and intuit its meaning
concerning your question. Refer to this guidebook for interpretations.
If you give readings to others, always keep a record of your own
readings because messages for others often weave into your own.
Sometimes cards will “jump” out of the deck while you are shuffling.
These cards are trying to get your attention. They are part of your
reading or perhaps the entire reading. They are important messages; take
heed.</p>
<p>Alternatively, and if applicable, you may choose one card and place
it on your altar or under your pillow at night to usher in a deeper
understanding.</p>
<h3 id="how-to-lay-out-the-cards">✧ How to Lay Out the Cards</h3>
<p>One Card Spread</p>
<p>A single card can be used for several purposes:</p>
<ul>
<li>Draw a card in the morning for guidance about what you need to know
that day.</li>
<li>Draw a card after you ask a question. The one you pick is your
answer.</li>
<li>Draw a card to help further explain your dream.</li>
</ul>
<p>Three-Card Spread</p>
<p>A three-card spread can also be used in several different ways:</p>
<ul>
<li>Draw three cards representing what you need to know in general
terms.</li>
<li>The three cards may represent the past, present or future.</li>
<li>The three cards may answer questions about three issues, such as
career, love and friendship.</li>
</ul>
<p>If you want to arrive at a more fleshed-out narrative, you may choose
to do a bigger spread. Information about those can be found in any book
about tarot or online.</p>
<h3 id="dream-well">✧ <strong>Dream well!</strong></h3>
<h3 id="the-coffee-or-o-ccafè">✳ 42. the coffee or ’o ccafè</h3>
<p>.keywords: beginnings, unformed potential, taking a risk, answering a
‘call’, trusting in the universe, overcoming self-doubt, embracing
uncertainty.</p>
<p>Coffee is brewing, waiting to be poured into the empty cup on the
counter. A spiritual guide sits patiently, urging you to begin while the
sun shines outside a closed window. On the side, enormous snowdrops have
blossomed, indicating the first tentative steps of spring. While the
Coffee is number 42, this card comes before the others. Like an
unhatched egg, it contains all the potential for the journey. The cup is
empty, but you are urged to pour it, to drink it and to be on the
journey. A spiritual guide urges you forward. Like the prophet Muhammad
who was given coffee(قهوة) by the Archangel Jibreel, you are urged to
begin. The Coffee upright in a reading tells you that now is the time to
be naive and courageous. Set on a new adventure and do not worry about
the consequences. It is time; the coffee is ready.</p>
<p><em>Reversed</em></p>
<p>If the Coffee appears reversed, it is a warning. The coffee will
spill, and it may burn you or others. Be careful not to disregard the
consequences of your actions. Your eagerness for freedom and new
beginnings may harm others or yourself. Now, you are being asked for
consistency and patience. There is a time to be brave and to set off on
new paths and a time to be reliable and patient. Wisdom lies in knowing
the difference.</p>
<p><strong>✳</strong> tarot correspondence: 0. the fool.<br />
<strong>✳</strong> zodiac correspondence: all signs, the universe.</p>
<h3 id="the-two-spinsters-or-e-ddoie-zetelle">✳ 66. the two spinsters or
e ddoie zetelle</h3>
<p>.keywords: magic, manifestation, setting intentions, directing energy
consciously, willpower, concentration, having all the resources you
need.</p>
<p>Two old women stand before a table, one pointing above, the other
below. Their eyes glow with mystic power. If they appear in your dreams,
you will feel their power radiating. This is a particularly powerful
card. While looking at it, reject what you have been told about the
emotional loneliness of spinsters and focus on their ability to spin a
magical web. These women appear to you at an important time, at the
moment when you may choose your path. You are now fully able to manifest
your desires. The Spinsters show you the power you hold and ask you for
intense concentration. There is power in your focus and dedication, now
is the time to channel all your resources to achieve what you wish.</p>
<p><em>Reversed</em></p>
<p>If the Spinsters have appeared reversed, it is a sign that you are
ignoring your powers. You no longer see two crone magicians who have
chosen the path of spiritual power but two unmarried older women. Do not
be fooled. The power is in your hands; your potential lays dormant
beneath your doubts and lack of self-esteem. Trust in your ability, and
trust the Spinsters to weave you back to an active role within your own
life.</p>
<p><strong>✳</strong> tarot correspondence: 1. the magician.<br />
<strong>✳</strong> zodiac correspondence: gemini &amp; virgo.</p>
<h3 id="the-bride-or-a-sposa">✳ 63. the bride or ’a sposa</h3>
<p>.keywords: intuition, subconscious, higher wisdom, knowing something
you can’t explain, stillness, meditation, spell-work and ritual.</p>
<p>The Bride sits in silence in an underground cistern, two eyes closed
and a third eye open. Upon her head, two crescent moons hold the globe.
