Aarseth, E. (2012) "A narrative theory of games," Proceedings of the International Conference on the Foundations of Digital Games [Preprint]. Available at: https://doi.org/10.1145/2282338.2282365.
Aarseth, E. (2012) "A narrative theory of games," Proceedings of the International Conference on the Foundations of Digital Games [Preprint]. Available at: https://doi.org/10.1145/2282338.2282365.
@ -54,7 +53,7 @@ Schleiner, A.M. (2012) *Ludic mutation: The player's power to change the game.*
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.
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.
S.O.*et al.*(2022)*The legend of the guatemalan worry doll*,*Common Hope*. Available at:https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/#:~:text=The%20story%20of%20the%20worry,the%20princess%20and%20her%20wisdom. (Accessed: March 22, 2023).
S.O.*et al.*(2022)*The legend of the guatemalan worry doll*,*Common Hope*. Available at:https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/ (Accessed: March 22, 2023).
The British Museum. (n.d.).*print; satirical print; broadside | British Museum*. [online] Available at:<https://www.britishmuseum.org/collection/object/P_1973-U-216>[Accessed 22 Mar. 2023].
The British Museum. (n.d.).*print; satirical print; broadside | British Museum*. [online] Available at:<https://www.britishmuseum.org/collection/object/P_1973-U-216>[Accessed 22 Mar. 2023].
@ -66,6 +65,4 @@ We're Not Really Strangers. (n.d.).*We're Not Really Strangers*. [online] Avai
Zezza, M.(1835). *La smorfia ossia Il nuovo metodo per perdere denaro, e cervello con maggior sicurezza al gioco del lotto.* Napoli, Torchi della Società filomatica.
Zezza, M.(1835). *La smorfia ossia Il nuovo metodo per perdere denaro, e cervello con maggior sicurezza al gioco del lotto.* Napoli, Torchi della Società filomatica.
莊子, 齊物論, Zhuàngzi, "Discussion on making all things equal," 12. from Zhuàngzi, Burton Watson trans., Chuang Tzu (New York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8 [1]*
莊子, 齊物論, Zhuàngzi, *"Discussion on making all things equal,"* 12. from Zhuàngzi, Burton Watson trans., Chuang Tzu (New York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8 [1]
***For 8 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.***
***For 8 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.***
### Week 1, January 9th 2023: Tea and Cookies
### Week 1, January 9th 2023: Tea and Cookies
***Performed by... Artemis and Lídia***
***Performed by... Artemis and Lídia***
@ -70,4 +68,3 @@ Irmak's ritual was about how to ease our worries. We wrote down our worries on a
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 to the group 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.
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 to the group 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.
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, dice with different methods of interpretation, an empty deck to host the new potential stories along with a a deck of questions created by the players.
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, dice with different methods of interpretation, an empty deck to host the new potential stories along with a a deck of questions created by the players.
How to play:
-One player picks a card from the illustrated card deck along with a question card and places them
## How to play:
in the middle. The card is the starting point of a collective story.
-Everyone takes an empty card.
- 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.
-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 so as to specify the method that a player should use to "write")
- Everyone takes an empty card.
-At the end of the round a small story will be created out of the
- 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 so as to specify the method that a player should use to "write")
- At the end of the round a small story will be created out of the
# An hypothesised and randomly factual History of Tarot Cards
# An hypothesised and randomly factual History of Tarot Cards
What follows is the story of a deck of cards and of all the more-or-less believable claims made about its origin. This brief history was compiled, following sources that attempted accurate historic recalling instead ofthemost commonly shared semiotic, occultist story. However,despite all efforts, the found sources tolda convoluted story due to the misinterpretation of age, sources and authorship common in any ancient text 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.
What follows is the story of a deck of cards and of all the more-or-less believable claims made about its origin. This brief history was compiled, following sources that attempted accurate historic recalling instead ofthemost commonly shared semiotic, occultist story. However,despite all efforts, the found sources tolda convoluted story due to the misinterpretation of age, sources and authorship common in any ancient text 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.
@ -37,5 +34,3 @@ For the purpose of this recalling but unsurprisingly for those familiar, the nex
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 and as such not having the clear formatting rules of Tarot but still implicating divination and self-reflection through the interpretation of allegorical illustration.
