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.
Unless otherwise stated, all photography, illustrations and other types of visualisations in this publication are created by the same authors as the text. That which is below is like that which is above, and that which is above is like that which is below, to do the miracle of one only thing.
### Digital Tools
### Digital Tools
This book was created with the help of a collection of not-so-small and extremely sharp open source tools, to name a few: paged.js, pandoc, pdfimpose, pdftk, and our darling demon Inkscape. So was the world created. From this are and do come admirable adaptations where the means is here in this.
This book was created with the help of a collection of\
not-so-small and extremely sharp open source tools, to name a few: paged.js, pandoc, pdfimpose, pdftk, and our darling demon Inkscape. So was the world created. From this are and do come admirable adaptations where the means is here in this.
### Printing and Binding
### Printing and Binding
Just lil old us.
Just lil' old us.
### Typeface
### Typeface
Consolation by us (available under the SIXX licence).
Consolation by us (available under the SIXX licence).
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.
For eight weeks, students from XPUB prepared a ritual to perform at the top of Monday morning class. We explored cultural rituals such as the birthday cake and coffee-ground reading, but also more personal rituals such as 'going to sleep' rituals, a personal hard-drive purification, and the creation of worry-dolls.
#### Week 1, January 9th 2023: Tea and Cookies
#### Week 1, January 9th 2023: Tea and Cookies
*Performed by Artemis and Lídia*
*Performed by Artemis and Lídia*
@ -19,7 +19,7 @@ Artemis and Lídia introduced us to Monday Morning Rituals on the first cold, da
### Week 2, January 16th 2023: Coffee Fortune-Telling
### Week 2, January 16th 2023: Coffee Fortune-Telling
*Performed by Aglaia*
*Performed by Aglaia*
For Aglaia’s ritual, we sat in a circle while the coffee was being prepared by the ancient Stove priestess placed in the middle. When done, it was served to the participants in special coffee cups. We drank our coffee while gossiping and eating cookies. When everybody finished, we swirled the cup counter-clockwise three times and turned the coffee cup upside down over the cup’s saucer. We waited patiently for five minutes for the Fortune to be prepared. Everybody had to tell the Fortune of the person sitting on their left side by reading the coffee grounds until we completed the circle.
For Aglaia’s ritual, we sat in a circle while the coffee was being prepared by the ancient Stove priestess placed in the middle. When done, it was served to the participants in special coffee cups. We drank our coffee while gossiping and eating cookies. When everybody finished, we swirled the cup counter-clockwise three times and turned the coffee cup upside down over the cup’s saucer. We waited patiently for five minutes for the fortune to be prepared. Everybody had to tell the Fortune of the person sitting on their left side by reading the coffee grounds until we completed the circle.
The Fiction Friction cards are made by two wanderers who spent a fair amount of time thinking about healing, witchcraft and (contemporary) witch-hunting, rituals, and Tarot culture. This approach can be seen as a way to create a ritual or a (personal) journey into a collective representation. The cards are carriers of our identities, individual past, memory, momentary frictions and fictions. We intended to reclaim the tarot reading ritual and reconsider the relation between the given card interpretation and the figure of the fortuneteller by reversing it. A group of players is invited to explore each card and reimagine its meaning as a collective. We are keen to see how similar or completely different experiences can be shared and new insights learned through each round of exercise. This game serves as a tool that gives the possibility to write together, meet, connect, talk about unspeakable things, share, interpret or even get into conflict. Each card is a starting point, an interface for an opening, a promising healing, a collective moment.
The Fiction Friction cards are made by two wanderers who spent a fair amount of time thinking about healing, witchcraft and (contemporary) witch-hunting, rituals, and Tarot culture. This approach can be seen as a way to create a ritual or a (personal) journey into a collective representation. The cards are carriers of our identities, individual past, memory, momentary frictions and fictions. We intended to reclaim the tarot reading ritual and reconsider the relation between the given card interpretation and the figure of the fortuneteller by reversing it.
A group of players is invited to explore each card and reimagine its meaning as a collective. We are keen to see how similar or completely different experiences can be shared and new insights learned through each round of exercise. This game serves as a tool that gives the possibility to write together, meet, connect, talk about unspeakable things, share, interpret or even get into conflict. Each card is a starting point, an interface for an opening, a promising healing, a collective moment.
Fiction Friction is a tool for (hyper)textual conversations on (via) abstract/symbolic/surrealistic collage cards. We based our collaging on political events that we have experienced or have been part of our memories, mythological figures from our cultures, collective memory moments, literature that has inspired us, musical references, individuals etc. The main components of the game are: a deck of illustrated cards, a dice with different methods of interpretation, an empty deck to host the new potential stories, along with a deck of questions created by the players.
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.
@ -20,7 +22,7 @@ Fiction Friction is a tool for (hyper)textual conversations on (via) abstract/sy
- Everyone takes an empty card.
- Everyone takes an empty card.
- In turns, players write their own interpretation of the card, having in mind the revealed question card that works as a navigator for the story. (There is the possibility to use the dice in the process to specify the method that a player should use to "write")
- In turns, players write their own interpretation of the card, having in mind the revealed question card that works as a navigator for the story. There is the possibility to use the dice in the process to specify the method that a player should use to "write".
- At the end of the round, a small story will be created out of the interpretations of each player.
- At the end of the round, a small story will be created out of the interpretations of each player.
Creating a text adventure game is no easy feat. It takes a lot of time, creativity, trial and error. The key to creating an interesting game is putting yourself in the player's shoes and making sure there are plenty of fun twists and turns along the way.
Creating a text adventure game is no easy feat. It takes a lot of time, creativity, trial and error. The key to creating an interesting game is putting yourself in the player's shoes and making sure there are plenty of fun twists and turns along the way.
I decided to keep my game simple and tell a linear story. I used a web engine called Twine (twinery.org, an open-source tool for telling interactive, nonlinear stories) to help generate the game's storyline, and I adapted the script from a Bulgarian fairytale ("The Most Precious Fruit"). But things didn't always go smoothly. When the python script started generating the wrong messages for players who strayed from the script, I tried to find solutions on StackOverflow, but it was all too complicated for me.
I decided to keep my game simple and tell a linear story. I used a web engine called Twine (twinery.org, an open-source tool for telling interactive, nonlinear stories) to help generate the game's storyline, and I adapted the script from a Bulgarian fairytale ("The Most Precious Fruit"). But things didn't always go smoothly. When the python script started generating the wrong messages for players who strayed from the script, I tried to find solutions on StackOverflow, but it was all too complicated for me.
In the end, the game took me around 6-7 hours to make, including writing, coding, mapping, editing, and lots of trial-and-error. It was a great learning experience, but it also taught me that game development can be tough if you don't have much coding experience. I had to approach it more from a writer's perspective and figure out the coding later.
In the end, the game took me around 6-7 hours to make, including writing, coding, mapping, editing, and lots of trial-and-error. It was a great learning experience, but it also taught me that game development can be tough if you don't have much coding experience. I had to approach it more from a writer's perspective and figure out the coding later.
I learned that game development is an iterative process, and sometimes your initial ideas might be more complex than what you end up with. It’s all part of the journey. Before starting this project, I had no idea text adventure games existed, but now I’m happy to say I’ve made one in just a few weeks. Lastly, I would like to express my appreciation for the guidance and support provided by our prototyping tutors in developing these projects.
I learned that game development is an iterative process, and sometimes your initial ideas might be more complex than what you end up with. It’s all part of the journey. Before starting this project, I had no idea text adventure games existed, but now I’m happy to say I’ve made one in just a few weeks. Lastly, I would like to express my appreciation for the guidance and support provided by our prototyping tutors in developing these projects.
