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@ -10,10 +10,131 @@
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<body>
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<div id="contenteo">
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<section class="section"><p>The history of Tarot Cards According to History</p>
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<section class="section"><p>:::::{#historyoftarot .has-images}</p>
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<h1 id="an-hypothesised-and-randomly-factual-history-of-tarot-cards">An
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hypothesised and randomly factual History of Tarot Cards</h1>
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<p>What follows is the story of a deck of cards and of all the
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more-or-less believable claims that were made about its origin. This
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brief history was complied following sources that attempted accurate
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historic recalling instead of the most commonly shared semiotic,
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occultist story. However, despite all efforts all the found sources
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told a convoluted story due to the misinterpretation of age, sources and
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authorship common in any ancient text on magic and mysticism (Dummett,
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1993). As such, the following text will recall the disproven stories
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that were told about the origin of Tarot, some factual sourced material
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and a modern description of its usage.</p>
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<p>When we talk about Tarot cards we are talking about a deck of playing
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cards composed of ten numeral cards and four court cards(Jack, Knight,
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Queen and King) for each of the suits, Swords, Batons, Cups and Coins.
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Alongside these more common cards Tarot includes 22 ‘trump’ cards with
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allegorical illustrations. The trumps form a sequence, usually numbered
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from 1 to 21, with the single card of the Fool being separated (Decker,
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Depaulis & Dummett, 1996).</p>
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<p>This specific deck of cards’ history begins at the bottom of a well
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in Norther Italy, in the 1440s, where we place its first appearance in
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history. From there we can easily find links to the common usage of
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these cards in Norther Italy, from Milano to Bologna e Ferrara (Steele,
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1900). These cards, initially called <em>Trionfi</em> and then
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<em>Tarocchi</em> are thought to have been intended to be used for card
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games, regardless of their occasional usage in future-telling (Dummet,
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1993). This finding helps us trace a factual beginning of Tarot but
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leaves an open question to how these cards gained their place as the
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primary tool used in modern occultism and mysticism for cartomancy. </p>
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<figure>
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<img src="Visconti-Sforza-Tarot.jpg"
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alt="Image of the First Tarot Deck" />
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<figcaption aria-hidden="true">Image of the First Tarot
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Deck</figcaption>
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</figure>
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<p>While this is where the story began to intricate itself, it can still
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be seen that the first wide spread future-telling uses appeared in
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France in the 18th century. </p>
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<p>At this point the history of tarot beings to be influenced by what
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each fortune teller imagined the history of the cards to be. To fully
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disclose this I will first attempt to estimate the most notable
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occultists that used the cards and wrote historical notations about
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their deviance and then the stories they told about them.</p>
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<p>The first encounter we have between Tarot and magical theory and
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practice happens in the <em>Monde primitif,</em> an incredibly long
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essay about Tarot cards written in 1781 by Antoine Court de Gébelin.
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With this text, the pastor began what would be the endless repository of
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arcane esoteric wisdom within Tarot that will follow the cards for
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generations (Chisholm, 1911). In this text, Gébeling attributed the
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cards’ origin to ancient Egypt, a theory that is to this day shared as
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truthful. This belief was based on an erroneous link to “The Book of
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Thoth”, an ancient Egyptian text about magic that is believed to have
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been spread through Europe by Romani people. This belief was then
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substantiated by a similar essay by the by the comte de Mellet(Decker,
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). Promptly, a Parisian fortune teller named Jean-Baptiste Alliette,
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professionally known as Etteilla, having found these theories, adapted
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the esoteric view of the cards to his own uses. He switching his own
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practice from traditional French piquet cartomancy to the use of a
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self-made Tarot card deck. This deck was based on the previously shared
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Hermetic ideologies and was named “The Book of Toth”(same).</p>
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<figure>
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<img src="etteilla.jpg" alt="Image from Etteilla’s Deck" />
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<figcaption aria-hidden="true">Image from Etteilla’s Deck</figcaption>
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</figure>
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<p>The next fundamental spin that was given to the cards’ background was
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down by Éliphas Levi, another French esotericist. Levi repudiated
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Etteilla’s theory and integrated a version of the cards that was closer
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to the original to his own Cabalistic magical system. However
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historically mistaken was Levi’s understanding of the cards’ travel from
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Egypt to Judea into Jewish tradition, it nonetheless revolutionised the
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cards in ways that live on till today. His Cabalistic theory about signs
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being letter, letters being absolute ideas and absolute ideas being
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numbers can be seen in even modern iterations of tarot.</p>
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<p>From here on over, Tarot’s journey speeds up as the cards leave
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France and become absorbed into new esoteric movements like
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Swedenborgianism, Mesmerism and spiritualism (Decker, Depaulis &
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Dummet, 1996).</p>
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<p>Before we make a jump through time to the next biggest relevant
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development of Tarot, I will share the last of the three false
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widespread theories about the origin of Tarot, the first two being Egypt
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and Judaism(despite its influence in modern tarot).</p>
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<p>This last theory is harder to trace back to one esoteric influence,
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but nonetheless claims a Chinese origin to the cards. Most likely, this
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is due to the similarity with the I Ching, a divination manual from
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around 1000 BC. The manual was grounded in cleromancy, the production of
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random numbers to predict divine intention. However, there is no
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traceable connection between Chinese cleromancy and Tarot divination.
