SIXXback from the grave

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<div id="content"><h1 id="bibliography">Bibliography</h1>
<p>Aarseth, E. (2012). <em>A narrative theory of games. Proceedings of
the International Conference on the Foundations of Digital Games - FDG
12</em>. doi:https://doi.org/10.1145/2282338.2282365.</p>
<p>Althusser, L. and Goshgarian, G.M. (2014). <em>On the reproduction of
capitalism: ideology and ideological state apparatuses.</em> London:
Verso.</p>
<p>Base and Superstructure in Marxist Cultural Theory (1973). (n.d.).
<em>Raymond Williams on Culture &amp; Society: Essential Writings</em>,
pp.119138. doi:https://doi.org/10.4135/9781473914766.n8.</p>
<p>BC, C.T. (Zhuang Z. 4th C. (n.d.). <em>Discussion on Making All
Things Equal.</em> [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].</p>
<p>Chisholm, H. (1911). <em>“Court de Gebelin, Antoine”.</em>
Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press.
p. 324.</p>
<p>Dean, L. (2015). <em>The ultimate guide to tarot : a beginners guide
to the cards, spreads, and revealing the mystery of the tarot.</em>
Beverly, Ma: Fair Winds Press.</p>
<p>Decker, R., Thierry Depaulis and Dummett, M. (2002). <em>A wicked
pack of cards : the origins of the occult tarot.</em> London:
Duckworth.</p>
<p>De Sanctis Ricciardone, P. (1987). <em>Il tipografo celeste. Il gioco
del lotto tra letteratura e demologia nellItalia dellOttocento e
oltre.</em> Bari: Dedalo.</p>
<p>Dummett, M. (1993). <em>Il mondo e langelo : i tarocchi e la loro
storia.</em> Napoli: Bibliopolis.</p>
<p>Epic Games. (2017). <em>Fortnite: Save the World [video game]</em>.
Burbank, CA: Warner Bros. Interactive Entertainment.</p>
<p>Federici, S. (2019). <em>How the Demonization of Gossip Is Used to
Break Womens Solidarity.</em> [online] In These Times. Available at:
https://inthesetimes.com/article/the-subversive-feminist-power-of-gossip.
[Accessed 27 Mar. 2023].</p>
<p>Fu, H., Li, Y. and Lee, F.L. (2022). <em>Techno-cultural
domestication of online Tarot reading in contemporary China. Media,
Culture &amp; Society,</em> p.016344372211047.
doi:https://doi.org/10.1177/01634437221104700.</p>
<p>Heidegger, M. (2008). <em>Being and Time.</em> Translated by J.
Macquarrie. and Translated by E. Robinson. New York:
Harperperennial/Modern Thought.</p>
<p>Jenkins, P. (2000). <em>Mystics and messiahs : cults and new
religions in American history.</em> Oxford, New York: Oxford University
Press.</p>
<p>Kahvegibikahve. (2020). Tablolarda Kahve Keyfi. [online] Available
at: https://kahvegibikahve.com/blog/tablolarda-kahve-keyfi. [Accessed 27
Mar. 2023].</p>
<p>Lambert, G. (2013). A Thousand Plateaus. <em>The Deleuze and Guattari
Dictionary.</em> doi:https://doi.org/10.5040/9781350250291-0219.</p>
<p>Marx, K. and Engels, F. (2009). “The Ruling Class and the Ruling
Ideas,” in <em>Capital: A critical analysis of capitalist
production</em>. London: Swan Sonnenschein &amp; Co.</p>
<p>Maté, G. and Maté, D. (2022). <em>The Myth of Normal Trauma, Illness,
and Healing in a Toxic Culture</em>. New York: Penguin Publishing
Group.</p>
<p>McShane, A. (2016). <em>Drink, song and politics in early modern
England.</em> Popular Music, [online] 35(2), pp.166190. Available at:
https://www.jstor.org/stable/24737078. [Accessed 27 Mar. 2023].</p>
<p>Neversoft. (2003). <em>Tony Hawks Underground</em>. [video game].
Santa Monica, CA: Activision.</p>
<p>Osterweil V., (2018). <em>Well Played Video Games reproduce the
workers capacity to continue working</em>. [online] Available at: <a
href="https://reallifemag.com/well-played/"
class="uri">https://reallifemag.com/well-played/</a>. [Accessed 27
Mar. 2023].</p>
<p>Peterson, L. (n.d.). <em>The Legend of the Guatemalan Worry
Doll.</em> [online] Common Hope. Available at:
https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/.
[Accessed 27 Mar. 2023].</p>
<p><br class="page-break"></p>
<p>Reshape. (n.d.). <em>Oxana Timofeeva: What Lenin Teaches Us About
Witchcraft.</em> [online] Available at:
https://reshape.network/article/oxana-timofeeva-what-lenin-teaches-us-about-witchcraft.
[Accessed 27 Mar. 2023].</p>
<p>Salen, K. and Zimmerman, E. (2004). <em>Rules of play: game design
fundamentals.</em> Cambridge, MA: The Mit Press.</p>
<p>Schleiner, A.M. (2017). <em>Ludic mutation: The players power to
change the game</em>. Amsterdam: Amsterdam University Press.</p>
<p>Smith, J.Z. (1980). <em>The Bare Facts of Ritual.</em> History of
Religions, 20(1/2), doi:https://doi.org/10.1086/462864.</p>
<p>The British Museum. (n.d.). <em>print; satirical print; broadside |
British Museum.</em> [online] Available at:
https://www.britishmuseum.org/collection/object/P_1973-U-216. [Accessed
27 Mar. 2023].</p>
<p>The School of Life. (2019). <em>The School of Life.</em> [online].
Available at: https://www.theschooloflife.com/. [Accessed 27
Mar. 2023].</p>
<p>Were Not Really Strangers. (n.d.). <em>Were Not Really
Strangers.</em> [online] Available at:
https://www.werenotreallystrangers.com/. [Accessed 27 Mar. 2023].</p>
<p>Zezza, M. (1835). <em>La smorfia ossia Il nuovo metodo per perdere
denaro, e cervello con maggior sicurezza al gioco del lotto</em>.
Napoli: Torchi della Società filomatica.</p>
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<div id="content"><h1
id="click-click-the-clicking-game-a-matter-of-accumulation">click-click,
the clicking game — a matter of accumulation</h1>
<p>A couple of months ago, I didnt even know clicking games existed.
When I played for the first time, I couldnt 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 didnt allow me to realise my
initial idea, so eventually, I came up with a really simple version of
the click_click game. People click on the click button that makes a
“click” sound. Every time they click, a new button is generated. The aim
is to click and accumulate bricks. A repetitive performance. You click,
you gain. The game ends when you fill your screen and build a wall of
click buttons. Then the screen clears automatically, and a small victory
message appears. What happens when the only function performed is
clicking? Nothing, I guess.</p>
<figure>
<img src="click.png" alt="the click wall" />
<figcaption aria-hidden="true">the click wall</figcaption>
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<div id="contenteo"><p>SI20</p>
<div id="content"><h1 id="colophon">Colophon</h1>
<h3 id="photography-and-illustration">Photography and Illustration</h3>
<p>Unless otherwise stated, all photography, illustrations and other
types of visualisations in this publication are created by the same
authors as the text. That which is below is like that which is above,
and that which is above is like that which is below, to do the miracle
of one only thing.</p>
<h3 id="digital-tools">Digital Tools</h3>
<p>This book was created with the help of a collection of<br />
not-so-small and extremely sharp open source tools, to name a few:
paged.js, pandoc, pdfimpose, pdftk, and our darling demon Inkscape. So
was the world created. From this are and do come admirable adaptations
where the means is here in this.</p>
<h3 id="printing-and-binding">Printing and Binding</h3>
<p>Just lil old us.</p>
<h3 id="typeface">Typeface</h3>
<p>Consolation by us (available under the SIXX licence).<br />
Immajer Simlish by inkandchaos (licence information unknown).<br />
Work Sans by Wei Huang (available under SIL OFL).</p>
<p>That which I have said of the operation of the Sun is accomplished
and ended.</p>
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<div id="content"><h1 id="monday-morning-rituals">Monday Morning Rituals</h1>
<p>For eight weeks, students from XPUB prepared a ritual to perform at
the top of Monday morning class. We explored cultural rituals such as
the birthday cake and coffee-ground reading, but also more personal
rituals such as going to sleep rituals, a personal hard-drive
purification, and the creation of worry-dolls.</p>
<h4 id="week-1-january-9th-2023-tea-and-cookies">Week 1, January 9th
2023: Tea and Cookies</h4>
<p><em>Performed by Artemis and Lídia</em></p>
<p>Artemis and Lídia introduced us to Monday Morning Rituals on the
first cold, dark, wintery Monday morning. We shared cookies with tea as
a way to open up the semester and get to know each other. The ritual of
a hot drink and cookies is well-known around the world as a moment of
gathering, peace, gossip, and self-care.</p>
<figure>
<img src="Lidia_Ritual.jpeg" alt="Artemis and Lídias Preparations" />
<figcaption aria-hidden="true">Artemis and Lídias
Preparations</figcaption>
</figure>
<h3 id="week-2-january-16th-2023-coffee-fortune-telling">Week 2, January
16th 2023: Coffee Fortune-Telling</h3>
<p><em>Performed by Aglaia</em></p>
<p>For Aglaias 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 cups saucer. We waited patiently for five minutes
for the fortune to be prepared. Everybody had to tell the Fortune of the
person sitting on their left side by reading the coffee grounds until we
completed the circle.</p>
<figure>
<img src="Aglaia_Ritual.jpeg" alt="Aglaias Ritual" />
<figcaption aria-hidden="true">Aglaias Ritual</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="Aglaia_ritual_2.jpeg" class="white-caption"
alt="Overturned Coffee Grounds" />
<figcaption aria-hidden="true">Overturned Coffee Grounds</figcaption>
</figure>
</div>
<h3 id="week-3-january-23rd-2023-hard-drive-purification">Week 3,
January 23rd 2023 Hard Drive Purification</h3>
<p><em>Performed by Stephen</em></p>
<p>Stephen prepared a few zines with instructions to conduct a
ceremonial cleansing of not only our browser history and cookies but
also our trash cans/recycle bins. All operating systems were welcome.