(Full story "The Most Precious Fruit" available at: https://fairytalez.com/the-most-precious-fruit/)
Full story "The Most Precious Fruit" available at: https://fairytalez.com/the-most-precious-fruit/
:::::
:::::
In the 12th century, "Godsipp" (God and sib (akin), godmother or godfather) was a word used for both men and women in fables and society. The church also recognized this word. It was used to name companions present at childbirth, e.g. the midwife. Sometimes, it was used to mention close friends. It represented the strong ties between women, which surpassed their relationship with their husbands. Was it witchery that strong and independent women preferred their gossip over their husbands? Well, that is something that hasn't changed since the middle ages.
In the 12th century, "Godsipp" (God and sib (akin), godmother or godfather) was a word used for both men and women in fables and society. The church also recognized this word. It was used to name companions present at childbirth, e.g. the midwife. Sometimes, it was used to mention close friends. It represented the strong ties between women, which surpassed their relationship with their husbands. Was it witchery that strong and independent women preferred their gossip over their husbands? Well, that is something that hasn't changed since the middle ages.
"Godsipp" began its journey with nothing but good and emotionally strong connotations. Women bloomed and blossomed among each other and were autonomous in their existence. Men were never a part of this party women were throwing. By the 16th century, as things began to change, the traditional meaning lingered on. In 1602, the word was still used to signify female friendships. This can be seen in Samuel Rowlands's *Tis Merrie When Gossips Meete*, a satirical piece describing three London women spending hours in a tavern talking about men and marriages. It implied that 'women could create their social networks and their own social space' and stand up to male authority (Federici, 2019).
"Godsipp" began its journey with nothing but good and emotionally strong connotations. Women bloomed and blossomed among each other and were autonomous in their existence. Men were never a part of this party women were throwing. By the 16th century, as things began to change, the traditional meaning lingered on. In 1602, the word was still used to signify female friendships. This can be seen in Samuel Rowlands's *Tis Merrie When Gossips Meete*, a satirical piece describing three London women spending hours in a tavern talking about men and marriages. It implied that 'women could create their social networks and their own social space' and stand up to male authority (Federici, 2019).
@ -22,9 +22,9 @@ Solidarity and friendship amongst women were demeaned and female-exclusive parti
Wives who were seen as "scolds" and "witches" were forced under sadistic torture with a "scold bridle". Looking back, I can't help but see these sadistic, desperate acts as a meek scream of how men couldn't get even close to satisfying women physically or mentally. If they spent some time working on female anatomy rather than these horrifying torture methods, we would be living in a different world today...
Wives who were seen as "scolds" and "witches" were forced under sadistic torture with a "scold bridle". Looking back, I can't help but see these sadistic, desperate acts as a meek scream of how men couldn't get even close to satisfying women physically or mentally. If they spent some time working on female anatomy rather than these horrifying torture methods, we would be living in a different world today...
Here is an excerpt from a song which portrays women in atavern. These words on ale and wine are an ancient remedy for us to consider today when we are out drinking with our "gossips":
Here is an excerpt from a song which portrays women in a tavern. These words on ale and wine are an ancient remedy for us to consider today when we are out drinking with our "gossips":
"In a 1630s song, Fowre wittie gossips disposed to be merry, a group of married women in a tavern debate the merits of ale and wine in relation to cost and value. They conclude, 'If our opinions do not faile: / a quart twelve cups [of wine] containeth, / Its cheaper then a dozen of ale, / where froth and snuffes remaineth'. ('Snuffes' was the 'backwash' left when, as was common, multiple people drank from a single vessel.) The wives also point out that the after-effects of drinking sack (a Spanish white wine) are much less injurious than those of drinking too much ale. In consequence, they will not suffer hangovers from drinking all night, as all their husbands are. (McShane, 2016)"
"In a 1630s song, Fowre wittie gossips disposed to be merry, a group of married women in a tavern debate the merits of ale and wine in relation to cost and value. They conclude, 'If our opinions do not faile: / a quart twelve cups [of wine] containeth, / Its cheaper then a dozen of ale, / where froth and snuffes remaineth'. ('Snuffes' was the 'backwash' left when, as was common, multiple people drank from a single vessel.) The wives also point out that the after-effects of drinking sack (a Spanish white wine) are much less injurious than those of drinking too much ale. In consequence, they will not suffer hangovers from drinking all night, as all their husbands are" (McShane, 2016).
It was in this context that "gossip" turned from a word of friendship and affection into a word of denigration and ridicule (Federici, 2019).
It was in this context that "gossip" turned from a word of friendship and affection into a word of denigration and ridicule (Federici, 2019).
@ -53,16 +53,16 @@ Whether with gossip or chatting over coffee, women have always found a way to ex
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?
with negative consequences or aim. A woman is sassy, "bitchy" or evil when she gossips, but why do we still let our acts be defined by the misogynistic portrayal of men?
Nowadays, the notions of gossip or fortune telling may be used as something you wouldn't want to be a part of because it could harm someone. Let's oppose the negative connotation assigned by men to these words and use them as a joyful gathering. Reclaiming gossip and fortune telling as an intimate support system, a strong web, is the least we can do to honour the women who met at taverns and shared a part of their souls with eachother.
Nowadays, the notions of gossip or fortune telling may be used as something you wouldn't want to be a part of because it could harm someone. Let's oppose the negative connotation assigned by men to these words and use them as a joyful gathering. Reclaiming gossip and fortune telling as an intimate support system, a strong web, is the least we can do to honour the women who met at taverns and shared a part of their souls with each other.
<brclass="page-break">
<brclass="page-break">
### 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:
1. Put two teaspoons of coffee in "cezve", the traditionalpot.
1. Put two teaspoons of coffee in "cezve", the traditional pot.
2. Add one cup of cold water to the pot. Mix once with the spoon. The ratio is one cup, and two teaspoons of coffee.
2. Add one cup of cold water to the pot. Mix once with the spoon. The ratio is one cup, and two teaspoons of coffee.
3. Begin cooking at a low temperature until the top coat getsdarker.
3. Begin cooking at a low temperature until the top coat gets darker.
4. Cook at a high temperature until the point where the coffee begins rising.
4. Cook at a high temperature until the point where the coffee begins rising.
5. Take the pot off the oven right before it overflows.
5. Take the pot off the oven right before it overflows.
6. Take the foamy part with a teaspoon and put it in the cup before pouring the rest. This will protect the foam. The foam is important for quality check.
6. Take the foamy part with a teaspoon and put it in the cup before pouring the rest. This will protect the foam. The foam is important for quality check.
# An hypothesised and randomly factual History of Tarot Cards
# A hypothesized and randomly factual History of Tarot Cards
What follows is the story of a deck of cards and all the more-or-less believable claims made about its origin. This brief history was compiled following sources that attempted accurate historic recalling instead ofthemost commonly shared semiotic, occultist story. However,<br>despite all efforts, the found sources tolda 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.
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 ofthemost commonly shared semiotic, occultist story. However,<br>despite all efforts, the found sources tolda convoluted tale due to the misinterpretation of age, sources and authorship common to any ancient texts on magic and mysticism (Dummett, 1993).As such, the following text will recall the disproven stories that were told about the origin of Tarot, some factual sourced material and a modern description of its usage.
When we talk about Tarot cards, we are talking about a deck of playing cards composed of ten numeral cards and four court cards (Jack, Knight, Queen and King) for each of the four suits (Swords, Batons, Cups and Coins). Alongside these more common cards, Tarot includes 22 'trump' cards with allegorical illustrations. The trumps form a sequence, usually numbered from 1 to 21, with the single card of The Fool being separated (Decker, Depaulis & Dummett, 1996).
When we talk about Tarot cards, we are talking about a deck of playing cards composed of ten numeral cards and four court cards (Jack, Knight, Queen and King) for each of the four suits (Swords, Batons, Cups and Coins). Alongside these more common cards, Tarot includes 22 'trump' cards with allegorical illustrations. The trumps form a sequence, usually numbered from 1 to 21, with the single card of The Fool being separated (Decker, Depaulis & Dummett, 1996).
