diff --git a/web/bibliography/index.html b/web/bibliography/index.html new file mode 100644 index 0000000..e57b2b0 --- /dev/null +++ b/web/bibliography/index.html @@ -0,0 +1,105 @@ + + + + + + + + + +

Bibliography

+

Aarseth, E. (2012). A narrative theory of games. Proceedings of +the International Conference on the Foundations of Digital Games - FDG +’12. doi:https://doi.org/10.1145/2282338.2282365.

+

Althusser, L. and Goshgarian, G.M. (2014). On the reproduction of +capitalism: ideology and ideological state apparatuses. London: +Verso.

+

Base and Superstructure in Marxist Cultural Theory (1973). (n.d.). +Raymond Williams on Culture & Society: Essential Writings, +pp.119–138. doi:https://doi.org/10.4135/9781473914766.n8.

+

BC, C.T. (Zhuang Z. 4th C. (n.d.). Discussion on Making All +Things Equal. [online] selfdefinition.org. Available at: +https://selfdefinition.org/tao/chuang-tzu/all-things-equal/discussion-on-making-all-things-equal.htm. +[Accessed 27 Mar. 2023].

+

Chisholm, H. (1911). “Court de Gebelin, Antoine”. +Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. +p. 324.

+

Dean, L. (2015). The ultimate guide to tarot : a beginner’s guide +to the cards, spreads, and revealing the mystery of the tarot. +Beverly, Ma: Fair Winds Press.

+

Decker, R., Thierry Depaulis and Dummett, M. (2002). A wicked +pack of cards : the origins of the occult tarot. London: +Duckworth.

+

De Sanctis Ricciardone, P. (1987). Il tipografo celeste. Il gioco +del lotto tra letteratura e demologia nell’Italia dell’Ottocento e +oltre. Bari: Dedalo.

+

Dummett, M. (1993). Il mondo e l’angelo : i tarocchi e la loro +storia. Napoli: Bibliopolis.

+

Epic Games. (2017). Fortnite: Save the World [video game]. +Burbank, CA: Warner Bros. Interactive Entertainment.

+

Federici, S. (2019). How the Demonization of ‘Gossip’ Is Used to +Break Women’s Solidarity. [online] In These Times. Available at: +https://inthesetimes.com/article/the-subversive-feminist-power-of-gossip. +[Accessed 27 Mar. 2023].

+

Fu, H., Li, Y. and Lee, F.L. (2022). Techno-cultural +domestication of online Tarot reading in contemporary China. Media, +Culture & Society, p.016344372211047. +doi:https://doi.org/10.1177/01634437221104700.

+

Heidegger, M. (2008). Being and Time. Translated by J. +Macquarrie. and Translated by E. Robinson. New York: +Harperperennial/Modern Thought.

+

Jenkins, P. (2000). Mystics and messiahs : cults and new +religions in American history. Oxford, New York: Oxford University +Press.

+

Kahvegibikahve. (2020). Tablolarda Kahve Keyfi. [online] Available +at: https://kahvegibikahve.com/blog/tablolarda-kahve-keyfi. [Accessed 27 +Mar. 2023].

+

Lambert, G. (2013). A Thousand Plateaus. The Deleuze and Guattari +Dictionary. doi:https://doi.org/10.5040/9781350250291-0219.

+

Marx, K. and Engels, F. (2009). “The Ruling Class and the Ruling +Ideas,” in Capital: A critical analysis of capitalist +production. London: Swan Sonnenschein & Co.

+

Maté, G. and Maté, D. (2022). The Myth of Normal Trauma, Illness, +and Healing in a Toxic Culture. New York: Penguin Publishing +Group.

+

McShane, A. (2016). Drink, song and politics in early modern +England. Popular Music, [online] 35(2), pp.166–190. Available at: +https://www.jstor.org/stable/24737078. [Accessed 27 Mar. 2023].

+

Neversoft. (2003). Tony Hawk’s Underground. [video game]. +Santa Monica, CA: Activision.

+

Osterweil V., (2018). Well Played Video Games reproduce the +worker’s capacity to continue working. [online] Available at: https://reallifemag.com/well-played/. [Accessed 27 +Mar. 2023].

+

Peterson, L. (n.d.). The Legend of the Guatemalan Worry +Doll. [online] Common Hope. Available at: +https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/. +[Accessed 27 Mar. 2023].

+


+

Reshape. (n.d.). Oxana Timofeeva: What Lenin Teaches Us About +Witchcraft. [online] Available at: +https://reshape.network/article/oxana-timofeeva-what-lenin-teaches-us-about-witchcraft. +[Accessed 27 Mar. 2023].

+

Salen, K. and Zimmerman, E. (2004). Rules of play: game design +fundamentals. Cambridge, MA: The Mit Press.

+

Schleiner, A.M. (2017). Ludic mutation: The player’s power to +change the game. Amsterdam: Amsterdam University Press.

+

Smith, J.Z. (1980). The Bare Facts of Ritual. History of +Religions, 20(1/2), doi:https://doi.org/10.1086/462864.

+

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 +27 Mar. 2023].

+

The School of Life. (2019). The School of Life. [online]. +Available at: https://www.theschooloflife.com/. [Accessed 27 +Mar. 2023].

+

We’re Not Really Strangers. (n.d.). We’re Not Really +Strangers. [online] Available at: +https://www.werenotreallystrangers.com/. [Accessed 27 Mar. 2023].

+

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.

+
+ + \ No newline at end of file diff --git a/web/click_aglaia/index.html b/web/click_aglaia/index.html new file mode 100644 index 0000000..27eda12 --- /dev/null +++ b/web/click_aglaia/index.html @@ -0,0 +1,35 @@ + + + + + + + + + +

click-click, +the clicking game — a matter of accumulation

+

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.

+
+the click wall + +
+
+ + \ No newline at end of file diff --git a/web/colophon2/index.html b/web/colophon2/index.html index b33c7c9..d597e6a 100644 --- a/web/colophon2/index.html +++ b/web/colophon2/index.html @@ -4,9 +4,30 @@ + -

SI20

+

Colophon

+

Photography and Illustration

+

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.

+

Digital Tools

+

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.

+

Printing and Binding

+

Just lil’ old us.

+

Typeface

+

Consolation by us (available under the SIXX licence).
+Immajer Simlish by inkandchaos (licence information unknown).
+Work Sans by Wei Huang (available under SIL OFL).

+

That which I have said of the operation of the Sun is accomplished +and ended.

\ No newline at end of file diff --git a/web/doc-monday-rituals/index.html b/web/doc-monday-rituals/index.html new file mode 100644 index 0000000..248f8de --- /dev/null +++ b/web/doc-monday-rituals/index.html @@ -0,0 +1,158 @@ + + + + + + + + + +

Monday Morning Rituals

+

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.

+

Week 1, January 9th +2023: Tea and Cookies

+

Performed by Artemis and Lídia

+

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.

+
+Artemis and Lídia’s Preparations + +
+

Week 2, January +16th 2023: Coffee Fortune-Telling

+

Performed by Aglaia

+

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.

+
+Aglaia’s Ritual + +
+
+
+ + +
+
+

Week 3, +January 23rd 2023 Hard Drive Purification

+

Performed by Stephen

+

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.

+
+Stephen’s Ritual + +
+

Week 4, January 30th +2023: Birthday Cake

+

Performed by Boyana

+

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.

+
+ + +
+

Week +5, February 6th 2023: Special Issue Prediction Ritual (SIPR)

+

Performed by Ada

+

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.

+

Her text made us laugh, and we have chosen to include it in full:

+

“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.”

+
+
+ + +
+
+

Week +6, February 13th 2023: Guided Meditation (A Nighttime Ritual)

+

Performed by Cara

+

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.

+
+Cara’s Ritual + +
+

Week 7, February 20th +2023: Worry Dolls

+

Performed by Irmak

+

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.

+
+Irmak’s Ritual – A Worry Doll + +
+

Week +10, March 13th 2023: That Distant Future When We Share a Tea

+

Performed by Chae

+

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.

+
+Pointing becomes holding. + +
+
+
+ + +
+
+
+ + \ No newline at end of file diff --git a/web/doc-rituals-games/index.html b/web/doc-rituals-games/index.html new file mode 100644 index 0000000..0dd92a7 --- /dev/null +++ b/web/doc-rituals-games/index.html @@ -0,0 +1,68 @@ + + + + + + + + + +

Games and Rituals, Kick off +sessions

+

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.

+

On Rituals and Traditions

+

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?

+

But let’s enter a parallel universe!

+

On Game and Play

+

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.

+

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.

+
+Candles Tarot Joysticks + +
+
+
+ + +
+
+

Another thing that came out of our first two sessions was the One +Sentence Ritual. 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.

+
+
+Mapping somewhere new + +
+
+
+ + \ No newline at end of file diff --git a/web/fiction_friction/index.html b/web/fiction_friction/index.html new file mode 100644 index 0000000..a2db16d --- /dev/null +++ b/web/fiction_friction/index.html @@ -0,0 +1,63 @@ + + + + + + + + + +

Fiction Friction

+

storytelling tool

+

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.

+

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.

+

How to play:

+
    +

  • One player picks a card from the illustrated card deck and +another player takes a question card. They reveal the cards in the +middle. The card is the starting point of a collective story.

    • +

  • Everyone takes an empty card.

    • +

  • In turns, players write their own interpretation of the 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”.

    • +

  • At the end of the round, a small story will be created out of the +interpretations of each player.

    • +

  • The player who picked the illustrated card, reads or shows the +story to the other players as a part of the game ritual.

    • +
+
+
+ + +
+
+
+ + \ No newline at end of file diff --git a/web/fruitual/index.html b/web/fruitual/index.html new file mode 100644 index 0000000..6cefed5 --- /dev/null +++ b/web/fruitual/index.html @@ -0,0 +1,51 @@ + + + + + + + + + +

Fruitual

+

text adventure +game about fruits and rituals

+

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.

+

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.

+

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.

+

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.

+

Full story “The Most Precious Fruit” available at: +https://fairytalez.com/the-most-precious-fruit/

+
+Twine + +
+
+
+​ + +
+
+
+ + \ No newline at end of file diff --git a/web/gossip-on-gossip/index.html b/web/gossip-on-gossip/index.html new file mode 100644 index 0000000..3e7c773 --- /dev/null +++ b/web/gossip-on-gossip/index.html @@ -0,0 +1,159 @@ + + + + + + + + + +

Some +Gossip on gossip and what coffee has to do with it.

+
+
+ + +
+
+

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. 

+
+ + +
+

“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 +Tis Merrie When Gossips Meete, 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).

+

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. 

+

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… 

+

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”:

+

“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). 

+

It was in this context that “gossip” turned from a word of friendship +and affection into a word of denigration and ridicule (Federici, +2019).

+

So what does coffee have +to do with it

+

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

+
+
+kahvegibikahve.com/blog + +
+
+

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. 

+

“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.”

+

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

+
+
+ + +
+
+

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?

+

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.

+


+

How +to make the perfect Turkish coffee and some guides for +fortune-telling:

+
    +
  1. Put two teaspoons of coffee in “cezve”, the traditional pot. 
    2. +
  2. Add one cup of cold water to the pot. Mix once with the spoon. The +ratio is one cup, and two teaspoons of coffee. 
    3. +
  3. Begin cooking at a low temperature until the top coat +gets darker. 
    4. +
  4. Cook at a high temperature until the point where the coffee begins +rising. 
    5. +
  5. Take the pot off the oven right before it overflows. 
    6. +
  6. 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.
    7. +
+

😊

+
+ + \ No newline at end of file diff --git a/web/historyoftarot/index.html b/web/historyoftarot/index.html index 6a8a7c0..50bb1f3 100644 --- a/web/historyoftarot/index.html +++ b/web/historyoftarot/index.html @@ -7,7 +7,131 @@ -

The history of Tarot Cards According to History

+

A +hypothesized and randomly factual History of Tarot Cards

+

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.