The zine was a reminder to clean messy space up (for yourself),
written in such a way that instructed us to recite sentences at the same
time, with one person leading the group a play on the magic
circle.</p>
<figure>
<img src="Stephen_Ritual.jpeg" alt="Stephens Ritual" />
<figcaption aria-hidden="true">Stephens Ritual</figcaption>
</figure>
<h3 id="week-4-january-30th-2023-birthday-cake">Week 4, January 30th
2023: Birthday Cake</h3>
<p><em>Performed by Boyana</em></p>
<p>To celebrate Aglaias birthday, Boyana baked a cake, and Ada made
jellies. We sat in a circle around the cake. The person who had their
birthday most recently sliced the cake, and we took turns to wish them
our blessings. After going through a round, we ate together.</p>
<figure>
<img src="Boyana_Ritual_Cake-jelly.jpeg"
alt="Boyanas Birthday Cake and Adas Jellies" />
<figcaption aria-hidden="true">Boyanas Birthday Cake and Adas
Jellies</figcaption>
</figure>
<h3
id="week-5-february-6th-2023-special-issue-prediction-ritual-sipr">Week
5, February 6th 2023: Special Issue Prediction Ritual (SIPR)</h3>
<p><em>Performed by Ada</em></p>
<p>For Adas ritual, Ada brought in a deck of tarot cards to read the
fortune of the Special Issue you are holding in your hands right
now.</p>
<p>Her text made us laugh, and we have chosen to include it in full:</p>
<p>“The priestess Ada will start the ritual by playing the ceremonial
music on the sacred Spotify. Candles shall be turned on. Then three
human sacrifices will be selected amongst the group through a collective
decision. The three sacrificial people will then select three cards from
either of the two decks given by the priestess. While they do so, they
must think of the special issue. The priestess will then interpret the
cards and together we shall rejoice in having found out our Special
Issues future.”</p>
<div class="full-image">
<figure>
<img src="ada-ritual.jpg" class="white-caption"
alt="The reading of this special issue." />
<figcaption aria-hidden="true">The reading of this special
issue.</figcaption>
</figure>
</div>
<h3
id="week-6-february-13th-2023-guided-meditation-a-nighttime-ritual">Week
6, February 13th 2023: Guided Meditation (A Nighttime Ritual)</h3>
<p><em>Performed by Cara</em></p>
<p>Caras ritual relates to her history of having a hard time falling
asleep at night. Over the years, she has found that music - especially
quiet music with the sound of nature (field recordings) really helps
her fall asleep. She DJs outside of class and plays a lot of ambient,
narrative DJ sets. For her ritual, she played a sound piece made of
field recordings around Rotterdam (the sound of water lapping against a
water taxi, the sound of wind, the sound of rain) and read a poem about
sleeplessness from a collection of literature about the Night. The
ritual meant to lull everyone to a moment of peace.</p>
<figure>
<img src="Cara_Ritual.jpeg" alt="Caras Ritual" />
<figcaption aria-hidden="true">Caras Ritual</figcaption>
</figure>
<h3 id="week-7-february-20th-2023-worry-dolls">Week 7, February 20th
2023: Worry Dolls</h3>
<p><em>Performed by Irmak</em></p>
<p>Irmaks ritual was about how to ease our worries. We wrote down our
worries on a pink piece of paper and shared them with a handmade doll
that Irmak brought. These dolls are called Worry dolls (also called
trouble dolls; in Spanish, Muñeca quitapena) and originate from
Guatemala. There is one in each box of our special issue.</p>
<figure>
<img src="Irmak_Ritual.jpeg" alt="Irmaks Ritual A Worry Doll" />
<figcaption aria-hidden="true">Irmaks Ritual A Worry
Doll</figcaption>
</figure>
<h3
id="week-10-march-13th-2023-that-distant-future-when-we-share-a-tea">Week
10, March 13th 2023: That Distant Future When We Share a Tea</h3>
<p><em>Performed by Chae</em></p>
<p>Special Guest Chaeyoung Kim joined us in a ritual involving drinking
tea, steaming glasses and collective healing through care and
conversation. Over bubbling background sounds, we talked about our
experiences of a recent global pandemic that had an effect on us all,
and we recreated the isolating experience of wearing glasses with a
mask. Finally, we wiped each others glasses back to clarity, from a
distance but somehow at the same time closer.</p>
<figure>
<img src="chae1.jpeg" alt="Pointing becomes holding." />
<figcaption aria-hidden="true">Pointing becomes holding.</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="chae3.jpg" class="white-caption"
alt="Collective clearing of the fog." />
<figcaption aria-hidden="true">Collective clearing of the
fog.</figcaption>
</figure>
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<div id="content"><h1 id="games-and-rituals-kick-off-sessions">Games and Rituals, Kick off
sessions</h1>
<h2
id="we-are-looking-at-rituals-and-their-overlap-with-video-games-as-a-way-to-explore-forbidden-or-otherwise-lost-knowledge-erased-by-oppressive-systems.">We
are looking at rituals and their overlap with video games as a way to
explore “forbidden” or otherwise lost knowledge erased by oppressive
systems.</h2>
<h3 id="on-rituals-and-traditions">On Rituals and Traditions</h3>
<p>What is a ritual? And tradition? What makes a ritual “ritual”, and
how does it differ from the traditions? Or are the two the same thing?
What do rituals and traditions mean through the lens of culture,
location and time? These and other questions we asked ourselves and one
another during the first few collaborative sessions of this Special
Issue. We kept talking and reading for hours about the commonalities and
differences between the two. There is a lot to explore! We went down
memory lane and shared memories, childhood recollections, and personal
stories. Perhaps, dear reader, you have your thoughts on this too?</p>
<p>But lets enter a parallel universe!</p>
<h3 id="on-game-and-play">On Game and Play</h3>
<p>What is a game? And play? What makes a game “game”, and how does it
differ from play? Or are the two the same thing? What makes a game? It
is the rules, the limitations, or perhaps the wins and the losses. Do
you really need to win in order to play? Or were you being played? To
try to answer some of these questions, we read and collectively
annotated the chapter “Defining Games” from the book “Rules of Play -
Game Design Fundamentals” by Katie Salen and Eric Zimmerman. We
discovered that games and rituals alike are the gateways to alternative
ways of relating to Nature, each other and (re)production of life.</p>
<p>We played together by writing fanfiction and spells, developing
rituals, and analysing and creating games. What emerged as a tangible
result from all these discussions is this experimental publication you
are holding in your hands right now. We named it Console.</p>
<figure>
<img src="Candlestarotjoysticks.png" alt="Candles Tarot Joysticks" />
<figcaption aria-hidden="true">Candles Tarot Joysticks</figcaption>
</figure>
<div class="full-image">
<figure>
<img src="Game-ritual-graph-2.jpeg" class="white-caption"
alt="Graphing the game-ritual field" />
<figcaption aria-hidden="true">Graphing the game-ritual
field</figcaption>
</figure>
</div>
<p>Another thing that came out of our first two sessions was the <em>One
Sentence Ritual</em>. Each week for six weeks in a row, we wrote down a
ritual of our own and took turns performing the ritual from the list.
Coffee fortune-telling, hard drive purifications, collective eating,
sound meditations, and talking to worry dolls made us reflect on the
content of the week and our lives.</p>
<div class="full-image">
<figure>
<img src="map.jpeg" class="white-caption" alt="Mapping somewhere new" />
<figcaption aria-hidden="true">Mapping somewhere new</figcaption>
</figure>
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<div id="content"><h1 id="fiction-friction">Fiction Friction</h1>
<h2 id="storytelling-tool">storytelling tool</h2>
<p>The Fiction Friction cards are made by two wanderers who spent a fair
amount of time thinking about healing, witchcraft and (contemporary)
witch-hunting, rituals, and Tarot culture. This approach can be seen as
a way to create a ritual or a (personal) journey into a collective
representation. The cards are carriers of our identities, individual
past, memory, momentary frictions and fictions. We intended to reclaim
the tarot reading ritual and reconsider the relation between the given
card interpretation and the figure of the fortuneteller by reversing
it.</p>
<p>A group of players is invited to explore each card and reimagine its
meaning as a collective. We are keen to see how similar or completely
different experiences can be shared and new insights learned through
each round of exercise. This game serves as a tool that gives the
possibility to write together, meet, connect, talk about unspeakable
things, share, interpret or even get into conflict. Each card is a
starting point, an interface for an opening, a promising healing, a
collective moment.</p>
<p>Fiction Friction is a tool for (hyper)textual conversations on (via)
abstract/symbolic/surrealistic collage cards. We based our collaging on
political events that we have experienced or have been part of our
memories, mythological figures from our cultures, collective memory
moments, literature that has inspired us, musical references,
individuals etc. The main components of the game are: a deck of
illustrated cards, a dice with different methods of interpretation, an
empty deck to host the new potential stories, along with a deck of
questions created by the players.</p>
<h2 id="how-to-play">How to play:</h2>
<ul>
<li><p>One player picks a card from the illustrated card deck and
another player takes a question card. They reveal the cards in the
middle. The card is the starting point of a collective story.</p></li>
<li><p>Everyone takes an empty card.</p></li>
<li><p>In turns, players write their own interpretation of the card,
having in mind the revealed question card that works as a navigator for
the story. There is the possibility to use the dice in the process to
specify the method that a player should use to “write”.</p></li>
<li><p>At the end of the round, a small story will be created out of the
interpretations of each player.</p></li>
<li><p>The player who picked the illustrated card, reads or shows the
story to the other players as a part of the game ritual.</p></li>
</ul>
<div class="centered-image">
<figure>
<img src="fiction-friction.jpg"
alt="Example of the storytelling cards" />
<figcaption aria-hidden="true">Example of the storytelling
cards</figcaption>
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<div id="content"><h1 id="fruitual">Fruitual</h1>
<h2 id="text-adventure-game-about-fruits-and-rituals">text adventure
game about fruits and rituals</h2>
<p>Creating a text adventure game is no easy feat. It takes a lot of
time, creativity, trial and error. The key to creating an interesting
game is putting yourself in the players shoes and making sure there are
plenty of fun twists and turns along the way.</p>
<p>I decided to keep my game simple and tell a linear story. I used a
web engine called Twine (twinery.org, an open-source tool for telling
interactive, nonlinear stories) to help generate the games storyline,
and I adapted the script from a Bulgarian fairytale (“The Most Precious
Fruit”). But things didnt always go smoothly. When the python script
started generating the wrong messages for players who strayed from the
script, I tried to find solutions on StackOverflow, but it was all too
complicated for me.</p>
<p>In the end, the game took me around 6-7 hours to make, including
writing, coding, mapping, editing, and lots of trial-and-error. It was a
great learning experience, but it also taught me that game development
can be tough if you dont have much coding experience. I had to approach
it more from a writers perspective and figure out the coding later.</p>
<p>I learned that game development is an iterative process, and
sometimes your initial ideas might be more complex than what you end up
with. Its all part of the journey. Before starting this project, I had
no idea text adventure games existed, but now Im happy to say Ive made
one in just a few weeks. Lastly, I would like to express my appreciation
for the guidance and support provided by our prototyping tutors in
developing these projects.</p>
<p>Full story “The Most Precious Fruit” available at:
https://fairytalez.com/the-most-precious-fruit/</p>
<figure>
<img src="twine-map.png" alt="Twine" />
<figcaption aria-hidden="true">Twine</figcaption>
</figure>
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<figure>
<img src="twine-map.png" class="white-caption" alt="" />
<figcaption aria-hidden="true"></figcaption>
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<div id="content"><h1 id="some-gossip-on-gossip-and-what-coffee-has-to-do-with-it.">Some
Gossip on gossip and what coffee has to do with it.</h1>
<div class="centered-image">
<figure>
<img src="image1.jpg"
alt="Tittle Tattle; or The Several Branches of Gossipping, British Museum Collection" />
<figcaption aria-hidden="true">Tittle Tattle; or The Several Branches of
Gossipping, British Museum Collection</figcaption>
</figure>
</div>
<p>In the 12th century, “Godsipp” (God and sib (akin), godmother or
godfather) was a word used for both men and women in fables and society.