This specific deck of cards' history begins at the bottom of a well in 1440's Northern Italy, where we place its first appearance in history. From there on we can easily find links to the common usage of these cards in Northern Italy; from Milano to Bologna and Ferrara (Steele, 1900).These cards, initially called *Trionfi* and then *Tarocchi*, are thought to have been intended for card games, regardless of their occasional usage in future-telling(Dummet, 1993).This finding helps us trace afactual 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 forcartomancy.
This specific deck of cards' history begins at the bottom of a well in 1440's Northern Italy, where we place its first appearance in history. From there on we can easily find links to the common usage of these cards in Northern Italy; from Milano to Bologna and Ferrara (Steele, 1900).These cards, initially called *Trionfi* and then *Tarocchi*, are thought to have been intended for card games, regardless of their occasional usage in future-telling(Dummet, 1993).This finding helps us trace a factual beginning of Tarot but leaves an open question as to how these cards gained their place as the primary tool used in modern occultism and mysticism for cartomancy.
While this is where the story begins to get intricate, it is clear that the first wide spread future-telling performance appeared in France in the 18th century. At this point, the history of tarot was to be influenced by what each fortune teller imagined the history of the cards to be. To fully reveal this, I will first attempt to map the most notable occultists that used the cards and wrote historical notations about their deviance, and the stories they told about them.
While this is where the story begins to get intricate, it is clear that the first wide spread future-telling performance appeared in France in the 18th century. At this point, the history of Tarot was to be influenced by what each fortune teller imagined the history of the cards to be. To fully reveal this, I will first attempt to map the most notable occultists that used the cards and wrote historical notations about their deviance, and the stories they told about them.
The first encounter we have between Tarot, magical theory and practice happens in the *Monde primitif,* an incredibly long essay about Tarot cards written in 1781 by Antoine Court de Gébelin. With this text, the pastor began what would be the endless repository of arcane esoteric wisdom within Tarot that would follow the cards for generations (Chisholm, 1911). In this text, Gébelin attributed the cards' origin to ancient Egypt, a theory that is to this day accepted as truthful. This belief was based on an erroneous link to "The Book of Thoth", an ancient Egyptian text about magic that is believed to have been spread through Europe by Romans. This belief was then substantiated with a similar essay by Comte de Mellet (Decker,1993). Promptly, a Parisian fortune teller named Jean-Baptiste Alliette, professionally known as Etteilla, having found these theories, adapted the esoteric view of the cards to his own uses. He switched his own practice from traditional French piquet cartomancy to the use of a self-made Tarot card deck. This deck was based on the previously shared Hermetic ideologies and was named "The Book of Toth" (Decker, 1993).
The first encounter we have between Tarot, magical theory and practice happens in the *Monde primitif,* an incredibly long essay about Tarot cards written in 1781 by Antoine Court de Gébelin. With this text, the pastor began what would be the endless repository of arcane esoteric wisdom within Tarot that would follow the cards for generations (Chisholm, 1911). In this text, Gébelin attributed the cards' origin to ancient Egypt, a theory that is to this day accepted as truthful. This belief was based on an erroneous link to *The Book of Thoth,* an ancient Egyptian text about magic that is believed to have been spread through Europe by Romans. This belief was then substantiated with a similar essay by Comte de Mellet (Decker,1993). Promptly, a Parisian fortune teller named Jean-Baptiste Alliette, professionally known as Etteilla, having found these theories, adapted the esoteric view of the cards to his own uses. He switched his own practice from traditional French piquet cartomancy to the use of a self-made Tarot card deck. This deck was based on the previously shared Hermetic ideologies and was named *The Book of Thoth* (Decker, 1993).
The next fundamental spin that was applied to the cards' background was done by Éliphas Levi, another French esoterist. Levi repudiated Etteilla's theory and integrated a version of the cards that were closer to the original than his own Cabalistic magical system. While Levi's understanding of the cards' travel from Egypt to Judea and into Jewish tradition was historically mistaken, it nonetheless revolutionized Tarot in ways that survive to this day. His Cabalistic theory about signs being letters, letters being absolute ideas and absolute ideas being numbers can still be seen in modern iterations of Tarot.
The next fundamental spin that was applied to the cards' background was done by Éliphas Levi, another French esoterist. Levi repudiated Etteilla's theory and integrated a version of the cards that were closer to the original than his own Cabalistic magical system. While Levi's understanding of the cards' travel from Egypt to Judea and into Jewish tradition was historically mistaken, it nonetheless revolutionized Tarot in ways that survive to this day. His Cabalistic theory about signs being letters, letters being absolute ideas and absolute ideas being numbers can still be seen in modern iterations of Tarot.
@ -23,9 +23,9 @@ At this point, Tarot's journey speeds up as the cards leave France and become ab
Before we make another jump through time towards the next relevant development of Tarot, I will share the last of the three false widespread theories about the origin of Tarot (the first two being ancient Egypt and Judaism, despite the latter's influence on modern Tarot).
Before we make another jump through time towards the next relevant development of Tarot, I will share the last of the three false widespread theories about the origin of Tarot (the first two being ancient Egypt and Judaism, despite the latter's influence on modern Tarot).
This last theory is harder to trace back to one esoteric influence, and it claims a Chinese origin to the cards. This is most likely due to the similarity between Tarot and the I Ching, a divination manual from around 1000 BC. This manual was grounded in cleromancy, i.e. the production ofrandom 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).
This last theory is harder to trace back to one esoteric influence, and it claims a Chinese origin to the cards. This is most likely due to the similarity between Tarot and the *I* *Ching*, a divination manual from around 1000 BC. This manual was grounded in cleromancy, i.e. the production of random numbers with the purpose of predicting divine intention. However, there is no traceable connection between Chinese cleromancy and Tarot divination. Modern analyses of Chinese Tarot divination draw a direct correlation between Western occultism and Tarot divination, leaving little room to imagine any direct causation starting from China (Fu, Li, Lee, 2002).
The next big step will bring us to Britain in the late 19th century, to the Hermetic Order of the Golden Dawn. The Golden Dawn was a secret society devoted to occult Hermetic Kabbalah and one of the largest single influences on Western occultism as a whole (Jenkins, 2000). While the society itself had a wide curriculum including astrology, alchemy and geomancy (soil divination), our concern at this moment are their links to Tarot cards.
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
:::::{.centered-image}
:::::{.centered-image}
@ -33,7 +33,7 @@ The next big step will bring us to Britain in the late 19th century, to the Herm
:::::
:::::
In 1909, two mystics and members of the Golden Dawn, A.E. Waite and Pamela Colman Smith, published a deck of re-made Tarot cards through the Rider Company which reflected Golden Dawn's magic system. Later, these cards became known as the Rider-Waite Tarot (Dean, 2015). This deck was based on the Sola Busca tarot, with symbolism derived from Egyptian and Christian traditions and Levi's descriptions. This deck has since become the paradigm and touchstone through which modern occultists think of Tarot. Between the distribution of this deck and the use of the cards in the Golden Dawn, it became axiomatic among followers of various traditions of mysticism that Tarot is an essential component of any occult science.
Tarot cards. In 1909, two mystics and members of the Golden Dawn, A.E. Waite and Pamela Colman Smith, published a deck of re-made Tarot cards through the Rider Company which reflected Golden Dawn's magic system. Later, these cards became known as the Rider-Waite Tarot (Dean, 2015). This deck was based on the Sola Busca Tarot, with symbolism derived from Egyptian and Christian traditions and Levi's descriptions. This deck has since become the paradigm and touchstone through which modern occultists think of Tarot. Between the distribution of this deck and the use of the cards in the Golden Dawn, it became axiomatic among followers of various traditions of mysticism that Tarot is an essential component of any occult science.
Today, Tarot is emblematic and incredibly wide spread as the most common future-telling method and device. Tens and thousands of different formats exist, often falling under the category of Oracle cards. While these do not share the clear formatting rules of Tarot, they are still used for divination and self-reflection purposes through the interpretation of allegorical illustrations.
