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