+

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 & Dummett, 1996). 

+

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 Trionfi and then +Tarocchi, 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. 

+
+ + +
+

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.

+

The first encounter we have between Tarot, magical theory and +practice happens in the Monde primitif, 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 Thoth (Decker, +1993).

+

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.

+

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 & Dummet, 1996).

+

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).

+

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).

+

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

+
+
+Image from Etteilla’s Deck + +
+
+

Tarot cards. 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.

+

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.

+
+
+ + +
+
\ No newline at end of file diff --git a/web/holograms/index.html b/web/holograms/index.html index a11082e..c544804 100644 --- a/web/holograms/index.html +++ b/web/holograms/index.html @@ -7,64 +7,90 @@ -
-

Holographic Oracle Deck

+

Holographic Oracle Deck

‘Crystals +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 & 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 and minerals as energy-storing matter.

-

Lidia and Artemis, Special Issue 20 guest editors, asked us to modify -an oracle deck of our choice. We, Cara and Boyana, prototyped a +sources through the nature of crystals and minerals as energy-storing +matter. +

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 (the deck) provides an -educational experience through the use of a DIY prism and complimentary -audiovisual materials, together serving as an immersive learning -environment.

-

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.

-

Why Aquamarine? It looks like water that has been crystallised; -stored energy; compression; solidified; being put under pressure or -exposed to a specific temperature so that it changes its state (from -liquid to solid). Why LNG? It is natural gas that has been liquified; -compressed; liquified; being put under pressure or exposed to a specific +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.

+
+Earth + +
+

After some 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.

+

Why Aquamarine? 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).

+

Why LNG? 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.

-

Then, we wrote a short poem weaving the two elements into the -everyday narrative. Later this poem served as a script to create a voice -narration (one-minute-long audio piece) that went into the video -creation process. Although the final text is a slight deviation from our -initial idea, we felt inspired by the conversation we had with Steve -earlier that day. He talked about his childhood memories of collecting -rocks in notebooks, perhaps similar to what geologists do when they -document their discoveries. He also mentioned a few things about caverns -and a mine (later turned into a museum) located near the city where he -used to live.

-

To visualise the card, we used a hologram video maker app. The -process was easy and fun. All we had to do was simply find a hi-res -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 can -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 the link onto a website.

-

We saw in this prototype a potential to provide new knowledge, create -an engaging and fun learning experience around energy sources, and add a -sense of magic to everyday life. 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 what kind of impact it could have on people’s perceptions of these -topics.

-

Aquamarine Poem Diamond Jellyfish LNG and Aquamarine UFO

+
+LNG and Aquamarine + +
+

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.

+

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.

+

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.

+
+
+Diamond + +
+
+UFO + +
+
+Jellyfish + +
diff --git a/web/index.html b/web/index.html index acd167b..237a551 100644 --- a/web/index.html +++ b/web/index.html @@ -6,20 +6,22 @@ Console - - - - - + + + + + + - +

XPUB & PNF present:

CONSOLE

@@ -40,30 +42,7 @@ Are you ready to play?

This is a free event, no registration is required.

-

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.

------> - - - +

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.

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poster
- \ No newline at end of file + + \ No newline at end of file diff --git a/web/introduction/index.html b/web/introduction/index.html new file mode 100644 index 0000000..b869442 --- /dev/null +++ b/web/introduction/index.html @@ -0,0 +1,166 @@ + + + + + + + + + +

Introduction

+

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.

+

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.

+

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?

+

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.

+
+

“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).

+
+

Starting with rituals, we claim that they can be understood as +instruments in the struggle for the exercise of power. Organized by +repetition, 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.

+
+

“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).

+
+
+

“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).

+
+

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.

+
+

“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).

+
+

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.

+
+

“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).

+
+
+

“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).

+
+
+

“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).

+
+

Meanwhile, we explored the figure of the witch as a magical +practitioner, as a resisting body, a border figure. “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).

+
+

“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).

+
+

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?

+
+Never stop questioning, never stop mapping. + +
+
DOCUMENTATION
+
+ + \ No newline at end of file diff --git a/web/license/index.html b/web/license/index.html new file mode 100644 index 0000000..f9b557c --- /dev/null +++ b/web/license/index.html @@ -0,0 +1,156 @@ + + + + + + + + + +

SIXX License

+
+

Copyright © 2023 XPUB

+

Everyone is permitted to copy and distribute verbatim copies of this +license document, but changing it is not allowed.

+

Preamble

+

The SIXX license is a free, copyleft license for rituals, games, +books and consolations in any medium, both software and hardware.

+

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.

+

The precise terms and conditions for copying, distribution and +modification follow.

+

TERMS AND CONDITIONS

+

1. Basic Permissions.

+

All rights under this License are granted for the term of copyright +and are irrevocable provided the stated conditions are met.

+

This License explicitly affirms your unlimited permission to use any +software, publication, or any ritual or game-related medium. Any output +from running a covered work is covered by this License only if the +output, given its content, constitutes a covered work.

+

This License acknowledges your rights of fair use or other +equivalents as provided by copyright law.

+

You may make, run and propagate covered works that you do not convey, +without conditions, so long as your license otherwise remains in +force.

+

You may convey covered works to others for the sole purpose of having +them make modifications exclusively for you, or provide you with +facilities for running those works, provided that you comply with the +terms of this License in conveying all material for which you do not +control copyright. Those thus making or running the covered works for +you must do so exclusively on your behalf, under your direction and +control, on terms that prohibit them from making any copies of your +copyrighted material outside their relationship with you.

+

Conveying under any other circumstances is permitted solely under the +conditions stated below. Sublicensing is not allowed.

+

2. Terms for Attribution.

+

You may convey a work based on anything under the License, or the +modifications to produce it from the licensed material in the form of +source code under the following, provided that the work also meets all +of these conditions:

+
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    1. You must give prominent notice of the original intent of the +product.
      2. +
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  • You must also follow the guidelines indicated in section 4a.
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+

3. Terms for Commercial Use.

+

Any work under the License may only be used for commercial purposes, +intended as used with the purpose of commercial advantage or monetary +compensation, provided that it meets all the following conditions:

+
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    1. Disclaiming warranty or limiting liability exactly as in the terms +of sections 5 and 6 of this License;
      2. +
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    1. Requiring preservation of the initial specified spiritual and +emotional purpose of the original product;
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    1. Use of the license and any product under this license is +specifically strictly forbidden to any person who falls under the +umbrella of being one of Ada’s past romantic partners.
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    • 1e. In case of usage by any of the prior specified parties, the +publisher of the License has to be informed.

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    • 2e. Permission for the usage of the License or anything covered +by the license to anybody identifiable upon reasonable suspicion as a +previous romantic partner of Ada may be granted by Ada alone.

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4. Additional Permissions.

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Additional permissions are terms that supplement the terms of this +License by making exceptions from one or more of its conditions. +Additional permissions that apply to the entire Publication shall be +treated as though they were included in this License to the extent that +they are valid under applicable law.

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The following conditions must therefore be additionally met:

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4a. The true nature of the license for this document cannot be +understood through reading alone but only by entering into harmony with +the rights-holders of its production and distribution.

+

4b. To obtain the power to reproduce any document under the SIXX +license, the product has to be held firmly in front of the body of the +new rightsholder(s) (henceforth referred to as “the alchemical +apprentice(s)” or simply “the apprentice(s)”), who should close their +eyes. The alchemical apprentice(s) should whisper the statement of +control silently to themselves seven times or until clarity of mind is +achieved. Through the objects’ contact with the skin of the +apprentice(s) during this incantation, they will begin to absorb its +knowledge, in addition to the associated rights and intellectual +property in the eyes of the effective national jurisdiction. When they +start to feel an increased level of unity with the secrets of the +publication, the alchemical apprentice(s) should conceal the publication +within their garment to return it to their laboratory for further +investigation. By this means the apprentice(s) shall have the glory of +the whole world, and thereby all obscurity shall fly from them.

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You, intended as License claimer, may place additional permissions on +material added by you to a covered work for which you have or can give +appropriate copyright permission.

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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.

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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 PUBLICATION “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 PUBLICATION IS WITH YOU. SHOULD THE PUBLICATION PROVE DEFECTIVE, YOU +ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.

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6. Limitation of Liability.

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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 PUBLICATION 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 PUBLICATION +(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 PUBLICATION TO OPERATE WITH ANY OTHER PUBLICATIONS), EVEN IF SUCH +HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH +DAMAGES.

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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 +Publication unless a warranty or assumption of liability accompanies a +copy of the Publication in return for a fee.

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END OF TERMS AND CONDITIONS

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+ + \ No newline at end of file diff --git a/web/long_time/index.html b/web/long_time/index.html index dea1bca..75b6063 100644 --- a/web/long_time/index.html +++ b/web/long_time/index.html @@ -7,18 +7,17 @@ -
-

Long Time

+

Long Time

Six Sigma Fortune Telling

-

While the future cannot be predicted with certainty, present -understanding in various scientific fields allows for the prediction of -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 current -millennium comes to an end, starting with the 4th millennium in 3001 CE, -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.

+

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.

This timeline (based on Wikipedia’s Timeline of the Far Future) claims to make accurate predictions far into the @@ -33,17 +32,21 @@ future. Is there any way to disprove the scientist’s method in their own mind?

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 +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?

+(Heidegger, 1962). Just like the scientist, the philosopher doesn’t have +much to offer solace here. So where do we go to talk about death?

-The future - +Screenshot from the game + +
+
+
+The future isn’t coming +
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He who dreams of drinking wine may weep when morning comes; he -who dreams of weeping may in the morning go off to hunt. While he is -dreaming he does not know it is a dream, and in his dream he may even -try to interpret a dream. Only after he wakes does he know it was a -dream. And someday there will be a great awakening when we know that +

oracolotto

+

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.

And when I say you are dreaming, I am dreaming, too.

-

Zhuàngzi

+

Zhuàngzi 莊子

✧ Preface

-

Have you ever woken up feeling like there is a word, at the tip of -your tongue, in a language you don’t quite understand?

-

It’s the same feeling you may have felt when a dream has left too -quickly once you woke up, like a regretful lover. You grasped and -reached but it was gone and you have forgotten something so -fundamentally important that your stomach has caved into itself.

+

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?

+

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.

This deck of oracle cards invites you to go back into that cave, that -pit, to the start of that word. Tarot and oracle cards are always tools -for self-exploration, but the Oracolotto will guide you to explore -deeper, into the subconscious realm of your dreams.

+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.

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, as they will not give you insight into the path. You do -not need any previous knowledge to use these cards, only the ability to -dream and a soul, yours or other.

+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.

The Oracolotto cards present illustrations of collective dream -archetypes, as delineated by Neapolitan tradition. While the cards +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 the dream interpretation -method.

+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.

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, one would thus recall every event, person and object that -appeared in their dream, and then use the extensive list of dream -archetypes to find the associated numbers. This may be used to find out -the meaning of your dreams or, most commonly, to find numbers to play -the lottery (Ricciardone, 1987; Zezza, 1835).

-

In this case however, the archetypes were used as a story telling -device, an exploration tool for imagination and self-discovery. You may -chose to use these cards in the two ways I have imagined, or create your -own.

