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<!DOCTYPE html>
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<title></title>
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<body>
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<div id="contenteo">
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<section class="section" id="start-matter"></section>
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<p>Co-published by Experimental Publishing, Willem de Kooning Academie,
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Wijnhaven 61, Rotterdam and Page Not Found Space for publishing as
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artistic practice Boekhorststraat 126-128, 2512 CL Den Haag</p>
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<h3 id="licensing-information">Licensing Information</h3>
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<p>This publication is a free publication: you can redistribute it
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and/or modify it under the terms of the SIXX License as published by
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XPUB, either version 1 of the SIXX License, or any later version.</p>
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<p>See the SIXX License for more details. You should have received a
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copy of the SIXX License along with this publication. If not, see
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<https//issue.xpub.nl/20/license/></p>
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<h3 id="xpub">XPUB</h3>
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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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<h1 id="console">CONSOLE</h1>
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<h3 id="xpub-special-issue-xx">xpub special issue xx</h3>
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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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<h2 id="this-publication-was-made-possible-thanks-to">❤️ this
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publication was made possible thanks to:</h2>
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<p>Lídia Pereira (ed.) Artemis Gryllaki (ed.) Manetta Berends Joseph
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Knierzinger Steve Rushton Leslie Robbins Michael Murtaugh Sébastien Tien
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and the Page Not Found team Anna M. Szaflarski Paul DD Smith Shana
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Moulton Bérénice Serra The Sun is its father The Moon its mother The
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Wind hath carried it in its belly The Earth is its nurse</p>
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</section>
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<section class="toc">
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<h2>Contents</h2>
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<ul>
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<li class="toc-title"><a href="#✳">✳</a></li>
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<li class="toc-title"><a href="#Introduction">Introduction</a></li>
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<li class="toc-title"><a href="#Documentation of Games and Rituals, Kick off sessions">Documentation of Games and Rituals, Kick off sessions</a></li>
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<li class="toc-title"><a href="#Documentation of Monday Morning Rituals">Documentation of Monday Morning Rituals</a></li>
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<li class="toc-title"><a href="#History of Tarot">History of Tarot</a></li>
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<li class="toc-title"><a href="#Some Gossip on gossip">Some Gossip on gossip</a></li>
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<li class="toc-title"><a href="#Holographic Oracle Deck">Holographic Oracle Deck</a></li>
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<li class="toc-title"><a href="#click-click">click-click</a></li>
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<li class="toc-title"><a href="#Fruitual (fruit + ritual)">Fruitual (fruit + ritual)</a></li>
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<li class="toc-title"><a href="#Long Time">Long Time</a></li>
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<li class="toc-title"><a href="#Fortnite">Fortnite</a></li>
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<li class="toc-title"><a href="#Papa Louie’s Ghosteria">Papa Louie’s Ghosteria</a></li>
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<li class="toc-title"><a href="#Peace, Monday Morning Ritual by Cara">Peace, Monday Morning Ritual by Cara</a></li>
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<li class="toc-title"><a href="#Sims Mod">Sims Mod</a></li>
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<li class="toc-title"><a href="#Youtube Tarot">Youtube Tarot</a></li>
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<li class="toc-title"><a href="#Tetris Fantasies">Tetris Fantasies</a></li>
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<li class="toc-title"><a href="#Super(de)construction">Super(de)construction</a></li>
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<li class="toc-title"><a href="#The Wheel of Fortune">The Wheel of Fortune</a></li>
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<li class="toc-title"><a href="#The Wheel of Fortune">The Wheel of Fortune</a></li>
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<li class="toc-title"><a href="#Oracolotto">Oracolotto</a></li>
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<li class="toc-title"><a href="#Fiction Friction">Fiction Friction</a></li>
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<li class="toc-title"><a href="#The Legend of the Worry">The Legend of the Worry</a></li>
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<li class="toc-title"><a href="#bibliography">bibliography</a></li>
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<li class="toc-title"><a href="#SIXX license">SIXX license</a></li>
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<li class="toc-title"><a href="#Colophon">Colophon</a></li>
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</ul>
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</section>
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<!-- <section class="header-page" id="Documentation of Games and Rituals, Kick off sessions">
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<h1>Introduction</h1>
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</section> -->
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<section class="section">
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<h1 id="introduction">Introduction</h1>
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<p>This Special Issue has been an attempt to understand the notions of
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games and rituals. Instead of an introduction, we will try to unravel
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this mysterious journey as well as keep questioning and collaging.</p>