She is alone but does not appear to be waiting. The Bride is a figure of
divine wisdom, feminine mystery and intuitive knowledge. She is the
guardian of the unconscious, and she is meeting you. By receiving this
card, you are gently invited to go deeper. To artists, she is the
representation of creative potential. The bride has little care for the
material because her powers lay in the true nature of emotion. Let your
intuition lead the way, quieten the chatter of the rational and
logical.</p>
<p><em>Reversed</em></p>
<p>If you are facing a reversed Bride, it is an invitation to examine
when you ignore your gut. Perhaps you have allowed your thinking mind to
run loose; you have not been listening to your gut. You overvalue the
opinions of others or act too hastily. Whichever it is, it is time to be
still, reflect and meditate on your intuition.<br />
</p>
<p><strong>✳</strong> tarot correspondence: 2. the high priestess.<br />
<strong>✳</strong> zodiac correspondence: cancer &amp; pisces.</p>
<h3 id="the-mother-or-a-mamma">✳ 52. the mother or ’a mamma</h3>
<p>.keywords: maternal figure, familiar love, abundance, life force,
strong protection, dignity.</p>
<p>The Mother sits on a throne in the middle of the river of life force.
A crown on her head, a sword in her hand. In this iconography, she is
Juno, the Roman goddess of marriage and family. As such, she sits near a
pregnant cow and a peacock eating a pomegranate. Nature thrives around
her. She is the embodiment of femininity and the bringer of life and
growth. Her energy is both nurturing and fiercely protective. She
appears to indicate that she is looking after you and your growth. She
is abundant, and as such, so will your expression be, both creative and
sensual. Deep fulfilment awaits.</p>
<p><em>Reversed</em></p>
<p>The Mother has appeared reversed. Juno’s warlike nature is more
active than her nurturing side. Your search for protection is keeping
you from true love and joy. You were guarding yourself, and while you
were right to do so, now is the time to let your shield down. Your
emotional crops are thriving; you have put in the work. Let go of your
war; lean into joy and love.</p>
<p><strong>✳</strong> tarot correspondence: 3. the empress. <br />
<strong>✳</strong> zodiac correspondence: libra.</p>
<h3 id="the-church-or-a-chiesa">✳ 84. the church or ’a chiesa</h3>
<p>.keywords: belief systems, ancestry, study, tradition, conformity,
learning about the past.</p>
<p>A priest stands in front of you, with one hand hidden and the other
towards the divine. A church sits on his shoulders, with a black door
highlighting a shining key. The Church card beckons you inside a
mysterious, sacred place. In the Christian belief, a church is not only
where the religious community meets; it is the seat of Divinity itself.
I invite you to disconnect the Church card from its Christian
associations. It stands in place of any established social structure,
spiritual tradition or source of ancestral knowledge. It is a teacher, a
leader, a guru of memory. If the Church has come up in your reading, it
indicates a need for deeper meaning or knowledge. Will you use your key
to follow the paved road and find out who paved it and who walked it
before you?</p>
<p><em>Reversed</em></p>
<p>The Church is upside down. Its integrity is questioned; the status
quo stumbles. The pressure of conformity weighs heavy; the belief
systems of others hang above your head. This card is now urging you to
move. Tradition can be a teacher or a jailer, and in this case, it is
trapping you. It may be time to shake your ancestors’ wishes away and
start anew upon a path you paved yourself.</p>
<p><strong>✳</strong> tarot correspondence: 4. the hierophant.<br />
<strong>✳</strong> zodiac correspondence: taurus, libra &amp;
capricorn.</p>
<h3 id="the-upside-down-or-sotte-ncoppa">✳ 69. the upside down or sott’e
ncoppa</h3>
<p>.keywords: love (of all kinds), making heart-centred choices,
compassion, partnerships and relationships, equilibrium, harmony.</p>
<p>Two hands reach for each other, the space between them filled with
light and eyes. Roses grow around their wrists. There is an obvious
story being told of two souls meeting in companionship. But this is also
a card about balance and choices. The Upside Down is a reference to love
and the two sides of a coin. When this card appears, it speaks of love
and strong bonds. It asks you to choose love, to make heartfelt, loving,
compassionate choices. The Upside Down is a simple card that asks you to
choose. Listen to your heart and follow it.</p>
<p><em>Reversed</em></p>
<p>Due to the nature of this card, up is down and down is up. However
you pull this card, it shows you both the Yin and the Yang. In this
case, sourness is prevalent. The eyes look away, giving you space to
identify within yourself why a commitment has turned sour. Your inner
voice is unbalanced. Use your heart for your choices and seek out
harmony.</p>
<p><strong>✳</strong> tarot correspondence: 5. the lovers.<br />
<strong>✳</strong> zodiac correspondence: gemini.</p>
<h3 id="the-bird-or-laucelluzz">✳ 35. the bird or l’aucelluzz</h3>
<p>.keywords: focused <em>action, s</em>elf-belief and confidence,
commitment, drive and determination, hard, passionate work,
assertion.</p>
<p>A chariot flies across a starry sky with two half moons. Inside it, a
man dressed in Roman armour with the head of a turtledove looks straight
at you. The dove drives through the sky, led by stars. This is the card
of control and victory. The Bird has control of his fate, but it will
also help you with yours. It directs you to assert your will with
mastery, careful practice and self-discipline. It reminds you of your
courage and strength. It encourages you to direct your energies towards
the stars.</p>
<p><em>Reversed</em></p>
<p>When reversed, the Bird is spinning further and further out of
control. It may be due to an attempt to control too much or an
underdeveloped assertiveness. Loosen the reins. Redirect your chariot.
