@ -23,7 +23,7 @@ De Sanctis, P. Ricciardone. *Il tipografo celeste. Il gioco del lotto tra letter
Dummet, M. (1993)*Il mondo e l'angelo: I tarocchi e la Loro Storia*. Napoli: Bibliopolis.
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@ -35,34 +35,34 @@ Jenkins, Phillip (2000). Mystics and Messiahs: Cults and New Religions in Americ
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莊子, 齊物論, Zhuàngzi, *"Discussion on making all things equal"*.from Zhuàngzi, Burton Watson trans., Chuang Tzu (New York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8 [1]
莊子, 齊物論, 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]
Unless otherwise stated, all photography, illustrations and other type of visualisations in this publication are created by the same authors as the text. That which is below is like that which is above and that which is above is like that which is below, to do the miracle of one only thing.
# An hypothesised and randomly factual History of Tarot Cards
What follows is the story of a deck of cards and all the more-or-less believable claims made about its origin. This brief history was compiled following sources that attempted accurate historic recalling instead ofthemost commonly shared semiotic, occultist story. However,despite all efforts, the found sources tolda convoluted tale due to the misinterpretation of age, sources and authorship common to any ancient texts on magic and mysticism (Dummett, 1993).As such, the following text will recall the disproven stories that were told about the origin of Tarot, some factual sourced material and a modern description of its usage.
What follows is the story of a deck of cards and of all the more-or-less believable claims made about its origin. This brief history was compiled, following sources that attempted accurate historic recalling instead ofthemost commonly shared semiotic, occultist story. However,despite all efforts, the found sources tolda 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.
When we talk about Tarot cards, we are talking about a deck of playing cards composed of ten numeral cards and four court cards (Jack, Knight, Queen and King) for each of the four suits (Swords, Batons, Cups and Coins). Alongside these more common cards, Tarot includes 22 'trump' cards with allegorical illustrations. The trumps form a sequence, usually numbered from 1 to 21, with the single card of The Fool being separated (Decker, Depaulis & Dummett, 1996).
When we talk about Tarot cards we are talking about a deck of playing cards composed of ten numeral cards and four court cards (Jack, Knight, Queen and King) for each of the suits, Swords, Batons, Cups and Coins. Alongside these more common cards, Tarot includes 22 'trump' cards with allegorical illustrations. The trumps form a sequence, usually numbered from 1 to 21, with the single card of The Fool being separated (Decker, Depaulis & Dummett, 1996).
This specific deck of cards' history begins at the bottom of a well in 1440's Northern Italy, where we place its first appearance in history. From there on we can easily find links to the common usage of these cards in Northern Italy; from Milano to Bologna and Ferrara (Steele, 1900).These cards, initially called *Trionfi* and then *Tarocchi*, are thought to have been intended for card games, regardless of their occasional usage in future-telling(Dummet, 1993).This finding helps us trace a factual beginning of Tarot but leaves an open question as to how these cards gained their place as the primary tool used in modern occultism and mysticism for cartomancy.
This specific deck of cards' history begins at the bottom of a well in 1440's Northern Italy, where we place its first appearance in history. From there we can easily find links to the common usage of these cards in Northern Italy; from Milano to Bologna e Ferrara (Steele, 1900).These cards, initially called *Trionfi* and then *Tarocchi* are thought to have been intended for card games, regardless of their occasional usage in future-telling(Dummet, 1993).This finding helps us trace a factual beginning of Tarot but leaves an open question to how these cards gained their place as the primary tool used in modern occultism and mysticism for cartomancy.
While this is where the story begins to get intricate, it is clear that the first wide spread future-telling performance appeared in France in the 18th century. At this point, the history of tarot was to be influenced by what each fortune teller imagined the history of the cards to be. To fully reveal this, I will first attempt to map the most notable occultists that used the cards and wrote historical notations about their deviance, and the stories they told about them.
While this is where the story began to get intricate, it can still be seen as the first wide spread future-telling performance appeared in France in the 18th century. At this point, the history of tarot began 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.