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<p>We mapped the common characteristics and the differences between
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games and rituals in relation to ideology and counter-hegemony. We
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practiced, performed, annotated rituals that were connected (or not)
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with our cultural backgrounds while we questioned the magic circle. We
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dived into the worlds of text adventure games and clicking games while
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drinking coffee and talked about class, base, superstructure,
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(counter)hegemony, ideology, materialism. We discussed how games and
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rituals can function as reproductive technologies of the culture
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industries. We annotated games, focusing on the role of ideology and
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social reproduction. We reinterpreted bits of the world and created
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stories from it (modding, fiction, narrative) with a focus on community,
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interaction, relationships, grief and healing.</p>
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<p>The eventual outcome of this process is a console, a magical object,
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a wooden container, a promise of healing. How can the unpacking of
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games, rituals, ideology and superstructure in relation to witch hunting
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become the midwiferies of a healing box? How can practices of healing
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and care work as counter-hegemonic acts that can cure and liberate our
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souls and bodies from patriarchical and capitalistic fetters?</p>
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<p>We didn’t manage to provide you with comprehensive answers or
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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?” (Stephen)</em></p>
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</blockquote>
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<p>Starting with rituals, we 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: a ritual’s
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function, its relationship to hegemonic power, a collective’s politics
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and objectives, etc.</p>
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<blockquote>
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<p><em>“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)</em></p>
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</blockquote>
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<blockquote>
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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>“<em>Sims as social reproduction: some values are certainly given by
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the game (make money to buy nicer things, progress in your career by
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doing tasks that improve your skill, charisma is a skill but not
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kindness) , but also ideology is put into the game by the player. The
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player chooses what to reproduce and often share in the “gallery” or on
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social media. Community being so important in this game then means that
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the crux of the social reproduction is happening when the choices you
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have made in the game are broadcasted. Did you create a heteronormative
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white thin nuclear family that made a lot of money? Or did you choose to
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play differently?” (Ada)</em></p>
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</blockquote>
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<blockquote>
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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.” (Lídia)</em></p>
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</blockquote>
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<blockquote>
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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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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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<blockquote>
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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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</blockquote>
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<p>How does the understanding of the hunting of the witches that
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happened a few centuries ago in relation to the figure of the witch as
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marginal, rebellious entity shed light on the contemporary
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witch-hunting? How does this knowledge provide us with tools of
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empowerment, emancipation and resistance, and make us reimagine
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counter-hegemonic practices of collective care and healing?</p>
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<figure>
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<img src="wall.jpg" alt="Never stop questioning never stop mapping" />
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<figcaption aria-hidden="true">Never stop questioning never stop
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mapping</figcaption>
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</figure>
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</section>
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<!-- <section class="header-page" id="Documentation of Monday Morning Rituals">
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<h1>Documentation of Games and Rituals, Kick off sessions</h1>
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</section> -->
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<section class="section">
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<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
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the two the same thing? What do rituals and traditions mean through the
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lens 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. We kept talking and reading for hours about the
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commonalities and differences between the two. There is a lot to
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explore! We went down memory lane and shared memories, childhood