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 and as such not having the clear formatting rules of Tarot but still implicating divination and self-reflection through the interpretation of allegorical illustration.
## 'Crystals & Energy' is a holographic oracle deck exploring a range of energy sources through the magical (mystical) nature of crystals as energy-storing matter
## 'Crystals & Energy' is a holographic oracle deck exploring a range of energy sources through the magical (mystical) nature of crystals as energy-storing matter
@ -32,4 +30,3 @@ We saw in this prototype a potential to provide new knowledge, to create an enga
This Special Issue has been an attempt to understand the notions of games and rituals. Instead of an introduction, we will try to unravel this mysterious journey as well as keep questioning and collaging.
This Special Issue has been an attempt to understand the notions of games and rituals. Instead of an introduction, we will try to unravel this mysterious journey as well as keep questioning and collaging.
@ -42,4 +41,4 @@ How does the understanding of the hunting of the witches that happened a few cen
@ -60,7 +60,7 @@ Any work under the License may only be used for commercial purposes, intended as
- f) Identification of yourself as a party wishing to use SIXX license for commercial use is necessary, through means of contacting any XPUB 2023 student or teacher.
- f) Identification of yourself as a party wishing to use SIXX license for commercial use is necessary, through means of contacting any XPUB 2023 student or teacher.
*4**. Additional Permissions.*
*4\. Additional Permissions *
Additional permissions" are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law.
Additional permissions" are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law.
@ -74,15 +74,15 @@ You intended as License claimer, may place additional permissions on material, a
Notwithstanding any other provision of this License, for the material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with additional terms.
Notwithstanding any other provision of this License, for the material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with additional terms.
*5.** Disclaimer of Warranty.*
*4\. Disclaimer of Warranty *
THERE IS NO WARRANTY FOR THIS PUBLICATION, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
THERE IS NO WARRANTY FOR THIS PUBLICATION, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
*6.**. Limitation of Liability.*
*6\. Limitation of Liability *
IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
*7**. Interpretation of Sections 5 and 6.*
*7\. Interpretation of Sections 5 and 6*
If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.
If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.
@ -14,5 +12,4 @@ This timeline (based on Wikipedia's [Timeline of the Far Future](https://en.wiki
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?
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?
*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.*
*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.*
@ -15,7 +13,7 @@ author: Ada
**Zhuàngzi**
**Zhuàngzi**
**莊子**
**莊子**
# ✧ Preface
## ✧ Preface
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?
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?
@ -38,10 +36,6 @@ If you have read this far, you may want to remember your dreams and connect to y
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.
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.
:::::
:::::{.hide-on-web}
### ✧ How to care for the Oracolotto
### ✧ How to care for the Oracolotto
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.
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.
@ -287,7 +281,7 @@ A large, genderless, dark figure stands in the sea. On their forehead shines a t
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.
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.
A**✳**tarot correspondence: 13. temperance.
**✳**tarot correspondence: 13. temperance.
**✳**zodiac correspondence: sagittarius.
**✳**zodiac correspondence: sagittarius.
@ -398,4 +392,3 @@ The Good Wine may not be drunk yet; completion is not yet within reach. The end
# 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.
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.
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.
:::::
:::::{.hide-on-web}
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.
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.
The only reason I'm still here is because you're still here.
The only reason I'm still here is because you're still here.
@ -26,4 +24,3 @@ The only reason I'm still here is because you're still here.
## Papa Louie’s Ghosteria is a comic-like fan fiction written by us.
## Papa Louie’s Ghosteria is a comic-like fan fiction written by us.
@ -53,9 +53,15 @@ And so our story went like this:
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 seeked ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.
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 seeked ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.
:::::
:::::
## Papa Louie’s Text-Adventure Healing
## Papa Louie’s Text-Adventure Healing
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 in each room and type "take" or "carry" to pick up possibilties for healing. The possbilities for each room were:
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 in each room and type "take" or "carry" to pick up possibilties for healing. The possbilities for each room were:
@ -69,4 +75,3 @@ Following this comic production, a small text-adventure Pyhton game was develope
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.
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.
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, 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. 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" come 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 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?
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, 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. 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" come 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 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?
@ -15,4 +15,4 @@ In a spirit of respect and love for this community we have published Console as
"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.
"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.
@ -19,4 +18,3 @@ These photo slides are there to help you dive deeper into your inner world. Use