The first encounter we have between Tarot, magical theory and practice happens in the *Monde primitif,* an incredibly long essay about Tarot cards written in 1781 by Antoine Court de Gébelin. With this text, the pastor began what would be the endless repository of arcane esoteric wisdom within Tarot that would follow the cards for generations (Chisholm, 1911). In this text, Gébelin attributed the cards' origin to ancient Egypt, a theory that is to this day accepted as truthful. This belief was based on an erroneous link to "The Book of Thoth", an ancient Egyptian text about magic that is believed to have been spread through Europe by Romans. This belief was then substantiated with a similar essay by Comte de Mellet (Decker,1993). Promptly, a Parisian fortune teller named Jean-Baptiste Alliette, professionally known as Etteilla, having found these theories, adapted the esoteric view of the cards to his own uses. He switched his own practice from traditional French piquet cartomancy to the use of a self-made Tarot card deck. This deck was based on the previously shared Hermetic ideologies and was named "The Book of Toth"(Decker,1993)
The first encounter we have between Tarot, magical theory and practice happens in the *Monde primitif,* an incredibly long essay about Tarot cards written in 1781 by Antoine Court de Gébelin. With this text, the pastor began what would be the endless repository of arcane esoteric wisdom within Tarot that 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, accepted as truthful. This belief was based on an erroneous link to "The Book of Thoth", an ancient Egyptian text about magic that is believed to have been spread through Europe by Romans. This belief was then substantiated with a similar essay by Comte de Mellet (Decker,1993). Promptly, a Parisian fortune teller named Jean-Baptiste Alliette, professionally known as Etteilla, having found these theories, adapted the esoteric view of the cards to his own uses. He switched his own practice from traditional French piquet cartomancy to the use of a self-made Tarot card deck. This deck was based on the previously shared Hermetic ideologies and was named "The Book of Toth"(Decker,1993)
The next fundamental spin that was applied to the cards' background was done by Éliphas Levi, another French esoterist. Levi repudiated Etteilla's theory and integrated a version of the cards that were closer to the original than his own Cabalistic magical system. While Levi's understanding of the cards' travel from Egypt to Judea and into Jewish tradition was historically mistaken, it nonetheless revolutionized Tarot in ways that survive to this day. His Cabalistic theory about signs being letters, letters being absolute ideas and absolute ideas being numbers can still be seen in modern iterations of Tarot.
The next fundamental spin that was applied to the cards' background was done by Éliphas Levi, another French esoterist. Levi, repudiated Etteilla's theory and integrated a version of the cards that were closer to the original than his own Cabalistic magical system. However historically mistaken was Levi's understanding of the cards' travel from Egypt to Judea into Jewish tradition, it nonetheless revolutionized the cards in ways that survived till today. His Cabalistic theory about signs being letters, letters being absolute ideas and absolute ideas being numbers can be seen in even modern iterations of tarot.
At this point, Tarot's journey speeds up as the cards leave France and become absorbed into new esoteric movements like Swedenborgianism, Mesmerism and Spiritualism (Decker, Depaulis & Dummet, 1996).
From here on over, Tarot's journey speeds up as the cards leave France and become absorbed into new esoteric movements like Swedenborgianism, Mesmerism and Spiritualism (Decker, Depaulis & Dummet, 1996).
Before we make another jump through time towards the next relevant development of Tarot, I will share the last of the three false widespread theories about the origin of Tarot (the first two being ancient Egypt and Judaism, despite the latter's influence on modern Tarot).
Before we make 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 on modern tarot).
This last theory is harder to trace back to one esoteric influence, and it claims a Chinese origin to the cards. This is most likely due to the similarity between Tarot and the I Ching, a divination manual from around 1000 BC. This manual was grounded in cleromancy, i.e. the production of random numbers with the purpose of predicting divine intention. However, there is no traceable connection between Chinese cleromancy and Tarot divination. Modern analyses of Chinese Tarot divination draw a direct correlation between Western occultism and Tarot divination, leaving little room to imagine any direct causation starting from China (Fu, Li, Lee, 2002).
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).
The next big step will bring us to Britain in the late 19th century, to the Hermetic Order of the Golden Dawn. The Golden Dawn was a secret society devoted to occult Hermetic Kabbalah and one of the largest single influences on Western occultism as a whole (Jenkins, 2000). While the society itself had a wide curriculum including astrology, alchemy and geomancy (soil divination), our concern at this moment are their links to Tarot cards.
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.
In 1909, two mystics and members of the Golden Dawn, A.E. Waite and Pamela Colman Smith, published a deck of re-made Tarot cards through the Rider Company which reflected Golden Dawn's magic system. Later, these cards became known as the Rider-Waite Tarot (Dean, 2015). This deck was based on the Sola Busca tarot, with symbolism derived from Egyptian and Christian traditions and Levi's descriptions. This deck has since become the paradigm and touchstone through which modern occultists think of Tarot. Between the distribution of this deck and the use of the cards in the Golden Dawn, it became axiomatic among followers of various traditions of mysticism that Tarot is an essential component of any occult science.