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Modern analyses of Chinese Tarot divination draw direct correlation
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between Western occultism and Tarot divination, leaving little room to
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imagine any direct causation starting from China (Fu, Li, Lee,
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2002).</p>
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<p>For the purpose of this recalling but unsurprisingly for those
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familiar, the next big step will bring us to the late19th century in
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Britain, in the Hermetic Order of the Golden Dawn. The Golden Dawn was a
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secret society devoted to occult Hermetic Kabbalah and one of the
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largest single influences on Western occultism as a whole (Jenkins,
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2000). While the society itself had a wide curriculum, including
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astrology, alchemy and geomancy(soil divination), our only concern at
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the moment is with their links to Tarot cards.</p>
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<p>In 1909, two mystics and members of the Golden Dawn, A.E. Waite and
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Pamela Colman Smith published with the Rider Company a deck of re-made
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Tarot cards based on the society’s magic system. These cards, later
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known as the Ride-Waite Tarot(Dean, 2015). This deck was based on the
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Sola Busca deck, with symbolism being taken from Levi’s descriptions and
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Egyptian and Christian symbolism. This deck has become the paradigm and
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touchstone through which modern occultists think of Tarot. Between the
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distribution of this deck and the use of the cards in the Golden Dawn,
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it became axiomatic among followers many traditions of mysticism that
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the Tarot is an essential component of any occult science.</p>
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<figure>
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<img src="Rider-Waite_Pents.jpg"
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alt="Image from the Raider-Waite deck" />
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<figcaption aria-hidden="true">Image from the Raider-Waite
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deck</figcaption>
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</figure>
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<p>Nowadays, Tarot is emblematic and incredibly wide spread as the most
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common future-telling method and device. Thousands and thousands of
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different formats exist, often falling under the category of Oracle
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cards and as such not having the clear formatting rules of Tarot but
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still implicating divination and self-reflection through the
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interpretation of allegorical illustration.</p>
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</section>
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<section class="section"><p>Some Gossip on gossip</p>
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<section class="section">
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</section>
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<section class="section"><h1
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@ -37,18 +158,198 @@ win. The fermentation and the radicalization happen only in the
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base-ment. Will you be part of the revolutionary class?</p>
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</section>
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<section class="section"><p>:::::</p>
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<h1 id="colophon">Colophon</h1>
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<h3 id="photography-and-illustration">Photography and Illustration</h3>
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<p>Unless otherwise stated, all photography and illustrations in this
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publication are created by the same authors as the text. That which is
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below is like that which is above and that which is above is like that
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which is below, to do the miracle of one only thing.</p>
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<h3 id="digital-tools">Digital Tools</h3>
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<p>This book was created with the help of a collection of not-so-small
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and extremely sharp open source tools, to name a few; paged.js, pandoc,
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pdfimpose, pdftk, and our darling demon inkscape. So was the world
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created. From this are and do come admirable adaptations where of the
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means is here in this.</p>
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<p>###Printing and Binding Just lil old us.</p>
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<h3 id="fonts">Fonts</h3>
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<p>Work Sans by Wei Huang. Consolation by us.</p>
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<p>That which I have said of the operation of the Sun is accomplished
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and ended.</p>
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<p>:::::</p>
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</section>
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<section class="section">
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</section>
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<section class="section"><p>rituals_archive will go here</p>
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</section>
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<section class="section"><p><em>He who dreams of drinking wine may weep when morning comes; he
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who dreams of weeping may in the morning go off to hunt. While he is
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dreaming he does not know it is a dream, and in his dream he may even
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try to interpret a dream. Only after he wakes does he know it was a
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dream. And someday there will be a great awakening when we know that
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<section class="section"><p>Introduction</p>
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<p>The last trimester was an attempt to understand the notions of games
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and rituals. Instead of introduction we will try to unravel this
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mysterious journey as well as keep questioning and collaging.</p>
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<p>We mapped the common characteristics and the differences between the
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latter in relation to ideology and counter-hegemony. We practiced,
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performed, annotated rituals that were connected (or not) with our
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cultural backgrounds while we questioned the magic circle. We dived into
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the worlds of text adventure games and clicking games while drinking
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coffee and talked about class, base, superstructure, (counter)hegemony,
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ideology, materialism. We discussed about how games and rituals can
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function as reproductive technologies of the culture industries. We
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annotated games- focusing on the role of ideology and social
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reproduction. We reinterpreted bits of the world and created stories
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with it (modding, fiction, narrative) while focusing on community,
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interaction, relationships, grief and healing.</p>
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<p>The eventual product of this process is a console, a magical object,
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a wooden container, a promising healing. How the unpacking of notions of
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games, rituals, ideology, superstructure in relation to the
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witch-hunting can become the midwiferies of a healing box? How practices
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of heal and care can work as counter-hegemonic acts that can cure and
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liberate our souls and bodies from patriarchical and capitalistic
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fetters?</p>
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<p>We didn’t manage to provide you with comprehensive and solid answers
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or conclusive statements. The truth is that this wasn’t our plan. Our
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intention was to create openings for debate or even conflict, to map a
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territory, to invite those who would like to join us.</p>
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<blockquote>
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<p><em>“What if you are playing tetris and the tetris gods give you
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something apart from the usual seven tetrominoes, like an unexpected
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pregnancy or the end of capitalism?”,(Steven)</em></p>
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</blockquote>
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<p>Starting with rituals we can claim that they can be understood as
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instruments in the struggle for the exercise of power. Organized by
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<em>repetition</em>, they (re)connect the individual to the collective,
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creating a vision towards a given perception of society. Participation
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in this creative act is determined by several factors, for example, a
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ritual’s function, its relationship to hegemonic power, a collective’s
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politics and objectives, etc.</p>
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<blockquote>
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<p>*“Ritual is a means of performing the way things ought to be in
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conscious tension to the way things are in such a way that this
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ritualized perfection is recollected in the ordinary, uncontrolled,
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course of things. Ritual relies for its power on the fact that it is
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concerned with quite ordinary activities, that what it describes and
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displays is, in principle, possible for every occurrence of these acts.