The church also recognized this word. It was used to name companions
present at childbirth, e.g. the midwife. Sometimes, it was used to
mention close friends. It represented the strong ties between women,
which surpassed their relationship with their husbands. Was it witchery
that strong and independent women preferred their gossip over their
husbands? Well, that is something that hasnt changed since the middle
ages. </p>
<figure>
<img src="image2.jpg"
alt="Tittle Tattle; or The Several Branches of Gossipping, British Museum Collection" />
<figcaption aria-hidden="true">Tittle Tattle; or The Several Branches of
Gossipping, British Museum Collection</figcaption>
</figure>
<p>“Godsipp” began its journey with nothing but good and emotionally
strong connotations. Women bloomed and blossomed among each other and
were autonomous in their existence. Men were never a part of this party
women were throwing. By the 16th century, as things began to change, the
traditional meaning lingered on. In 1602, the word was still used to
signify female friendships. This can be seen in Samuel Rowlandss
<em>Tis Merrie When Gossips Meete</em>, a satirical piece describing
three London women spending hours in a tavern talking about men and
marriages. It implied that women could create their social networks and
their own social space and stand up to male authority (Federici,
2019).</p>
<p>Solidarity and friendship amongst women were demeaned and
female-exclusive parties were banned; women who met in public were
identified as “witches” and womens first duty was now to be obedient
and quiet. The talk about husbands at taverns was too hurtful for the
sensitive male ego. The public, the church and the law punished women
who engaged in “idle talk”. Centuries past, the sensitive male ego
remains and continues to attack women from many angles which now include
cyberbullying, mobbing at the workspace and other violent
iterations. </p>
<p>Wives who were seen as “scolds” and “witches” were forced under
sadistic torture with a “scold bridle”. Looking back, I cant help but
see these sadistic, desperate acts as a meek scream of how men couldnt
get even close to satisfying women physically or mentally. If they spent
some time working on female anatomy rather than these horrifying torture
methods, we would be living in a different world today… </p>
<p>Here is an excerpt from a song which portrays women in a tavern.
These words on ale and wine are an ancient remedy for us to consider
today when we are out drinking with our “gossips”:</p>
<p>“In a 1630s song, Fowre wittie gossips disposed to be merry, a group
of married women in a tavern debate the merits of ale and wine in
relation to cost and value. They conclude, If our opinions do not
faile: / a quart twelve cups [of wine] containeth, / Its cheaper then a
dozen of ale, / where froth and snuffes remaineth. (Snuffes was the
backwash left when, as was common, multiple people drank from a single
vessel.) The wives also point out that the after-effects of drinking
sack (a Spanish white wine) are much less injurious than those of
drinking too much ale. In consequence, they will not suffer hangovers
from drinking all night, as all their husbands are” (McShane,
2016). </p>
<p>It was in this context that “gossip” turned from a word of friendship
and affection into a word of denigration and ridicule (Federici,
2019).</p>
<h3 id="so-what-does-coffee-have-to-do-with-it">So what does coffee have
to do with it</h3>
<p>Fortune telling over coffee stretches back to the 16th century, when
the beans made it to the Middle East and the Ottoman Empire. In the
Ottoman Empire, concubines in the Harem were banned from talking and
“gossiping”. They had a great influence on sultans (although not
officially recognized by men themselves), and therefore affected the
political decisions and affairs of the Empire. Out of solidarity, women
began to perform fortune-telling over the remains of coffee inside and
outside coffee cups. This way, they could talk about their fears and
inner</p>
<div class="centered-image">
<figure>
<img src="image3.jpg" alt="kahvegibikahve.com/blog" />
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
</figure>
</div>
<p>worlds freely. I cant help but see the similarity with the
oppression women went through in relation to “gossip”. The striking
difference is that fortune telling over coffee didnt change its
connotation with time. Today, it is also an act of solidarity or a
chance to “gossip”, one might say. </p>
<p>“In this painting, an Ottoman woman drinking coffee and her maid
serving her is depicted. It is known that the painting is from the first
half of the 18th century. The work of Jean-Baptiste Vanmour, Turkish
Girl Drinking Coffee on the Sedir was based on this Ottoman woman, who
is the main figure of the painting. The maid, who is positioned on the
right side of the painting and serves on her knees, is noticed as the
other interesting side of the painting. The large and ostentatious
headdress on the head of the Ottoman woman stands out as another element
that focuses attention on the work. It is also known that the headdress
in question was inspired by the picture of a serpentine woman in the
book of the Dutch painter Cornelis de Bruyn, who visited Turkey in the
17th century.”</p>
<p>Whether with gossip or chatting over coffee, women have always found
a way to express themselves regardless of oppression. These rituals were
performed by women as an act of sisterhood and out of respect for both
their inner worlds and each other. It is undeniable that gossip still
brings people together and that centuries of oppression failed to change
that. Through the centuries, as the word began to be weaponized against
women and became a tool to turn against each other, I cant help but
wonder how unfair pop culture has been to women. In any magazine or TV
series, anyone can spot a gossip scene</p>
<div class="full-image">
<figure>
<img src="image4.jpg" class="white-caption"
alt="kahvegibikahve.com/blog" />
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
</figure>
</div>
<p>with negative consequences or aim. A woman is sassy, “bitchy” or evil
when she gossips, but why do we still let our acts be defined by the
misogynistic portrayal of men?</p>
<p>Nowadays, the notions of gossip or fortune telling may be used as
something you wouldnt want to be a part of because it could harm
someone. Lets oppose the negative connotation assigned by men to these
words and use them as a joyful gathering. Reclaiming gossip and fortune
telling as an intimate support system, a strong web, is the least we can
do to honour the women who met at taverns and shared a part of their
souls with each other.</p>
<p><br class="page-break"></p>
<h3
id="how-to-make-the-perfect-turkish-coffee-and-some-guides-for-fortune-telling">How
to make the perfect Turkish coffee and some guides for
fortune-telling:</h3>
<ol type="1">
<li>Put two teaspoons of coffee in “cezve”, the traditional pot. </li>
<li>Add one cup of cold water to the pot. Mix once with the spoon. The
ratio is one cup, and two teaspoons of coffee. </li>
<li>Begin cooking at a low temperature until the top coat
gets darker. </li>
<li>Cook at a high temperature until the point where the coffee begins
rising. </li>
<li>Take the pot off the oven right before it overflows. </li>
<li>Take the foamy part with a teaspoon and put it in the cup before
pouring the rest. This will protect the foam. The foam is important for
quality check.</li>
</ol>
<p>😊</p>
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<div id="content"><p>The history of Tarot Cards According to History</p>
<div id="content"><h1 id="a-hypothesized-and-randomly-factual-history-of-tarot-cards">A
hypothesized and randomly factual History of Tarot Cards</h1>
<p>What follows is the story of a deck of cards and all the more-or-less
believable claims made about its origin. This brief history was compiled
following sources that attempted accurate historic recalling instead
of the most commonly shared semiotic, occultist story.
However, <br>despite all efforts, the found sources told a convoluted
tale due to the misinterpretation of age, sources and authorship common
to any ancient texts on magic and mysticism (Dummett, 1993). As such,
the following text will recall the disproven stories that were told
about the origin of Tarot, some factual sourced material and a modern
description of its usage.</p>
<p>When we talk about Tarot cards, we are talking about a deck of
playing cards composed of ten numeral cards and four court cards (Jack,
Knight, Queen and King) for each of the four suits (Swords, Batons, Cups
and Coins). Alongside these more common cards, Tarot includes 22 trump
cards with allegorical illustrations. The trumps form a sequence,
usually numbered from 1 to 21, with the single card of The Fool being
separated (Decker, Depaulis &amp; Dummett, 1996). </p>
<p>This specific deck of cards history begins at the bottom of a well
in 1440s Northern Italy, where we place its first appearance in
history. From there on we can easily find links to the common usage of
these cards in Northern Italy; from Milano to Bologna and Ferrara
(Steele, 1900). These cards, initially called <em>Trionfi</em> and then
<em>Tarocchi</em>, are thought to have been intended for card games,
regardless of their occasional usage in future-telling (Dummet,
1993). This finding helps us trace a factual beginning of Tarot but
leaves an open question as to how these cards gained their place as the
primary tool used in modern occultism and mysticism for cartomancy. </p>
<figure>
<img src="Visconti-Sforza-Tarot.jpg"
alt="Image of the First Tarot Deck" />
<figcaption aria-hidden="true">Image of the First Tarot
Deck</figcaption>
</figure>
<p>While this is where the story begins to get intricate, it is clear
that the first wide spread future-telling performance appeared in France
in the 18th century. At this point, the history of Tarot was to be
influenced by what each fortune teller imagined the history of the cards
to be. To fully reveal this, I will first attempt to map the most
notable occultists that used the cards and wrote historical notations
about their deviance, and the stories they told about them.</p>
<p>The first encounter we have between Tarot, magical theory and
practice happens in the <em>Monde primitif,</em> an incredibly long
essay about Tarot cards written in 1781 by Antoine Court de Gébelin.
With this text, the pastor began what would be the endless repository of
arcane esoteric wisdom within Tarot that would follow the cards for
generations (Chisholm, 1911). In this text, Gébelin attributed the
cards origin to ancient Egypt, a theory that is to this day accepted as
truthful. This belief was based on an erroneous link to <em>The Book of
Thoth,</em> 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 <em>The Book of Thoth</em> (Decker,
1993).</p>
<p>The next fundamental spin that was applied to the cards background
was done by Éliphas Levi, another French esoterist. Levi repudiated
Etteillas theory and integrated a version of the cards that were closer
to the original than his own Cabalistic magical system. While Levis
understanding of the cards travel from Egypt to Judea and into Jewish
tradition was historically mistaken, it nonetheless revolutionized Tarot
in ways that survive to this day. His Cabalistic theory about signs
being letters, letters being absolute ideas and absolute ideas being
numbers can still be seen in modern iterations of Tarot.</p>
<p>At this point, Tarots journey speeds up as the cards leave France
and become absorbed into new esoteric movements like Swedenborgianism,
Mesmerism and Spiritualism (Decker, Depaulis &amp; Dummet, 1996).</p>
<p>Before we make another jump through time towards the next relevant
development of Tarot, I will share the last of the three false
widespread theories about the origin of Tarot (the first two being
ancient Egypt and Judaism, despite the latters influence on modern
Tarot).</p>
<p>This last theory is harder to trace back to one esoteric influence,
and it claims a Chinese origin to the cards. This is most likely due to
the similarity between Tarot and the <em>I</em> <em>Ching</em>, a
divination manual from around 1000 BC. This manual was grounded in
cleromancy, i.e. the production of random numbers with the purpose of
predicting divine intention. However, there is no traceable connection
between Chinese cleromancy and Tarot divination. Modern analyses of
Chinese Tarot divination draw a direct correlation between Western
occultism and Tarot divination, leaving little room to imagine any
direct causation starting from China (Fu, Li, Lee, 2002).</p>
<p>The next big step will bring us to Britain in the late 19th century,
to the Hermetic Order of the Golden Dawn. The Golden Dawn was a secret
society devoted to occult Hermetic Kabbalah and one of the largest
single influences on Western occultism as a whole (Jenkins, 2000). While
the society itself had a wide curriculum including astrology, alchemy
and geomancy (soil divination), our concern at this moment are their
links to</p>
<div class="centered-image">
<figure>
<img src="etteilla.jpg" alt="Image from Etteillas Deck" />
<figcaption aria-hidden="true">Image from Etteillas Deck</figcaption>
</figure>
</div>
<p>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 Dawns 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 Levis descriptions.