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 society's 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 Levi's 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.
Today, Tarot is emblematic and incredibly wide spread as the most common future-telling method and device. Tens and thousands of different formats exist, often falling under the category of Oracle cards. While these do not share the clear formatting rules of Tarot, they are still used for divination and self-reflection purposes through the interpretation of allegorical illustrations.
Today, Tarot is emblematic and incredibly wide spread as the most common future-telling method and device. Tens and thousands of different formats exist, often falling under the category of Oracle cards and as such not having the clear formatting rules of Tarot but still implicating divination and self-reflection through the interpretation of allegorical illustration.
@ -34,7 +34,7 @@ This License explicitly affirms your unlimited permission to use any software, p
Conveying under any other circumstances is permitted solely under the conditions stated below. Sublicensing is not allowed.
*2\. Terms for Attribution.*
*2\. Terms for Attribution*
You may convey a work based on anything under the License, or the modifications to produce it from the licensed material, in the form of source code under the following, provided that the work also meets all of these conditions:
@ -42,7 +42,7 @@ You may convey a work based on anything under the License, or the modifications
- You must also follow the guidelines indicated in section 4a.
*3\. Terms for Commercial Use.*
*3\. Terms for Commercial Use*
Any work under the License may only be used for commercial purposes, intended as used with the purpose of commercial advantage or monetary compensation, provided that it meets all the following conditions:
@ -60,7 +60,7 @@ Any work under the License may only be used for commercial purposes, intended as
- f) Identification of yourself as a party wishing to use SIXX license for commercial use is necessary, through means of contacting any XPUB 2023 student or teacher.
*4\. Additional Permissions.*
*4\. Additional Permissions*
Additional permissions" are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law.
@ -74,15 +74,15 @@ You intended as License claimer, may place additional permissions on material, a
Notwithstanding any other provision of this License, for the material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with additional terms.
*4\. Disclaimer of Warranty.*
*4\. Disclaimer of Warranty*
THERE IS NO WARRANTY FOR THIS PUBLICATION, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
*6\. Limitation of Liability.*
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IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
*7\. Interpretation of Sections 5 and 6.*
*7\. Interpretation of Sections 5 and 6*
If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.
@ -66,7 +66,7 @@ The gameplay revolves around things Papa lost and the needs he needs to fulfil.
To cope with grief Papa Louie performed various rituals, each unlocking a new stage in his grieving process and healing from that loss. Rituals thus are the actions players needed to execute at each level.
And so our story went like this:
*The Onion ring mafia kidnapped Papa Louie's clients, and he lost his Pizzeria. However, along with this external change, he lost his identity as a pizza owner/maker. He was full of grief and sought ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.*
*The Onion ring mafia kidnapped Papa Louie's clients, and he lost his Pizzeria. However, along with this external change, he lost his identity as a pizza owner/maker. He was full of grief and sought ways to cope with grief and ease himself. He tried different rituals throughout this process, built his new identity and overcame his troubles.
*Peace* is a mindfulness game Cara created as an in-class exercise in creating text adventures in python. The game can be broken at any time by saying "I am now at peace", but will also break if you simply type "peace."
***Peace*** is a mindfulness game Cara created as an in-class exercise in creating text adventures in python. The game can be broken at any time by saying "I am now at peace", but will also break if you simply type "peace."
*Peace* works less as a game per se, and more as an exercise in reconnecting to your senses (smell, temperature, touch) by imagining oneself in imaginary landscapes.
***Peace*** works less as a game per se, and more as an exercise in reconnecting to your senses (smell, temperature, touch) by imagining oneself in imaginary landscapes.
It takes on the text-adventure format by asking its players to respond "yes" to continue at each step.
Here is an excerpt:
@ -20,7 +20,7 @@ Here is an excerpt:
the warm ground through the layer?
Can you feel the warmth of the sun on your face?
*if yes, then...*
***if yes, then...***
The smell of lavender and warm soil is thick in the air.
@ -12,5 +12,8 @@ Worry dolls (also called trouble dolls; in Spanish, Muñeca quitapena) are tiny,
The story of the worry doll is about a local Mayan legend. The origin refers to a Mayan princess named Ixmucane. The princess received a special gift from the sun god that allowed her to solve any problem a human could ever worry about. The worry doll represents the princess and the wisdom she carries. With this wisdom, humans will be able to overcome their troubles.