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recollections, and personal stories. Perhaps, dear reader, you have your
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thoughts on this too?</p>
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<p>But let’s enter a parallel universe!</p>
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<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
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and losses. Do you really need to win in order to play? Or were you
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being played? To try to answer some of these questions, we read and
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annotate collectively the chapter “Defining Games” of the book ‘Rules of
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Play - Game Design Fundamentals’ by Katie Salen and Eric Zimmerman. We
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discovered that games and rituals alike are the gateways to alternative
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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
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rituals, and analysing and creating games. What emerged as a tangible
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result from all these discussions is this experimental publication you
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are holding in your hands right now. We named it Console.</p>
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<p>Transition to the weekly rituals: Another thing that came out of our
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first two sessions was the ONE SENTENCE RITUAL. Each week for six weeks
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in a row, we wrote down a ritual of our own and took turns performing
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the ritual from the list. Coffee fortune-telling, Hard drive
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purifications, Collective eating, Sound meditations, and Talking to
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Worry dolls made us reflect on the content of the week and our
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lives.</p>
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<figure>
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<img src="Candlestarotjoysticks.png" alt="Candles Tarot Joysticks" />
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<figcaption aria-hidden="true">Candles Tarot Joysticks</figcaption>
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</figure>
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<figure>
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<img src="Cookies-Questions-Tea.jpeg"
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alt="Cookies Questions Tea.jpeg" />
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<figcaption aria-hidden="true">Cookies Questions Tea.jpeg</figcaption>
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</figure>
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<figure>
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<img src="Game-ritual-graph-2.jpeg" alt="Graph" />
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<figcaption aria-hidden="true">Graph</figcaption>
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</figure>
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<figure>
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<img src="map.jpeg" alt="Map" />
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<figcaption aria-hidden="true">Map</figcaption>
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</figure>
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</div>
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</section>
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<!-- <section class="header-page" id="History of Tarot">
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<h1>Documentation of Monday Morning Rituals</h1>
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</section> -->
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<section class="section">
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<h1 id="documentation-of-monday-morning-rituals">Documentation of Monday
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Morning Rituals</h1>
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<p><strong><em>For 8 weeks, students from XPUB prepared a ritual to
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perform at the top of Monday morning class. We explored cultural rituals
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such as the birthday cake and coffee-ground reading, but also more
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personal rituals such as ‘going to sleep’ rituals, a personal hard-drive
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purification, and the creation of worry-dolls.</em></strong></p>
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<h3 id="week-1-january-9th-2023-tea-and-cookies">Week 1, January 9th
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2023: Tea and Cookies</h3>
|
|
|
<p><strong><em>Performed by… Artemis and Lídia</em></strong></p>
|
|
|
<p>Artemis and Lídia introduced us to Monday Morning Rituals on the
|
|
|
first cold, dark, wintery Monday morning. We shared cookies with tea as
|
|
|
a way to open up the semester and get to know each other. The ritual of
|
|
|
a hot drink and cookies is well-known around the world as a moment of
|
|
|
gathering, peace, gossip, and self-care.</p>
|
|
|
<figure>
|
|
|
<img src="Lidia_Ritual.jpeg" alt="Artemis and Lidia’s Preparations" />
|
|
|
<figcaption aria-hidden="true">Artemis and Lidia’s
|
|
|
Preparations</figcaption>
|
|
|
</figure>
|
|
|
<h3 id="week-2-january-16th-2023-coffee-fortune-telling">Week 2, January
|
|
|
16th 2023: Coffee Fortune-Telling</h3>
|
|
|
<p><strong><em>Performed by… Aglaia</em></strong></p>
|
|
|
<p>For Aglaia’s ritual, we sat in a circle while the coffee was being
|
|
|
prepared by the ancient Stove priestess who was placed in the middle.
|
|
|
When it was done, it was served to the participants in special coffee
|
|
|
cups. We drank our coffee while gossiping and eating cookies. When
|
|
|
everybody was done, we swirled the cup counter-clockwise 3 times and
|
|
|
turned the coffee cup upside down over the cup’s saucer. We waited
|
|
|
patiently for 5 minutes for the fortune to be prepared. Everybody had to
|
|
|
tell the Fortune of the person sitting on their left side by reading the
|
|
|
coffee grounds until the circle was done.</p>
|
|
|
<figure>
|
|
|
<img src="Aglaia_Ritual.jpeg" alt="Aglaia’s Ritual" />
|
|
|
<figcaption aria-hidden="true">Aglaia’s Ritual</figcaption>
|
|
|
</figure>
|
|
|
<figure>
|
|
|
<img src="Aglaia_ritual_2.jpeg" alt="Overturned Coffee Grounds" />
|
|
|
<figcaption aria-hidden="true">Overturned Coffee Grounds</figcaption>
|
|
|
</figure>
|
|
|
<h3 id="week-3-january-23rd-2023-hard-drive-purification">Week 3,
|
|
|
January 23rd 2023 Hard Drive Purification</h3>
|
|
|
<p><strong><em>Performed by… Stephen</em></strong></p>
|
|
|
<p>Stephen prepared a few zines with instructions to conduct a
|
|
|
ceremonial cleansing of not only our browser history and cookies but
|
|
|
also our trash cans/recycle bins. All operating systems were welcome.