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But it relies, as well, for its power on the fact that, in actuality,
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such possibilities cannot be realized.(Smith,1980)*”</p>
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<p><em>“Ideology talks of actions: I shall talk of actions inserted into
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practices. And I shall point out that these practices are governed by
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rituals in which these practices are inscribed, within the material
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existence of an ideological apparatus(...)Ideas have disappeared as such
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to the precise extend that it has emerged that their existence is
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inscribed in the actions of practices governed by rituals defined in the
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last instance by an ideological apparatus”,(Althusser,1970)</em></p>
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</blockquote>
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<p>Similarly, videogames create worlds. Often, those worlds mirror our
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own, reproducing certain ideals and values as norms through their
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narrative, game play, design. This trimester we explored world-building
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characteristics found both in rituals and videogames. We critically
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considered those worlds, identifying the key points and elements through
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which specific videogames and rituals circulate political, cultural and
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social values. While this world-building might be interpreted from an
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angle of implicit and explicit bias rooted in hegemonic values, we
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investigated the generative, creative possibilities of such
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characteristics.</p>
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<blockquote>
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<p><em>“The main task of mass culture is to create, reproduce, and
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manage particular kinds of subjects — workers, consumers, individuals,
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citizens —required for current conditions. To perpetuate their own
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existence, mass media must succeed at representing the violent coercion
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of capitalist systems as natural laws: Of course you have to pay rent to
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live inside; of course you have to buy food to eat; of course you have
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to work if you want to survive. The production of a fungible, disposable
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and migratory working class requires the alienation and atomization of
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communities into individuals, which involves destroying the village,
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kinship structures, indigeneity, and many other previous forms of
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meaning-producing structures, leaving a gap which ideology must fill.
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While the fundamental structures of domination — racism, patriarchy,
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heterosexuality, etc. — form the bedrock of this ideological apparatus,
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the complexity of the always expanding and changing capitalist system
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requires an equally flexible set of subsidiary tools capable of rapidly
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adjusting ideology en masse. In general, media emerge not to meet the
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demands or desires of individual users but to accommodate what the
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predominant mode of production requires.”,(Osterweil,2018)</em></p>
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</blockquote>
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<p>Our intention was to look into rituals and their overlap with video
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games as a way to explore "forbidden" or otherwise lost knowledge erased
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by oppressive systems (e.g. witch hunts). Understanding games and
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rituals as gateways to alternative ways of relating to Nature, each
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other and (re)production of life, labour, etc, we played together by
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writing fan fiction and spells, developing rituals, analysing and
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creating games together.</p>
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<blockquote>
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<p>“S<em>ims as just social reproduction: some values are certainly
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given by the game (make money to buy nicer things, progress in your
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career by doing tasks that improve your skill, charisma is a skill but
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not kindness) , but also ideology is put into the game by the player.
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The player chooses what to reproduce and often share in the "gallery" or
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on social media. Community being so important in this game then means
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that the crux of the social reproduction is happening when the choices
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you have made in the game are broadcasted. Did you create a
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heteronormative white thin nuclear family that made a lot of money? or
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did you choose to play differently?“,(Ada)</em></p>
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<p><em>“The Communist Party of Second Life (CPSL) aims to be a Marxist,
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internationalist and revolutionary organization for all communists in
|
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Second Life. The CPSL aims to spread understanding of Marxism among SL
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citizens, to organise support in SL for the class struggle in RL,
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including all struggles of the working class against imperialism and the
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bourgeoisie, its state and wars.”,(Lydia)</em></p>
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<p><em>“The act of the modder’s appropriation of the pre-existing game
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|
is also similar to Michel de Certeau’s cultural ‘poaching’.De Certeau’s
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|
|
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everyday bricolors make do with remixing the privatized spaces and
|
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|
|
products of consumer society that they find themselves inhabiting and
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using. Rather than being passive consumers, ordinary people invent
|
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varied subversive tactics for stealing back the given of everyday life.