Some things are beyond your power to change, and others wait for your
confidence and hard work. Assess which is which and begin riding.</p>
<p><strong>✳</strong> tarot correspondence: 6. the chariot.<br />
<strong>✳</strong> zodiac correspondence: cancer.</p>
<h3 id="the-breasts-or-e-zzizze">✳ 28. the breasts or ’e zzizze</h3>
<p>.keywords: inner strength and courage, dignified resistance,
emotional labour, heart.</p>
<p>A naked woman covered in flowers looks to the side, casually taming
the lion in front of her. A natural landscape opens up behind her. Do
not be fooled by her gentle appearance; she is not effortless. Her
strength lies in her heart as this is the card for Breasts. Emotional
weakness is discarded as a patriarchal concept, as the Breasts show you
a dignified taming of the wild through your heart. Emotion can steady
your demeanour and your powers of inner strength. This indicates
positive emotional labour of your ferocity and expression of pure
emotional strength. Go towards your chest, to the place of pain, anger,
greed, and fear in your life. Acknowledge where these things live within
you and own them, pour love over them.</p>
<p><em>Reversed</em></p>
<p>The lion is now overpowering as the Breasts appear upside down. This
is an indication of weakness; your strength becomes feeble as your
self-confidence lessens. Your emotions are no longer a power but an
overwhelming force you cannot control. Do not let anger or pain dictate
your choice; find your strength once again.</p>
<p><strong>✳</strong> tarot correspondence: 7. strength.<br />
<strong>✳</strong> zodiac correspondence: leo.</p>
<h3 id="the-crying-or-o-chianto">✳ 65. the crying or ’o chianto</h3>
<p>.keywords: introspection, solitude, retreat, working things through
on your own, claiming space and time for you, self-guided or guided
study.</p>
<p>A figure cries in an underwater cocoon, wrapped in a cape of hair and
seaweed. They are holding themselves as their bright tears float
upwards. This figure is in deep introspection. The Crying card is not
negative, regardless of your view of tears. It indicates a need for
comfort and solitude. It asks for a moment of introspection, the only
thing that may lead you to true self-discovery. Once you have expressed
your pain and truly felt it, you will gain a better understanding.</p>
<p><em>Reversed</em></p>
<p>The tears fall upon you as the Crying card is reversed. You have
relied on yourself too much and become over-isolated. The cocoon has
served its purpose. The time for solitude is over. You may let others in
or leave your safe space altogether. The time for crying is over.</p>
<p><strong>✳</strong> tarot correspondence: 8. the hermit.<br />
<strong>✳</strong> zodiac correspondence: virgo.</p>
<h3 id="the-set-table-or-a-tavula-mbandita">✳ 82. the set table or ’a
tavula mbandita</h3>
<p>.keywords: positive luck, change, predictions and prophesies, feeling
like something is ‘destined’ to happen, an interconnected bigger
picture.</p>
<p>A table is set with plates spelling out the ancient names for tarot
and wheel. In the centre of the table, you can see water, soil, air and
fire. Around the table sit the four fixed signs, Taurus, Leo, Scorpio
and Aquarius. Three eyes, symbolising the three Fates, oversee the
table. This is an incredibly auspicious card to pick. Like the table,
your destiny has been set, the tempo will crank up as your vision
develops into reality. This card asks you to accept your fate but also
take responsibility for it. The table is set, but it is up to you to
serve.</p>
<p><em>Reversed</em></p>
<p>The Set Table has been turned the wrong way. This indicated elements
outside your control, spinning your fate. Luck has not been on your
side, and you may have been unhappy with your circumstances. Take a
moment to analyse what could have happened. Are the elements toying with
your luck internal or external? Is there someone to blame; if so, who?