+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).

+

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.

    -
  1. The first, 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.
    2. -
  2. The other way I have imagined requires you to keep the deck next to -your bed, or wherever you sleep. Once you wake up, while the dream is -still supple and alive, reach for the Oracolotto and try and find the -cards that resemble the dream most closely. This way you may give a -language to the unformed and find on the cards apparent truths.
    3. +

  3. 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.

    4. +

  4. 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.

-

There is a possibility, that you have read thus far because you wish -to remember your dreams and connect to your subconscious, but feel like -you cannot. You may almost never recall your dreams or think that they -are random. If this is your case, I recommend that you use the -Oracolotto in the first way I have described, as the subconscious seeps -into our daily thoughts and feelings anyways. The deck may help you find -these patterns.

-

You may also choose your own path, disregard what I said and make -your own game, read old or future dreams or even play the lottery. The -tools are now in your hands.

-

✧ How to care for the -Oracolotto

-

You may have been told that objects do not have spirit and have -believed it. If you have, I suggest you tuck the inner skeptic into bed -and let the curious child out to play for the following sections. You -see, the Oracolotto, like any Tarot or Oracle, does not believe itself -to be an objects. In fact, it thinks that no object is just a thing, but -most exist in the spiritual plane as well. As such, all objects have a -soul, a spirit that connects to yours.

-

This particular one, the Oracolotto, has a playful and deep soul. It -asks to be cared for as if it was a living thing, more a plant than a -pet. It asks to be touched, used, cried on, laughed with. Most -importantly, it asks for a place to rest every night. I would also -recommend, at your discretion, to free negative intention from the cards -if you stumble upon it. This may happen if you do a reading for someone -who turns out to have bad intention, or just a very heavy painful load. -It may also happen if you use them alone in a moment of intense sadness -or anger. In these cases, I recommend finding a way to release these -feelings from the cards, by leaving them out to breath, or holding them -in your hands while thinking positive thoughts.

+

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.

+

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.

+

✧ 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.

+

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.

✧ How to Do a Reading

-

Set an intention to begin. 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 +

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 however you wish, the important thing -is that you let your intuition guide you to a card.

-

Lay it in front of you ( the “How to Lay Out the Cards” section +the deck and picking a card. Do it as you wish, it is important to let +your intuition guide you to a card.

+

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 -in relation to your question. Refer to this guidebook for -interpretations. If you give readings to others, it is always a good -idea to keep a record of your own read­ings, as messages for others do -usually weave together with those for you. Sometimes cards will”jump” -out of the deck while you’re shuffling. These cards are try­ing to get -your attention. They’re part of your reading, or perhaps the entire -reading. In any case, know that they’re important messages to be -heeded.

-

Alternatively and if applicable, you may choose one card and place it -on your altar or under your pillow at night to bring in deeper +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.

+

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.

✧ How to Lay Out the Cards

-

.One Card Spread

-

A single card can be used for several pur­poses:

+

One Card Spread

+

A single card can be used for several purposes:

  • Draw a card in the morning for guidance about what you need to know that day.
    • @@ -119,552 +115,504 @@ that day. answer.
  • Draw a card to help further explain your dream.
-

.Three-Card Spread

-

A three-card spread can also be used in a couple of different -ways:

+



+

Three-Card Spread

+

A three-card spread can also be used in several different ways:

  • Draw three cards representing what you need to know in general terms.
    • -
  • They may represent the past, present or future.
    • -
  • Or answer questions about three issues, such as career, love and -friendship.
    • +
  • The three cards may represent the past, present or future.
    • +
  • The three cards may answer questions about three issues, such as +career, love and friendship.
-

If you wish to find a more fleshed out narrative, you may choose to -do bigger spread. Information about those can be found in any book about -tarot or online.

-

✧ Dream well!

-

✳ 42. the coffee

+

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.

+
+

✧ Dream well!

+
+

✳ 42. the coffee or ’o ccafè

.keywords: beginnings, unformed potential, taking a risk, answering a ‘call’, trusting in the universe, overcoming self-doubt, embracing uncertainty.

-

Coffee is brewing, yet to be poured on 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 Coffe 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 being the -journey. A spiritual guide urges you forward. Like the prophet Muhammad -who was given coffee(قهوة) by the Archangel Jibreel, you are also urged -to begin.

-

The Coffee upright in a reading tells you it is now 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.

-

Reversed

-

If the Coffee appears reversed, it is a warning. The coffee will -spill and it may burn your or others. Be cautious about disregarding the -consequences of your actions. Your eagerness for freedom and new -beginnings may have harmed others of 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 lays in -knowing the difference.

-

✳ tarot correspondence: 0. the fool.

-

✳ zodiac correspondence: all signs, the -universe.

-

✳ 66. the two spinsters

+

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. 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 fill it, to drink it and to be on the journey. Like the +prophet Muhammad who was given coffee(قهوة) by the Archangel Jibreel, +you are urged to begin. The Coffee 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.

+

Reversed: 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.

+

✳ tarot correspondence: 0. the fool.
+✳ zodiac correspondence: all signs, the universe.

+

✳ 66. the two spinsters or +e ddoie zetelle

.keywords: magic, manifestation, setting intentions, directing energy consciously, willpower, concentration, having all the resources you need.

-

Two old women stand before a table, one pointing to above and one -below. Their eyes glow with mystic powers and if they have appeared in -your dreams you may feel their power radiating. This is 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 are appearing to you at an important time, at -the moment when you may choose your own path. You are now fully able to -manifest your desires. The Spinsters are showing you the power you hold -and asking you for intense concentration. There is power in your focus -and dedication, now is the time to channel all your resources to -achieving what you wish.

-

Reversed

-

If the Spinsters have appeared reversed, is is a sign that you are -ignoring your own powers. You no longer see two crone magicians who have -chosen the path of spiritual power but instead two unmarried older -women. Do not be fooled. The power is in your hands, your potential lays -dormant underneath your doubts and lack of self esteem. Trust in your -ability, trust the Spinsters to weave you back to an active role within -your own life.
-

-

✳ tarot correspondence: 1. the magician.

-

✳ zodiac correspondence: gemini & virgo.

-

✳ 63. the bride

-

. keywords: intuition, subconscious, higher wisdom, knowing something +

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.

+

Reversed: 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.

+

✳ tarot correspondence: 1. the magician.
+✳ zodiac correspondence: gemini & virgo.

+

✳ 63. the bride or ’a sposa

+

.keywords: intuition, subconscious, higher wisdom, knowing something you can’t explain, stillness, meditation, spell-work and ritual.

The Bride sits in silence in an underground cistern, two eyes closed -and a third one opened. 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 being gently led deeper, or asked to go deeper. To artists, -she is the representation of creative potential. The bride has little -care for the material as her powers lay in the true nature of emotion. -Let your intuition lead the way, quiet the chatter of the rational and +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.

-

Reversed

-

If you are facing a reversed Bride, is is an indication to examine -where you are ignoring your gut. Perhaps you have let your thinking mind -run loose or have not been listening to your gut. You have even be -overvaluing other’s opinions or acting too hastily. Whichever is it, it -may be time to be still, reflect and meditate on your intuition.
+

Reversed: 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.

-

✳ tarot correspondence: 2. the high priestess.

-

✳ zodiac correspondence: cancer & pisces.

-

✳ 52. the mother

+

✳ tarot correspondence: 2. the high priestess.
+✳ zodiac correspondence: cancer & pisces.

+

✳ 52. the mother or ’a mamma

.keywords: maternal figure, familiar love, abundance, life force, strong protection, dignity.

-

The Mother sits on a throne in the middle of the river of life force, -a crown upon her head a sword in her hand. In this iconography she is -Juno, Roman goddess of marriage and family. As such, she sits near a -pregnant cow and a peacock eating a pomegranate. Around her nature -thrives. She is the embodiment of femininity and the bringer or life and -growth. Her energy is both nurturing and fiercely protective. She is -appearing 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.

-

Reversed

-

The Mother has appeared reversed. Juno’s warlike nature is more -active than her nurturing side. Your seeking of protection is keeping -your from true love and joy. You were guarding yourself, and while you -were in the right to do so, it is now 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.

-

✳ tarot correspondence: 3. the empress. 

-

✳ zodiac correspondence: libra.

-

✳ 84. the church

+

The Mother sits on a peacock 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 holds 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.

+

Reversed: 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.

+

✳ tarot correspondence: 3. the empress. 
+✳ zodiac correspondence: libra.

+

✳ 84. the church or ’a chiesa

.keywords: belief systems, ancestry, study, tradition, conformity, learning about the past.

-

A priest stands in front of you, one hand to invite you and one -towards the divine. On his shoulders sits a church, the door slightly -ajar. On the bottom, you may see keys. The Church cards beckons you -inside a mysteries sacred place. In Christian belief, a church is not -only where religious community meets but seat of Divinity itself. I -invite you to the Church card as such, and disconnect it from its -Christian imagery. It stands in the place of any established social -structure, spiritual tradition or source of ancestral knowledge. It is a -teacher, a leader, a guru of past memory. If the Church has come up in -your reading, its indicating 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?

-

Reversed

-

The Church is upside down. Its integrity is questioned, the status -quo stumbles. The pressure of conformity weighs heavy, others’ belief -systems 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.

-

✳ tarot correspondence: 4. the hierophant.

-

✳ zodiac correspondence: taurus, libra & +

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?

+

Reversed: 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.

+

✳ tarot correspondence: 4. the hierophant.
+✳ zodiac correspondence: taurus, libra & capricorn.

-

✳ 69. the upside down

-
    -
  • .keywords: love (of all kinds), making heart-centred choices, -compassion, partnerships and relationships, equilibrium, harmony.
    • -
+

✳ 69. the upside down or sott’e +ncoppa

+

.keywords: love (of all kinds), making heart-centred choices, +compassion, partnerships and relationships, equilibrium, harmony.

Two hands reach for each other, the space between them filled with -light and eyes. Around their wrists roses are growing. There is an -obvious story being told, of two souls meeting in companionship. -However, this is a card about balance and choices too. 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 is asking you to choose -love, to make heartfelt, loving, compassionate choices. The Upside Down -is a simple card, asking you to choose. Listen to your heart and follow -it.

-

Reversed

-

Due to the nature of this card, up is down and down is up. However -you pull this card, it is showing you both the Yin and the Yang. In this -case, however, a sourness is prevalent. The eyes look away, giving you -space to work out and identify within yourself why a committment has +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.

+

Reversed: 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.

-

✳ tarot correspondence: 5. the lovers.

-

✳ zodiac correspondence: gemini.

-

✳ 35. the bird

+

✳ tarot correspondence: 5. the lovers.
+✳ zodiac correspondence: gemini.

+

✳ 35. the bird or l’aucelluzz

.keywords: focused action, self-belief and confidence, commitment, drive and determination, hard, passionate work, assertion.

A chariot flies across a starry sky with two half moons. Inside it, a -man dressed in Roman armour with the head of turtle dove looks straight -at you, welcoming you with one hand. This is the card of control and -victory. The Bird has control of his own fate but it will help you with -it too. It directs you to assert your will with mastery, careful -practice and self-discipline. It reminds you of your own courage and -your strength, an encourages you to direct your energies towards the -stars.

-

Reversed

-

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 some others are just -waiting for your confidence and hard work. Assess which is which and -begin riding.

-

✳ tarot correspondence: 6. the chariot.

-

✳ zodiac correspondence: cancer.

-

✳ 28. the breasts

+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.

+

Reversed: 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.