|
|
|
The zine was a reminder to ‘clean’ messy space up (for yourself) and was
|
|
|
written in such a way that instructed us to recite sentences at the same
|
|
|
time, with one person leading the group – a play on the magic
|
|
|
circle.</p>
|
|
|
<figure>
|
|
|
<img src="Stephen_Ritual.jpeg" alt="Stephen’s Ritual" />
|
|
|
<figcaption aria-hidden="true">Stephen’s Ritual</figcaption>
|
|
|
</figure>
|
|
|
<h3 id="week-4-january-30th-2023-birthday-cake">Week 4, January 30th
|
|
|
2023: Birthday Cake</h3>
|
|
|
<p><strong><em>Performed by… Boyana</em></strong></p>
|
|
|
<p>To celebrate Agalaia’s birthday, Boyana baked a cake and Ada made
|
|
|
jellies. We sat in a circle, gathering around the cake. The person who
|
|
|
had their birthday most recently sliced the cake, and we took turns to
|
|
|
wish them our blessings. After going through a round, we ate
|
|
|
together.</p>
|
|
|
<figure>
|
|
|
<img src="Boyana_Ritual_Cake-jelly.jpeg"
|
|
|
alt="Boyana’s Birthday Cake and Ada’s Jellies" />
|
|
|
<figcaption aria-hidden="true">Boyana’s Birthday Cake and Ada’s
|
|
|
Jellies</figcaption>
|
|
|
</figure>
|
|
|
<h3
|
|
|
id="week-5-february-6th-2023-special-issue-prediction-ritual-sipr">Week
|
|
|
5, February 6th 2023: Special Issue Prediction Ritual (SIPR)</h3>
|
|
|
<p><strong><em>Performed by… Ada</em></strong></p>
|
|
|
<p>For Ada’s ritual, Ada brought in a deck of tarot cards to read the
|
|
|
fortune of the Special Issue you are holding in your hands right
|
|
|
now.</p>
|
|
|
<p>Her text made us laugh, and we have chosen to include it in full:</p>
|
|
|
<p>“The priestess Ada will start the ritual by playing the ceremonial
|
|
|
music on the sacred Spotify. Candles shall be turned on. Then three
|
|
|
human sacrifices will be selected amongst the group through a collective
|
|
|
decision. The three sacrificial people will then select three cards from
|
|
|
either of the two decks given by the priestess. While they do so, they
|
|
|
must think of the special issue. The priestess will then interpret the
|
|
|
cards and together we shall rejoice in having found out our Special
|
|
|
Issue’s future.”</p>
|
|
|
<figure>
|
|
|
<img src="ada_ritual.jpeg"
|
|
|
alt="Unfortunately, we forgot to take photographs of this ritual. We were too distracted by our fortune. Here is a stock image instead." />
|
|
|
<figcaption aria-hidden="true">Unfortunately, we forgot to take
|
|
|
photographs of this ritual. We were too distracted by our fortune. Here
|
|
|
is a stock image instead.</figcaption>
|
|
|
</figure>
|
|
|
<h3
|
|
|
id="week-6-february-13th-2023-guided-meditation-a-nighttime-ritual">Week
|
|
|
6, February 13th 2023: Guided Meditation (A Nighttime Ritual)</h3>
|
|
|
<p><strong><em>Performed by… Cara</em></strong></p>
|
|
|
<p>Cara’s ritual is related to her history of having a hard time falling
|
|
|
asleep at night. Over the years, she has found that music - especially
|
|
|
quiet music with the sound of nature (field recordings) – really helps
|
|
|
her fall asleep. She DJs outside of class and plays a lot of ambient,
|
|
|
narrative DJ sets. For her ritual, she played a sound piece she had made
|
|
|
of field recordings around Rotterdam (the sound of water lapping against
|
|
|
a water taxi, the sound of wind, the sound of rain) and read out a poem
|
|
|
about sleeplessness from a collection of literature about the Night. The
|
|
|
ritual was meant to lull everyone to a moment of peace.</p>