Whatever you find, trust that the Table will be set again, and out of
darkness, a new light will be born, informed by your discoveries.</p>
<p><strong>✳</strong> tarot correspondence: 9. the wheel of
fortune.<br />
<strong>✳</strong> zodiac correspondence: aquarius, leo, taurus &amp;
scorpio</p>
<h3 id="the-lament-or-se-lamenta">✳ 60. the lament or se lamenta</h3>
<p>.keywords: truth, logical thought, objectivity, binary thinking,
justice, fairness, balance, accountability, social justice principles,
intersectionality.</p>
<p>A woman, Justice, walks the steps out of darkness, and a lament
distorts her face. In the Lament, you see Justice wearing white,
carrying a sword on her waist and holding scales, with a heart on one
side and a brain on the other. Her eyes are closed, but the piercing
light around her penetrates the truth. It is her cry for truth, her
lament, propeling her forward. This card calls out to you. Every action
has an equal reaction, but it is often an expression of injustice that
brings justice forward. It is the Lament that leads to balance. Believe
that your expression of injustice is worth sharing.</p>
<p><em>Reversed</em></p>
<p>When the Lament appears reversed, it indicates a flawed system, a
hidden truth or a bias. This injustice may have been committed against
you or by you. However it happened, the scales are not balanced, but
soon they will be as someone faces consequences. It also begs for you to
re-balance your perspective. Look at the issue from both sides and hear
the Lament.</p>
<p><strong>✳</strong> tarot correspondence: 11. justice.<br />
<strong>✳</strong> zodiac correspondence: libra.</p>
<h3 id="purgatorys-souls-or-llaneme-o-priatorio">✳ 85. purgatory’s souls
or ll’aneme o priatorio</h3>
<p>.keywords: passivity, cost, holding back, patience, allowing events
to unfold, meditation and mindful practice, inner peace,
self-acceptance, overcoming ego</p>
<p>A man dangles from a branch, his wings closed by his sides, his braid
falling beyond sight. Next to him, others hang in the same situation. We
see Purgatory’s Souls, the souls of people in a state of temporary
punishment and purification, in a state of grace, but not yet ready to
enter heaven. Let the souls inspire you in their state of acceptance, as
it is not their work that will send them to heaven. They are, just like
you, ready for peace and joy. What you must do now is fully succumb to
your situation and release. If the soul trusts the flow of events and
let’s go, he realises he has had wings all along. A brazen metaphor, a
simple reminder that it is not time to struggle for control. Trust the
universe, trust yourself and let go.</p>
<p><em>Reversed</em></p>
<p>As Purgatory’s Souls appear reversed, they tell a different story.
They are not hanging but anchored to the soil. You are pulling yourself
further down, digging your heels in on a decision that has to be made.
Your inaction now is pointless; it will just delay the inevitable. The
souls already can, the punishment has been lifted. And yet, here you
still are. You must face your inner turmoil to move on.</p>
<p><strong>✳</strong> tarot correspondence: 11. the hanged man. <br />
<strong>✳</strong> zodiac correspondence: pisces.</p>
<h3 id="the-talking-dead-or-o-muorto-che-pparla">✳ 48. the talking dead
or ’o muorto che pparla</h3>
<p>.keywords: the ending of a cycle, letting go and saying goodbye, a
ritual to honour change, not resisting, honouring the seasons of
life.</p>
<p>A deer’s skeleton lays on a blooming prairie. Close by, another deer
looks into the sun rising above the hills. The Talking Dead card is
deeply sensitive and invites a gentle approach. It does not necessarily
symbolise literal death but is a positive harbinger of change. Death has
already happened, and the deer’s spirit is ready to move into the coming
day. The Talking Dead tells you it is time to let go of old habits, ways
of thinking, and of the buried. This is the only way to allow for more
rewarding patterns. Resisting change will not bring you joy; you must
embrace transformation. There is no other way; a profound experience
awaits you. Let the resting lead you.</p>
<p><em>Reversed</em></p>
<p>If the card is reversed, it appears that the Talking Dead is forced
to be still. Changes frighten you, and you may resist them. Your life is
now stagnant; the sunrise is eternal as the sun never reaches the sky.