+

✳ tarot correspondence: 6. the chariot.
+✳ zodiac correspondence: cancer.

+

✳ 28. the breasts or ’e zzizze

.keywords: inner strength and courage, dignified resistance, emotional labour, heart.

A naked woman covered in flowers looks to the side, casually taming -the lion in front of her. Behind her, a natural landscape opens up. Do -not be fooled by her gentle appearance, for she is not effortless. Her +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 patriarchal concept, as the Breasts are showing -you a dignified taming of the wild through your heart. Emotion can -steady your demeanour and your inner strength powers you. This indicates -positive emotional labour of your own ferocity and expression of pure -emotional strength. Go to towards your own 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 all over them.

-

Reversed

-

The lion is now overpowering as the Breasts appear upside down. This -is an indication of weakness, your strength feeble as your -self-confidence lessens. Your emotions are no longer a power but an -overwhelming force that you cannot control. Do not let anger or pain -dictate your choice, find your strength once again.

-

✳ tarot correspondence: 7. strength.

-

✳ zodiac correspondence: leo.

-

✳ 65. the crying

+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.

+

Reversed: 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.

+

✳ tarot correspondence: 7. strength.
+✳ zodiac correspondence: leo.

+

✳ 65. the crying or ’o chianto

.keywords: introspection, solitude, retreat, working things through on your own, claiming space and time for you, self-guided or guided study.

-

A figure cries in a cocoon underwater, wrapped in a cape of their -hair and algae. They are holding themselves, as their tears make their -way up. A light shines from their hands. This figure is in deep -introspection. The Crying card is not a negative card, regardless of -your own view of tears. It indicates a need for comfort and solitude. It -is asking 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 better understanding.

-

Reversed

-

The tears fall upon you as the Crying card is reversed. You have -relied on yourself too much and over-isolated. The cocoon has served its -purpose, now the time for solitude is over. You may let others in or -leave your safe space altogether for the time for crying is over.

-

✳ tarot correspondence: 8. the hermit.

-

✳ zodiac correspondence: virgo.

-

✳ 82. the set table

+

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.

+

Reversed: 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.

+

✳ tarot correspondence: 8. the hermit.
+✳ zodiac correspondence: virgo.

+
+
+82. the set table or ’a tavula mbandita + +
+
+

✳ 82. the set table or ’a +tavula mbandita

.keywords: positive luck, change, predictions and prophesies, feeling like something is ‘destined’ to happen, an interconnected bigger picture.

A table is set with plates spelling out the ancient names for tarot -and wheel. In the center of the table you can see water, soil, air and +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 personal vision -develops into reality. This card is asking you to accept your fate, but -also take responsibility for it. The table is set but it is up to you to +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.

-

Reversed

-

The Set Table has been turned the wrong way. This indicated elements -outside your control that are spinning your fate. Luck has not been on -your side and you may have found yourself unhappy with your -circumstances. Take a moment to analyse what could have happened, are -these elements toying with your luck internal or external? Is there -someone to blame, if yes, who is it? Whatever you find, trust that the -Table will be set again, and out of darkness a new light will be born, +

Reversed: 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.

-

✳ tarot correspondence: 9. the wheel of fortune.

-

✳ zodiac correspondence: aquarius, leo, taurus & -scorpio

-

✳ 60. the lament

+

✳ tarot correspondence: 9. the wheel of +fortune.
+✳ zodiac correspondence: aquarius, leo, taurus & +scorpio.

+

✳ 60. the lament or se lamenta

.keywords: truth, logical thought, objectivity, binary thinking, justice, fairness, balance, accountability, social justice principles, intersectionality.

-

A woman, justice, walks the steps out of darkness, a lament -distorting her face. In the Lament, you can see justice wearing white, +

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 -end and a brain on the other. Her blindfold stays on as her piercing -eyes penetrate through the truth. It is her cry for truth, her lament, -that propels her forward. This card calls out to you. Every action has -an equal reaction but it is often expression of injustice that brings -justice forward. It is the Lament that leads to balance, believe that -your expression of injustice is worth sharing.

-

Reversed

-

When the Lament appears reversed it indicates a flawed system, an -hidden truth or bias. This injustice may have been committed against you -or by you, but however it happened the scale are not balances and soon -they will be as someone faces consequences. It also begs for a -re-establishing of a balancing perspective on your side. Look at the -issue from both sides, hear the Lament.

-

✳ tarot correspondence: 11. justice.

-

✳ zodiac correspondence: libra.

-

✳ 85. purgatory’s souls

+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.

+

Reversed: 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.

+

✳ tarot correspondence: 11. justice.
+✳ zodiac correspondence: libra.

+

✳ 85. purgatory’s souls +or ll’aneme o priatorio

.keywords: passivity, cost, holding back, patience, allowing events to unfold, meditation and mindful practice, inner peace, -self-acceptance, overcoming ego

-

A man dangles, his foot loosely tied with rope, his wings closed by -his sides, his braid falling beyond sight. Next to him other people -hang, in the same situation. What we see are Purgatory’s Souls, intended -as the souls of people who are in a state of temporary punishment and -purification as they have died in a state of grace but are not yet ready -for heaven. Let the souls be of inspiration to 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, release. You see, if the soul was to -trust the flow of events and let go, he would realise he had wings all -along. A brazen metaphor, a simple reminder that it’s not time to -struggle for control. Trust the universe, trust yourself and let go.

-

Reversed

-

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 fly, the punishment has been lifted and yet here you -still are. You must face your inner turmoil to move on.

-

✳ tarot correspondence: 11. the hanged man. 

-

✳ zodiac correspondence: pisces.

-

✳ 48. the talking dead

-

.keywords: the ending of a cycle, letting go and saying goodbye, +self-acceptance, overcoming ego.

+

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.

+

Reversed: 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.

+

✳ tarot correspondence: 12. the hanged man. 
+✳ zodiac correspondence: pisces.

+

✳ 48. the talking dead +or ’o muorto che pparla

+

.keywords: the ending of a cycle, letting go and saying goodbye, a ritual to honour change, not resisting, honouring the seasons of life.

A deer’s skeleton lays on a blooming prairie. Close by, another deer -looks into the sun that is rising above the hills. The Talking Dead card -is a deeply sensitive one, invites a gentle approach. It does not -symbolise necessarily literal death but more so a positive harbinger of -change. The 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 at this stage, you must embrace transformation. There is -no other way, a profound experience is awaiting you, let the resting -lead you.

-

Reversed

-

If the card is reversed it appears that the Talking Dead is being -forced still. Changes are frightening you and you may be resisting 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 rather of -learning to live with what it brought in the hope that better things lay -ahead.

-

✳ tarot correspondence: 12. death. 

-

✳ zodiac correspondence: scorpio.

-

✳ 48. warm soup

+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.

+

Reversed: 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.

+

✳ tarot correspondence: 12. death. 
+✳ zodiac correspondence: scorpio.

+

✳ 68. warm soup or ’a zuppa +cotta

.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.

-

A large, winged, genderless dark figure stands in the sea. On their -forehead shines a triangle enclosed in a square, representing that -humans are bound by the Earth and natural law. The figure is taking -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 someone who tends to have a peaceful nature or someone who 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.

-

Reversed

-

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 balance. Equilibrium has to be restored once again. The costs -may be too high for what you are receiving from the universe. You must -reconsider your choices, find the weak point that has thrown off the -balance and adjust it.

-

A ✳ tarot correspondence: 13. temperance.

-

✳ zodiac correspondence: sagittarius.

-

✳ 77. the devils

+

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. 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.

+

Reversed: 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.

+

✳ tarot correspondence: 13. temperance.
+✳ zodiac correspondence: sagittarius.

+

✳ 77. the devils or ’e riavule

.keywords: bondage, addiction, materialism, destructive behaviours, harmful cycles, choosing to get free, or choosing not to get free, -confronting fear, committing to your own freedom.

-

Above a reversed pentacle five little devils dance naked, holding a -chain that leads to a circle of light containing a key. The Devils -symbolise what keeps us bound and trapped. It is a small circle that -contains you, a metaphorical jail to which you do not yet have a key. -This card cautions you against finding blame, and refers instead to that -which is constrained by ourself, our subconscious and direct choices. Do -not let ideas, people or situations absorb you so intensely that it -causes you to ignore other relationships.

-

Reversed

-

The Devils being upside down immediately reveals the bondage, you are -aware of your own chains. The unhealthy and trapping dynamics in your -life are finally emerging to the light. Caution, as this does not imply -freedom but may entail further temptation to crawl back into your own -trap. This is a time that needs your complete attention, use your -newfound awareness to open the chains, escape your metaphorical -jail. 

-

✳ tarot correspondence: 14. the devil.

-

✳ zodiac correspondence: capricorn.

-

✳ 83. the storm

+confronting fear, committing to your freedom.

+

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.

+

Reversed: 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. 

+

✳ tarot correspondence: 14. the devil.
+✳ zodiac correspondence: capricorn.

+

✳ 83. the storm or ’o maletiempo

.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.

-

An ancient pine tree towers in the night. Above, the all-seeing Storm -is unleashing lightening, 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 it is fundamental that you -understand that the change that will be brought is undeniably ultimately -positive. You may not believe me at first, as the event that this card -indicates is a 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 become decrepit. Remember well that when the -Storm appears in front of you, you are not the tree but the doves -escaping.

-

Reversed

-

In this situation the Storm that topples the pine tree is coming from -within. The issue is within your response to the situation, your worries -within your own head. Your perception is bringing you great pain. Take -care not to become a vortex of negativity, you must be mindful of your -own feelings and take responsibility of how your responses affect you -and those around you.

-

✳ tarot correspondence: 15. the tower. 

-

✳ zodiac correspondence: scorpio & aries.

-

✳ 25. christmas

+

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.

+

Reversed: 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.

+

✳ tarot correspondence: 15. the tower. 
+✳ zodiac correspondence: scorpio & aries.

+

✳ 25. christmas or natale

.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.

-

A Christmas tree sits lit by candles, next to a window. On the -windowsill sits a still warm cup of cocoa, framed by the view of an -enormous star illuminates the snowy field. Christmas is a card of hope. -A time of renewal, comfort and homely-ness lays ahead. It is now time to -leave the hard times behind. The star shines alone through the window, -filling the landscape with positivity and opportunity. It is

-

✳ tarot correspondence: 16. the star.

-

✳ zodiac correspondence: aquarius.

-

✳ 48. blood

+self-care, healing, being guided by your intuition, integrity, honesty, +a positive new start or new vision.

+

In a warm room, a candle-lit Christmas tree appears next to a window. +On the windowsill sits a warm cup of tea. Outside, 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.

+

Reversed: You may have lost your hope. +Life’s challenges are overwhelming and leave you questioning everything +and everybody. 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.

+

✳ tarot correspondence: 16. the star.
+✳ zodiac correspondence: aquarius.

+

✳ 18. blood or ’o sangue

.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.

-

A wolf drinks from a pond of blood. Close by, a wild dog turns away -from the pond to face the moon that illuminates all around them. A crab -floats on a leaf, rising from the subconscious. The Blood is telling you -that all is not what it seems. Unsettling as a nightmare can be, this -card allows your inner wildness to be seem. The Blood represents -witchcraft, spell-work and occult arts of any kind. Do not be fooled by -the blood, as nobody in this figure is harmed. The moon shines its -silvery light on the elements within reality that are dishonest and -manipulative. Uncomfortable questions have to be asked and it may by -just someone just mad enough to think of them. Things are strange, it is -okay to feel disorientated. It is not time for answers now but for wild -magical practice.