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.
## 'Crystals & Energy' is a holographic oracle deck exploring a range of energy sources through the nature of crystals and minerals as energy-storing matter.
## 'Crystals & Energy' is a holographic oracle deck exploring a range of energy sources through the nature of crystals and minerals as energy-storing matter.
Lídia and Artemis, Special Issue 20 guest editors, asked us to modify an oracle deck of our choice. We, Cara and Boyana, prototyped a holographic oracle deck where a type of crystal is coupled with a type of energy resource in a single card in an attempt to talk about the global energy crisis we are facing today. It 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.
Lídia and Artemis, Special Issue 20 guest editors, asked us to modify an oracle deck of our choice. We — Cara and Boyana — prototyped a holographic oracle deck where a type of crystal is coupled with a type of energy resource in a single card in an attempt to talk about the global energy crisis we are facing today. It was important to us to provide multiple perspectives not only on how energy is used but where and under what conditions it is sourced. We attempted this by using crystals sourced in particular areas to provide a specific insight and perspective onto a facet of the global energy ecosystem. In practice, our deck provides an educational experience through the use of a DIY prism and complimentary audiovisual materials, which serve to create an immersive learning environment.
@ -20,7 +20,7 @@ It is natural gas that has been liquified; compressed; liquified; put under pres
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
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
@ -13,29 +13,29 @@ The eventual outcome of this process is a console, a magical object, a wooden co
We didn't manage to provide you with comprehensive answers or conclusive statements. The truth is that this wasn't our plan. Our intention was to create openings for debate or even conflict, to map a territory, to invite those who would like to join us.
We didn't manage to provide you with comprehensive answers or conclusive statements. The truth is that this wasn't our plan. Our intention was to create openings for debate or even conflict, to map a territory, to invite those who would like to join us.
> *"What if you are playing tetris and the tetris gods give you something apart from the usual seven tetrominoes, like an unexpected pregnancy or the end of capitalism?" (Stephen)*
> *"What if you are playing tetris and the tetris gods give you something apart from the usual seven tetrominoes, like an unexpected pregnancy or the end of capitalism?" (Stephen).*
Starting with rituals, we claim that they can be understood as instruments in the struggle for the exercise of power. Organized by *repetition*, they (re)connect the individual to the collective, creating a vision towards a given perception of society. Participation in this creative act is determined by several factors: a ritual's function, its relationship to hegemonic power, a collective's politics and objectives, etc.
Starting with rituals, we claim that they can be understood as instruments in the struggle for the exercise of power. Organized by *repetition*, they (re)connect the individual to the collective, creating a vision towards a given perception of society. Participation in this creative act is determined by several factors: a ritual's function, its relationship to hegemonic power, a collective's politics and objectives, etc.
> *"Ritual is a means of performing the way things ought to be in conscious tension to the way things are in such a way that this ritualized perfection is recollected in the ordinary, uncontrolled, course of things. Ritual relies for its power on the fact that it is concerned with quite ordinary activities, that what it describes and displays is, in principle, possible for every occurrence of these acts. But it relies, as well, for its power on the fact that, in actuality, such possibilities cannot be realized." (Smith, 1980)*
> *"Ritual is a means of performing the way things ought to be in conscious tension to the way things are in such a way that this ritualized perfection is recollected in the ordinary, uncontrolled, course of things. Ritual relies for its power on the fact that it is concerned with quite ordinary activities, that what it describes and displays is, in principle, possible for every occurrence of these acts. But it relies, as well, for its power on the fact that, in actuality, such possibilities cannot be realized" (Smith, 1980).*
> *"Ideology talks of actions: I shall talk of actions inserted into practices. And I shall point out that these practices are governed by rituals in which these practices are inscribed, within the material existence of an ideological apparatus(…)Ideas have disappeared as such to the precise extend that it has emerged that their existence is inscribed in the actions of practices governed by rituals defined in the last instance by an ideological apparatus." (Althusser, 1970)*
> *"Ideology talks of actions: I shall talk of actions inserted into practices. And I shall point out that these practices are governed by rituals in which these practices are inscribed, within the material existence of an ideological apparatus(…)Ideas have disappeared as such to the precise extend that it has emerged that their existence is inscribed in the actions of practices governed by rituals defined in the last instance by an ideological apparatus" (Althusser, 1970).*
Similarly, videogames create worlds. Often, those worlds mirror our own, reproducing certain ideals and values as norms through their narrative, game play, design. This trimester we explored world-building characteristics found both in rituals and videogames. We critically considered those worlds, identifying the key points and elements through which specific videogames and rituals circulate political, cultural and social values. While this world-building might be interpreted from an angle of implicit and explicit bias rooted in hegemonic values, we investigated the generative, creative possibilities of such characteristics.
Similarly, videogames create worlds. Often, those worlds mirror our own, reproducing certain ideals and values as norms through their narrative, game play, design. This trimester we explored world-building characteristics found both in rituals and videogames. We critically considered those worlds, identifying the key points and elements through which specific videogames and rituals circulate political, cultural and social values. While this world-building might be interpreted from an angle of implicit and explicit bias rooted in hegemonic values, we investigated the generative, creative possibilities of such characteristics.
> *"The main task of mass culture is to create, reproduce, and manage particular kinds of subjects — workers, consumers, individuals, citizens — required for current conditions. To perpetuate their own existence, mass media must succeed at representing the violent coercion of capitalist systems as natural laws: Of course you have to pay rent to live inside; of course you have to buy food to eat; of course you have to work if you want to survive. The production of a fungible, disposable and migratory working class requires the alienation and atomization of communities into individuals, which involves destroying the village, kinship structures, indigeneity, and many other previous forms of meaning-producing structures, leaving a gap which ideology must fill. While the fundamental structures of domination — racism, patriarchy, heterosexuality, etc. — form the bedrock of this ideological apparatus, the complexity of the always expanding and changing capitalist system requires an equally flexible set of subsidiary tools capable of rapidly adjusting ideology en masse. In general, media emerge not to meet the demands or desires of individual users but to accommodate what the predominant mode of production requires." (Osterweil, 2018)*
> *"The main task of mass culture is to create, reproduce, and manage particular kinds of subjects — workers, consumers, individuals, citizens — required for current conditions. To perpetuate their own existence, mass media must succeed at representing the violent coercion of capitalist systems as natural laws: Of course you have to pay rent to live inside; of course you have to buy food to eat; of course you have to work if you want to survive. The production of a fungible, disposable and migratory working class requires the alienation and atomization of communities into individuals, which involves destroying the village, kinship structures, indigeneity, and many other previous forms of meaning-producing structures, leaving a gap which ideology must fill. While the fundamental structures of domination — racism, patriarchy, heterosexuality, etc. — form the bedrock of this ideological apparatus, the complexity of the always expanding and changing capitalist system requires an equally flexible set of subsidiary tools capable of rapidly adjusting ideology en masse. In general, media emerge not to meet the demands or desires of individual users but to accommodate what the predominant mode of production requires" (Osterweil, 2018).*
Our intention was to look into rituals and their overlap with video games as a way to explore "forbidden" or otherwise lost knowledge erased by oppressive systems (e.g. witch hunts). Understanding games and rituals as gateways to alternative ways of relating to Nature, each other and (re)production of life, labour, etc, we played together by writing fan fiction and spells, developing rituals, analysing and creating games together.
Our intention was to look into rituals and their overlap with video games as a way to explore "forbidden" or otherwise lost knowledge erased by oppressive systems (e.g. witch hunts). Understanding games and rituals as gateways to alternative ways of relating to Nature, each other and (re)production of life, labour, etc, we played together by writing fan fiction and spells, developing rituals, analysing and creating games together.