Trust that change will lead you wherever you need to be. It is not a
matter of avoiding what has happened but of learning to live with what
it brought in the hope that better things lay ahead.</p>
<p><strong>✳</strong> tarot correspondence: 12. death. <br />
<strong>✳</strong> zodiac correspondence: scorpio.</p>
<h3 id="warm-soup-or-a-zuppa-cotta">✳ 68. warm soup or ’a zuppa
cotta</h3>
<p>.keywords: balance, harmony, blending of dualities, seeking the
middle path, not making extreme decisions, taking a non-binary attitude,
testing the waters, self-care, grace, gentleness.</p>
<p>A large, genderless, dark figure stands in the sea. On their forehead
shines a triangle enclosed in a square, representing how humans are
bound by the Earth and natural law. The figure takes water from the sea,
but as they pour it into the bowl, it transforms into a bowl of steaming
soup. This card gives insight into the nuances of balance. Wherever
something is taken, something else must be given. The figure is taking
from the sea to deliver you the Warm Soup. See the figure as if it was
keeping a close eye on how well you handle dualities. Keep to the middle
path, do not make extreme decisions. You may be someone who tends to
have a peaceful nature or swings between extremes. Either way, now is
the time to test the waters of gentleness, give back what you have been
given and ask for what was taken.</p>
<p><em>Reversed</em></p>
<p>The Warm Soup now pours upwards from the ladle. Something has been
thrown off balance in your life. The coming times require meticulous
care of the balance. Equilibrium must be restored. The costs may be too
high for what you receive from the universe. You must reconsider your
choices, find the weak point that has thrown you off the balance and
adjust it.</p>
<p><strong>✳</strong> tarot correspondence: 13. temperance.<br />
<strong>✳</strong> zodiac correspondence: sagittarius.</p>
<h3 id="the-devils-or-e-riavule">✳ 77. the devils or ’e riavule</h3>
<p>.keywords: bondage, addiction, materialism, destructive behaviours,
harmful cycles, choosing to get free, or choosing not to get free,
confronting fear, committing to your freedom.</p>
<p>Five little devils dance naked. They hold each other’s hands, forming
a chain. The Devils symbolise that which keeps us bound and trapped. It
is a small circle containing you, a metaphorical jail to which you do
not yet have a key. This card cautions you against finding blame and
refers instead to what is constrained by ourselves, our subconscious and
direct choices. Do not let ideas, people or situations absorb you so
intensely that it causes you to ignore other relationships.</p>
<p><em>Reversed</em></p>
<p>The Devil being upside down immediately reveals the bondage. You are
aware of your chains. The unhealthy dynamics in your life that keep you
trapped are finally emerging into the light. Caution, this does not
imply freedom but may entail further temptation, which leads you to
crawl back into your trap. This time needs your complete attention; use
your newfound awareness to break the chains and escape your jail. </p>
<p><strong>✳</strong> tarot correspondence: 14. the devil.<br />
<strong>✳</strong> zodiac correspondence: capricorn.</p>
<h3 id="the-storm-or-o-maletiempo">✳ 83. the storm or ’o maletiempo</h3>
<p>.keywords: revolution, disaster, shock, mourning, blowing apart old
structures, demolition of the status quo, toppling systems of power,
potential, rebuilding after disaster, a blessing in disguise as a
disaster, rehabilitation, regeneration.</p>
<p>An ancient maritime pine tree towers in the night. Above, the
all-seeing Storm is unleashing lightning, cutting the tree down as birds
escape. The Storm, as the name suggests, is a complicated card to
receive. It indicates a profound disruption, a complete reset of the
known. The situation may seem grim at times, but you must understand
that the change brought is ultimately positive. You may find this hard
to believe, but this card indicates the demolition and toppling of a
structure that can feel quite devastating. However, new growth will come
from this, and the old cannot last forever, lest it becomes decrepit.
Remember well that when the Storm appears in front of you, you are not
the tree but the doves escaping.</p>
<p><em>Reversed</em></p>
<p>In this situation, the Storm that topples the pine tree is coming
from within. The issue is within your response to the situation and your
worries within your head. Your perception is bringing you great pain.
Take care not to become a vortex of negativity, be mindful of your
feelings and take responsibility for how your responses affect you and
those around you.</p>
<p><strong>✳</strong> tarot correspondence: 15. the tower. <br />
<strong>✳</strong> zodiac correspondence: scorpio &amp; aries.</p>
<h3 id="christmas-or-natale">✳ 25. christmas or natale</h3>
<p>.keywords: hope, love and support, coming home to yourself,
self-care, healing, being true to yourself, being guided by your
intuition, integrity, honesty, a positive new start or new vision.</p>
<p>In a warm room, a candle-lit Christmas tree appears next to a window.
On the windowsill sits a still, warm cup of tea. The comforting view of
the room is contrasted by the magical view through the window, where an
enormous star pours light on a snowy landscape. Christmas is a card of
hope. A time of renewal, comfort and homeliness lies ahead. It is time
to leave the hard times behind. The star shines alone through the
window, filling the landscape with positivity and opportunity. Like this
card, we all contain infinite possibilities, infinite capacity for
beauty, and infinite wonder. When times are hard, Christmas reminds you
of your ability for healing and magic. Know that you are a creature of
this earth and this universe, you belong here, and you are loved.</p>
<p><em>Reversed</em></p>
<p>When Christmas appears reversed, you may have lost your hope. Life’s
challenges are overwhelming and leave you questioning everything and
everybody. When this card appears reversed in a reader, it is a beacon
over your disconnection. Your faith in the possibility of a comforting
and fulfilling life is weaning as daily routines become dreary. It is an
important alarm, a light shining on the parts of your life that do not
align with your joyful purpose. Now is not the time to push harder, as
you may deplete your energies further. It’s time to nourish yourself and
your life at a deeper level and rest.</p>
<p><strong>✳</strong> tarot correspondence: 16. the star.<br />
<strong>✳</strong> zodiac correspondence: aquarius.</p>
<h3 id="blood-or-o-sangue">✳ 18. blood or ’o sangue</h3>
<p>.keywords: shadow work, getting in touch with your wild nature,
listening deeply to your intuition, secrets, signs and symbols,
non-rational, witchcraft, magic and spell-work, lies and deception,
deceiving yourself, wearing a mask.</p>
<p>A wolf drinks from a pond filled with blood. Close by, a wild dog
turns away from the pond to face the moon that illuminates everything
around them. Away from them, a crab floats on a leaf in the pond, rising
from the subconscious. The Blood tells you that all is not what it
seems. Unsettling as a nightmare can be, this card allows your inner
wildness to be seen. The Blood represents witchcraft, spell-work and
occult arts of any kind. Do not be fooled by the blood; nobody in this
figure will come to harm. The moon shines its silvery light on the
elements within a reality that are dishonest and manipulative.