This deck has since become the paradigm and touchstone through which
modern occultists think of Tarot. Between the distribution of this deck
and the use of the cards in the Golden Dawn, it became axiomatic among
followers of various traditions of mysticism that Tarot is an essential
component of any occult science.</p>
<p>Today, Tarot is emblematic and incredibly wide spread as the most
common future-telling method and device. Tens and thousands of different
formats exist, often falling under the category of Oracle cards. While
these do not share the clear formatting rules of Tarot, they are still
used for divination and self-reflection purposes through the
interpretation of allegorical illustrations.</p>
<div class="centered-image">
<figure>
<img src="Rider-Waite_Pents.jpg"
alt="Image from the Raider-Waite deck" />
<figcaption aria-hidden="true">Image from the Raider-Waite
deck</figcaption>
</figure>
</div>
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<div id="content"><div id="holo-deck" class="has-images">
<h1 id="holographic-oracle-deck">Holographic Oracle Deck</h1>
<div id="content"><h1 id="holographic-oracle-deck">Holographic Oracle Deck</h1>
<h2
id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-magical-mystical-nature-of-crystals-as-energy-storing-matter">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
&amp; Energy is a holographic oracle deck exploring a range of energy
sources through the magical (mystical) nature of crystals as
energy-storing matter</h2>
<p>Crystals &amp; 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.</p>
<p>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.</h2>
<p>Lídia and Artemis, Special Issue 20 guest editors, asked us to modify
an oracle deck of our choice. We — Cara and Boyana — prototyped a
holographic oracle deck where a type of crystal is coupled with a type
of energy resource in a single card in an attempt to talk about the
global energy crisis we are facing today. It (the deck) provides an
educational experience through the use of a DIY prism and complimentary
audiovisual materials, together serving as an immersive learning
environment.</p>
<p>After a quick research, we decided to couple Aquamarine and Liquified
Natural Gas (LNG) which we thought would fit nicely as a first example
of such a card.</p>
<p>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.</p>
<figure>
<img src="Earth-holo.jpg" alt="Earth" />
<figcaption aria-hidden="true">Earth</figcaption>
</figure>
<p>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.</p>
<p><strong>Why Aquamarine?</strong> It looks like water that has been
crystallised; stored energy; compression; solidified; put under
pressure, or exposed to a specific temperature so that it changes its
state (from liquid to solid).</p>
<p><strong>Why LNG?</strong> It is natural gas that has been liquified;
compressed; liquified; put under pressure, or exposed to a specific
temperature so it changes its state (from gas to liquid); stores energy
that can be channelled later.</p>
<p>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.</p>
<p>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.</p>
<p>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 peoples perceptions of these
topics.</p>
<p><img src="Aquamarine-Poem.jpg" alt="Aquamarine Poem" /> <img
src="Diamond-holo.jpg" alt="Diamond" /> <img src="Earth-holo.jpg"
alt="Earth" /> <img src="Jellyfish-holo.jpg" alt="Jellyfish" /> <img
src="LNG-and-Aquamarine.jpg" alt="LNG and Aquamarine" /> <img
src="UFO-holo.jpg" alt="UFO" /></p>
<figure>
<img src="LNG-and-Aquamarine.jpg" alt="LNG and Aquamarine" />
<figcaption aria-hidden="true">LNG and Aquamarine</figcaption>
</figure>
<p>Next, we wrote a short poem weaving these two elements into an
everyday narrative. Later, this poem served as a script to create a
voice narration (a one minute long audio piece) that went into the video
creation process. Although the final text deviates slightly from our
initial</p>
<div class="full-image">
<figure>
<img src="Aquamarine-Poem.jpg" class="white-caption"
alt="Aquamarine Poem" />
<figcaption aria-hidden="true">Aquamarine Poem</figcaption>
</figure>
</div>
<p>idea, we felt the change was appropriate, as it was inspired by a
conversation we had with our tutor, Steve, earlier that day. He talked
about his childhood memories of collecting rocks in notebooks, perhaps
similar to what geologists do when documenting their discoveries. He
also mentioned a few things about caverns and a mine (which later turned
into a museum) located near the city in which he used to live.</p>
<p>To visualise the card, we used a hologram video-maker app. The
process was fun and easy. All we had to do was simply find a
high-resolution image of the Aquamarine crystal on a black surface and
upload it into the app. Lastly, we made a model of a pyramid prism so
that we could demonstrate the prototype fully. To get the full
holographic effect, we had to put it on top of a phone screen and play
the video, which we uploaded on YouTube and embedded as a link onto our
Special Issues website.</p>
<p>We saw in this prototype a potential to provide new knowledge, to
create an engaging learning experience around energy sources, and also
to provide a bit of wonder and immersion into a discourse that can often
feel dense. By combining these different elements, we were hoping to
create an unusual experience that can help people better understand and
appreciate the importance of energy sources and sustainability. It will
be interesting to see how our prototype evolves and impacts peoples
perceptions of these topics.</p>
<div class="small-images">
<figure>
<img src="Diamond-holo.jpg" alt="Diamond" />
<figcaption aria-hidden="true">Diamond</figcaption>
</figure>
<figure>
<img src="UFO-holo.jpg" alt="UFO" />
<figcaption aria-hidden="true">UFO</figcaption>
</figure>
<figure>
<img src="Jellyfish-holo.jpg" alt="Jellyfish" />
<figcaption aria-hidden="true">Jellyfish</figcaption>
</figure>
</div>
</div>
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<h1>CONSOLE</h1>
@ -40,30 +42,7 @@ Are you ready to play? </p>
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<p>XPUB is the Master of Arts in Fine Art and Design: Experimental Publishing of the Piet Zwart Institute. XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks.</p> ------>
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<div id="content"><h1 id="introduction">Introduction</h1>
<p>This Special Issue has been an attempt to understand games and
rituals. Instead of an introduction, we will try to unravel this
mysterious journey as well as keep questioning and collaging.</p>
<p>We mapped the common characteristics and the differences between
games and rituals in relation to ideology and counter-hegemony. We
practiced, performed and annotated rituals, connected (or not) with our
cultural backgrounds while we questioned the magic circle. We dived into
the worlds of text adventure games and clicking games while drinking
coffee. We talked about class, base, superstructure, (counter)hegemony,
ideology and materialism. We discussed how games and rituals can
function as reproductive technologies of the culture industries. We
annotated games, focusing on the role of ideology and social
reproduction. We reinterpreted bits of the world and created stories
from it (modding, fiction, narrative) focusing on community,
interaction, relationships, grief and healing.</p>
<p>The eventual outcome of this process is a console, a magical object,
a wooden container, a promise of healing. How can the unpacking of
games, rituals, ideology and superstructure in relation to witch hunting
become the midwife of a healing box? How can practices of healing and
care work as counter-hegemonic acts which cure and liberate our souls
and bodies from patriarchal and capitalistic fetters?</p>
<p>We didnt manage to provide you with comprehensive answers or
conclusive statements. The truth is that this wasnt our plan. Our
intention was to create openings for debate or even conflict, to map a
territory, to invite those who would like to join us.</p>
<blockquote>
<p><em>“What if you are playing tetris and the tetris gods give you
something apart from the usual seven tetrominoes, like an unexpected
pregnancy or the end of capitalism?” (Stephen).</em></p>
</blockquote>
<p>Starting with rituals, we claim that they can be understood as
instruments in the struggle for the exercise of power. Organized by
<em>repetition</em>, they (re)connect the individual to the collective,
creating a vision towards a given perception of society. Participation
in this creative act is determined by several factors: a rituals
function, its relationship to hegemonic power, a collectives politics
and objectives, etc.</p>
<blockquote>
<p><em>“Ritual is a means of performing the way things ought to be in
conscious tension to the way things are in such a way that this
ritualized perfection is recollected in the ordinary, uncontrolled,
course of things. Ritual relies for its power on the fact that it is
concerned with quite ordinary activities, that what it describes and
displays is, in principle, possible for every occurrence of these acts.
But it relies, as well, for its power on the fact that, in actuality,
such possibilities cannot be realized” (Smith, 1980).</em></p>
</blockquote>
<blockquote>
<p><em>“Ideology talks of actions: I shall talk of actions inserted into
practices. And I shall point out that these practices are governed by
rituals in which these practices are inscribed, within the material
existence of an ideological apparatus(…)Ideas have disappeared as such
to the precise extend that it has emerged that their existence is
inscribed in the actions of practices governed by rituals defined in the
last instance by an ideological apparatus” (Althusser, 1970).</em></p>
</blockquote>
<p>Similarly, videogames create worlds. Often, those worlds mirror our
own, reproducing certain ideals and values as norms through their
narrative, game play, design. This trimester we explored world-building
characteristics found both in rituals and videogames. We critically
considered those worlds, identifying the key points and elements through
which specific videogames and rituals circulate political, cultural and
social values. While this world-building might be interpreted from an
angle of implicit and explicit bias rooted in hegemonic values, we
investigated the generative, creative possibilities of such
characteristics.</p>
<blockquote>
<p><em>“The main task of mass culture is to create, reproduce, and
manage particular kinds of subjects — workers, consumers, individuals,
citizens — required for current conditions. To perpetuate their own
existence, mass media must succeed at representing the violent coercion
of capitalist systems as natural laws: Of course you have to pay rent to
live inside; of course you have to buy food to eat; of course you have
to work if you want to survive. The production of a fungible, disposable
and migratory working class requires the alienation and atomization of
communities into individuals, which involves destroying the village,
kinship structures, indigeneity, and many other previous forms of
meaning-producing structures, leaving a gap which ideology must fill.
While the fundamental structures of domination — racism, patriarchy,
heterosexuality, etc. — form the bedrock of this ideological apparatus,
the complexity of the always expanding and changing capitalist system
requires an equally flexible set of subsidiary tools capable of rapidly
adjusting ideology en masse. In general, media emerge not to meet the
demands or desires of individual users but to accommodate what the
predominant mode of production requires” (Osterweil, 2018).</em></p>
</blockquote>
<p>Our intention was to look into rituals and their overlap with video
games as a way to explore “forbidden” or otherwise lost knowledge erased
by oppressive systems (e.g. witch hunts). Understanding games and
rituals as gateways to alternative ways of relating to Nature, each
other and (re)production of life, labour, etc, we played together by
writing fan fiction and spells, developing rituals, analysing and
creating games together.</p>
<blockquote>
<p><em>Sims as social reproduction: some values are certainly given by
the game (make money to buy nicer things, progress in your career by
doing tasks that improve your skill, charisma is a skill but not
kindness) , but also ideology is put into the game by the player. The
player chooses what to reproduce and often share in the “gallery” or on
social media. Community being so important in this game then means that
the crux of the social reproduction is happening when the choices you
have made in the game are broadcasted. Did you create a heteronormative
white thin nuclear family that made a lot of money? Or did you choose to
play differently?” (Ada).</em></p>
</blockquote>
<blockquote>
<p><em>“The Communist Party of Second Life (CPSL) aims to be a Marxist,
internationalist and revolutionary organization for all communists in
Second Life. The CPSL aims to spread understanding of Marxism among SL
citizens, to organise support in SL for the class struggle in RL,
including all struggles of the working class against imperialism and the
bourgeoisie, its state and wars” (keksakallu.klata).</em></p>
</blockquote>
<blockquote>
<p><em>“The act of the modders appropriation of the pre-existing game
is also similar to Michel de Certeaus cultural poaching. De Certeaus
everyday bricolors make do with remixing the privatized spaces and
products of consumer society that they find themselves inhabiting and
using. Rather than being passive consumers, ordinary people invent
varied subversive tactics for stealing back the given of everyday life.