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De Certeau writes, ‘Everyday life invents itself by poaching in
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countless ways on the property of others’.”(Schleiner,2017)</em></p>
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</blockquote>
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<p>Meanwhile, we went through the witch as a magical practicioner, as a
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resisting body, a border figure. <em>“Federici presents the witch”as the
|
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|
|
embodiment of a world of female subjects that capitalism had to destroy:
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the heretic, the healer, the disobedient wife, the woman who dared to
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live alone, the obeha woman who poisoned the master’s food and inspired
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the slaves to revolt.” Behind the witch hunt, she uncovers a joint
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effort by the Church and the state to establish mechanisms of gendered
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control of bodies that immanently resisted newly instituted regimes of
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productive and reproductive work”(Timofeeva,2019).</em></p>
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<p><em>“Sorcerers have always held the anomalous position, at the edge
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of the fields or woods. They haunt the fringes. They are at the
|
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borderline of the village, or between villages. But sorcerers not only
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exist at the border: as anomalous beings, they are the border itself. In
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other words, the borderline passes through their bodies.”,(Deleuze,
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|
Guattari,1980)</em></p>
|
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|
|
<p>How the understanding of the witchs’ hunting that happened a few
|
|
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|
|
centuries ago in relation with the figure of the witch as marginal,
|
|
|
|
|
rebellion entity can shed light on the contemporary witch-hunting. How
|
|
|
|
|
this knowledge can provide us with tools of empowerment, emancipation,
|
|
|
|
|
resistance and make us reimagine counter-hegemonic practices of
|
|
|
|
|
collective care and healing?</p>
|
|
|
|
|
<p>Console is an oracle; an emotional first aid kit that helps you help
|
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|
|
|
yourself.</p>
|
|
|
|
|
<p>Console invites you to: open the box and discover ways of
|
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|
|
|
healing;</p>
|
|
|
|
|
<p>Console provides shelter for your dreams, memories and worries.</p>
|
|
|
|
|
<p>Face the past and encounter your fortune.</p>
|
|
|
|
|
<p>Console gives you a new vantage point; a set of rituals and practices
|
|
|
|
|
that help you cope and care(of yourself and of the others)</p>
|
|
|
|
|
<p>Console asks everyday questions that give magical answers.</p>
|
|
|
|
|
<p>Console invites you to self reflect, explore your subconscious, spin
|
|
|
|
|
the wheel of fortune (and pick a card), explore what is possible beyond
|
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|
|
what is obvious, guide you into... [the future and past], creates
|
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|
stories …</p>
|
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|
|
</section>
|
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|
<section class="section"><p>:::::</p>
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|
<p><em>They who dream of drinking wine may weep when morning comes; they
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|
who dream of weeping may in the morning go off to hunt. While they are
|
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dreaming they do not know it is a dream, and in their dream they may
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even try to interpret a dream. Only after they wake do they know it was
|
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|
a dream. And someday there will be a great awakening when we know that
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|
this is all a great dream.</em></p>
|
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|
<p><em>And when I say you are dreaming, I am dreaming, too.</em></p>
|
|
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|
|
<p><strong>Zhuàngzi</strong></p>
|
|
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|
|
<h3 id="preface">✧ Preface</h3>
|
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|
|
<p><strong>Zhuàngzi</strong> <strong>莊子</strong></p>
|
|
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|
|
<h1 id="preface">✧ Preface</h1>
|
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|
|
<p>Have you ever woken up feeling like there is a word, at the tip of
|
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|
|
your tongue, in a language you don’t quite understand?</p>
|
|
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|
|
<p>It’s the same feeling you may have felt when a dream has left too
|
|
|
|
|
@ -101,6 +402,8 @@ these patterns.</p>
|
|
|
|
|
<p>You may also choose your own path, disregard what I said and make
|
|
|
|
|
your own game, read old or future dreams or even play the lottery. The
|
|
|
|
|
tools are now in your hands.</p>
|
|
|
|
|
<p>:::::</p>
|
|
|
|
|
<div class="hide-on-web">
|
|
|
|
|
<h3 id="how-to-care-for-the-oracolotto">✧ How to care for the
|
|
|
|
|
Oracolotto</h3>
|
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|
|
<p>You may have been told that objects do not have spirit and have
|
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|
|
@ -685,19 +988,174 @@ effort has been thorough and earnest. Keep dreaming, keep working and
|
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|
|
soon the Good Wine will be yours.</p>
|
|
|
|
|
<p><strong>✳</strong> tarot correspondence: 20. the world.</p>
|
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|
|
|
<p><strong>✳</strong> zodiac correspondence: all signs.</p>
|
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|
|
<h2 id="bibliography">Bibliography</h2>
|
|
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|
|
<ul>
|
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|
|
<li>Paola De Sanctis Ricciardone, <em>Il tipografo celeste. Il gioco del
|
|
|
|
|
lotto tra letteratura e demologia nell’Italia dell’Ottocento e
|
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|
|
|
oltre</em>, Bari, Dedalo, 1987. ISBN 88-220-6066-0</li>
|
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|
|
<li>Michele Zezza, <em>La smorfia ossia Il nuovo metodo per perdere
|
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|
|
denaro, e cervello con maggior sicurezza al gioco del lotto</em>,
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|
|
Napoli, Torchi della Società filomatica, 1835.</li>
|
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|
|
<li>莊子<em>,</em> 齊物論<em>, 12. Zhuàngzi, “Discussion on making all
|
|
|
|
|
things equal,” 12. from Zhuàngzi, Burton Watson trans., Chuang Tzu (New
|
|
|
|
|
York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8
|
|
|
|
|
[1]</em></li>
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|
|
|
</ul>
|
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|
|
</div>
|
|
|
|
|
</section>
|
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|
|
<section class="section"><div id="documentation-of-game-and-rituals" class="has-images">
|
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|
<h1
|
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|
|
id="documentation-of-games-and-rituals-kick-off-sessions">Documentation
|
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|
|
of Games and Rituals, Kick off sessions</h1>
|
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|
|
<h2
|
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|
|
|
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
|
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|
are looking at rituals and their overlap with video games as a way to
|
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|
explore “forbidden” or otherwise lost knowledge erased by oppressive
|
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|
systems.</h2>
|
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|
<p>On Rituals and Traditions What is a ritual? And tradition? What makes
|
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|
|
a ritual “ritual” and how does it differ from the traditions? Or are the
|
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|
|
two the same thing? What do rituals and traditions mean through the lens
|
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|
|
of culture, location and time? These and other questions we asked
|
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|
|
ourselves and one another during the first few collaborative sessions of
|
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|
|
this Special Issue. For hours, we kept talking and reading about the
|
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|
|
commonalities and differences between the two. There’s a lot to explore!