Uncomfortable questions must be asked, and someone may be just mad
enough to think of them. Things are strange; it is usual to feel
disorientated. Now is not the time for answers, but for wild magical
practice.</p>
<p><em>Reversed</em></p>
<p>When reversed, the Blood shows a moon shining in the front. The inner
confusion is clearing. However, you may find yourself deprived of a mask
you are not ready to let go of. Manipulation has been exposed, whether
you were the victim or perpetrator. Things will soon be lighter, but
first, they will be heavy. Mental health struggles as the truth emerges,
and you initiate a process of complete honesty with yourself.</p>
<p><strong>✳</strong> tarot correspondence: 17. the moon.<br />
<strong>✳</strong> zodiac correspondence: pisces.</p>
<h3 id="laughter-or-a-resata">✳ 19. laughter or ’a resata</h3>
<p>.keywords: positivity, saying yes, joy, practising gratitude,
success, things coming together, life’s simple pleasures, allowing
yourself to simply be, connecting to a dynamic life force.</p>
<p>Two children on a horse laugh in harmony. They hold each other’s
hands and wave a flag. The sun shines on them, and sunflowers grow
around them. Laughter is undoubtedly a positive card. It represents
enthusiasm, growth and victory. Your good choices will pay off. You will
soon laugh again, victory is so close you may already taste it. Joy will
fill your heart, and life will once again seem light-hearted and
effortless.</p>
<p><em>Reversed</em></p>
<p>Laughter is reversed, but do not panic. Victory is just not as close
as you thought it would be. A setback has brought you back into a
quieter place. There is a key element missing before you may achieve the
state of perfect joy. The effort will now need to be given to finding
once again things that make your heart swell up with joy, the things
that make you walk so light you feel you may just fly away. Follow them,
and soon Laughter will come back.</p>
<p><strong>✳</strong> tarot correspondence: 18. the sun.<br />
<strong>✳</strong> zodiac correspondence: leo.</p>
<h3 id="the-gossiping-woman-or-a-donna-o-barcone">✳ 43. the gossiping
woman or ‘a donna o’ barcone</h3>
<p>.keywords: liberation, freedom, casting off shackles, laying down of
old baggage, total accountability for self, integrity, honesty,
forgiveness, allowing yourself to move forwards.</p>
<p>A woman with rollers in her hair stands on a balcony, looking down,
where a flock of ravens emerge from the darkness. This is a lofty card,
as, like Lament and the Set Table, it carries the theme of
accountability. In this particular case, it talks about being honest and
thorough about yourself. The Gossiping Woman sees all of you and calls
you to do the same. It is holding a mirror to your entire life,
successes and failure. You must face the Gossiping Woman to liberate
yourself and fly towards freedom. Moving forward unencumbered requires
acknowledgement of the present moment and everything it carries.</p>
<p><em>Reversed</em></p>
<p>Now the Gossiping Woman can not see you. This is an indication that
you refuse to acknowledge the hurt or pain that was caused to you the
two spinand the pain that you have caused yourself. However, you must
own your mistakes and let them be. When the Gossiping Woman is reversed,
it asks you to find forgiveness for yourself and others. It will be hard
work and may take a great amount of time, but the Gossiping Woman
watches and is rooting for you to free yourself of this burden.</p>
<p><strong>✳</strong> tarot correspondence: 19. judgement.<br />
<strong>✳</strong> zodiac correspondence: scorpio.</p>
<h3 id="the-good-wine-o-vino">✳ 45. the good wine ’o vino</h3>
<p>.keywords: completion, a sense of wholeness, knowing who you are in
the world, having a sense of place, feeling deeply connected to all
things, reaching your goal, celebration, jubilation.</p>
<p>Three friends are celebrating, drinking Good Wine and dancing on the
world, surrounded by a crown of vines, representing victory. One holds a
flag and another a wand, bringing your journey to a close. This is the
end of the road, the last card in this deck. The spiritual guide that
brought you Coffee now brings you here. The completion of the cycle and
the celebration that comes thereafter. You have changed and grown, and
now the energy of wholeness shines. Soon it will dissipate as life
shifts into a new beginning, but for now, the Good Wine urges you to
relish in your successes. One day you will surrender again to the flow
and remember that you are the same person that started this journey
filled with infinite possibilities.</p>
<p><em>Reversed</em></p>
<p>The Good Wine may not be drunk yet; completion is not yet within
reach. The end seemed in sight, but you tried cutting corners, and there