-

Reversed

-

When reversed, the Blood shows a moon shining in the front. The inner -confusion is clearing. However, you may find find yourself deprived of a -mask you are not ready to let go of. Manipulation has been exposed, -wether you were the victim of perpetrator. While things will soon be -lighter, now they will first be heavy. Mental health struggles as the -truth comes forward and you initiate a process of complete honesty with -yourself.

-

✳ tarot correspondence: 17. the moon.

-

✳ zodiac correspondence: pisces.

-

✳ 19. laughter

-

.keywords: positivity, saying yes, joy, practicing gratitude, +listening to your intuition, secrets, signs and symbols, non-rational, +witchcraft, magic and spell-work, lies and deception, deceiving +yourself, wearing a mask.

+

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. 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. Do not be fooled by +the blood; nobody in this figure will come to harm. The moon shines its +silvery light on the elements that are dishonest and manipulative. +Uncomfortable questions must be asked. Things are strange; it is usual +to feel disoriented. Now is the time for wild magical practice.

+

Reversed: 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.

+

✳ tarot correspondence: 17. the moon.
+✳ zodiac correspondence: pisces.

+

✳ 19. laughter or ’a resata

+

.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.

-

Two children laugh in harmony on a horse, holding each other and a -waving flag. The sun shines on them and sunflowers are growing around -them. Laughter is an undoubtledly positive card. It represents -enthusiasm, growth and victory. Your good choices will pay off, you will -laugh again soon as victory is so close you may taste it already. Joy -will fill your heart and life will once again seem light-hearted and +

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.

-

Reversed

-

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 -that 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.

-

✳ tarot correspondence: 18. the sun.

-

✳ zodiac correspondence: leo.

-

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.

-

A Christmas tree sits lit by candles, next to a window. On the -windowsill sits a still warm cup of cocoa, framed by the view of an -enormous star illuminates the snowy field. Christmas is a card of hope. -A time of renewal, comfort and homely-ness lays ahead. It is now time to -leave the hard times behind. The star shines alone through the window, -filling the landscape with positivity and opportunity. It is

-

✳ tarot correspondence: 16. the star.

-

✳ zodiac correspondence: aquarius.

-

**✳ 19. laughter*

-

.keywords: positivity, saying yes, joy, practicing gratitude, -success, things coming together, life’s simple pleasures, allowing -yourself to simply be, connecting to a dynamic life force.

-

Two children laugh in harmony on a horse, holding each other and a -waving flag. The sun shines on them and sunflowers are growing around -them. Laughter is an undoubtedly positive card. It represents -enthusiasm, growth and victory. Your good choices will pay off, you will -laugh again soon as victory is so close you may taste it already. Joy -will fill your heart and life will once again seem light-hearted and -effortless.

-

Reversed

-

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 -that 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.

-

✳ tarot correspondence: 18. the sun.

-

✳ zodiac correspondence: leo.

-

✳ 18. the gossiping -woman

+

Reversed: 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.

+

✳ tarot correspondence: 18. the sun.
+✳ zodiac correspondence: leo.

+

✳ 43. the gossiping +woman or ‘a donna o’ barcone

.keywords: liberation, freedom, casting off shackles, laying down of old baggage, total accountability for self, integrity, honesty, forgiveness, allowing yourself to move forwards.

A woman with rollers in her hair stands on a balcony, looking down, -where a swarm of butterflies is emerging 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 +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. To move forward unencumbered it -requires acknowledgement of the present moment and everything that it -carries.

-

Reversed

-

The Gossiping Woman now may not see you. This is an indication that -you are refusing to acknowledge the hurt or pain that was caused to you -and the one that you have caused yourself. However, you must own -mistakes and let them be just that. When the Gossiping Woman is -reversed, it is asking you to find forgiveness, for yourself and others. -It will be hard work and possibly take a great amount of time, but the -Gossiping Woman watches and is rooting for you to be able to free +yourself and fly towards freedom. Moving forward unencumbered requires +acknowledgement of the present moment and everything it carries.

+

Reversed: 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 and 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.

-

✳ tarot correspondence: 19. judgement.

-

✳ zodiac correspondence: scorpio.

-

✳ 45. the good wine

+

✳ tarot correspondence: 19. judgement.
+✳ zodiac correspondence: scorpio.

+

✳ 45. the good wine ’o vino

.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.

Three friends are celebrating, drinking Good Wine and dancing on the -world, surrounded by a crown of vines for victory. One holds a flag and -another a wand, bringing your journey to closure. This is the end of the -road, the last card in this deck. The spiritual guide that brought you -Coffee now has brought 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.

-

Reversed

-

The Good Wine may not be drunk yet, completion is not within reach -yet. 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.

-

✳ tarot correspondence: 20. the world.

-

✳ zodiac correspondence: all signs.

-

Bibliography

-
    -
  • Paola De Sanctis Ricciardone, Il tipografo celeste. Il gioco del -lotto tra letteratura e demologia nell’Italia dell’Ottocento e -oltre, Bari, Dedalo, 1987. ISBN 88-220-6066-0
    • -
  • Michele Zezza, La smorfia ossia Il nuovo metodo per perdere -denaro, e cervello con maggior sicurezza al gioco del lotto, -Napoli, Torchi della Società filomatica, 1835.
    • -
  • 莊子, 齊物論, 12. 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]
    • -
+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.

+

Reversed: 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.

+

✳ tarot correspondence: 20. the world.
+✳ zodiac correspondence: all signs.

\ No newline at end of file diff --git a/web/pacifist-fortnite/index.html b/web/pacifist-fortnite/index.html index 28ef307..e344c9b 100644 --- a/web/pacifist-fortnite/index.html +++ b/web/pacifist-fortnite/index.html @@ -7,48 +7,62 @@ -
-

Sometimes -the world as it is and the world as it could be are devastatingly close -to each other.

+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, and -you’re wandering around looking for them for what feels like hours. Was -it real or not isnt important you were still there. Why are we staying -here, what’s even here for us? If you don’t get them, they’ll get you -first. Then you wake up and you still can’t find the fucking keys. But +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.

-
-

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 for some reason? 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.

+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.

🚶

-

screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite screenshot from Fortnite

+
+
+ + +
+
\ No newline at end of file diff --git a/web/papa-louie/index.html b/web/papa-louie/index.html index 89671af..4f712f4 100644 --- a/web/papa-louie/index.html +++ b/web/papa-louie/index.html @@ -7,80 +7,136 @@ -
-

Papa Louie’s Ghosteria

+

Papa Louie’s Ghosteria

Papa -Louie’s Ghosteria is a comic-like fan fiction written by Ada, Irmak and -Boyana.

-

Following the discussions we had 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 split into groups and started dissecting the -ideology behind games some of us 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. The -list of questions we needed to answer while playing the game includes: -What are the win conditions? If the game is quest based, what types of -quests are you asked to complete? What is the gameplay? What is the -narrative? How much space is there for alternative ways of playing this -game? What is missing? What type of relationships are you allowed to -form? What is the role of non-player characters? What are the -requirements for surviving the game? Which behaviours are rewarded? What -real-world values are reproduced in the game you are playing? How are -you situated in the hierarchy of the game? What change in status is -promised? What are you being trained for? What fantasies are lived out -or explored?

-

Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie: +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 +

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.

+

The list of questions we needed to answer while playing the game +includes:

+

What are the win conditions?

+

If the game is quest based, what types of quests are you asked to +complete?

+

What is the gameplay?

+

What is the narrative?

+

How much space is there for alternative ways of playing this +game?

+

What is missing?

+

What type of relationships are you allowed to form?

+

What is the role of non-player characters?

+

What are the requirements for surviving the game?

+

Which behaviours are rewarded?

+

What real-world values are reproduced in the game you are +playing?

+

How are you situated in the hierarchy of the game?

+

What change in status is promised?

+

What are you being trained for?

+

What fantasies are lived out or explored?

+

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 people already have -done numerous fan fiction about it. We were bewitched by this the +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. Freezeria. -Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco Mia. You -name it.

+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.

After spending some time analysing the ideology behind the game, we -discovered a few elements that reinforce the 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 with grief and loss, rather -than violence. Also, to link the new storyline to SI20’s topic we felt -like adding somehow ritualistic elements as actions during the -gameplay.

-

What we decided to change was the topic, purpose and outcome of the -game. Papa no longer fights to save his customers, but he deals with his -own loss and grief over what happened. Our version is promoting rest and -rituals for healing instead of revenge-seeking, violence and toxic -pizzeria culture.

+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 SIXX’s topic we +added ritualistic elements as actions during the gameplay.

+

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.

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.

-

We also liked the idea of making a comic-like storyboard that -visualises the new narrative for Papa Louie’s Ghosteria. To create a few -scenes depicting some of the 5 levels we outlined earlier, 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.

-

The gameplay revolves around things Papa lost and the needs he needs -to fulfil. Different types of losses are organised into five levels of -the game: 1. loss of safety (innocence, physical safety) 2. loss of -community (clients, belonging) 3. loss of future (hope, dreams) 4. loss -of identity (dignity, making things himself) 5. loss of labour (money, -time, effort, pizza)

-

To cope with grief, Papa Louie performs various rituals to unlock a -new stage in his grieving process and heal from that loss. Rituals are -the actions players need to execute at each level.

-

And so our story goes like this: The Onion ring mafia kidnapped Papà -Louie’s clients, and he lost his Pizzeria. However, along with this -external change, he lost his identity as a pizza owner/maker. He is full -of grief and seeks ways to cope with grief and ease himself. He tries -different rituals throughout this process, builds his new identity and -overcomes his troubles.

-The Storyboard +The Storyboard
+

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 five 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.

+

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:

+
    +
  1. loss of safety (innocence, physical safety)
    2. +
  2. loss of community (clients, belonging)
    3. +
  3. loss of future (hope, dreams)
    4. +
  4. loss of identity (dignity, making things himself)
    5. +
  5. loss of labour (money, time, effort, pizza)
    6. +
+

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.

+

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 sought ways to cope with grief and ease himself. He +tried different rituals throughout this process, built his new identity +and overcame his troubles.

+
+
+The Comic + +
+
+
+
+Papa’s new identity + +
+
+Papa in therapy + +
+
+Papa’s pet tomato + +
+
+Papa’s new friends + +
+
+

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 into each room and type “take” or “carry” to pick up +possibilities for healing. The possibilities for each room were:

+
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].
+

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.