|
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|
|
We went down memory lane and shared a lot of memories, childhood
|
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|
|
recollections, and personal stories. Perhaps, dear reader, you have your
|
|
|
|
|
thoughts on this too?</p>
|
|
|
|
|
<p>But let’s enter a parallel universe!</p>
|
|
|
|
|
<p>On Game and Play What is a game? And play? What makes a game “game”
|
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|
|
and how does it differ from the play? Or are the two the same thing?
|
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|
|
|
What makes a game? It is the rules, the limitations, or perhaps the wins
|
|
|
|
|
and 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
|
|
|
|
|
annotate collectively the chapter “Defining Games” of the book ‘Rules of
|
|
|
|
|
Play - Game Design Fundamentals’ by Katie Salen and Eric Zimmerman. What
|
|
|
|
|
we discovered was that games and rituals alike are the gateways to
|
|
|
|
|
alternative ways of relating to Nature, each other and (re)production of
|
|
|
|
|
life.</p>
|
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|
|
<p>We played together by writing fanfiction and spells, developing
|
|
|
|
|
rituals, and analysing and creating games together. 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>
|
|
|
|
|
<p>Transition to the weekly rituals: Another thing that came out of our
|
|
|
|
|
first two sessions was the ONE SENTENCE RITUAL. Each week for 6 weeks in
|
|
|
|
|
a row, we wrote down a ritual of our own and took turns in 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 on our lives
|
|
|
|
|
also.</p>
|
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|
|
<p><img src="Candlestarotjoysticks.png" alt="Candles Tarot Joysticks" />
|
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|
|
|
<img src="Cookies-Questions-Tea.jpeg"
|
|
|
|
|
alt="Cookies Questions Tea.jpeg" /> <img src="Game-ritual-graph-2.jpeg"
|
|
|
|
|
alt="Graph" /> <img src="map.jpeg" alt="Map" /></p>
|
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|
|
|
</div>
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
<section class="section"><div id="wheel-of-fortune" class="has-images">
|
|
|
|
|
<h1 id="the-wheel-of-fortune">The Wheel of Fortune</h1>
|
|
|
|
|
<h2 id="a-tool-for-self-inquiry">a tool for self-inquiry</h2>
|
|
|
|
|
<p>The Wheel of Fortune (not to be mistaken with the tarot card) is a
|
|
|
|
|
tool for self-inquiry that you, dear reader, can engage in a daily,
|
|
|
|
|
weekly or any frequency that suits you best. Beware, the game can be
|
|
|
|
|
played individually or in small groups.</p>
|
|
|
|
|
<p>The main components of the game are a virtual spinning wheel,
|
|
|
|
|
accessible via this link here https://issue.xpub.nl/20/wheel, a deck of
|
|
|
|
|
20 photo slides, a notebook, and a pen(cil) to store the potential
|
|
|
|
|
insights you might find for yourself.</p>
|
|
|
|
|
<p>To start the exercise, you need to visit the website on their devices
|
|
|
|
|
and spin the virtual wheel. The Wheel of Fortune spins for quite some
|
|
|
|
|
time, and then it gives you a random question. Take these questions as
|
|
|
|
|
an invitation to an explorative conversation with yourself. The list of
|
|
|
|
|
404 questions is carefully collected, modified (where needed) and
|
|
|
|
|
presented to you through a random web generator. Psychotherapists,
|
|
|
|
|
philosophers, writers, and students from XPUB 2023 are among the authors
|
|
|
|
|
of this long list of sentences ending with “?”.</p>
|
|
|
|
|
<p>Another collection that can help you delve deeper into your inner
|
|
|
|
|
world is a deck of photo slides. Hopefully, these captured memories of
|
|
|
|
|
other people, paired with a random question on the screen, would evoke
|
|
|
|
|
new emotions or prompt you to imagine possible futures.</p>
|
|
|
|
|
<p>The use of collective resources in this piece highlights the power of
|
|
|
|
|
collaboration in creating works that encourage people to engage in
|
|
|
|
|
self-reflection and introspection, making it a valuable addition to any
|
|
|
|
|
art publication that explores the human experience.</p>
|
|
|
|
|
<p>The use of collective resources in this piece highlights the power of
|
|
|
|
|
collaboration in creating works that encourage people to engage in
|
|
|
|
|
self-reflection and introspection. As such, it may contribute to any art
|
|
|
|
|
publication exploring the human experience.</p>
|
|
|
|
|
<p>Courtesy to: Casey Horner (https://unsplash.com/<span
|
|
|
|
|
class="citation"
|
|
|
|
|
data-cites="mischievous_penguins">@mischievous_penguins</span>)</p>
|
|
|
|
|
<p>Reference list: “The Myth of Normal. Trauma, Illness, & Healing
|
|
|
|
|
in a Toxic Culture’, by Dr Gabor Maté Nadia Piet and Sandra Reeb-Gruber,
|
|
|
|
|
https://nadiapiet.com/know-thyself/ The School of Life WNRS, We’re Not
|
|
|
|
|
Really Strangers</p>
|
|
|
|
|
<p>Excerpt from the 404 Questionnaire: What do you want? Why do you do
|
|
|
|
|
what you do each day? What do you think you’re here for? What are you
|
|
|
|
|
doing with this day, today? What are you searching for? What are you