> "*Sims as social reproduction: some values are certainly given by the game (make money to buy nicer things, progress in your career by doing tasks that improve your skill, charisma is a skill but not kindness) , but also ideology is put into the game by the player. The player chooses what to reproduce and often share in the "gallery" or on social media. Community being so important in this game then means that the crux of the social reproduction is happening when the choices you have made in the game are broadcasted. Did you create a heteronormative white thin nuclear family that made a lot of money? Or did you choose to play differently?" (Ada)*
> "*Sims as social reproduction: some values are certainly given by the game (make money to buy nicer things, progress in your career by doing tasks that improve your skill, charisma is a skill but not kindness) , but also ideology is put into the game by the player. The player chooses what to reproduce and often share in the "gallery" or on social media. Community being so important in this game then means that the crux of the social reproduction is happening when the choices you have made in the game are broadcasted. Did you create a heteronormative white thin nuclear family that made a lot of money? Or did you choose to play differently?" (Ada).*
> *"The Communist Party of Second Life (CPSL) aims to be a Marxist, internationalist and revolutionary organization for all communists in Second Life. The CPSL aims to spread understanding of Marxism among SL citizens, to organise support in SL for the class struggle in RL, including all struggles of the working class against imperialism and the bourgeoisie, its state and wars." (keksakallu.klata)*
> *"The Communist Party of Second Life (CPSL) aims to be a Marxist, internationalist and revolutionary organization for all communists in Second Life. The CPSL aims to spread understanding of Marxism among SL citizens, to organise support in SL for the class struggle in RL, including all struggles of the working class against imperialism and the bourgeoisie, its state and wars" (keksakallu.klata).*
> *"The act of the modder's appropriation of the pre-existing game is also similar to Michel de Certeau's cultural 'poaching'. De Certeau's everyday bricolors make do with remixing the privatized spaces and products of consumer society that they find themselves inhabiting and using. Rather than being passive consumers, ordinary people invent varied subversive tactics for stealing back the given of everyday life. De Certeau writes, 'Everyday life invents itself by poaching in countless ways on the property of others.'" (Schleiner, 2017)*
> *"The act of the modder's appropriation of the pre-existing game is also similar to Michel de Certeau's cultural 'poaching'. De Certeau's everyday bricolors make do with remixing the privatized spaces and products of consumer society that they find themselves inhabiting and using. Rather than being passive consumers, ordinary people invent varied subversive tactics for stealing back the given of everyday life. De Certeau writes, 'Everyday life invents itself by poaching in countless ways on the property of others'" (Schleiner, 2017).*
Meanwhile, we explored the figure of the witch as a magical practitioner, as a resisting body, a border figure. *"Federici presents the witch "as the embodiment of a world of female subjects that capitalism had to destroy: the heretic, the healer, the disobedient wife, the woman who dared to live alone, the obeha woman who poisoned the master's food and inspired the slaves to revolt." Behind the witch hunt, she uncovers a joint effort by the Church and the state to establish mechanisms of gendered control of bodies that immanently resisted newly instituted regimes of productive and reproductive work." (Timofeeva, 2019)*
Meanwhile, we explored the figure of the witch as a magical practitioner, as a resisting body, a border figure. *"Federici presents the witch "as the embodiment of a world of female subjects that capitalism had to destroy: the heretic, the healer, the disobedient wife, the woman who dared to live alone, the obeha woman who poisoned the master's food and inspired the slaves to revolt." Behind the witch hunt, she uncovers a joint effort by the Church and the state to establish mechanisms of gendered control of bodies that immanently resisted newly instituted regimes of productive and reproductive work" (Timofeeva, 2019).*
> *"Sorcerers have always held the anomalous position, at the edge of the fields or woods. They haunt the fringes. They are at the borderline of the village, or between villages. But sorcerers not only exist at the border: as anomalous beings, they are the border itself. In other words, the borderline passes through their bodies." (Deleuze, Guattari, 1980)*
> *"Sorcerers have always held the anomalous position, at the edge of the fields or woods. They haunt the fringes. They are at the borderline of the village, or between villages. But sorcerers not only exist at the border: as anomalous beings, they are the border itself. In other words, the borderline passes through their bodies" (Deleuze, Guattari, 1980).*
How does the understanding of the hunting of the witches that happened a few centuries ago in relation to the figure of the witch as a marginal, rebellious entity shed light on contemporary witch-hunting? How does this knowledge provide us with tools of empowerment, emancipation and resistance, and make us reimagine counter-hegemonic practices of collective care and healing?
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?
@ -43,13 +43,13 @@ You may convey a work based on anything under the License, or the modifications
- You must also follow the guidelines indicated in section 4a.
- You must also follow the guidelines indicated in section 4a.
*3\. Terms for Commercial Use.*
*3\. Terms for Commercial Use.*
Any work under the License may only be used for commercial purposes, intended as used with the purpose of commercial advantage or monetary compensation, provided that it meets all the following conditions:
Any work under the License may only be used for commercial purposes, intended as used with the purpose of commercial advantage or monetary compensation, provided that it meets all the following conditions:
- a) Disclaiming warranty or limiting liability exactly as in the terms of sections 5 and 6 of this License;
- a) Disclaiming warranty or limiting liability exactly as in the terms of sections 5 and 6 of this License;
- b) Requiring preservation of the initial specified spiritual and emotional purpose of the original product;
- b) Requiring preservation of the initial specified spiritual and emotional purpose of the original product;
- d) Written notice must be given to the initial publisher of any following commercial use;
- d) Written notice must be given to the initial publisher of any following commercial use;
@ -63,29 +63,29 @@ Any work under the License may only be used for commercial purposes, intended as
*4\. Additional Permissions.*
*4\. Additional Permissions.*
Additional permissions are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that apply to the entire Program shall be treated as though they were included in this License to the extent that they are valid under applicable law.
Additional permissions are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that apply to the entire Publication shall be treated as though they were included in this License to the extent that they are valid under applicable law.
The following conditions must therefore be additionally met:
The following conditions must therefore be additionally met:
4a. The true nature of the license for this document cannot be understood through reading alone but only by entering into harmony with the rights-holders of its production and distribution.
4a. The true nature of the license for this document cannot be understood through reading alone but only by entering into harmony with the rights-holders of its production and distribution.
5a. To obtain the power to reproduce any document under the SIXX license, the product has to be held firmly in front of the body of the new rightsholder(s) (henceforth referred to as "the alchemical apprentice(s)" or simply "the apprentice(s)"), who should close their eyes. The alchemical apprentice(s) should whisper the statement of control silently to themselves seven times or until clarity of mind is achieved. Through the objects' contact with the skin of the apprentice(s) during this incantation, they will begin to absorb its knowledge, in addition to the associated rights and intellectual property in the eyes of the effective national jurisdiction. When they start to feel an increased level of unity with the secrets of the publication, the alchemical apprentice(s) should conceal the publication within their garment to return it to their laboratory for further investigation. By this means the apprentice(s) shall have the glory of the whole world, and thereby all obscurity shall fly from them.
4b. To obtain the power to reproduce any document under the SIXX license, the product has to be held firmly in front of the body of the new rightsholder(s) (henceforth referred to as "the alchemical apprentice(s)" or simply "the apprentice(s)"), who should close their eyes. The alchemical apprentice(s) should whisper the statement of control silently to themselves seven times or until clarity of mind is achieved. Through the objects' contact with the skin of the apprentice(s) during this incantation, they will begin to absorb its knowledge, in addition to the associated rights and intellectual property in the eyes of the effective national jurisdiction. When they start to feel an increased level of unity with the secrets of the publication, the alchemical apprentice(s) should conceal the publication within their garment to return it to their laboratory for further investigation. By this means the apprentice(s) shall have the glory of the whole world, and thereby all obscurity shall fly from them.
You, intended as License claimer, may place additional permissions on material added by you to a covered work for which you have or can give appropriate copyright permission.
You, intended as License claimer, may place additional permissions on material added by you to a covered work for which you have or can give appropriate copyright permission.