+
+
+​ + +
diff --git a/web/peace/index.html b/web/peace/index.html index 27e21fe..590625f 100644 --- a/web/peace/index.html +++ b/web/peace/index.html @@ -1,191 +1,51 @@ - + - + - peace - + + -
-from time import sleep
-import sys
-
-def delayPrint(s):
-    for c in s:
-        sys.stdout.write(c)
-        sys.stdout.flush()
-        sleep(0.08)
-    print("\n")
-    sys.stdout.write(">")
-    return " "
-    
-def delayPrintless(s):
-    for c in s:
-        sys.stdout.write(c)
-        sys.stdout.flush()
-        sleep(0.001)
-    print("\n")
-    sys.stdout.write(">")
-    return " "
-
-welcome_message = """
-    Dear friend,
-                 Welcome to Cardboard Lamb's Game..."""
-
-welcome_message2 = """
-
-((
-\\``.
-\_`.``-.
-( `.`.` `._
- `._`-.    `._
-   \`--.   ,' `.
-    `--._  `.  .`.                          aaaa
-     `--.--- `. ` `.                   squaaaaa
-         `.--  `;  .`._
-           :-   :   ;. `.__,.,__ __
-            `\  :       ,-(     ';o`>.
-              `-.`:   ,'   `._ .:  (,-`,
-                 \    ;      ;.  ,:
-             ,"`-._>-:        ;,'  `---.,---.
-             `>'"  "-`       ,'   "":::::".. `-.
-              `;"'_,  (\`\ _ `:::::::::::'"     `---.
-             `-(_,' -'),)\`.       _      .::::"'  `----._,-"")
-                   \_,': `.-' `-----' `--;-.   `.   ``.`--.____/
-                     `-^--'                \(-.  `.``-.`-=:-.__)
-      squaaaa                                  `  `.`.`._`.-._`--.)
-           aaa                                   `-^---^--.`-- """
-
-welcome_message3 = """
-
-    Do you feel peaceful? If not, then grab a cup of tea.
-    Are you prepared to escape into your imagination? 
-    This game works by slowing down your pace and reconnecting you to your senses. 
-    I will give you prompts – little written daydreams to imagine yourself in. 
-    Please only move forward when you are ready.
-
-    If you are ready now, tell me "yes."
-    ––––––––––––––
-"""
-#----------------------------------------------------------#
-### start of the game. this is a mindfulness game. ###
-
-print(delayPrint(welcome_message))
-
-print(delayPrintless(welcome_message2)) 
-
-print(delayPrint(welcome_message3))
-
-#step one#
-reply = input()
-if "yes" in reply:
-    print(delayPrint("""
-     I am so happy to hear that you are at peace. 
-     Let's start imagining landscapes."""))
-elif "ready" in reply:
-    print(delayPrint("""
-    I am so happy to hear that you are at peace. 
-    Let's start imagining landscapes."""))
-else:
-    print(delayPrint("""
-    You are not ready to play my game. 
-    Please close your eyes and take a deep breath. 
-    If you need some help, try searching for this URL. 
-        https://www.youtube.com/watch?v=TTHF2Dfw1Dg. 
-    Please listen until you are ready..."""))
-    
-#Questions - how would i go back a step#
-#can you hyperlink inside of a python code?#
-#is there a way to always make it go back to step 1, like a return to homebase scenario#
-#could not figure out how to add a break after else. where does it go.# 
-
-#step two#
-    
-print(delayPrint("""
-    We are going to imagine our first daydream. 
-    If at any point, you feel like you are ready to return back to whatever you were doing,
-    just type in
-                    I am now at peace...
-    
-    If you are not ready to return, type in
-                    Let's go...
-                    """))
-#how do i actually make it so that if someone types peace at any point, it stops#
-
-#message = "What do you want to do?"#
-#print(message)#
-#reply = input()#
-
-while True:
-    reply = input()
-    if "go" in reply:
-        print(delayPrint("""
-         You are lying down in a lavender field."""))
-         
-        print(delayPrintless("""
-                      ,,,                      ,,,
-                   {{{}}    ,,,             {{{}}    ,,,
-                ,,, ~Y~    {{{}},,,      ,,, ~Y~    {{{}},,,
-               {{}}} |/,,,  ~Y~{{}}}    {{}}} |/,,,  ~Y~{{}}}
-                ~Y~ \|{{}}}/\|/ ~Y~  ,,, ~Y~ \|{{}}}/\|/ ~Y~  ,,,
-                \|/ \|/~Y~  \|,,,|/ {{}}}\|/ \|/~Y~  \|,,,|/ {{}}}
-                \|/ \|/\|/  \{{{}}/  ~Y~ \|/ \|/\|/  \{{{}}/  ~Y~
-                \|/\\|/\|/ \\|~Y~//  \|/ \|/\\|/\|/ \\|~Y~//  \|/
-                \|//\|/\|/,\\|/|/|// \|/ \|//\|/\|/,\\|/|/|// \|/
-            ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^"""))
-       
-        print(delayPrint("""
-            The field has not been harvested yet.
-            The ground is soft and warm. It has been baked by the sun."""))
-        print(delayPrintless("""
-         
-                               ;   :   ;
-                            .  \_,!,_/   ,
-                            `.,'     `.,'
-                             /         \
-                       ~ -- :           : -- ~
-                             \         /
-                            ,'`._   _.'`.
-                            '   / `!` \   `
-                               :   ; 
-                             
-          """))
-        print(delayPrint("""
-         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?
-         
-         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?"""
-         ))
-        
-    elif "now" in reply:
-        break
-    elif "peace" in reply:
-        break
-     
-         
-
-
-
- +

Peace

+

Peace 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.”

+

Peace 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.

+


+

Here is an excerpt:

+
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?
+

if yes, then…

+
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?
+

if yes, then… and so on

+

You can find the game on our website.

+
+
+ + +
+
+
- - + \ No newline at end of file diff --git a/web/sims-mod/index.html b/web/sims-mod/index.html new file mode 100644 index 0000000..5c16ef2 --- /dev/null +++ b/web/sims-mod/index.html @@ -0,0 +1,67 @@ + + + + + + + + + +

The Player is the Author

+

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?

+

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.

+

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

+
+


+

The player es the author

+

so the sims, 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, mak thousand aey four), the narrative power aey “richness +of character” of a game like the sims 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?

+

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.

+

so a spirit of respect aey love for dis community, we have published +console as downloadable content for the sims. Find out zor on +issue.xpub.nl/20

+
+
+Console in Sims + +
+
+
+
+ + \ No newline at end of file diff --git a/web/start-matter/index.html b/web/start-matter/index.html new file mode 100644 index 0000000..9bb7ca0 --- /dev/null +++ b/web/start-matter/index.html @@ -0,0 +1,69 @@ + + + + + + + + + +

Co-published by:

+

Experimental Publishing,
+Willem de Kooning Academie,
+Wijnhaven 61, Rotterdam

+

Page Not Found
+Space for publishing as artistic practice
+Boekhorststraat 126-128, Den Haag

+

Licensing Information

+

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.

+

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

+

XPUB

+

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. More at xpub.nl

+

  /XX

+

This publication took labour to produce, so exists in a limited +edition. Separate thou the earth from the fire, the subtle from the +gross sweetly with great industry.

+
CONSOLE
+


+

xpub special issue xx

+

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?

+

Ada ♏︎, Aglaia ♒︎, Boyana ♊︎, Cara ♊︎, Stephen ♈︎, Suzan ♏︎

+


+


+

❤️

+

this publication +was made possible thanks to:

+

Lídia Pereira ♈︎ (ed.)
+Artemis Gryllaki ♐︎ (ed.)
+Manetta Berends ♉︎
+Joseph Knierzinger ♑︎
+Steve Rushton ♑︎
+Leslie Robbins ♉︎
+Michael Murtaugh ♏︎
+Sébastien Tien ♈︎
+Eva Örk ♍︎
+Ola Vasiljeva ♉︎
+and everyone from Page Not Found ♒︎
+Shana Moulton ♋︎
+Rihanna ♓︎
+The Sun is its father ☉
+The Moon its mother ☽︎
+The Wind hath carried it in its belly 🜁
+The Earth is its nurse 🜃

+


+
+ + \ No newline at end of file diff --git a/web/style.css b/web/style.css index 299ed55..a4edc1f 100644 --- a/web/style.css +++ b/web/style.css @@ -1,33 +1,76 @@ ::root{ } -body - font-family: Bradley; - src: url(/web/fonts/'Bradley.ttf') format('ttf'); - text-align:center; - background-color: #000; - color: #ccc - max-width: 30rem; - margin: 2rem auto; - line-height: 1.3; - letter-spacing: 0.1px; + +:root{ + /* --spot-color-1: #53018e; */ + --spot-color-1: #000; + --baseline: 5mm; + --margin-left: 10mm; } -img{ - max-width: 80vw; - margin: 10vw 0; - z-index: -3; + +@font-face { + font-family: 'Consolation'; + src: local('Consolation'), + url('./00-booklet/fonts/Consolation014.woff') format('opentype'); + font-weight: normal; + font-style: normal; } -::selection{ -background-color: #000; -color: #ccc; + +@font-face { + font-family: 'Simlish'; + src: url('./00-booklet/fonts/immajer-Simlish.woff') format('opentype'); + font-weight: normal; + font-style: normal; } -#poster{ - max-width: 80vw; 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+ z-index: -3; +} +::selection{ + background-color: rgb(106, 0, 255); + color: #fff; } html, body { @@ -40,176 +83,175 @@ body { overflow-x: hidden; } -/* -------------------- Fog --------------------- */ -.fog{ -display: fixed; -top: 0px; -left: 0px; -width: 100vw; -height: 100vh; -z-index: 100; +a{ + text-decoration: none; + color: #000; } -.fogwrapper { - height: 100%; - position: absolute; - top: 0; + +blockquote{ + margin-left: 0; + margin-right: 0; +} +.centered-image, .centered-text{ + display: flex; + align-items: center; + /* justify-content: center; */ +} +.centered-image figure{ + margin: 0 0 0 30mm; + width: 90mm; +} +.centered-text > *{ width: 100%; - -webkit-filter: blur(1px) grayscale(0.2) saturate(1.2) sepia(0.2); - filter: blur(1px) grayscale(0.2) saturate(0.2) sepia(0.2); + text-align: center; +} +.code pre{ + font-size: 0.8em; + line-height: 1.1; + white-space: pre-wrap; +} +#contenteo{ + font-family: 'worksans'; + line-height: 1.3; + font-size: 12px; + letter-spacing: -0.1px; 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} - 100% { left: -100%; } -} -@-moz-keyframes foglayer_moveme { - 0% { left: 0; } - 100% { left: -100%; } -} -@-o-keyframes foglayer_moveme { - 0% { left: 0; } - 100% { left: -100%; } -} -@keyframes foglayer_moveme { - 0% { left: 0; } - 100% { left: -100%; } -} - -@media only screen - and (min-width: 280px) - and (max-width: 767px) { - #foglayer_01 .image01, #foglayer_01 .image02, - #foglayer_02 .image01, #foglayer_02 .image02, - #foglayer_03 .image01, #foglayer_03 .image02 { - width: 100%; - } - } \ No newline at end of file + bottom: 15mm; + left: 30mm; + z-index: 10; + padding-right: 20mm; +} +.white-caption + figcaption{ + color: #fff; +} +.full-image img{ + height: 186mm; + width: 133mm; + object-fit: cover; +} + +img{ + width: 100%; +} + +h1,h2,h3,h4,h5,h6{ + text-transform: uppercase; + font-family: 'Consolation'; + font-size: 1.2em; + line-height: 1; + /* color: var(--spot-color-1); */ +} + +h1{ + font-size: 1.8rem; + break-after: page; + /* background-color: var(--spot-color-1); */ + color: #fff; + /* height: 190mm; + width: 133mm; */ + margin: 0; + padding: 0; +} +h1#colophon{ + break-after: unset; + margin-bottom: 25mm; +} +h6{ + font-size: 3rem; + break-before: right; + /* background-color: var(--spot-color-1); */ + /* color: #fff; */ + height: 176mm; + width: 133mm; + margin: -13mm 0 0 -30mm; + padding: 86mm 10mm 0; + text-align: center; +} +ol, ul{padding: 0;} +div#licence ol, div#licence ul{ + padding-left: 5mm; +} +.page-break{ + break-after: page; +} +section{ + break-after: page; +} + +.section{ + break-before: left; + page: section; +} + +@media print{ + @page section:first { + margin: 10mm; + margin-right: 20mm; + background-color: black; + color: white; + } +} +#section-5 h3, #section-21 h3{ + break-before: page; +} +::selection{ + background-color: var(--spot-color-1); + color: #ccc; +} +.simlish{ + font-family: 'Simlish'; +} +.small-images figure{ + margin: 1mm; +} +.small-images figcaption{ + margin-top: -2mm; +} +.small-images img{ + width: 70mm; +} +.toc{ + break-before: right; +} +.toc ul{ + list-style: none; + padding: 0; + margin: 0; +} +.toc-title{ + break-before: none; + break-after: none; +} +.toc-title a::after{ + content: target-counter(attr(href url), page); + float: right; +} + +#worry-dolls figcaption{display: none;} +#worry-dolls img{ + break-before: page; + display: block; + position: relative; + top: 20mm; + left: 50mm; + width: 10mm; +} +.yt-tarot-images{ + margin-top: 29.5mm; +} \ No newline at end of file diff --git a/web/superdeconstruction/index.html b/web/superdeconstruction/index.html index 472de68..a888c4f 100644 --- a/web/superdeconstruction/index.html +++ b/web/superdeconstruction/index.html @@ -1,168 +1,179 @@ - + - + - peace - + + -
-import os , time , random
-
-#	Setting up the current (saved) state
-currentRoom = "base-ment"
+
Super(de)construction

+
text adventure game

+
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.