De Certeau writes, Everyday life invents itself by poaching in
countless ways on the property of others” (Schleiner, 2017).</em></p>
</blockquote>
<p>Meanwhile, we explored the figure of the witch as a magical
practitioner, as a resisting body, a border figure. <em>“Federici
presents the witch”as the embodiment of a world of female subjects that
capitalism had to destroy: the heretic, the healer, the disobedient
wife, the woman who dared to live alone, the obeha woman who poisoned
the masters food and inspired the slaves to revolt.” Behind the witch
hunt, she uncovers a joint effort by the Church and the state to
establish mechanisms of gendered control of bodies that immanently
resisted newly instituted regimes of productive and reproductive work”
(Timofeeva, 2019).</em></p>
<blockquote>
<p><em>“Sorcerers have always held the anomalous position, at the edge
of the fields or woods. They haunt the fringes. They are at the
borderline of the village, or between villages. But sorcerers not only
exist at the border: as anomalous beings, they are the border itself. In
other words, the borderline passes through their bodies” (Deleuze,
Guattari, 1980).</em></p>
</blockquote>
<p>How does the understanding of the hunting of the witches that
happened a few centuries ago in relation to the figure of the witch as a
marginal, rebellious entity shed light on contemporary witch-hunting?
How does this knowledge provide us with tools of empowerment,
emancipation and resistance, and make us reimagine counter-hegemonic
practices of collective care and healing?</p>
<figure>
<img src="wall.jpg" alt="Never stop questioning, never stop mapping." />
<figcaption aria-hidden="true">Never stop questioning, never stop
mapping.</figcaption>
</figure>
<h6 id="documentation">DOCUMENTATION</h6>
</div>
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<div id="licence">
<p>Copyright © 2023 XPUB</p>
<p>Everyone is permitted to copy and distribute verbatim copies of this
license document, but changing it is not allowed.</p>
<h4 id="preamble">Preamble</h4>
<p>The SIXX license is a free, copyleft license for rituals, games,
books and consolations in any medium, both software and hardware.</p>
<p>For the purposes of this paper, licensing is understood as a
responsibility towards an audience, towards each other and towards other
people who might want to contribute to, use or amplify any work.</p>
<p>The precise terms and conditions for copying, distribution and
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<h4 id="terms-and-conditions">TERMS AND CONDITIONS</h4>
<p><em>1. Basic Permissions.</em></p>
<p>All rights under this License are granted for the term of copyright
and are irrevocable provided the stated conditions are met.</p>
<p>This License explicitly affirms your unlimited permission to use any
software, publication, or any ritual or game-related medium. Any output
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<p>This License acknowledges your rights of fair use or other
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<p><em>2. Terms for Attribution.</em></p>
<p>You may convey a work based on anything under the License, or the
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<p>The following conditions must therefore be additionally met:</p>
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<div id="content"><div id="tetris" class="has-images">
<h1 id="long-time">Long Time</h1>
<div id="content"><h1 id="long-time">Long Time</h1>
<h2 id="six-sigma-fortune-telling">Six Sigma Fortune Telling</h2>
<p>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.</p>
<p>The future cannot be predicted with certainty, but our current
understanding in various scientific fields means we can predict some
far-future events, if only in the broadest outline. These fields include
astrophysics, particle physics, evolutionary biology, plate tectonics
and sociology. The far future begins after the end of the current
millennium, in 3001 CE, the start of the 4th millennium, and continues
until the furthest reaches of future time. This timeline includes
alternative future events that address unresolved scientific questions,
and is, in fact, not six sigma accurate at all.</p>
<p>This timeline (based on Wikipedias <a
href="https://en.wikipedia.org/wiki/Timeline_of_the_far_future">Timeline
of the Far Future</a>) claims to make accurate predictions far into the
@ -33,17 +32,21 @@ future. Is there any way to disprove the scientists method in their own
mind?</p>
<p>This web-based game attempts to highlight the uselessness of this
approach. Sometimes a human can have no effect on the extreme truth that
science offers, or to put it more usefully, sometimes science has
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 ones place,
and we cannot understand our own death through the death of others
(Heidegger, Being and Time, 1962). Just like the scientist, the
philosopher doesnt have much to offer solace here. So where do we go to
talk about death?</p>
(Heidegger, 1962). Just like the scientist, the philosopher doesnt have
much to offer solace here. So where do we go to talk about death?</p>
<figure>
<img src="long-time-1.jpg" alt="The future" />
<figcaption aria-hidden="true">The future</figcaption>
<img src="long-time-2.png" alt="Screenshot from the game" />
<figcaption aria-hidden="true">Screenshot from the game</figcaption>
</figure>
<div class="centered-image">
<figure>
<img src="long-time-3.png" alt="The future isnt coming" />
<figcaption aria-hidden="true">The future isnt coming</figcaption>
</figure>
</div>
</div>

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<body>
<div id="content"><div id="fortnite" class="has-images">
<h1
<div id="content"><h1
id="sometimes-the-world-as-it-is-and-the-world-as-it-could-be-are-devastatingly-close-to-each-other.">Sometimes
the world as it is and the world as it could be are devastatingly close
to each other.</h1>
the world as it is and the world as it could be are devastatingly close
to each other.</h1>
<div class="full-image">
<figure>
<img src="fortnite-full1.jpg" class="white-caption"
alt="Screenshot of Fortnite gameplay" />
<figcaption aria-hidden="true">Screenshot of Fortnite
gameplay</figcaption>
</figure>
</div>
<p>Is there any point in imagining something that is so similar to the
nightmare we already live in? The future is a dream but its just that
dream where you remember putting your keys somewhere but where, and
youre 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, whats even here for us? If you dont get them, theyll get you
first. Then you wake up and you still cant find the fucking keys. But
dream where you remember putting your keys somewhere, but where? Youre
wandering around looking for them for what feels like hours. Whether it
was real or not isnt important, you were still there. Why do we stay
here? Whats even here for us? If you dont get them first, theyll get
you. Then you wake up and you still cant find the fucking keys. But
sometimes its sunny and youre standing there and theres something
cinematic about the whole thing, is it worth it just to be there for
that maybe. Theres really no difference between a dream about falling
and a dream about flying.</p>
</div>
<div id="fortnite" class="hide-on-web">
<p>You search the entire planet, all seven planets, drinking every last
drop, and still no fucking keys. Youre 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 dont 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 dont 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. Theyre really nice actually. And then a
player ran up beside us, saw that we werent trying to hurt them, and
left. Maybe they were helped, or changed somehow.</p>
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 dont
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 dont 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. Theyre really nice actually. And then a player ran up beside
us, saw that we werent trying to hurt them, and left. Maybe they were
helped, or changed somehow.</p>
<p>The only reason Im still here is because youre still here.</p>
<p>🚶</p>
<p><img src="fortnite-10.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-9.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-8.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-7.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-6.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-3.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-2.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-1.jpg" alt="screenshot from Fortnite" /> <img
src="fortnite-0.jpg" alt="screenshot from Fortnite" /></p>
<div class="full-image">
<figure>
<img src="fortnite-full3.jpg" class="white-caption"
alt="Screenshot of Fortnite gameplay" />
<figcaption aria-hidden="true">Screenshot of Fortnite
gameplay</figcaption>
</figure>
</div>
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<div id="content"><div id="papa-louie" class="has-images">
<h1 id="papa-louies-ghosteria">Papa Louies Ghosteria</h1>
<div id="content"><h1 id="papa-louies-ghosteria">Papa Louies Ghosteria</h1>
<h2
id="papa-louies-ghosteria-is-a-comic-like-fan-fiction-written-by-ada-irmak-and-boyana.">Papa
Louies Ghosteria is a comic-like fan fiction written by Ada, Irmak and
Boyana.</h2>
<p>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 Players 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?</p>
<p>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
Louies Ghosteria is a comic-like fan fiction written by us</h2>
<p>Following a discussion about the texts <em>Notes on Deconstructing
The Popular</em> by Stuart Hall and Game Modding: Cross-Over Mutation
and Unwelcome Gifts from <em>The Players Power to Change the Game</em>
by Anne-Marie Schleiner, we started dissecting the ideology behind the
games we have played as children. To do that, we utilised several
prompts to help us examine the ideology that two popular video games
enforce through their narrative and gameplay.</p>
<p>The list of questions we needed to answer while playing the game
includes:</p>
<p>What are the win conditions?</p>
<p>If the game is quest based, what types of quests are you asked to
complete?</p>
<p>What is the gameplay?</p>
<p>What is the narrative?</p>
<p>How much space is there for alternative ways of playing this
game?</p>
<p>What is missing?</p>
<p>What type of relationships are you allowed to form?</p>
<p>What is the role of non-player characters?</p>
<p>What are the requirements for surviving the game?</p>
<p>Which behaviours are rewarded?</p>
<p>What real-world values are reproduced in the game you are
playing?</p>
<p>How are you situated in the hierarchy of the game?</p>
<p>What change in status is promised?</p>
<p>What are you being trained for?</p>
<p>What fantasies are lived out or explored?</p>
<p>Our team — Irmak, Ada and Boyana — worked on the famous Papa Louie:
When Pizzas Attack. Soon after we started investigating the game, its
elements and modifications, we discovered that other 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.</p>
have created about Papa and his businesses. Yes, plural. Papas
Freezeria. Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco
Mia. Taco Mia To Go. You name it.</p>
<p>After spending some time analysing the ideology behind the game, we
discovered a few elements that reinforce 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 SI20s topic we felt
like adding somehow ritualistic elements as actions during the
gameplay.</p>
<p>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.</p>
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 SIXXs topic we
added ritualistic elements as actions during the gameplay.</p>
<p>What was changed was the topic, purpose and outcome of the game. Papa
no longer fought to save his customers, but he dealt with his loss and
grief over what happened. Our version promoted rest and rituals for
healing instead of revenge-seeking, violence and toxic pizzeria
culture.</p>
<p>We started by putting some keywords and suggestions on a blackboard
about “How To Cope With Grief” and “How to Use Rituals and Ceremonies to
Overcome Grief” to define what Papa Louie lost and what rituals could
help him heal.</p>
<p>We also liked the idea of making a comic-like storyboard that
visualises the new narrative for Papa Louies 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.</p>
<p>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)</p>
<p>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.</p>
<p>And so our story goes like this: The Onion ring mafia kidnapped Papà
Louies 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.</p>
<figure>
<img src="papa-louie-story" alt="The Storyboard" />
<img src="papa-louie-story.jpg" alt="The Storyboard" />
<figcaption aria-hidden="true">The Storyboard</figcaption>
</figure>
<p>We then made a comic-like storyboard that visualised the new
narrative for Papa Louies 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.</p>
<p>The gameplay revolves around things Papa lost and the needs he needs
to fulfil. Different types of losses are organised into the five levels
of the game:</p>
<ol type="1">
<li>loss of safety (innocence, physical safety)</li>
<li>loss of community (clients, belonging)</li>
<li>loss of future (hope, dreams)</li>
<li>loss of identity (dignity, making things himself)</li>
<li>loss of labour (money, time, effort, pizza)</li>
</ol>
<p>To cope with grief Papa Louie performed various rituals, each
unlocking a new stage in his grieving process and healing from that
loss. Rituals thus are the actions players needed to execute at each
level.</p>
<p>And so our story went like this: <em>The Onion Ring Mafia kidnapped
Papa Louies clients, and he lost his Pizzeria. However, along with this
external change, he lost his identity as a pizza owner/maker. He was
full of grief and sought ways to cope with grief and ease himself. He
tried different rituals throughout this process, built his new identity
and overcame his troubles.</em></p>
<div class="comic-image-main">
<figure>
<img src="papa-louie-final.jpg" alt="The Comic" />
<figcaption aria-hidden="true">The Comic</figcaption>
</figure>
</div>
<div class="small-images">
<figure>
<img src="Papa-new-identity.jpg" alt="Papas new identity" />
<figcaption aria-hidden="true">Papas new identity</figcaption>
</figure>
<figure>
<img src="Papa-on-therapy.jpg" alt="Papa in therapy" />
<figcaption aria-hidden="true">Papa in therapy</figcaption>
</figure>
<figure>
<img src="Papa-tomato-pet.jpg" alt="Papas pet tomato" />
<figcaption aria-hidden="true">Papas pet tomato</figcaption>
</figure>
<figure>
<img src="New-Papa-friends.jpg" alt="Papas new friends" />
<figcaption aria-hidden="true">Papas new friends</figcaption>
</figure>
</div>
<h2 id="papa-louies-text-adventure-healing">Papa Louies Text-Adventure
Healing</h2>
<p>Following this comic production, a small text-adventure Pyhton game
was developed following the same storyline. The game was fundamentally
an explorative game in which the player could follow four levels of
healing. Playing as Papa Louie and helping him heal his shattered soul,
the player would go into each room and type “take” or “carry” to pick up
possibilities for healing. The possibilities for each room were:</p>
<pre><code>1. empty pizzeria: [closure, catharsis, anger]
2. living room: [connection, understanding, support]
3. study room: [expression, hope, new experiences]
4. bedroom: [self-discovery, self-care]
5. kitchen: [work, nourishment, purpose].</code></pre>
<p>Once one had picked up enough healing chances, the game would end and
thank you for healing Papa. The following picture shows the introductory
illustration.</p>
<div class="centered-image">
<figure>
<img src="healinggame.png" alt="" />
<figcaption aria-hidden="true"></figcaption>
</figure>
</div>
</div>
</body>

@ -1,191 +1,51 @@
<DOCTYPE html>
<html>
<head>
<title></title>
<meta charset="utf-8">
<title>peace</title>
<style>
body{
font-family:monospace;
}
</style>
<link rel="stylesheet" type="text/css" href="../style.css">
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
<pre>
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
</pre>
<div id="content"><h1 id="peace">Peace</h1>
<p><em>Peace</em> is a mindfulness game Cara created as an in-class
exercise in creating text adventures in python. The game will break at
any time by saying: “I am now at peace”, but will also break if you
simply type “peace.”</p>
<p><em>Peace</em> works less as a game per se, and more as an exercise
in reconnecting to your senses (smell, temperature, touch) by imagining
oneself in imaginary landscapes. It takes on the text-adventure format
by asking its players to respond “yes” to continue at each step.</p>
<p><br class="page-break"></p>
<p>Here is an excerpt:</p>
<pre><code>You are wearing thin cotton. Can you feel
the warm ground through the layer?