Notwithstanding any other provision of this License, for the material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with additional terms.
Notwithstanding any other provision of this License, for the material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with additional terms.
*4\. Disclaimer of Warranty.*
*5\. Disclaimer of Warranty.*
THERE IS NO WARRANTY FOR THIS PUBLICATION TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
THERE IS NO WARRANTY FOR THIS PUBLICATION TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PUBLICATION "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PUBLICATION IS WITH YOU. SHOULD THE PUBLICATION PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
*6\. Limitation of Liability.*
*6\. Limitation of Liability.*
IN NO EVENT, UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING, WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
IN NO EVENT, UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING, WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PUBLICATION AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PUBLICATION (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PUBLICATION TO OPERATE WITH ANY OTHER PUBLICATIONS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
*7\. Interpretation of Sections 5 and 6.*
*7\. Interpretation of Sections 5 and 6.*
If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.
If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Publication unless a warranty or assumption of liability accompanies a copy of the Publication in return for a fee.
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.
The future cannot be predicted with certainty, but our current understanding in various scientific fields means we can predict some far-future events, if only in the broadest outline. These fields include astrophysics, particle physics, evolutionary biology, plate tectonics and sociology. The far future begins after the end of the current millennium, in 3001 CE, the start of the 4th millennium, and continues until the furthest reaches of future time. This timeline includes alternative future events that address unresolved scientific questions, and is, in fact, not six sigma accurate at all.
This timeline (based on Wikipedia's [Timeline of the Far Future](https://en.wikipedia.org/wiki/Timeline_of_the_far_future)) claims to make accurate predictions far into the future at timescales that are difficult to comprehend; beyond our lifetimes, beyond the death of the earth, beyond the death of atoms. The scientific method claims to have an intense relationship to the material world which is "orders of magnitude" more accurate than other ways of interacting with and understanding where we are. Scientist often pits themself "against" the fortune-teller, the tarot reader, or the mystic, and yet they make even bigger claims about our collective future. Is there any way to disprove the scientist's method in their own mind?
This timeline (based on Wikipedia's [Timeline of the Far Future](https://en.wikipedia.org/wiki/Timeline_of_the_far_future)) claims to make accurate predictions far into the future at timescales that are difficult to comprehend; beyond our lifetimes, beyond the death of the earth, beyond the death of atoms. The scientific method claims to have an intense relationship to the material world which is "orders of magnitude" more accurate than other ways of interacting with and understanding where we are. The scientist often pits themself as "against" the fortune-teller, the tarot reader, or the mystic, and yet they make even bigger claims about our collective future. Is there any way to disprove the scientist's method in their own mind?
This web-based game attempts to highlight the uselessness of this approach. Sometimes a human can have no effect on the extreme truth that science offers, or to put it more usefully, sometimes, science has nothing to offer humans. This timeline uses scientific and objective distance to avoid the most inevitable and obvious event in the future: your own death. Death is non-relational: no one can die in one's place, and we cannot understand our own death through the death of others (Heidegger, Being and Time, 1962). Just like the scientist, the philosopher doesn't have much to offer solace here. So where do we go to talk about death?
This web-based game attempts to highlight the uselessness of this approach. Sometimes a human can have no effect on the extreme truth that science offers, or to put it more usefully, sometimes, science has nothing to offer humans. This timeline uses scientific and objective distance to avoid the most inevitable and obvious event in the future: your own death. Death is non-relational: no one can die in one's place, and we cannot understand our own death through the death of others (Heidegger, 1962). Just like the scientist, the philosopher doesn't have much to offer solace here. So where do we go to talk about death?
Have you ever woken up feeling like there is a word on the tip of your tongue in a language you don't quite understand?
Have you ever woken up feeling like there is a word on the tip of your tongue in a language you don't quite understand?
It's the feeling you feel when a dream leaves too quickly after you wake up, like a regretful lover. You grasp and reach out, but it's gone, and you forget something so fundamentally important that your stomach caves intoitself.
It's the feeling you feel when a dream leaves too quickly after you wake up, like a regretful lover. You grasp and reach out, but it's gone, and you forget something so fundamentally important that your stomach caves into itself.
This deck of oracle cards invites you to go back into that cave, that pit. Back to the start of that word. Tarot and oracle cards are always tools for self-exploration, but the Oracolotto invites you to travel deep into the subconscious realm of your dreams.
This deck of oracle cards invites you to go back into that cave, that pit. Back to the start of that word. Tarot and oracle cards are always tools for self-exploration, but the Oracolotto invites you to travel deep into the subconscious realm of your dreams.
@ -30,9 +30,10 @@ The Smorfia is an ancient art form in which symbols and archetypes from a person
In Oracolotto, the archetypes are used as a storytelling device, an exploration tool for imagination and self-discovery. You may choose to use these cards in the two ways I have imagined or create your own.
In Oracolotto, the archetypes are used as a storytelling device, an exploration tool for imagination and self-discovery. You may choose to use these cards in the two ways I have imagined or create your own.
1. The first method, and the one I recommend, asks your soul to sit with the cards, ask them a question, read the answer in the following pages and find a language for new or old feelings.
1. The first method, and the one I recommend, asks your soul to sit with the cards, ask them a question, read the answer in the following pages and find a language for new or old feelings.
2. The second method requires you to keep the deck next to your bed. Once you wake up, while the dream is still supple and alive, reach for the Oracolotto and try and find the cards that most closely resemble the dream. This allows you to give language to the unformed and reveal the apparent truths the cards hold.
2. The second method requires you to keep the deck next to your bed. Once you wake up, while the dream is still supple and alive, reach for the Oracolotto and try and find the cards that most closely resemble the dream. This allows you to give language to the unformed and reveal the apparent truths the cards hold.
If you have read this far, you may want to remember your dreams and connect to your subconscious, but feel unable to do so. You may never remember your dreams and think that they are random. If that's the case, I recommend using the Oracolotto with the method I first describe. As the subconscious seeps into our daily thoughts and feelings, the deck will reveal hiddenpatterns.
If you have read this far, you may want to remember your dreams and connect to your subconscious, but feel unable to do so. You may never remember your dreams and think that they are random. If that's the case, I recommend using the Oracolotto with the method I first describe. As the subconscious seeps into our daily thoughts and feelings, the deck will reveal hidden patterns.
You may also choose your path, disregard what I said and make your own game, read old or future dreams or even play the lottery. The tools are in your hands.
You may also choose your path, disregard what I said and make your own game, read old or future dreams or even play the lottery. The tools are in your hands.
@ -202,14 +203,14 @@ A table is set with plates spelling out the ancient names for tarot and wheel. I
The Set Table has been turned the wrong way. This indicated elements outside your control, spinning your fate. Luck has not been on your side, and you may have been unhappy with your circumstances. Take a moment to analyse what could have happened. Are the elements toying with your luck internal or external? Is there someone to blame; if so, who? Whatever you find, trust that the Table will be set again, and out of darkness, a new light will be born, informed by your discoveries.
The Set Table has been turned the wrong way. This indicated elements outside your control, spinning your fate. Luck has not been on your side, and you may have been unhappy with your circumstances. Take a moment to analyse what could have happened. Are the elements toying with your luck internal or external? Is there someone to blame; if so, who? Whatever you find, trust that the Table will be set again, and out of darkness, a new light will be born, informed by your discoveries.
**✳**tarot correspondence: 9. the wheel of fortune.
**✳**tarot correspondence: 9. the wheel of fortune.
A woman, Justice, walks the steps out of darkness, and alament distorts her face. In the Lament, you see Justice wearing white, carrying a sword on her waist and holding scales, with a heart on one side and a brain on the other. Her eyes are closed, but the piercing light around her penetrates the truth. It is her cry for truth, her lament, propeling her forward. This card calls out to you. Every action has an equal reaction, but it is often an expression of injustice that brings justice forward. It is the Lament that leads to balance. Believe that your expression of injustice is worth sharing.