|
|
|
|
|
looking at? Have you learned something new today? This week? What
|
|
|
|
|
filters would you apply to your mood right now if it was an analogue
|
|
|
|
|
film frame? Is this what you really want to do or it is your way of
|
|
|
|
|
delaying your realisation? What would your day look like if you were a
|
|
|
|
|
pirate? If you could be any animal for a day, which one would you choose
|
|
|
|
|
and why? If you could be any animal for a day, how would you experience
|
|
|
|
|
the world differently? Do you speak horse language? (wild question) If
|
|
|
|
|
you were Kim, who would that person be? (wild question) What does your
|
|
|
|
|
body need today? What does your mind need today? What does your soul
|
|
|
|
|
need today? If your life was a treasure hunt, what would you be
|
|
|
|
|
searching for? What is your personality? What would a person that loves
|
|
|
|
|
you tell you if know you’re suffering? If you were in search of a new
|
|
|
|
|
identity, what clues would you need to find it? If you could see the
|
|
|
|
|
world through the eyes of any animal, which one would you choose and
|
|
|
|
|
why? If you were a pirate, what kind of treasure would you be searching
|
|
|
|
|
for? If you were a pirate, what obstacles would you face on your
|
|
|
|
|
journey? If you owned a boat, to which destination you would go first
|
|
|
|
|
and why? Think of your favourite food. How does it make you feel when
|
|
|
|
|
looking at it? And when eating it? What is one “yes” that you’ve been
|
|
|
|
|
ignoring lately? What advice would you give to someone else who is
|
|
|
|
|
experiencing loss? What emotions have you been experiencing lately? How
|
|
|
|
|
has my relationship with others changed in the last 5 years? How have my
|
|
|
|
|
thoughts and beliefs about life and death changed in the last 5 years?
|
|
|
|
|
What positive memories can you hold on to about a person you’ve lost?
|
|
|
|
|
What activities or hobbies bring me comfort in times of grief? How can
|
|
|
|
|
you take care of yourself during difficult times? What were the 6 things
|
|
|
|
|
you wanted to be when you were a kid? What is time? How can you describe
|
|
|
|
|
it? What is beauty? How can you describe it? What is happiness? How can
|
|
|
|
|
you describe it? What is love? How can you describe it? What is faith?
|
|
|
|
|
How can you describe it? What is hope? How can you describe it? What is
|
|
|
|
|
fear? How can you describe it? What is play? How can you describe it?
|
|
|
|
|
What is a ritual? How can you describe it? What is a game? How can you
|
|
|
|
|
describe it? How does your body feel when you are in pain? How does your
|
|
|
|
|
body feel when you are in love? How does your body feel when you are
|
|
|
|
|
anxious? Do you talk negatively to yourself? Are you mean to yourself?
|
|
|
|
|
If yes, why? If not, also why? Think of all your past partners. What are
|
|
|
|
|
some qualities and traits they had in common? Is sex usually the best
|
|
|
|
|
aspect of a relationship or the worst for you? What do your friends say
|
|
|
|
|
about your partners? Did you ever have any kind of unwanted touch from a
|
|
|
|
|
friend, a partner or a family member? Did you ever have any kind of
|
|
|
|
|
unwanted touch from a stranger? What does sex mean for you? How does sex
|
|
|
|
|
make you feel? What words, metaphors or images do you associate with
|
|
|
|
|
sex? What is your attitude towards your body? Do you have any tendencies
|
|
|
|
|
for self-sabotage, procrastination or self-doubt? Have you tried to get
|
|
|
|
|
advice, help or guidance from professionals? Do you sometimes feel like
|
|
|
|
|
a victim? How much sex is normal for you? Were your first sexual
|
|
|
|
|
experiences positive or negative? How did you learn about sexuality?
|
|
|
|
|
What are your values around sexuality? What losses have you experienced
|
|
|
|
|
in your life, and how have you coped with them in the past? What
|
|
|
|
|
self-care practices can you incorporate into your daily routine to help
|
|
|
|
|
you cope with grief? What self-care practices can you incorporate into
|
|
|
|
|
your daily routine to help you cope with anxiety? What new perspectives
|
|
|
|
|
have you gained about life as a result of loss in the past? What
|
|
|
|
|
triggers your feelings of grief, and how can you manage them when they
|
|
|
|
|
arise? How has your sense of identity been affected by a loss? How can
|
|
|
|
|
you stay connected to someone you lost even though they are no longer
|
|
|
|
|
physically present? What role does forgiveness play in your healing
|
|
|
|
|
process after experiencing loss? What can you do to take care of your
|
|
|
|
|
physical health during times of grieving? How can you create a support
|
|
|
|
|
network that will help you through difficult times? What have your
|
|
|
|
|
friends taught you about friendship? What have your friends taught you
|
|
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about life? What have your friends taught you about love? What have your
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parents taught you about friendship? What ideas have changed your life?