Can you feel the warmth of the sun on your face?</code></pre>
<p><em>if yes, then…</em></p>
<pre><code>The smell of lavender and warm soil is thick in the air.
The flowers are so full.
When you just touch them,
it feels like they burst with beads of lavender oil.
Their nectar is sweet.
The air is clear.
The sky is blue.
There are no clouds.
There is only sun and peace and lavender.
Would you like to explore another daydream?</code></pre>
<p><em>if yes, then… and so on</em></p>
<p>You can find the game on our website.</p>
<div class="centered-image">
<figure>
<img src="dovecara.jpg"
alt="Duif met kroon by Claude Mellan 1608-1688, courtesy of the Rijksmuseums Free Archive." />
<figcaption aria-hidden="true">Duif met kroon by Claude Mellan
1608-1688, courtesy of the Rijksmuseums Free Archive.</figcaption>
</figure>
</div>
</div>
</body>
</html>

@ -0,0 +1,67 @@
<DOCTYPE html>
<html>
<head>
<title></title>
<meta charset="utf-8">
<link rel="stylesheet" type="text/css" href="../style.css">
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
<div id="content"><h1 id="the-player-is-the-author">The Player is the Author</h1>
<p>In The Sims™ 4, some values are certainly given by the game; make
money to buy nicer things, progress in your career by doing tasks that
improve your skills, and charisma is a skill but not kindness. But also
ideology is put into the game by the player. The player chooses what to
reproduce and often shares in the “gallery” or on social media. In
contrast with what has been said by game design theorists in the past
(Aarseth, 2004), the narrative power and “richness of character” of a
game like The Sims™ 4 lies precisely in the freedom left open to the
players. “The positive potential of authorship” comes precisely from the
malleability and user control once you see that the player is the
author. Community being so important in this game then means that the
crux of social reproduction is happening when the choices you have made
in the game are broadcasted. Did you create a heteronormative white thin
nuclear family that made a lot of money? Or did you choose to play
differently?</p>
<p>The development of this community has also led to a strong culture of
modding or rewriting the games actual code to change appearance,
performance and behaviour. This brings the power of authorship even more
into the hands of the players and users.</p>
<p>In a spirit of respect and love for this community, we have published
Console as downloadable content for The Sims™ 4. Find out more on
issue.xpub.nl/20</p>
<div class="simlish">
<p><br class="page-break"></p>
<p>The player es the author</p>
<p>so the sims, 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?</p>
<p>the development of dis community has also led to a strong culture of
modding or rewriting the games actual code to change appearance,
performance aey behaviour. Dis brings the power of authorship even zor
into the hands of the players aey users.</p>
<p>so a spirit of respect aey love for dis community, we have published
console as downloadable content for the sims. Find out zor on
issue.xpub.nl/20</p>
<div class="centered-image">
<figure>
<img src="sims.png" alt="Console in Sims" />
<figcaption aria-hidden="true">Console in Sims</figcaption>
</figure>
</div>
</div>
</div>
</body>
</html>

@ -0,0 +1,69 @@
<DOCTYPE html>
<html>
<head>
<title></title>
<meta charset="utf-8">
<link rel="stylesheet" type="text/css" href="../style.css">
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
<div id="content"><p>Co-published by:</p>
<p>Experimental Publishing,<br />
Willem de Kooning Academie,<br />
Wijnhaven 61, Rotterdam</p>
<p>Page Not Found<br />
Space for publishing as artistic practice<br />
Boekhorststraat 126-128, Den Haag</p>
<h3 id="licensing-information">Licensing Information</h3>
<p>This publication is free: you can redistribute it and/or modify it
under the terms of the SIXX License as published by XPUB, either version
1 of the SIXX License or any later version.</p>
<p>See the SIXX License for more details. You should have received a
copy of the SIXX License along with this publication. If not, see
issue.xpub.nl/20/license</p>
<h3 id="xpub">XPUB</h3>
<p>XPUB is the Master of Arts in Fine Art and Design: Experimental
Publishing of the Piet Zwart Institute. XPUB focuses on the acts of
making things public and creating publics in the age of post-digital
networks. More at xpub.nl</p>
<h3 id="xx">/XX</h3>
<p>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.</p>
<h6 id="console">CONSOLE</h6>
<p><br class="page-break"></p>
<h3 id="xpub-special-issue-xx">xpub special issue xx</h3>
<p>Console is an oracle; an emotional First Aid Kit that helps you help
yourself. Console invites you to open the box and discover ways of
healing. Console provides shelter for your dreams, memories and worries.
Face the past and encounter your fortune. Console gives you a new
vantage point; a set of rituals and practices that help you cope and
care. Console asks everyday questions that give magical answers. Are you
ready to play?</p>
<p>Ada ♏︎, Aglaia ♒︎, Boyana ♊︎, Cara ♊︎, Stephen ♈︎, Suzan ♏︎</p>
<p><br class="page-break"></p>
<p><br class="page-break"></p>
<h3 id="section">❤️</h3>
<h3 id="this-publication-was-made-possible-thanks-to">this publication
was made possible thanks to:</h3>
<p>Lídia Pereira ♈︎ (ed.)<br />
Artemis Gryllaki ♐︎ (ed.)<br />
Manetta Berends ♉︎<br />
Joseph Knierzinger ♑︎<br />
Steve Rushton ♑︎<br />
Leslie Robbins ♉︎<br />
Michael Murtaugh ♏︎<br />
Sébastien Tien ♈︎<br />
Eva Örk ♍︎<br />
Ola Vasiljeva ♉︎<br />
and everyone from Page Not Found ♒︎<br />
Shana Moulton ♋︎<br />
Rihanna ♓︎<br />
The Sun is its father ☉<br />
The Moon its mother ☽︎<br />
The Wind hath carried it in its belly 🜁<br />
The Earth is its nurse 🜃</p>
<p><br class="page-break"></p>
</div>
</body>
</html>

@ -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;
margin: 10vw 0;
opacity: 80%;
z-index: 2;
box-shadow: 0px -2px 2px rgba(34,34,34,0.6);
@font-face {
font-family: 'worksans';
src: url('./00-booklet/fonts/worksans/WorkSans-Regular.woff') format('opentype');
font-weight: normal;
font-style: normal;
}
@font-face {
font-family: 'worksans';
src: url('./00-booklet/fonts/worksans/WorkSans-Bold.woff') format('opentype');
font-weight: bold;
font-style: normal;
}
@font-face {
font-family: 'worksans';
src: url('./00-booklet/fonts/worksans/WorkSans-Italic.woff') format('opentype');
font-weight: normal;
font-style: oblique;
}
@font-face {
font-family: 'worksans';
src: url('./00-booklet/fonts/worksans/WorkSans-Bold.woff') format('opentype');
font-weight: bold;
font-style: oblique;
}
body{
font-family: worksans;
text-align: center;
background-color: #000;
color: #fff;
max-width: 30rem;
margin: 2rem auto;
line-height: 1.3;
letter-spacing: 0.1px;
}
img{
max-width: 80vw;
margin: 10vw 0;
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;
line-height: var(--baseline);
}
figure{
margin: 5mm 0;
}
#foglayer_01, #foglayer_02, #foglayer_03 {
height: 100%;
.full-image, .centered-image, .centered-text{
break-before: right;
height: 186mm;
width: 133mm;
margin: -13mm 0 0 -30mm;
position: relative;
}
.full-image figure{
margin: 0;
}
.full-image figcaption{
position: absolute;
width: 200%;
}
#foglayer_01 .image01, #foglayer_01 .image02,
#foglayer_02 .image01, #foglayer_02 .image02,
#foglayer_03 .image01, #foglayer_03 .image02 {
float: left;
height: 100%;
width: 50%;
}
#foglayer_01 {
-webkit-animation: foglayer_01_opacity 10s linear infinite, foglayer_moveme 15s linear infinite;
-moz-animation: foglayer_01_opacity 10s linear infinite, foglayer_moveme 15s linear infinite;
animation: foglayer_01_opacity 10s linear infinite, foglayer_moveme 15s linear infinite;
}
#foglayer_02, #foglayer_03 {
-webkit-animation: foglayer_02_opacity 21s linear infinite, foglayer_moveme 13s linear infinite;
-moz-animation: foglayer_02_opacity 21s linear infinite, foglayer_moveme 13s linear infinite;
animation: foglayer_02_opacity 21s linear infinite, foglayer_moveme 13s linear infinite;
}
/* ---------- Moving Fog ---------- */
/*
'size: cover' || 'size: 100%'; results remain the same
'attachment: scroll' can be added or removed; results remain the same
'attachment: fixed' causing unexpected results in Chrome
'repeat-x' || 'no-repeat'; results remain the same
*/
#foglayer_01 .image01, #foglayer_01 .image02 {
background: url("https://raw.githubusercontent.com/danielstuart14/CSS_FOG_ANIMATION/master/fog1.png") center center/cover no-repeat transparent;