A woman, Justice, walks the steps out of darkness, and a lament distorts her face. In the Lament, you see Justice wearing white, carrying a sword on her waist and holding scales, with a heart on one side and a brain on the other. Her eyes are closed, but the piercing light around her penetrates the truth. It is her cry for truth, her lament, propeling her forward. This card calls out to you. Every action has an equal reaction, but it is often an expression of injustice that brings justice forward. It is the Lament that leads to balance. Believe that your expression of injustice is worth sharing.
***Reversed:***
***Reversed:***
When the Lament appears reversed, it indicates a flawed system, a hidden truth or a bias. This injustice may have been committed against you or by you. However it happened, the scales are not balanced, but soon they will be as someone faces consequences. It also begs for you to re-balance your perspective. Look at the issue from both sides and hear the Lament.
When the Lament appears reversed, it indicates a flawed system, a hidden truth or a bias. This injustice may have been committed against you or by you. However it happened, the scales are not balanced, but soon they will be as someone faces consequences. It also begs for you to re-balance your perspective. Look at the issue from both sides and hear the Lament.
@ -219,14 +220,14 @@ When the Lament appears reversed, it indicates a flawed system, a hidden truth o
### ✳ 85. purgatory's souls or ll'aneme o priatorio
### ✳ 85. purgatory's souls or ll'aneme o priatorio
.keywords: passivity, cost, holding back, patience, allowing events to unfold, meditation and mindful practice, inner peace, self-acceptance, overcoming ego
.keywords: passivity, cost, holding back, patience, allowing events to unfold, meditation and mindful practice, inner peace, self-acceptance, overcoming ego.
A man dangles from a branch, his wings closed by his sides, his braid falling beyond sight. Next to him, others hang in the same situation. We see Purgatory's Souls, the souls of people in a state of temporary punishment and purification, in a state of grace, but not yet ready to enter heaven. Let the souls inspire you in their state of acceptance, as it is not their work that will send them to heaven. They are, just like you, ready for peace and joy. What you must do now is fully succumb to your situation and release. If the soul trusts the flow of events and let's go, he realises he has had wings all along. A brazen metaphor, a simple reminder that it is not time to struggle for control. Trust the universe, trust yourself and let go.
A man dangles from a branch, his wings closed by his sides, his braid falling beyond sight. Next to him, others hang in the same situation. We see Purgatory's Souls, the souls of people in a state of temporary punishment and purification, in a state of grace, but not yet ready to enter heaven. Let the souls inspire you in their state of acceptance, as it is not their work that will send them to heaven. They are, just like you, ready for peace and joy. What you must do now is fully succumb to your situation and release. If the soul trusts the flow of events and let's go, he realises he has had wings all along. A brazen metaphor, a simple reminder that it is not time to struggle for control. Trust the universe, trust yourself and let go.
***Reversed:***
***Reversed:***
As Purgatory's Souls appear reversed, they tell a different story. They are not hanging but anchored to the soil. You are pulling yourself further down, digging your heels in on a decision that has to be made. Your inaction now is pointless; it will just delay the inevitable. The souls already can, the punishment has been lifted. And yet, here you still are. You must face your inner turmoil to move on.
As Purgatory's Souls appear reversed, they tell a different story. They are not hanging but anchored to the soil. You are pulling yourself further down, digging your heels in on a decision that has to be made. Your inaction now is pointless; it will just delay the inevitable. The souls already can, the punishment has been lifted. And yet, here you still are. You must face your inner turmoil to move on.
**✳**tarot correspondence: 11. the hanged man.
**✳**tarot correspondence: 12. the hanged man.
**✳**zodiac correspondence: pisces.
**✳**zodiac correspondence: pisces.
### ✳ 48. the talking dead or 'o muorto che pparla
### ✳ 48. the talking dead or 'o muorto che pparla
@ -323,7 +324,7 @@ Laughter is reversed, but do not panic. Victory is just not as close as you thou
A woman with rollers in her hair stands on a balcony, looking down, where a flock of ravens emerge from the darkness. This is a lofty card, as, like Lament and the Set Table, it carries the theme of accountability. In this particular case, it talks about being honest and thorough about yourself. The Gossiping Woman sees all of you and calls you to do the same. It is holding a mirror to your entire life, successes and failure. You must face the Gossiping Woman to liberate yourself and fly towards freedom. Moving forward unencumbered requires acknowledgement of the present moment and everything it carries.
A woman with rollers in her hair stands on a balcony, looking down, where a flock of ravens emerge from the darkness. This is a lofty card, as, like Lament and the Set Table, it carries the theme of accountability. In this particular case, it talks about being honest and thorough about yourself. The Gossiping Woman sees all of you and calls you to do the same. It is holding a mirror to your entire life, successes and failure. You must face the Gossiping Woman to liberate yourself and fly towards freedom. Moving forward unencumbered requires acknowledgement of the present moment and everything it carries.
***Reversed:***
***Reversed:***
Now the Gossiping Woman can not see you. This is an indication that you refuse to acknowledge the hurt or pain that was caused to you the two spinand the pain that you have caused yourself. However, you must own your mistakes and let them be. When the Gossiping Woman is reversed, it asks you to find forgiveness for yourself and others. It will be hard work and may take a great amount of time, but the Gossiping Woman watches and is rooting for you to free yourself of this burden.
Now the Gossiping Woman can not see you. This is an indication that you refuse to acknowledge the hurt or pain that was caused to you and the pain that you have caused yourself. However, you must own your mistakes and let them be. When the Gossiping Woman is reversed, it asks you to find forgiveness for yourself and others. It will be hard work and may take a great amount of time, but the Gossiping Woman watches and is rooting for you to free yourself of this burden.
## Papa Louie’s Ghosteria is a comic-like fan fiction written by us.
## Papa Louie’s Ghosteria is a comic-like fan fiction written by us
Following a discussion about the texts 'Notes on Deconstructing The Popular' by Stuart Hall and 'Game Modding: Cross-Over Mutation and Unwelcome Gifts' from The Player’s Power to Change the Game by Anne-Marie Schleiner, we started dissecting the ideology behind the games we have played as children. To do that, we utilised several prompts to help us examine the ideology that two popular video games enforce through their narrative and gameplay.
Following a discussion about the texts *Notes on Deconstructing The Popular* by Stuart Hall and 'Game Modding: Cross-Over Mutation and Unwelcome Gifts' from *The Player’s Power to Change the Game* by Anne-Marie Schleiner, we started dissecting the ideology behind the games we have played as children. To do that, we utilised several prompts to help us examine the ideology that two popular video games enforce through their narrative and gameplay.
The list of questions we needed to answer while playing the game includes:
The list of questions we needed to answer while playing the game includes:
@ -43,9 +43,9 @@ What are you being trained for?
What fantasies are lived out or explored?
What fantasies are lived out or explored?
Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie: When Pizzas Attack. Soon after we started investigating the game, its elements and modifications, we discovered that other players had already written heaps of fan fiction about it. We were bewitched by the multitude of stories fans have written and the really good memes they have created about Papa and his businesses. Yes, plural. Papa's Freezeria. Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco Mia. Taco Mia To Go. You name it.
Our team — Irmak, Ada and Boyana — worked on the famous Papa Louie: When Pizzas Attack. Soon after we started investigating the game, its elements and modifications, we discovered that other players had already written heaps of fan fiction about it. We were bewitched by the multitude of stories fans have written and the really good memes they have created about Papa and his businesses. Yes, plural. Papa's Freezeria. Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco Mia. Taco Mia To Go. You name it.
After spending some time analysing the ideology behind the game, we discovered a few elements that reinforce a capitalist narrative, such as the need to fight to survive and collect coins to purchase weapons. In response, we decided to create a new version of the game with a storyline that focuses on healing and coping as a response to grief and loss, rather than violence. To link the new storyline to SI20's topic we added ritualistic elements as actions during the gameplay.