|
|
|
<figure>
|
|
|
<img src="Cara_Ritual.jpeg" alt="Cara’s Ritual" />
|
|
|
<figcaption aria-hidden="true">Cara’s Ritual</figcaption>
|
|
|
</figure>
|
|
|
<h3 id="week-7-february-20th-2023-worry-dolls">Week 7, February 20th
|
|
|
2023: Worry Dolls</h3>
|
|
|
<p><strong><em>Performed by… Irmak</em></strong></p>
|
|
|
<p>Irmak’s ritual was about how to ease our worries. We wrote down our
|
|
|
worries on a pink piece of paper and shared them with a handmade doll
|
|
|
that Irmak brought. These dolls are called Worry dolls (also called
|
|
|
trouble dolls; in Spanish, Muñeca quitapena) and originate from
|
|
|
Guatemala. There is one in each box of our special issue.</p>
|
|
|
<figure>
|
|
|
<img src="Irmak_Ritual.jpeg" alt="Irmak’s Ritual – A Worry Doll" />
|
|
|
<figcaption aria-hidden="true">Irmak’s Ritual – A Worry
|
|
|
Doll</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Some Gossip on gossip">
|
|
|
<h1>History of Tarot</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<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 made about its origin. This brief history
|
|
|
was compiled, following sources that attempted accurate historic
|
|
|
recalling instead of the most commonly shared semiotic, occultist story.
|
|
|
However, despite all efforts, 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 & Dummett, 1996). </p>
|
|
|
<p>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 <em>Trionfi</em> and then
|
|
|
<em>Tarocchi</em> 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. </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 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.</p>
|
|
|
<p>The first encounter we have between Tarot, 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, 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)</p>
|
|
|
<figure>
|
|
|
<img src="etteilla.jpg" alt="Image from Etteilla’s Deck" />
|
|
|
<figcaption aria-hidden="true">Image from Etteilla’s Deck</figcaption>
|
|
|
</figure>
|
|
|
<p>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.</p>
|
|
|
<p>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).</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 on 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. 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.</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>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.</p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Holographic Oracle Deck">
|
|
|
<h1>Some Gossip on gossip</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="some-gossip-on-gossip-and-what-coffee-has-to-do-with-it.">Some
|
|
|
Gossip on gossip and what coffee has to do with it.</h1>
|
|
|
<figure>
|
|
|
<img src="image1.jpg"
|
|
|
alt="Tittle Tattle; or The Feveral Branches of Gofsipping, British Museum Collection" />
|
|
|
<figcaption aria-hidden="true">Tittle Tattle; or The Feveral Branches of
|
|
|
Gofsipping, British Museum Collection</figcaption>
|
|
|
</figure>
|
|
|
<p>Godsipp (God and sib (akin), godmother or godfather) was in the 12th
|
|
|
century a word used for both men and women in fables and amongst
|
|
|
society. The church recognized the word as well. It was used to name
|
|
|
companions present at childbirth, just like the midwife. Sometimes, it
|
|
|
was used to mention close friends. It represented the strong ties
|
|
|
between women, which surpassed their relationship with their husbands.