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What subconscious behaviours are keeping you from the life you want? In
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which direction has your life expanded in the last five years? Are you
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afraid of being who you truly are? Have you adapted to a certain way of
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thinking? Do you suppress your feelings? Have your thoughts been chosen
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for you? Who do you trust? Why? Have you forced yourself to forget
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something painful? What is art for?</p>
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<figure>
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<img src="wheel-wip.png" alt="Wheel website, work in progress" />
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<figcaption aria-hidden="true">Wheel website, work in
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progress</figcaption>
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</figure>
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</div>
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</section>
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<section class="section"><p>i deleted it woops. i want to write a paragraph about my mindfulness
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@ -775,12 +1233,86 @@ of grief and seeks ways to cope with grief and ease himself. He tries
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different rituals throughout this process, builds his new identity and
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overcomes his troubles.</p>
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<figure>
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<img src="papa-louie-story" alt="The Storyboard" />
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<img src="papa-louie-story.jpg" alt="The Storyboard" />
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<figcaption aria-hidden="true">The Storyboard</figcaption>
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</figure>
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</div>
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</section>
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<section class="section"><div id="publishing-notes">
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<p>Self-published by Experimental Publishing, Willem de Kooning
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Academie, Wijnhaven 61, Rotterdam</p>
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<h3 id="licencing-information">Licencing Information</h3>
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<p>Copyright © 2023 TBC</p>
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<p>XPUB is the Master of Arts in Fine Art and Design: Experimental
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Publishing of the Piet Zwart Institute. XPUB focuses on the acts of
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making things public and creating publics in the age of post-digital
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networks. Find out more at xpub.nl</p>
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</div>
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<div id="title-page">
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<p>#CONSOLE</p>
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<p>####xpub special issue xx</p>
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<p>Console is an oracle; an emotional first aid kit that helps you help
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yourself. Console invites you to open the box and discover ways of
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healing; Console provides shelter for your dreams, memories and worries.
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Face the past and encounter your fortune. Console gives you a new
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vantage point; a set of rituals and practices that help you cope and
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care; Console asks everyday questions that give magical answers. Are you
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ready to play?</p>
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</div>
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<div id="acknowledgements">
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<p>##<3 this publication made possible thanks to</p>
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<p>Lídia Pereira Artemis Gryllaki Manetta Berends Joseph Knierzinger
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Steve Rushton Leslie Robbins Michael Murtaugh Sébastien Tien and Page
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|
Not Found Anna Szaflarski Shana Moulton Bérénice Serra The Sun is its
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|
father The moon its mother The wind hath carried it in its belly The
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earth is its nurse</p>
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</div>
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<div id="toc">
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<p>#Table of contents</p>
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</div>
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</section>
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<section class="section">
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</section>
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<section class="section">
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</section>
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<section class="section"><div id="wheel-of-fortune" class="has-images">
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<h1 id="the-wheel-of-fortune---manual">The Wheel of Fortune -
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Manual</h1>
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<h2 id="manual">Manual</h2>
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<p>Console: “Welcome, my dear! This exercise is all about healing, about
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reconnecting with what is essential and authentic within yourself. By
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understanding the true nature of our suffering, we can evoke compassion
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for ourselves as we move through uncomfortable feelings on the path to
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healing and peace.</p>
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<p>Prerequisites: Before you begin, there are a few things you will
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need. Firstly, you must have a strong intention to commit to this
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exercise for some time. Secondly, find a quiet room free of
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distractions, and finally, get a notebook and pen. Handwriting will
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engage your mind more actively and profoundly, help you connect with
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yourself, and enable the tracing of your progress over time.</p>
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<p>I will be guiding you through a series of carefully selected
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questions written by different authors, some are well-known, and others
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will remain unknown. To begin the exercise, spin the Wheel of Fortune
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located at https://issue.xpub.nl/20/wheel. After a few seconds, a
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question will appear on the screen. Then, take a photo slide from the
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deck and try to think of an answer to that question by looking at it and
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the tiny film simultaneously.</p>
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<p>These photo slides are there to help you dive deeper into your inner
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world. Use them to explore moments in your life that you may not have
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fully processed or understood. As you reflect on these images and answer
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the questions, you may gain new insights and perspectives about yourself
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and your life.</p>
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<p>Enjoy the journey! Console”</p>
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</div>
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</section>
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<section class="section"><p>Some Gossip on gossip</p>