is still work to be done. The result will only bring fulfilment, if the
effort has been thorough and earnest. Keep dreaming, keep working, and
soon the Good Wine will be yours.</p>
<p><strong>✳</strong> tarot correspondence: 20. the world.<br />
<strong>✳</strong> zodiac correspondence: all signs.</p>

    </section>
    
    
    <!-- <section class="header-page" id="The Legend of the Worry">
        <h1>The Wheel of Fortune</h1>
    </section> -->
    <section id="section-22" class="section">
        <h1 id="the-wheel-of-fortune-manual">The Wheel of Fortune — Manual</h1>
<p>“Welcome, my dear! This exercise is all about healing, about
reconnecting with what is essential and authentic within yourself. By
understanding the true nature of our suffering, we can evoke compassion
for ourselves as we move through uncomfortable feelings on the path to
healing and peace.</p>
<p>Before you begin, there are a few things you will need. Firstly, have
a strong intention to commit to this exercise for some time. Secondly,
find a quiet room free of distractions, and finally, get a notebook and
pen. Handwriting will engage your mind more actively and profoundly,
help you connect with yourself, and enable the tracing of your progress
over time.</p>
<p>I will be guiding you through a series of carefully selected
questions written by different authors, some are well-known, and others
will remain unknown. To begin the exercise, spin the Wheel of Fortune
located at issue.xpub.nl/20/wheel. After a few seconds, a question will
appear on the screen. Then, take a photo slide from the deck and hold it
to the screen. Think about that question by looking at it and the tiny
film together like friends. If you feel like writing your thoughts, you
can use the tiny notepad made just for you.</p>
<p>These photo slides are there to help you dive deeper into your inner
world. Use them to explore moments in your life that you may not have
fully processed or understood. As you reflect on these images and answer
the questions, you may gain new insights and perspectives about yourself
and your life.</p>
<p>Enjoy the journey!<br />
Console”</p>

    </section>
    
    
    <!-- <section class="header-page" id="Bibliography">
        <h1>The Legend of the Worry</h1>
    </section> -->
    <section id="section-23" class="section">
        <h1 id="the-legend-of-the-worry">The Legend of the Worry</h1>
<h2 id="worry-dolls">Worry dolls</h2>
<div id="worry-dolls">
<p>Worry dolls (also called trouble dolls; in Spanish, Muñeca quitapena)
are tiny, hand-made dolls originating from Guatemala. According to
legend, children tell their worries to the Dolls, then place them under
their pillow when they go to sleep. In the morning, the dolls have
gifted them with the wisdom and knowledge to eliminate their
worries.</p>
<p>The story of the worry doll is about a local Mayan legend. The origin
refers to a Mayan princess named Ixmucane. The princess received a
special gift from the sun god that allowed her to solve any problem a
human could ever worry about. The worry doll represents the princess and
the wisdom she carries. With this wisdom, humans will be able to
overcome their troubles.</p>
<figure>
<img src="worry-doll.png" alt="Worry Dolls" />
<figcaption aria-hidden="true">Worry Dolls</figcaption>
</figure>
</div>

    </section>
    
    
    <!-- <section class="header-page" id="SIXX license">
        <h1>Bibliography</h1>
    </section> -->
    <section id="section-24" class="section">
        <h1 id="bibliography">Bibliography</h1>
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International Conference on the Foundations of Digital Games [Preprint].
Available at: https://doi.org/10.1145/2282338.2282365.</p>
<p>Althusser, L. et al. (2014) <em>On the reproduction of
capitalism:</em> Ideology and ideological state apparatuses. London:
Verso.</p>
<p>“<em>Base and superstructure in Marxist cultural theory (1973)</em>”
(2014) Raymond Williams on Culture &amp; Society: Essential Writings,
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<p>Chisholm, Hugh, ed. (1911). “Court de Gebelin, Antoine”. Encyclopædia
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<p>Dean, Liz (2015). The Ultimate Guide to Tarot: A Beginner’s Guide to
the Cards, Spreads, and Revealing the Mystery of the Tarot. Beverly,
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<p>Decker, Ronald, Thierry Depaulis and Michael Dummett. (1996). A
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<p>De Sanctis, P. Ricciardone. <em>Il tipografo celeste. Il gioco del
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<p>Dummet, M. (1993) <em>Il mondo e l’angelo: I tarocchi e la Loro
Storia</em>. Napoli: Bibliopolis.</p>
<p>Epic Games. (2017). <em>Fortnite: Save the World [video game]</em>.