|
|
|
Was it witchery that strong and independent women preferred their gossip
|
|
|
over their husbands? Well, that is something that hasn’t changed since
|
|
|
the middle ages. </p>
|
|
|
<figure>
|
|
|
<img src="image2.jpg"
|
|
|
alt="Tittle Tattle; or The Feveral Branches of Gofsipping, British Museum Collection" />
|
|
|
<figcaption aria-hidden="true">Tittle Tattle; or The Feveral Branches of
|
|
|
Gofsipping, British Museum Collection</figcaption>
|
|
|
</figure>
|
|
|
<p>“Godsipp” began its journey with nothing but good and emotionally
|
|
|
strong connotations. Women bloomed and blossomed among each other and
|
|
|
were autonomous in their existence. Men were never a part of this party
|
|
|
women were throwing. By the 16th century, as things began to change, the
|
|
|
traditional meaning lingered on. In 1602, the word was still used to
|
|
|
signify female friendships. This can be seen in Samuel Rowlands’s
|
|
|
<em>Tis Merrie When Gossips Meete</em>, a satirical piece describing
|
|
|
three London women spending hours in a tavern talking about men and
|
|
|
marriages. It implied that ‘women could create their social networks and
|
|
|
their own social space’ and stand up to male authority(Federici, 2019).
|
|
|
Solidarity and friendship amongst women were demeaned and
|
|
|
female-exclusive parties were banned; women who met in public were
|
|
|
identified as “witches” and women’s first duty was now to be obedient
|
|
|
and quiet. The talk about husbands at taverns was too hurtful for the
|
|
|
sensitive male ego that public, church and the law, forbid women to
|
|
|
engage in “idle talk”. Centuries past, the sensitive male ego remains
|
|
|
but now is attacking to mutilate women from many resources including
|
|
|
cyberbullying, mobbing at the workspace and many more that tie to act
|
|
|
violently in any sort. </p>
|
|
|
<p>Wives who were seen as “scolds” and “witches” were forced under
|
|
|
sadistic torture with a “scold bridle”. Looking back from today, I can’t
|
|
|
help but see these sadistic, desperate acts as a meek scream of how men
|
|
|
couldn’t get even close to satisfying women physically or mentally. If
|
|
|
they spent some time working on female anatomy rather than these
|
|
|
horrifying torture methods, we would be living in a different world
|
|
|
today… </p>
|
|
|
<p>Here is an excerpt from a song which portrays women in a tavern.
|
|
|
These words on ale and wine are an ancient remedy for us to consider
|
|
|
today when we are out drinking with our “gossips”:</p>
|
|
|
<p>“In a 1630s song, Fowre wittie gossips disposed to be merry, a group
|
|
|
of married women in a tavern debate the merits of ale and wine in
|
|
|
relation to cost and value. They conclude, ‘If our opinions do not
|
|
|
faile: / a quart twelve cups [of wine] containeth, / Its cheaper then a
|
|
|
dozen of ale, / where froth and snuffes remaineth’. (‘Snuffes’ was the
|
|
|
‘backwash’ left when, as was common, multiple people drank from a single
|
|
|
vessel.) The wives also point out that the after-effects of drinking
|
|
|
sack (a Spanish white wine) are much less injurious than those of
|
|
|
drinking too much ale. In consequence, they will not suffer hangovers
|
|
|
from drinking all night, as all their husbands are. (McShane,
|
|
|
2016)” </p>
|
|
|
<p>It was in this context that ‘gossip’ turned from a word of friendship
|
|
|
and affection into a word of denigration and ridicule(Federici,
|
|
|
2019).</p>
|
|
|
<p><strong>So what does coffee have to do with it?</strong></p>
|
|
|
<figure>
|
|
|
<img src="image3.jpg" alt="kahvegibikahve.com/blog" />
|
|
|
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
|
|
|
</figure>
|
|
|
<p>Fortune telling over coffee stretches back to the 16th century when
|
|
|
the beans made it to the Middle East and Ottoman Empire. The reality is
|
|
|
that in the Ottoman Empire, concubines in Harem were banned from talking
|
|
|
and “gossiping”. They had a great influence (although not officially
|
|
|
recognized by men themselves) on sultans and therefore affected the
|
|
|
political decisions and affairs of the Empire. Out of solidarity, women
|
|
|
began to perform fortune-telling over the remains of coffee inside and
|
|
|
outside coffee cups. This way they could talk about their fears and
|
|
|
inner worlds freely. I can’t help but see the similarity with the
|
|
|
oppression women went through of gossip. The striking difference is how
|
|
|
fortune telling over coffee didn’t change its connotation in time.