+
Will you be part of the revolutionary class?

+


+

+
import os , time , random
+
+#   Setting up the current (saved) state
+currentRoom = "base-ment"
 start = True
 graduation = False
 study = 0
 items = {
-    "base-ment": ["unpaidlabor", "consiousness", "lackoftime", "dipression", "commodities", "collectivememory", "laborforce", "survivalmode"],
-    "apparatus": ["game", "work", "symbols", "family", "church", "institutionalmemory", "army", "ideology"],
-    "megaroom": ["hegemony", "control", "power", "violence", "accumulationofwealth", "property", "mostlywhiterichmen"]
+    "base-ment": ["unpaidlabor", "consiousness", "lackoftime", "dipression", "commodities", "collectivememory", "laborforce", "survivalmode"],
+    "apparatus": ["game", "work", "symbols", "family", "church", "institutionalmemory", "army", "ideology"],
+    "megaroom": ["hegemony", "control", "power", "violence", "accumulationofwealth", "property", "mostlywhiterichmen"]
 }
 
 inventory = []
 
-#	Seperating the text and printing in delay so the content on the screen is readable and easy to comprehend
+#   Seperating the text and printing in delay so the content on the screen is readable and easy to comprehend
 def printer (text):
     for t in text:
-        print(t, end = "", flush= True)
+        print(t, end = "", flush= True)
         time.sleep(random.choice([0.0001, 0.005, 0.007]))
     print()
 
-#	Defining the "taker" function and setting it up in each of the three rooms below
+#   Defining the "taker" function and setting it up in each of the three rooms below
 def taker(room):
-    if any(x in spliti for x in ["get", "grab", "take", "carry", "steal", "expropriate"]):
+    if any(x in spliti for x in ["get", "grab", "take", "carry", "steal", "expropriate"]):
         for item in items[room]: 
             if item in spliti:
-                printer("You took " + item) 
+                printer("You took " + item) 
                 inventory.append(item)
                 items[room].remove(item)
 
-#	Creating the while-loop
+#   Creating the while-loop
 while True:
     if (start == True):
-        printer("""
+        printer("""
         Super(de)construction: The game
         
         
-                                       __                                         __                           __                           
-                                      /\ \                                       /\ \__                       /\ \__  __                    
-  ____  __  __  _____      __   _ __  \_\ \     __    ___    ___     ___     ____\ \ ,_\  _ __   __  __    ___\ \ ,_\/\_\    ___     ___    
- /',__\/\ \/\ \/\ '__`\  /'__`\/\`'__\/'_` \  /'__`\ /'___\ / __`\ /' _ `\  /',__\\ \ \/ /\`'__\/\ \/\ \  /'___\ \ \/\/\ \  / __`\ /' _ `\  
+                                    __                                         __                           __                           
+                                    /\ \                                       /\ \__                       /\ \__  __                    
+____  __  __  _____      __   _ __  \_\ \     __    ___    ___     ___     ____\ \ ,_\  _ __   __  __    ___\ \ ,_\/\_\    ___     ___    
+/',__\/\ \/\ \/\ '__`\  /'__`\/\`'__\/'_` \  /'__`\ /'___\ / __`\ /' _ `\  /',__\\ \ \/ /\`'__\/\ \/\ \  /'___\ \ \/\/\ \  / __`\ /' _ `\  
 /\__, `\ \ \_\ \ \ \L\ \/\  __/\ \ \//\ \L\ \/\  __//\ \__//\ \L\ \/\ \/\ \/\__, `\\ \ \_\ \ \/ \ \ \_\ \/\ \__/\ \ \_\ \ \/\ \L\ \/\ \/\ \ 
 \/\____/\ \____/\ \ ,__/\ \____\\ \_\\ \___,_\ \____\ \____\ \____/\ \_\ \_\/\____/ \ \__\\ \_\  \ \____/\ \____\\ \__\\ \_\ \____/\ \_\ \_\
- \/___/  \/___/  \ \ \/  \/____/ \/_/ \/__,_ /\/____/\/____/\/___/  \/_/\/_/\/___/   \/__/ \/_/   \/___/  \/____/ \/__/ \/_/\/___/  \/_/\/_/
-                  \ \_\                                                                                                                     
-                   \/_/                                                                                                                     
+\/___/  \/___/  \ \ \/  \/____/ \/_/ \/__,_ /\/____/\/____/\/___/  \/_/\/_/\/___/   \/__/ \/_/   \/___/  \/____/ \/__/ \/_/\/___/  \/_/\/_/
+                \ \_\                                                                                                                     
+                \/_/                                                                                                                     
 
 
 
-        """)
-        printer("""
-         ‘Welcome to the super(de)costruction game or How to destroy the ideological apparatus and capitalism in small steps.
+        """)
+        printer("""
+        ‘Welcome to the super(de)costruction game or How to destroy the ideological apparatus and capitalism in small steps.
 
 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 ...
 
-You will have an extraordinary chance to walk a lead bit through an enormous architectural miracle and why not dismantle the master's house! 
+You will have an extraordinary chance to walk a lead bit through an enormous architectural miracle and why not dismantle the master's house! 
 Are you readyyy???
 
-        """)
+        """)
         start = False
         
     if (graduation == True):
-        printer("You Win!")
+        printer("You Win!")
         exit()
 
-#	Clearing the screen: "cls" for Windows; "clear" for macOS       
+#   Clearing the screen: "cls" for Windows; "clear" for macOS       
     i = input()
-    #os.system("cls")
-    spliti = i.split(" ")
+    #os.system("cls")
+    spliti = i.split(" ")
 
-#	Creating an inventory
-    if "inventory" in i: 
-        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))
+#   Creating an inventory
+    if "inventory" in i: 
+        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))
     
-    if i in ["talk","discuss","debate","ask","say"]:
-        printer("Hiiiiiii witch, how can I help you, now that nobody is watching us?")
+    if i in ["talk","discuss","debate","ask","say"]:
+        printer("Hiiiiiii witch, how can I help you, now that nobody is watching us?")
         i = input()
-        if i in ["revolution","finish","free", "freedom"]:
-            if study >= 119:
-                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.")
+        if i in ["revolution","finish","free", "freedom"]:
+            if study >= 119:
+                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.")
                 graduation = True
             else:
-                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!")
-                printer("""
+                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!")
+                printer("""
                                     
 
                 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.
                 We welcome all women who can meet us, face to face, beyond objectification and beyond guilt.
                 by Audre Lorde
 
-                
-                """)
-      
-
-#	Choices in the base-ment
-    if currentRoom == "base-ment":
-        if i in ["look","see","view","explore"]:
-            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")
-            printer("You can find here: " + ", ".join(items["base-ment"]))
-                           
-        elif i in ["exit","walk","run","door","leave"]:
-            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. ")
-            currentRoom = "apparatus"
-
-#	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.             
-        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"]:
-            printer("You have struggled soo much!")
+
+                """)
+    
+
+#   Choices in the base-ment
+    if currentRoom == "base-ment":
+        if i in ["look","see","view","explore"]:
+            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")
+            printer("You can find here: " + ", ".join(items["base-ment"]))
+                        
+        elif i in ["exit","walk","run","door","leave"]:
+            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. ")
+            currentRoom = "apparatus"
+
+#   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.             
+        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"]:
+            printer("You have struggled soo much!")
             study = study + 30
-            printer("The revolution seems to be closer. Cracks still happen and are completely important and vital and powerful. You have gained " + str(study) + " points")
+            printer("The revolution seems to be closer. Cracks still happen and are completely important and vital and powerful. You have gained " + str(study) + " points")
 
         else: 
-            taker("base-ment")
+            taker("base-ment")
 
+
+#   Choices in the neutral zone
+    elif currentRoom == "apparatus":
+        if i in ["look","see","view","explore", "open"]:
+            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.")
+            printer("Oh look in the apparatus you can find: " + ", ".join(items["apparatus"]))
             
-#	Choices in the neutral zone
-    elif currentRoom == "apparatus":
-        if i in ["look","see","view","explore", "open"]:
-            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.")
-            printer("Oh look in the apparatus you can find: " + ", ".join(items["apparatus"]))
-            
-        elif i in ["exit","walk","run","door","leave"]:
-            printer("You may use this door to exit the apparatus.")
-            i = input("which door? (1 or 2)")
-            if i == "1":
-                printer("You use the door to the base-ment")
-                currentRoom = "base-ment"
-            elif i == "2":
-                printer("You use the door to the megaroom")
-                currentRoom = "megaroom"
+        elif i in ["exit","walk","run","door","leave"]:
+            printer("You may use this door to exit the apparatus.")
+            i = input("which door? (1 or 2)")
+            if i == "1":
+                printer("You use the door to the base-ment")
+                currentRoom = "base-ment"
+            elif i == "2":
+                printer("You use the door to the megaroom")
+                currentRoom = "megaroom"
         else: 
-            taker("apparatus")
+            taker("apparatus")
     
 
-#	Choices in the megaroom
-    elif currentRoom == "megaroom":
-        if i in ["look","see","view","explore", "open"]:
-            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! ")
-            printer("Oh look in the megaroom! There is : " + ", ".join(items["megaroom"]))
+#   Choices in the megaroom
+    elif currentRoom == "megaroom":
+        if i in ["look","see","view","explore", "open"]:
+            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! ")
+            printer("Oh look in the megaroom! There is : " + ", ".join(items["megaroom"]))
             
-        elif i in ["exit","walk","run","door","leave"]:
-            printer("You use the door to exit the megaroom.")
-            currentRoom = "apparatus"
+        elif i in ["exit","walk","run","door","leave"]:
+            printer("You use the door to exit the megaroom.")
+            currentRoom = "apparatus"
 
         else: 
-            taker("megaroom")  
-
-
-

-
+            taker("megaroom")
+
+
- - + \ No newline at end of file diff --git a/web/tetris_fantasies/index.html b/web/tetris_fantasies/index.html index e5aff17..54400c2 100644 --- a/web/tetris_fantasies/index.html +++ b/web/tetris_fantasies/index.html @@ -7,45 +7,58 @@ -
-

Tetris Fantasies

-

Death, -Geometry and the Structure of the Individual

+

Tetris Fantasies

+

Death, +Geometry and the Structure of the Individual

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, increase their efficiency. A +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?