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</section>
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<section class="section"><div id="tetris" class="has-images">
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<h1 id="tetris-fantasies">Tetris Fantasies</h1>
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<h3 id="death-geometry-and-the-structure-of-the-individual">Death,
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@ -821,6 +1353,42 @@ alt="printed fanfic: imagined four-sided realities" />
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<img src="tetris-documentation-4.png"
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alt="imagining a tetris without labour" /></p>
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</div>
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</section>
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<section class="section"><section id="fruitual" class="has-images">
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|
<h1>Fruitual</h1>
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|
<h2 id="text-adventre-game">text adventre game</h2>
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|
<p>Creating a text adventure game is no easy feat, I would say. It takes
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|
a lot of time, creativity, and trial and error. But the key to a great
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game is putting yourself in the player’s shoes and making sure there are
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|
plenty of fun twists and turns along the way.</p>
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<p>For my game, I decided to keep it simple and tell a linear story. I
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used a web engine called Twine (twinery.org, an open-source tool for
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|
|
telling interactive, nonlinear stories) to help generate the game’s
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storyline and adapted the script from a Bulgarian fairytale (“The Most
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|
|
Precious Fruit”). But things didn’t always go smoothly. When the python
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script started generating the wrong messages for players who strayed
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from the script, I tried to find solutions on StackOverflow, but it was
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all too complicated for me.</p>
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<p>In the end, the game took me around 6-7 hours to make, including
|
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writing, coding, mapping, editing, and lots of trial-and-error. It was a
|
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|
great learning experience, but it also taught me that game development
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|
can be tough if you don’t have much coding experience. I had to approach
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|
it more from a writer’s perspective and figure out the coding later.</p>
|
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|
<p>I learned that game development is an iterative process, and
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|
sometimes your initial ideas might be more complex than what you end up
|
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with. It’s all part of the journey. Before starting this project, I had
|
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|
|
no idea text adventure games even existed, but now I’m happy to say I’ve
|
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|
|
made one in just a few weeks. Lastly, I would like to express my
|
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|
|
|
appreciation for the guidance and support provided by our prototyping
|
|
|
|
|
tutors in the development of these projects.</p>
|
|
|
|
|
<p>(“The Most Precious Fruit”,
|
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|
|
https://fairytalez.com/the-most-precious-fruit/)</p>
|
|
|
|
|
<figure>
|
|
|
|
|
<img src="twine-map.png" alt="Twine" />
|
|
|
|
|
<figcaption aria-hidden="true">Twine</figcaption>
|
|
|
|
|
</figure>
|
|
|
|
|
</section>
|
|
|
|
|
</section>
|
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|
|
|
|
|
|
<section class="section"><div id="holo-deck" class="has-images">
|
|
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|
|
@ -891,29 +1459,29 @@ the world as it is and the world as it could be are devastatingly close
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|
to each other.</h1>
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|
|
<p>Is there any point in imagining something that is so similar to the
|
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|
|
|
nightmare we already live in? The future is a dream but it’s just that
|
|
|
|
|
dream where you remember putting your keys somewhere but where, and
|
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|
|
you’re wandering around looking for them for what feels like hours. Was
|
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|
|
|
it real or not isnt important you were still there. Why are we staying
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|
|
here, what’s even here for us? If you don’t get them, they’ll get you
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|
|
first. Then you wake up and you still can’t find the fucking keys. But
|
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|
|
dream where you remember putting your keys somewhere, but where? You’re
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|
wandering around looking for them for what feels like hours. Whether it
|
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|
|
was real or not isn’t important, you were still there. Why do we stay
|
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|
|
here? What’s even here for us? If you don’t get them first, they’ll get
|
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|
|
|
you. Then you wake up and you still can’t find the fucking keys. But
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|
|
sometimes it’s sunny and you’re standing there and there’s something
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|
|
cinematic about the whole thing, is it worth it just to be there for
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|
|
that maybe. There’s really no difference between a dream about falling
|
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|
|
and a dream about flying.</p>
|
|
|
|
|
</div>
|
|
|
|
|
<div id="fortnite" class="hide-on-web">
|
|
|
|
|
<div class="hide-on-web">
|
|
|
|
|
<p>You search the entire planet, all seven planets, drinking every last
|
|
|
|
|
drop, and still no fucking keys. You’re just watching the whole thing
|
|
|
|
|
anyway so enjoy it I guess. If you get the rifle you can use the scope
|
|
|
|
|
on it to see things in the distance, but then again maybe you don’t need
|
|
|
|
|
to see that far. The start is always the best part. Maybe I left them in
|
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|
|
|
the bathroom for some reason? Can I help them, even one of them? They
|
|
|
|
|
are all so busy killing each other I don’t think they can hear. The
|
|
|
|
|
forests are beautiful here. One time I sat down with some of the bots
|
|
|
|
|
and really got to know them. Until the players arrive they just sit
|
|
|
|
|
there together, chatting. They’re really nice actually. And then a
|
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|
|
|
player ran up beside us, saw that we weren’t trying to hurt them, and
|
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|
|
|
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 don’t
|
|
|
|
|
need to see that far. The start is always the best part. Maybe I left
|
|
|
|
|
them in the bathroom? Can I help them, even one of them? They are all so
|
|
|
|
|
busy killing each other I don’t think they can hear. The forests are
|
|
|
|
|
beautiful here. One time I sat down with some of the bots and really got
|
|
|
|
|
to know them. Until the players arrive they just sit there together,
|
|
|
|
|
chatting. They’re really nice actually. And then a player ran up beside
|
|
|
|
|
us, saw that we weren’t trying to hurt them, and left. Maybe they were
|
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|
|
helped, or changed somehow.</p>
|
|
|
|
|
<p>The only reason I’m still here is because you’re still here.</p>
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|
|
<p>🚶</p>
|
|
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|
|
<p><img src="fortnite-10.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
|
|
@ -969,6 +1537,9 @@ talk about death?</p>
|
|
|
|
|
</div>
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
<section class="section">
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
</div>
|
|
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|
</body>
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</html>
|
ada
1 year ago