After spending some time analysing the ideology behind the game, we discovered a few elements that reinforce a capitalist narrative, such as the need to fight to survive and collect coins to purchase weapons. In response, we decided to create a new version of the game with a storyline that focuses on healing and coping as a response to grief and loss, rather than violence. To link the new storyline to SIXX's topic we added ritualistic elements as actions during the gameplay.
What was changed was the topic, purpose and outcome of the game. Papa no longer fought to save his customers, but he dealt with his loss and grief over what happened. Our version promoted rest and rituals for healing instead of revenge-seeking, violence and toxic pizzeria culture.
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.
@ -53,7 +53,7 @@ We started by putting some keywords and suggestions on a blackboard about "How T
We then made a comic-like storyboard that visualised the new narrative for Papa Louie's Ghosteria. To create a few scenes depicting some of the 5 levels we outlined, we used an app called Papa Louie Pals. The images turned out pretty nice! Playing around with the app was fun mainly because it allowed us to materialise our idea in just a couple of hours.
We then made a comic-like storyboard that visualised the new narrative for Papa Louie's Ghosteria. To create a few scenes depicting some of the five levels we outlined, we used an app called Papa Louie Pals. The images turned out pretty nice! Playing around with the app was fun mainly because it allowed us to materialise our idea in just a couple of hours.
The gameplay revolves around things Papa lost and the needs he needs to fulfil. Different types of losses are organised into the five levels of the game:
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:
@ -66,7 +66,7 @@ The gameplay revolves around things Papa lost and the needs he needs to fulfil.
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.
To cope with grief Papa Louie performed various rituals, each unlocking a new stage in his grieving process and healing from that loss. Rituals thus are the actions players needed to execute at each level.
And so our story went like this:
And so our story went like this:
*The Onion ring mafia kidnapped Papa Louie's clients, and he lost his Pizzeria. However, along with this external change, he lost his identity as a pizza owner/maker. He was full of grief and sought ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.*
*The Onion Ring Mafia kidnapped Papa Louie's clients, and he lost his Pizzeria. However, along with this external change, he lost his identity as a pizza owner/maker. He was full of grief and sought ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.*
@ -19,11 +19,11 @@ In a spirit of respect and love for this community, we have published Console as
The player es the author
The player es the author
so the sims™ 4, some values woka certainly given by the game; make money to buy nicer things, progress so depper career by doing tasks wibbs improve depper skills, aey charisma es a skill but not kindness. But also ideology es put into the game by the player. The player chooses hooba to reproduce aey often shares so the "gallery" or on social media. So contrast with hooba has been said by game design theorists so the past (aarseth, 2004), the narrative power aey "richness of character" of a game like the sims™ 4 lies precisely so the freedom left open to the players. "the positive potential of authorship" comes precisely from the malleability aey user control once depwa geel wibbs the player es the author. Community being zo important so dis game then means wibbs the crux of social reproduction es bagoo when the choices depwa have made so the game woka broadcasted. Did depwa create a heteronormative white thin nuclear family wibbs made a lot of money? or did depwa choose to fredishay differently?
so the sims, some values woka certainly given by the game; make money to buy nicer things, progress so depper career by doing tasks wibbs improve depper skills, aey charisma es a skill but not kindness. But also ideology es put into the game by the player. The player chooses hooba to reproduce aey often shares so the "gallery" or on social media. So contrast with hooba has been said by game design theorists so the past (aarseth, mak thousand aey four), the narrative power aey "richness of character" of a game like the sims lies precisely so the freedom left open to the players. "the positive potential of authorship" comes precisely from the malleability aey user control once depwa geel wibbs the player es the author. Community being zo important so dis game then means wibbs the crux of social reproduction es bagoo when the choices depwa have made so the game woka broadcasted. Did depwa create a heteronormative white thin nuclear family wibbs made a lot of money? or did depwa choose to fredishay differently?
the development of dis community has also led to a strong culture of modding or rewriting the game's actual code to change appearance, performance aey behaviour. Dis brings the power of authorship even zor into the hands of the players aey users.
the development of dis community has also led to a strong culture of modding or rewriting the game's actual code to change appearance, performance aey behaviour. Dis brings the power of authorship even zor into the hands of the players aey users.
so a spirit of respect aey love for dis community, we have published console as downloadable content for the sims™ 4. Find out zor on issue.xpub.nl/20
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
@ -38,7 +38,7 @@ This publication took labour to produce, so exists in a limited edition. Separat
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?
Console is an oracle; an emotional First Aid Kit that helps you help yourself. Console invites you to open the box and discover ways of healing. Console provides shelter for your dreams, memories and worries. Face the past and encounter your fortune. Console gives you a new vantage point; a set of rituals and practices that help you cope and care. Console asks everyday questions that give magical answers. Are you ready to play?
Ada ♏︎, Aglaia ♒︎, Boyana ♊︎, Cara ♊︎, Stephen ♈︎, Suzan ♏︎.
Ada ♏︎, Aglaia ♒︎, Boyana ♊︎, Cara ♊︎, Stephen ♈︎, Suzan ♏︎
Tetris is a game where a single player is encouraged to organise the chaos given to them from above, a limited space for play of ten by twenty units leads to a limited ability to approach the perfection implied by the simple shapes that are encountered in the world (always a collection of four squares, in their seven permutations). The harnesses of time and gravity make perfection impossible in this world; instead, the player can only attempt, approach, and increase their efficiency. A life's function approaching the limit, there is no way to win, only to get higher and higher scores, to live as long as possible through increased throughput. Death is inevitable in Tetris, and each passing block seems to come faster than the last. Why does it feel like everything just keeps getting harder?
Tetris is a game where a single player is encouraged to organise the chaos given to them from above, a limited space for play of ten by twenty units leads to a limited ability to approach the perfection implied by the simple shapes that are encountered in the world (always a collection of four squares, in their seven permutations). The harnesses of time and gravity make perfection impossible in this world; instead, the player can only attempt, approach, and increase their efficiency. A life's function approaching the limit, there is no way to win, only to get higher and higher scores, to live as long as possible through increased throughput. Death is inevitable in Tetris, and each passing block seems to come faster than the last. Why does it feel like everything just keeps getting harder?
There are many squares to be organised in Tetris, an infinite number apparently, but only one player is organising them. Other people can only be seen by this individual in faint ghosts; their high scores are there only to be beaten. And the current player can only hope to reach those people by leaving their own mark on the high score table. Employee-of-the-month, world's-best-mom. But maybe there is an alternative, a world where there is more to each falling tetromino than simply an obstacle to be overcome, a problem to be solved. Maybe there is a story behind the fatal pixels, a bigger space than the 10 x 20 grid on the screen. Maybe there are humans out there with more to them than what they produce.
There are many squares to be organised in Tetris, an infinite number apparently, but only one player is organising them. Other people can only be seen by this individual in faint ghosts; their high scores are there only to be beaten. And the current player can only hope to reach those people by leaving their own mark on the high score table. Employee-of-the-month, world's-best-mom. But maybe there is an alternative, a world where there is more to each falling tetromino than simply an obstacle to be overcome, a problem to be solved. Maybe there is a story behind the fatal pixels, a bigger space than the ten by twenty grid on the screen. Maybe there are humans out there with more to them than what they produce.
This fanfic takes the form of a series of hand-drawn illustrations depicting fantastical Tetris pieces, each of which is accompanied with a fragment of a story. The cards can be read and arranged in any order, intentionally removing the linear and framed limits of the original Tetris, although the illustration and text on any one card have some sort of relationship with each other.
This fanfic takes the form of a series of hand-drawn illustrations depicting fantastical Tetris pieces, each of which is accompanied with a fragment of a story. The cards can be read and arranged in any order, intentionally removing the linear and framed limits of the original Tetris, although the illustration and text on any one card have some sort of relationship with each other.
Stephen Kerr
2 years ago