-

There are many squares to be organised in tetris, an infinite number -apparently, but there is only one player organising them. Other people -can only be seen by this individual in faint ghosts; their high scores -that are there only to be beaten. And the current player can only hope -to reach those people through leaving their own mark on the high score -table. Employee-of-the-month, world’s-best-mom. But maybe there is an +

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.

+is a story behind the fatal pixels, a bigger space than the ten by +twenty grid on the screen. Maybe there are humans out there with more to +them than what they produce.

This fanfic takes the form of a series of hand-drawn illustrations -depicting fantastical tetris pieces, each of which is accompanied by a +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 a -relationship to eachother of some sort.

-

+Tetris, although the illustration and text on any one card have some +sort of relationship with each other.

+
+
+Hand drawn tetris fanfic + +
+
+ + +
+
-

+
+
+ + +
diff --git a/web/wheel-doc/index.html b/web/wheel-doc/index.html new file mode 100644 index 0000000..97163cb --- /dev/null +++ b/web/wheel-doc/index.html @@ -0,0 +1,50 @@ + + + + + + + + + +

The Wheel of Fortune

+

a tool for self-inquiry

+

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.

+

The main components of the game are a virtual spinning wheel, +accessible at issue.xpub.nl/20/wheel , a deck of twenty photo slides, a +notebook, and a pen(cil) to store the potential insights you might find +for yourself.

+

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 “?”.

+

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.

+

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.

+

Excerpt from the 404 +Questionnaire:

+
+
What do you want? ■ Why do you do what you do each day? ■ What do you think you are here for? ■ What are you doing with this day, today? ■ What are you searching for? ■ What are you looking at? ■ Have you learned something new today? This week? ■ What filters would you apply to your mood right now if it was an analogue film? ■ Is this what you really want to do, or it is your way of delaying your realisation? ■ If you could be any animal for a day, which one would you choose and why? ■ If you could be any animal for a day, how would you experience the world differently? ■ Do you speak horse language? (wild question) ■ If you were Kim, who would that person be? (wild question) ■ What does your body need today? ■ What does your mind need today? ■ What does your soul need today? ■ If your life was a treasure hunt what would you be searching for? ■ How would you describe your personality? ■ What would a person that loves you tell you if know you are suffering? ■ If you were in search of a new identity, what clues would you need to find it? ■ If you were a pirate, what kind of treasure would you be searching for? ■ If you were a pirate, what obstacles would you face on your journey? ■ If you owned a boat, to which destination you would go first and why? ■ Think of your favourite food. How does it make you feel when looking at it? And when eating it? ■ What is one "yes" that you have been ignoring lately? ■ What advice would you give to someone else who is experiencing loss? ■ What emotions have you been experiencing lately? ■ How has your relationship with others changed in the last five years? ■ How have your thoughts and beliefs about life and death changed in the last five years? ■ What positive memories can you hold on to about a person you have lost? ■ What activities or hobbies bring you comfort in times of grief? ■ How can you take care of yourself during hard times? ■ What were the six things you wanted to be when you were a kid? ■ What is time? How can you describe it? ■ What is beauty? How can you describe it? ■ What is happiness? How can you describe it? ■ What is love? How can you describe it? ■ What is faith? How can you describe it? ■ What is hope? How can you describe it? ■ What is fear? How can you describe it? ■ What is play? How can you describe it? ■ What is a ritual? How can you describe it? ■ What is a game? How can you describe it? ■ How does your body feel when you are in pain? ■ How does your body feel when you are in love? ■ How does your body feel when you are anxious? ■ How does your body feel when you are excited? ■ Do you talk negatively to yourself? Explain. ■ Are you mean to yourself? If yes, why? If not, also why? ■ Think of all your past partners. What are some qualities and traits they had in common? ■ Is sex usually the best aspect of a relationship or the worst for you? ■ What do your friends say about your partners? ■ Did you ever have any kind of unwanted touch from a friend, a partner or a family member? ■ Did you ever have any kind of unwanted touch from a stranger? ■ What does sex mean for you? ■ How does sex make you feel? ■ How does thinking about sex make you feel? ■ What words, metaphors or images do you associate with sex? ■ What is your attitude towards your body? ■ Do you have any tendencies for self-sabotage, procrastination or self-doubt? ■ Do you feel like a victim sometime? ■ Do you believe you have control over the way events unfold in your life? ■ How much sex is normal for you? ■ Were your first sexual experiences positive or negative? ■ How did you learn about sexuality? ■ What are your values around sexuality? ■ What losses have you experienced in your life, and how have you coped with them in the past? ■ What self-care practices have you incorporated into your daily routine to help you cope with grief? ■ What self-care practices have you incorporated into your daily routine to help you cope with anxiety? ■ What new perspectives have you gained about life as a result of loss in the past? ■ What triggers your feelings of grief, and how can you manage them when they arise? ■ How has your sense of identity been affected by a loss? ■ How can you stay connected to someone you lost even though they are no longer physically present? ■ What role does forgiveness play in your healing process after experiencing loss? ■ What can you do to take care of your physical health during times of grieving? ■ What can you do to take care of your mental health during times of grieving? ■ How can you create a support network that will help you through difficult times? ■ What have your friends taught you about friendship? ■ What have your friends taught you about life? ■ What have your friends taught you about love? ■ What ideas have changed your life? ■ What subconscious behaviours are keeping you from the life you want? ■ In which direction has your life expanded in the last five years? ■ Are you afraid of being who you truly are? ■ Are you afraid of being seen the way you truly are? ■ Have you adapted to a certain way of thinking? ■ Do you suppress your feelings? ■ Do you experience anger frequently? ■ Do you feel emotionally triggered by people's words or actions towards you? ■ What are your thoughts on anger? ■ What are your thoughts on fear? ■ What are your thoughts on hate? ■ Have your thoughts been chosen for you? ■ Who do you trust? Why? ■ Who do you don't trust? Why? ■ Have you forced yourself to forget something painful? ■ What is art for? ■ What are friends for? ■ What is money for? ■ What is labour for? ■ Are you lonely? ■ What are you most afraid of losing? ■ Do you feel lonely around other people? Why? ■ Do you feel lonely when you are alone? Why? ■ What sort of things has made you envious recently? ■ What sort of things has made you smile recently? ■ What sort of things has made you laugh recently? ■ Do you enjoy laughing? ■ Who made you laugh recently? ■ What is making you passionate about your life? ■ What bothers you (in the world)? ■ How would you like to shape this world? ■ What is your favourite place and why? ■ How do you feel when you are in a place you love? ■ What do you love to do? ■ What main activities keep you busy daily? ■ When (if) do you experience flow? ■ Which things give you energy? ■ Which things inhibit you? ■ What is holding you back? ■ Which 3 thoughts made you smile today? ■ Which 5 things are you most grateful for today? ■ How do people see you differently than you see yourself? ■ What are the 3 characteristics you hope others see in you? ■ Who has qualities you aspire to develop? ■ Who inspires you? ■ What are the 3 things you can’t live without? Why? ■ What are your core values? ■ Are you being true to your values? ■ Who or what has helped you on your path? ■ Who or what can help you on your path ahead? ■ Which things do you think you need luck for? ■ What are 3 things that are always on your to-do list? ■ What nice thing did you do for someone else in the past 24 hours? ■ Who do you want/need in your peer group? ■ What is your most precious possession? Why? ■ Who in your life do you trust the most? ■ What (if) is your addiction? ■ What is your biggest fuck-up? ■ What makes you sad? ■ What makes you cry? ■ What is the most adventurous thing you have ever done? ■ What are the things you want to be? Why? ■ What is stopping you from doing the things you should be doing? ■ Which things do you have room for in your life? ■ What things do you need to make room for in your life? ■ What has been important to you so far in life? ■ What is your secret magic power? ■ What character are you playing in this world? ■ What part of yourself would you be excited to share with others? ■ What did you want to be when you were younger? How does what you do now relate to this? ■ What did you love to do as a kid? ■ Which 3 people have had a major influence on you? ■ Which 2 events have had a major influence on you? ■ What is your secret big dream? ■ What makes you happy? ■ What gives you courage? ■ What gives you strength? ■ What gives you joy? ■ What are the 3 thoughts that you have a lot? ■ What character trait do you have that pushes people away? ■ In what areas of your life are you settling? ■ Which 3 things are you proud of? ■ Which 3 compliments do you often get? ■ What type of criticism do you often get? ■ Where do you go to recharge your batteries? ■ When are you at your most creative? ■ What is your favourite book and why? ■ What is your favourite movie and why? ■ What is your favourite game and why? ■ Who motivates you most in life? ■ What is an inspiration to you? ■ When do you feel inspired? ■ How do you feel when you are inspired? ■ In which areas of your life would you like to experience more inspiration, and why? ■ What things do you think it is too late for? ■ What do you want to achieve? ■ Do you feel afraid of being judged? ■ Are you afraid of being vulnerable? ■ What has surprised you when (if) you have met people from other countries? ■ What is one thing you will never fear? ■ What is one thing that scares you the most about people? ■ Do you enjoy spending time in nature? Why? ■ Do you enjoy spending time in open water? Why? ■ Do you enjoy spending time with people? Why? ■ What were three situations where you persevered even when the odds were against you? ■ What would you like to experience in your life? ■ What is most important to you at this moment? ■ What would you like to learn in life? ■ What are you not saying “no” to in your life's important areas? ■ With whom and in what situations do you find it most difficult to say no? ■ Do you beat yourselves up after saying “no” to someone or something? ■ What do you miss out on due to the inability to assert yourself? ■ What bodily symptoms have you been overlooking? ■ What is the hidden story behind your inability to say no if that's what you think? ■ What are the limiting core beliefs you constructed about yourself? ■ In what situations do you deny your own needs? ■ Are you responsible for other people's feelings and experiences? ■ Do you feel responsible for other people's feelings and experiences? ■ Where have you ignored the "yes" that wanted to be said? ■ What desire to play or explore you have ignored? ■ What joys you have denied yourself? ■ What scares you? ■ What is the one question you are afraid to ask?
+
+
+
+Wheel website, work in progress + +
+
+
+ + \ No newline at end of file diff --git a/web/wheel-manual/index.html b/web/wheel-manual/index.html new file mode 100644 index 0000000..5e4d74e --- /dev/null +++ b/web/wheel-manual/index.html @@ -0,0 +1,37 @@ + + + + + + + + + +

The Wheel of Fortune — Manual

+

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. 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.

+

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. 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.

+

Enjoy the journey!
+Console

+
+ + \ No newline at end of file diff --git a/web/worry-dolls/index.html b/web/worry-dolls/index.html new file mode 100644 index 0000000..ee93bb6 --- /dev/null +++ b/web/worry-dolls/index.html @@ -0,0 +1,32 @@ + + + + + + + + + +

The Legend of the Worry

+

Worry dolls

+
+

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.

+

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.

+
+Worry Dolls + +
+
+
+ + \ No newline at end of file diff --git a/web/youtube_tarot/index.html b/web/youtube_tarot/index.html new file mode 100644 index 0000000..440016c --- /dev/null +++ b/web/youtube_tarot/index.html @@ -0,0 +1,79 @@ + + + + + + + + + +

YouTube Tarot

+

YouTube comments as Tarot +readings

+

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

+
+The Divination Board + +
+

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.

+

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.

+


+
+
+Cards on love + +
+
+Cards on luck + +
+
+Cards on work + +
+
+Cards on work + +
+
+
+
+Cards on work + +
+
+

A +Selection from the dictionary of YouTube Tarot cards

+
+

The Cassandra Vibing

+

Help get gas price down The Jessica The Hummingbird

+
+
MANUALS
+
+ + \ No newline at end of file