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<p>Federici, S. (2019). <em>How the Demonization of ‘Gossip’ Is Used to
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<p>Jenkins, Phillip (2000). Mystics and Messiahs: Cults and New
Religions in American History. Oxford University Press. ISBN
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<p>Lambert, G. (2013) “A thousand plateaus,” <em>The Deleuze and
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<p>Marx, K. and Engels, F. (2009) “The Ruling Class and the Ruling
Ideas,” in <em>Capital: A critical analysis of capitalist
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<p>Maté, G. and Maté, D. (2022). <em>The Myth of Normal Trauma, Illness,
and Healing in a Toxic Culture</em>. New York: Penguin Publishing
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<p>McShane, A. (2016). Drink, song and politics in early modern
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class="uri">https://www.jstor.org/stable/24737078</a> [Accessed 22
Mar. 2023].</p>
<p>Neversoft (2003) <em>Tony Hawk’s Underground</em>. [video game] Santa
Monica, CA: Activision.</p>
<p>Osterweil V., (2018),<em>“Well Played Video Games reproduce the
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class="uri">https://reallifemag.com/well-played/</a></p>
<p>Salen, K. and Zimmerman, E. (2004). <em>Rules of play : game design
fundamentals</em>. Cambridge, Mass. The Mit Press.</p>
<p>Schleiner, A.M. (2012) <em>Ludic mutation: The player’s power to
change the game</em>. S.l: s.n.</p>
<p>Smith, J.Z. (1980).* “The Bare Facts of Ritual”*. History of
Religions, 20(1/2), pp. 112–127. Available at:
https://doi.org/10.1086/462864.</p>
<p>S.O. <em>et al.</em> (2022) <em>The legend of the guatemalan worry
doll, Common Hope</em>. Available
at: https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/
(Accessed: March 22, 2023).</p>
<p>The British Museum. (n.d.). <em>print; satirical print; broadside;
British Museum</em>. [online] Available at: <a
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class="uri">https://www.britishmuseum.org/collection/object/P_1973-U-216</a> [Accessed
22 Mar. 2023].</p>
<p>theschooloflife.com. (n.d.). <em>Aristotle - The School Of Life</em>.
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class="uri">https://www.theschooloflife.com/article/the-great-philosophers-aristotle/</a>.</p>
<p>Timofeeva, O. <em>What Lenin teaches us about witchcraft (no date);
Reshape</em>. Available at:
https://reshape.network/article/oxana-timofeeva-what-lenin-teaches-us-about-witchcraft
(Accessed: March 23, 2023).</p>
<p>We’re Not Really Strangers. (n.d.). <em>We’re Not Really
Strangers</em>. [online] Available at: <a
href="https://www.werenotreallystrangers.com/"
class="uri">https://www.werenotreallystrangers.com/</a>.</p>
<p>Zezza, M.(1835). <em>La smorfia ossia Il nuovo metodo per perdere
denaro, e cervello con maggior sicurezza al gioco del lotto</em>.
Napoli, Torchi della Società filomatica.</p>
<p>莊子, 齊物論, Zhuàngzi, <em>“Discussion on making all things
equal”</em>.from Zhuàngzi, Burton Watson trans., Chuang Tzu (New York:
Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8 [1]</p>

    </section>
    
    
    <!-- <section class="header-page" id="Colophon">
        <h1>SIXX license</h1>
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    <section id="section-25" class="section">
        <h1 id="sixx-license">SIXX License</h1>
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<p>Copyright © 2023 XPUB</p>
<p>Everyone is permitted to copy and distribute verbatim copies of this
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<h4 id="preamble">Preamble</h4>
<p>The SIXX license is a free, copyleft license for rituals, games,
books and consolations in any medium, both software and hardware.</p>
<p>For the purposes of this paper, licensing is understood as a
responsibility towards an audience, towards each other and towards other
people who might want to contribute to, use or amplify any work.</p>
<p>The precise terms and conditions for copying, distribution and
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<h4 id="terms-and-conditions">TERMS AND CONDITIONS</h4>
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<p>This License explicitly affirms your unlimited permission to use any
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    </section>
    
    
    <!-- <section class="header-page" id="">
        <h1>Colophon</h1>
    </section> -->
    <section id="section-26" class="section">
        <h3 id="photography-and-illustration">Photography and Illustration</h3>
<p>Unless otherwise stated, all photography, illustrations and other
types of visualisations in this publication are created by the same
authors as the text. That which is below is like that which is above,
and that which is above is like that which is below, to do the miracle
of one only thing.</p>
<h3 id="digital-tools">Digital Tools</h3>
<p>This book was created with the help of a collection of not-so-small
and extremely sharp open source tools, to name a few: paged.js, pandoc,
pdfimpose, pdftk, and our darling demon Inkscape. So was the world
created. From this are and do come admirable adaptations where the means
is here in this.</p>
<h3 id="printing-and-binding">Printing and Binding</h3>
<p>Just lil old us.</p>
<h3 id="typeface">Typeface</h3>
<p>Work Sans by Wei Huang.<br />
Consolation by us.<br />
Immajer Simlish by inkandchaos</p>
<p>That which I have said of the operation of the Sun is accomplished
and ended.</p>

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