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+Introduction
+
+The last trimester was an attempt to understand the notions of games and
+rituals. Instead of introduction we will try to unravel this mysterious
+journey as well as keep questioning and collaging.
+
+We mapped the common characteristics and the differences between 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.
+
+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 midwifery 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?
+
+We didn't manage to provide you with comprehensive and solid answers or
+conclusive statements. The truth is that this wasn't our plan. Our
+intention was to create openings for debate or even conflict, to map a
+territory, to invite those who would like to join us.
+
+> *"What if you are playing tetris and the tetris gods give you
+> something apart from the usual seven tetrominoes, like an unexpected
+> pregnancy or the end of capitalism?"*
+
+Starting with rituals we can claim that they can be understood as
+instruments in the struggle for the exercise of power. Organized by
+*repetition*, they (re)connect the individual to the collective,
+creating a vision towards a given perception of society. Participation
+in this creative act is determined by several factors, for example, a
+ritual's function, its relationship to hegemonic power, a collective's
+politics and objectives, etc.
+
+> *"Ritual is a means of performing the way things ought to be in
+> conscious tension to the way things are in such a way that this
+> ritualized perfection is recollected in the ordinary, uncontrolled,
+> course of things. Ritual relies for its power on the fact that it is
+> concerned with quite ordinary activities, that what it describes and
+> displays is, in principle, possible for every occurrence of these
+> acts. But it relies, as well, for its power on the fact that, in
+> actuality, such possibilities cannot be realized.* "
+>
+> *"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"*
+
+Similarly, videogames create worlds. Often, those worlds mirror our own,
+reproducing certain ideals and values as norms through their narrative,
+game play, design. This trimester we explored world-building
+characteristics found both in rituals and videogames. We critically
+considered those worlds, identifying the key points and elements through
+which specific videogames and rituals circulate political, cultural and
+social values. While this world-building might be interpreted from an
+angle of implicit and explicit bias rooted in hegemonic values, we
+investigated the generative, creative possibilities of such
+characteristics.
+
+> *"The main task of mass culture is to create, reproduce, and manage
+> particular kinds of subjects --- workers, consumers, individuals,
+> citizens ---required for current conditions. To perpetuate their own
+> existence, mass media must succeed at representing the violent
+> coercion of capitalist systems as natural laws: Of course you have to
+> pay rent to live inside; of course you have to buy food to eat; of
+> course you have to work if you want to survive. The production of a
+> fungible, disposable and migratory working class requires the
+> alienation and atomization of communities into individuals, which
+> involves destroying the village, kinship structures, indigeneity, and
+> many other previous forms of meaning-producing structures, leaving a
+> gap which ideology must fill. While the fundamental structures of
+> domination --- racism, patriarchy, heterosexuality, etc. --- form the
+> bedrock of this ideological apparatus, the complexity of the always
+> expanding and changing capitalist system requires an equally flexible
+> set of subsidiary tools capable of rapidly adjusting ideology en
+> masse. In general, media emerge not to meet the demands or desires of
+> individual users but to accommodate what the predominant mode of
+> production requires."*
+
+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.
+
+> "S*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?"*
+>
+> *"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."*
+>
+> *"The act of the modder's appropriation of the pre-existing game is
+> also similar to Michel de Certeau's cultural 'poaching'.De Certeau's
+> everyday bricolors make do with remixing the privatized spaces and
+> products of consumer society that they find themselves inhabiting and
+> using. Rather than being passive consumers, ordinary people invent
+> varied subversive tactics for stealing back the given of everyday
+> life. De Certeau writes, 'Everyday life invents itself by poaching in
+> countless ways on the property of others'.*
+
+Meanwhile, we went through the witch as a magical practicioner, as a
+resisting body, a border figure. Federici presents the witch "as the
+embodiment of a world of female subjects that capitalism had to destroy:
+the heretic, the healer, the disobedient wife, the woman who dared to
+live alone, the obeha woman who poisoned the master's food and inspired
+the slaves to revolt. Behind the witch hunt, she uncovers a joint effort
+by the Church and the state to establish mechanisms of gendered control
+of bodies that immanently resisted newly instituted regimes of
+productive and reproductive work. "*Similarly given by Deleuze and
+Guattari "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."*
+
+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?
+
+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(of yourself and of the others)
+
+Console asks everyday questions that give magical answers.
+
+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
+...