}
#foglayer_02 .image01, #foglayer_02 .image02,
#foglayer_03 .image01, #foglayer_03 .image02{
background: url("https://raw.githubusercontent.com/danielstuart14/CSS_FOG_ANIMATION/master/fog2.png") center center/cover no-repeat transparent;
}
/* ---------- Keyframe Layer 1 ---------- */
@-webkit-keyframes foglayer_01_opacity {
0% { opacity: .1; }
22% { opacity: .5; }
40% { opacity: .28; }
58% { opacity: .4; }
80% { opacity: .16; }
100% { opacity: .1; }
}
@-moz-keyframes foglayer_01_opacity {
0% { opacity: .1; }
22% { opacity: .5; }
40% { opacity: .28; }
58% { opacity: .4; }
80% { opacity: .16; }
100% { opacity: .1; }
}
@-o-keyframes foglayer_01_opacity {
0% { opacity: .1; }
22% { opacity: .5; }
40% { opacity: .28; }
58% { opacity: .4; }
80% { opacity: .16; }
100% { opacity: .1; }
}
@keyframes foglayer_01_opacity {
0% { opacity: .1; }
22% { opacity: .5; }
40% { opacity: .28; }
58% { opacity: .4; }
80% { opacity: .16; }
100% { opacity: .1; }
}
/* ---------- Keyframe Layer 2 ---------- */
@-webkit-keyframes foglayer_02_opacity {
0% { opacity: .5; }
25% { opacity: .2; }
50% { opacity: .1; }
80% { opacity: .3; }
100% { opacity: .5; }
}
@-moz-keyframes foglayer_02_opacity {
0% { opacity: .5; }
25% { opacity: .2; }
50% { opacity: .1; }
80% { opacity: .3; }
100% { opacity: .5; }
}
@-o-keyframes foglayer_02_opacity {
0% { opacity: .5; }
25% { opacity: .2; }
50% { opacity: .1; }
80% { opacity: .3; }
100% { opacity: .5; }
}
@keyframes foglayer_02_opacity {
0% { opacity: .5; }
25% { opacity: .2; }
50% { opacity: .1; }
80% { opacity: .3; }
100% { opacity: .5; }
}
/* ---------- Keyframe Layer 3 ---------- */
@-webkit-keyframes foglayer_03_opacity {
0% { opacity: .8 }
27% { opacity: .2; }
52% { opacity: .6; }
68% { opacity: .3; }
100% { opacity: .8; }
}
@-moz-keyframes foglayer_03_opacity {
0% { opacity: .8 }
27% { opacity: .2; }
52% { opacity: .6; }
68% { opacity: .3; }
100% { opacity: .8; }
}
@-o-keyframes foglayer_03_opacity {
0% { opacity: .8 }
27% { opacity: .2; }
52% { opacity: .6; }
68% { opacity: .3; }
100% { opacity: .8; }
}
@keyframes foglayer_03_opacity {
0% { opacity: .8; }
27% { opacity: .2; }
52% { opacity: .6; }
68% { opacity: .3; }
100% { opacity: .8; }
}
/* ---------- Keyframe moveMe ---------- */
@-webkit-keyframes foglayer_moveme {
0% { left: 0; }
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%;
}
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;
}

@ -1,103 +1,117 @@
<DOCTYPE html>
<html>
<head>
<title></title>
<meta charset="utf-8">
<title>peace</title>
<style>
body{
font-family:monospace;
}
</style>
<link rel="stylesheet" type="text/css" href="../style.css">
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
<pre>
import os , time , random
# Setting up the current (saved) state
currentRoom = "base-ment"
<div id="content"><h1 id="superdeconstruction">Super(de)construction</h1>
<h2 id="text-adventure-game">text adventure game</h2>
<p>My text-adventure game was (first and foremost a struggle and) an
attempt to dive a little bit into the world of python and deal
peacefully with the potential trauma of coding. The first unsuccessful
try started by making a map on paper with all the possible rooms,
corridors, spaces and the potential inputs of the player. It proved to
be a too-ambitious plan though. So this was the time when the
super(de)construction game was born! I intended to make a fan fiction
text adventure game(!) of the Marxist superstructure theory. There are
three basic rooms where the player can navigate: the Base-ment, the
Apparatus and the Megaroom. People can grab specific “objects” from each
room and check their inventory (for example you can have unpaidlabour,
church, mostlywhitemen from base-ment, apparatus and megaroom
respectively in the same bag!). The game aims to accumulate enough
points in order to bring eventually the revolution and win. The
fermentation and the radicalization happen only in the base-ment.</p>
<p>Will you be part of the revolutionary class?</p>
<p><br class="page-break"></p>
<div class="code">
<pre><code>import os , time , random
# Setting up the current (saved) state
currentRoom = &quot;base-ment&quot;
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"]
&quot;base-ment&quot;: [&quot;unpaidlabor&quot;, &quot;consiousness&quot;, &quot;lackoftime&quot;, &quot;dipression&quot;, &quot;commodities&quot;, &quot;collectivememory&quot;, &quot;laborforce&quot;, &quot;survivalmode&quot;],
&quot;apparatus&quot;: [&quot;game&quot;, &quot;work&quot;, &quot;symbols&quot;, &quot;family&quot;, &quot;church&quot;, &quot;institutionalmemory&quot;, &quot;army&quot;, &quot;ideology&quot;],
&quot;megaroom&quot;: [&quot;hegemony&quot;, &quot;control&quot;, &quot;power&quot;, &quot;violence&quot;, &quot;accumulationofwealth&quot;, &quot;property&quot;, &quot;mostlywhiterichmen&quot;]
}
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 = &quot;&quot;, 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 &quot;taker&quot; 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 [&quot;get&quot;, &quot;grab&quot;, &quot;take&quot;, &quot;carry&quot;, &quot;steal&quot;, &quot;expropriate&quot;]):
for item in items[room]:
if item in spliti:
printer("You took " + item)
printer(&quot;You took &quot; + item)
inventory.append(item)
items[room].remove(item)
# Creating the while-loop
# Creating the while-loop
while True:
if (start == True):
printer("""
printer(&quot;&quot;&quot;
Super(de)construction: The game
__ __ __
/\ \ /\ \__ /\ \__ __
____ __ __ _____ __ _ __ \_\ \ __ ___ ___ ___ ____\ \ ,_\ _ __ __ __ ___\ \ ,_\/\_\ ___ ___
/',__\/\ \/\ \/\ '__`\ /'__`\/\`'__\/'_` \ /'__`\ /'___\ / __`\ /' _ `\ /',__\\ \ \/ /\`'__\/\ \/\ \ /'___\ \ \/\/\ \ / __`\ /' _ `\
__ __ __
/\ \ /\ \__ /\ \__ __
____ __ __ _____ __ _ __ \_\ \ __ ___ ___ ___ ____\ \ ,_\ _ __ __ __ ___\ \ ,_\/\_\ ___ ___
/&#39;,__\/\ \/\ \/\ &#39;__`\ /&#39;__`\/\`&#39;__\/&#39;_` \ /&#39;__`\ /&#39;___\ / __`\ /&#39; _ `\ /&#39;,__\\ \ \/ /\`&#39;__\/\ \/\ \ /&#39;___\ \ \/\/\ \ / __`\ /&#39; _ `\
/\__, `\ \ \_\ \ \ \L\ \/\ __/\ \ \//\ \L\ \/\ __//\ \__//\ \L\ \/\ \/\ \/\__, `\\ \ \_\ \ \/ \ \ \_\ \/\ \__/\ \ \_\ \ \/\ \L\ \/\ \/\ \
\/\____/\ \____/\ \ ,__/\ \____\\ \_\\ \___,_\ \____\ \____\ \____/\ \_\ \_\/\____/ \ \__\\ \_\ \ \____/\ \____\\ \__\\ \_\ \____/\ \_\ \_\
\/___/ \/___/ \ \ \/ \/____/ \/_/ \/__,_ /\/____/\/____/\/___/ \/_/\/_/\/___/ \/__/ \/_/ \/___/ \/____/ \/__/ \/_/\/___/ \/_/\/_/
\ \_\
\/_/
\/___/ \/___/ \ \ \/ \/____/ \/_/ \/__,_ /\/____/\/____/\/___/ \/_/\/_/\/___/ \/__/ \/_/ \/___/ \/____/ \/__/ \/_/\/___/ \/_/\/_/
\ \_\
\/_/
""")
printer("""
Welcome to the super(de)costruction game or How to destroy the ideological apparatus and capitalism in small steps.
&quot;&quot;&quot;)
printer(&quot;&quot;&quot;
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. Thats 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&#39;s house!
Are you readyyy???
""")
&quot;&quot;&quot;)
start = False
if (graduation == True):
printer("You Win!")
printer(&quot;You Win!&quot;)
exit()
# Clearing the screen: "cls" for Windows; "clear" for macOS
# Clearing the screen: &quot;cls&quot; for Windows; &quot;clear&quot; for macOS
i = input()
#os.system("cls")
spliti = i.split(" ")
#os.system(&quot;cls&quot;)
spliti = i.split(&quot; &quot;)
# 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 &quot;inventory&quot; in i:
printer(&quot;The truth is that you don&#39;t own anything. You are proletarian. You don&#39;t really have private property. However, in you current inventory you can find &quot; + &quot;, &quot;.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 [&quot;talk&quot;,&quot;discuss&quot;,&quot;debate&quot;,&quot;ask&quot;,&quot;say&quot;]:
printer(&quot;Hiiiiiii witch, how can I help you, now that nobody is watching us?&quot;)
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 [&quot;revolution&quot;,&quot;finish&quot;,&quot;free&quot;, &quot;freedom&quot;]:
if study &gt;= 119:
printer(&quot;You did so many things! You struggle a lot, you care, you respect! You are a true witch fighter! Revolution is in the corner.&quot;)
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(&quot;We should keep the hard work. Do not give up though. Things do change and your contribution is valuable! You have gained &quot; + str(study) + &quot; points. Shall we go again to the base-ment? We have to organise stuff! Please don&#39;t give up. Here is something small for you!&quot;)
printer(&quot;&quot;&quot;
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.
@ -105,64 +119,61 @@ Are you readyyy???
by Audre Lorde
""")
&quot;&quot;&quot;)
# 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"]))
# Choices in the base-ment
if currentRoom == &quot;base-ment&quot;:
if i in [&quot;look&quot;,&quot;see&quot;,&quot;view&quot;,&quot;explore&quot;]:
printer(&quot;Oh I&#39;m in an base-ment, cool. There is little light here. Soooo many people. TheY do work hard. The seem unhappy and dipressed&quot;)
printer(&quot;You can find here: &quot; + &quot;, &quot;.join(items[&quot;base-ment&quot;]))
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"
elif i in [&quot;exit&quot;,&quot;walk&quot;,&quot;run&quot;,&quot;door&quot;,&quot;leave&quot;]:
printer(&quot;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&#39;s move. &quot;)
currentRoom = &quot;apparatus&quot;
# 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!")
# The ECTS condition, or the point-gaining system. Every &quot;study&quot; adds 30 points to the player&#39;s score. The goal is to reach 120 points or credits.
elif i in [&quot;disconstruct&quot;, &quot;dismantle&quot;, &quot;poetry&quot;, &quot;street&quot;, &quot;public&quot;, &quot;library&quot;, &quot;counter-culture&quot;,&quot;read&quot;, &quot;struggle&quot;, &quot;collective&quot;, &quot;solidarity&quot;, &quot;fight&quot;, &quot;feminism&quot;, &quot;queer&quot;, &quot;act&quot;, &quot;expropriate&quot;, &quot;parasite&quot;, &quot;organise&quot;, &quot;care&quot;, &quot;reclaim&quot;, &quot;speak&quot;, &quot;counterhegemony&quot;, &quot;escape&quot;, &quot;burn&quot;, &quot;collective&quot;, &quot;demonstrate&quot;, &quot;zine&quot;, &quot;create&quot;, &quot;enjoy&quot;, &quot;disobedience&quot;, &quot;occupy&quot;, &quot;protest&quot;, &quot;manifest&quot;, &quot;shout&quot;, &quot;sing&quot;, &quot;anarchy&quot;, &quot;radical&quot;, &quot;barricade&quot;, &quot;putaspell&quot;, &quot;witchcraft&quot;, &quot;unlearn&quot;]:
printer(&quot;You have struggled soo much!&quot;)
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(&quot;The revolution seems to be closer. Cracks still happen and are completely important and vital and powerful. You have gained &quot; + str(study) + &quot; points&quot;)
else:
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"]))
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"
taker(&quot;base-ment&quot;)
# Choices in the neutral zone
elif currentRoom == &quot;apparatus&quot;:
if i in [&quot;look&quot;,&quot;see&quot;,&quot;view&quot;,&quot;explore&quot;, &quot;open&quot;]:
printer(&quot;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.&quot;)
printer(&quot;Oh look in the apparatus you can find: &quot; + &quot;, &quot;.join(items[&quot;apparatus&quot;]))
elif i in [&quot;exit&quot;,&quot;walk&quot;,&quot;run&quot;,&quot;door&quot;,&quot;leave&quot;]:
printer(&quot;You may use this door to exit the apparatus.&quot;)
i = input(&quot;which door? (1 or 2)&quot;)
if i == &quot;1&quot;:
printer(&quot;You use the door to the base-ment&quot;)
currentRoom = &quot;base-ment&quot;
elif i == &quot;2&quot;:
printer(&quot;You use the door to the megaroom&quot;)
currentRoom = &quot;megaroom&quot;
else:
taker("apparatus")
taker(&quot;apparatus&quot;)
# 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 havent seen something similar before! Wowww. But why are so little people? Why the are mostly white men? Dont 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 == &quot;megaroom&quot;:
if i in [&quot;look&quot;,&quot;see&quot;,&quot;view&quot;,&quot;explore&quot;, &quot;open&quot;]:
printer(&quot;Oh You are in the megaroom! You can tell that it is luxurious, monumental structure classical and contemporary in the same time. You havent seen something similar before! Wowww. But why are so little people? Why the are mostly white men? Dont 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! &quot;)
printer(&quot;Oh look in the megaroom! There is : &quot; + &quot;, &quot;.join(items[&quot;megaroom&quot;]))
elif i in ["exit","walk","run","door","leave"]:
printer("You use the door to exit the megaroom.")
currentRoom = "apparatus"
elif i in [&quot;exit&quot;,&quot;walk&quot;,&quot;run&quot;,&quot;door&quot;,&quot;leave&quot;]:
printer(&quot;You use the door to exit the megaroom.&quot;)
currentRoom = &quot;apparatus&quot;
else:
taker("megaroom")
</pre>
taker(&quot;megaroom&quot;) </code></pre>
</div>
</div>
</body>
</html>

@ -7,45 +7,58 @@
<link rel="stylesheet" type="text/css" href="style.css">
</head>
<body>
<div id="content"><div id="tetris" class="has-images">
<h1 id="tetris-fantasies">Tetris Fantasies</h1>
<h3 id="death-geometry-and-the-structure-of-the-individual">Death,
Geometry and the Structure of the Individual</h3>
<div id="content"><h1 id="tetris-fantasies">Tetris Fantasies</h1>
<h2 id="death-geometry-and-the-structure-of-the-individual">Death,
Geometry and the Structure of the Individual</h2>
<p>Tetris is a game where a single player is encouraged to organise the
chaos given to them from above, a limited space for play of ten by
twenty units leads to a limited ability to approach the perfection
implied by the simple shapes that are encountered in the world (always a
collection of four squares, in their seven permutations). The harnesses
of time and gravity make perfection impossible in this world; instead
the player can only attempt, approach, 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
lifes function approaching the limit, there is no way to win, only to
get higher and higher scores, to live as long as possible through
increased throughput. Death is inevitable in Tetris, and each passing
block seems to come faster than the last. Why does it feel like
everything just keeps getting harder?</p>
<p>There are many squares to be organised in tetris, an infinite number
apparently, but 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, worlds-best-mom. But maybe there is an
<p>There are many squares to be organised in Tetris, an infinite number
apparently, but only one player is organising them. Other people can
only be seen by this individual in faint ghosts; their high scores are
there only to be beaten. And the current player can only hope to reach
those people by leaving their own mark on the high score table.
Employee-of-the-month, worlds-best-mom. But maybe there is an
alternative, a world where there is more to each falling tetromino than
simply an obstacle to be overcome, a problem to be solved. Maybe there
is a story behind the fatal pixels, a bigger space than the 10 x 20 grid
on the screen. Maybe there are humans out there with more to them than
what they produce.</p>
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.</p>
<p>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.</p>
<p><img src="tetris-documentation-1.jpg"
alt="hand drawn tetris fanfic" /> <img src="tetris-documentation-2.jpg"
alt="printed fanfic: imagined four-sided realities" />
Tetris, although the illustration and text on any one card have some
sort of relationship with each other.</p>
<div class="small-images">
<figure>
<img src="tetris-documentation-1.jpg" alt="Hand drawn tetris fanfic" />
<figcaption aria-hidden="true">Hand drawn tetris fanfic</figcaption>
</figure>
<figure>
<img src="tetris-documentation-2.jpg"
alt="Printed fanfic: imagined four-sided realities" />
<figcaption aria-hidden="true">Printed fanfic: imagined four-sided
realities</figcaption>
</figure>
</div>
<!-- ![printed fanfic: imagined four-sided realities](tetris-documentation-3.jpg) -->
<img src="tetris-documentation-4.png"
alt="imagining a tetris without labour" /></p>
<div class="full-image">
<figure>
<img src="tetris-documentation-4.png" class="white-caption"
alt="Imagining a tetris without labour" />
<figcaption aria-hidden="true">Imagining a tetris without
labour</figcaption>
</figure>
</div>
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<div id="content"><h1 id="the-wheel-of-fortune-manual">The Wheel of Fortune — Manual</h1>
<p>Welcome, my dear! This exercise is all about healing, about
reconnecting with what is essential and authentic within yourself. By
understanding the true nature of our suffering, we can evoke compassion
for ourselves as we move through uncomfortable feelings on the path to
healing and peace. Before you begin, there are a few things you will
need. Firstly, have a strong intention to commit to this exercise for
some time. Secondly, find a quiet room free of distractions, and
finally, get a notebook and pen. Handwriting will engage your mind more
actively and profoundly, help you connect with yourself, and enable the
tracing of your progress over time.</p>
<p>I will be guiding you through a series of carefully selected
questions written by different authors, some are well-known, and others
will remain unknown. To begin the exercise, spin the Wheel of Fortune
located at issue.xpub.nl/20/wheel. After a few seconds, a question will
appear on the screen. Then, take a photo slide from the deck and hold it
to the screen. Think about that question by looking at it and the tiny
film together like friends. If you feel like writing your thoughts, you
can use the tiny notepad made just for you. These photo slides are there
to help you dive deeper into your inner world. Use them to explore
moments in your life that you may not have fully processed or
understood. As you reflect on these images and answer the questions, you
may gain new insights and perspectives about yourself and your life.</p>
<p>Enjoy the journey!<br />
Console</p>
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<div id="content"><h1 id="the-legend-of-the-worry">The Legend of the Worry</h1>
<h2 id="worry-dolls">Worry dolls</h2>
<div id="worry-dolls">
<p>Worry dolls (also called trouble dolls; in Spanish, Muñeca quitapena)
are tiny, hand-made dolls originating from Guatemala. According to
legend, children tell their worries to the Dolls, then place them under
their pillow when they go to sleep. In the morning, the dolls have
gifted them with the wisdom and knowledge to eliminate their
worries.</p>
<p>The story of the worry doll is about a local Mayan legend. The origin
refers to a Mayan princess named Ixmucane. The princess received a
special gift from the sun god that allowed her to solve any problem a
human could ever worry about. The worry doll represents the princess and
the wisdom she carries. With this wisdom, humans will be able to
overcome their troubles.</p>
<figure>
<img src="worry-doll.png" alt="Worry Dolls" />
<figcaption aria-hidden="true">Worry Dolls</figcaption>
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<div id="content"><h1 id="youtube-tarot">YouTube Tarot</h1>
<h2 id="youtube-comments-as-tarot-readings">YouTube comments as Tarot
readings</h2>
<p>The question for me (Irmak) at the beginning was why people feel the
need to know the future or their oracles that they go on YouTube and
subscribe to a channel there. Knowing the future made me anxious when
for many people it is something to look forward to or head towards. For
Ada, the answer to that question was simple. Everyone needs some clarity
and a sense of belonging and safety, and its 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. Doesnt 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</p>
<figure>
<img src="001.jpg" alt="The Divination Board" />
<figcaption aria-hidden="true">The Divination Board</figcaption>
</figure>
<p>in a very ironic sense. The sole reason you are there is to have a
peaceful and perhaps sentimental moment with yourself, however, you are
interrupted by unintended messages.</p>
<p>Moving from these discussions, we searched for the answers in the
comments below certain tarot videos. Many commenters mentioned how their
life changed after the reading, how their luck came back and their work
life improved, or how the reading helped them get their life straight.
This was a community that needed tarot and used it as a remedy. In the
end, we decided to use some of these comments as the interpretation of
some cards. The main themes in the comments were luck, love and work. We
picked three comments for each theme and made tarot cards for them with
a divination board. We modified the illustrations on existing tarot
cards and renamed them according to the commenters names.</p>
<p><br class="page-break"></p>
<div class="small-images">
<figure>
<img src="002.jpg" alt="Cards on love" />
<figcaption aria-hidden="true">Cards on love</figcaption>
</figure>
<figure>
<img src="003.jpg" alt="Cards on luck" />
<figcaption aria-hidden="true">Cards on luck</figcaption>
</figure>
<figure>
<img src="004.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
<figure>
<img src="005.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
</div>
<div class="centered-image">
<figure>
<img src="006.jpg" alt="Cards on work" />
<figcaption aria-hidden="true">Cards on work</figcaption>
</figure>
</div>
<h2 id="a-selection-from-the-dictionary-of-youtube-tarot-cards">A
Selection from the dictionary of YouTube Tarot cards</h2>
<div class="small-images yt-tarot-images">
<p><img src="007.jpg" alt="The Cassandra" /> <img src="008.jpg"
alt="The Bella Vita" /> <img src="009.jpg" alt="Vibing" /></p>
<p><img src="010.jpg" alt="Help get gas price down" /> <img
src="011.jpg" alt="The Jessica" /> <img src="012.jpg"
alt="The dhananjai" /> <img src="013.jpg" alt="The Hummingbird" /></p>
</div>
<h6 id="manuals">MANUALS</h6>
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