|
|
|
Today, it is also an act of solidarity or a chance to “gossip”, one
|
|
|
might say. </p>
|
|
|
<p>“In this painting, an Ottoman woman drinking coffee and her maid
|
|
|
serving her is depicted. It is known that the painting is from the first
|
|
|
half of the 18th century. The work of Jean-Baptiste Vanmour, ‘Turkish
|
|
|
Girl Drinking Coffee on the Sedir’ was based on this Ottoman woman, who
|
|
|
is the main figure of the painting. The maid, who is positioned on the
|
|
|
right side of the painting and serves on her knees, is noticed as the
|
|
|
other interesting side of the painting. The large and ostentatious
|
|
|
headdress on the head of the Ottoman woman stands out as another element
|
|
|
that focuses attention on the work. It is also known that the headdress
|
|
|
in question was inspired by the picture of a serpentine woman in the
|
|
|
book of the Dutch painter Cornelis de Bruyn, who visited Turkey in the
|
|
|
17th century.”</p>
|
|
|
<figure>
|
|
|
<img src="image4.jpg" alt="kahvegibikahve.com/blog" />
|
|
|
<figcaption aria-hidden="true">kahvegibikahve.com/blog</figcaption>
|
|
|
</figure>
|
|
|
<p>Whether with gossip or chatting over coffee, women have always found
|
|
|
a way to express themselves regardless of oppression. These rituals were
|
|
|
performed by women as an act of sisterhood and out of respect for both
|
|
|
their inner worlds and each other. It is undeniable that gossip still
|
|
|
brings people together and that centuries of oppression failed to change
|
|
|
that. Through the centuries, as the word began to be weaponized against
|
|
|
women and became a tool to turn against each other, I can’t help but
|
|
|
wonder how unfair pop culture was to women. In any magazine or TV
|
|
|
series, anyone can spot a gossip scene with negative consequences or
|
|
|
aim. A woman is sassy, “bitchy” or evil when she gossips, but why do we
|
|
|
still let our acts be defined by the misogynistic portrayal of men?
|
|
|
Today, the word gossip or fortune telling may be used as something you
|
|
|
wouldn’t want to be a part of because it could harm someone. Let’s
|
|
|
oppose the negative connotation assigned to this word by men and use it
|
|
|
as a joyful gathering. Reclaiming gossip and fortune telling as an
|
|
|
intimate support system, a strong web, is the least we can do to honour
|
|
|
the women who met at taverns and shared a part of their souls with each
|
|
|
other.</p>
|
|
|
<p>How to make the perfect Turkish coffee and some guides to
|
|
|
fortune-telling:</p>
|
|
|
<ol type="1">
|
|
|
<li>Put two teaspoons of coffee in “cezve” the traditional pot. </li>
|
|
|
<li>Add one cup of cold water to the pot. Mix once with the spoon. The
|
|
|
ratio is one cup, and two teaspoons of coffee. </li>
|
|
|
<li>Begin cooking at a low temperature until the top coat gets
|
|
|
darker. </li>
|
|
|
<li>Cook at a high temperature until the point where the coffee begins
|
|
|
rising. </li>
|
|
|
<li>Take the pot off the oven right before it overflows. </li>
|
|
|
<li>Take the foamy part with a teaspoon and put it in the cup before
|
|
|
pouring the rest. This will protect the foam. The foam is important for
|
|
|
quality check 😊</li>
|
|
|
</ol>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="click-click">
|
|
|
<h1>Holographic Oracle Deck</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="holographic-oracle-deck">Holographic Oracle Deck</h1>
|
|
|
<h2
|
|
|
id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-magical-mystical-nature-of-crystals-as-energy-storing-matter">‘Crystals
|
|
|
& Energy’ is a holographic oracle deck exploring a range of energy
|
|
|
sources through the magical (mystical) nature of crystals as
|
|
|
energy-storing matter</h2>
|
|
|
<p>‘Crystals & Energy’ is a holographic oracle deck exploring a
|
|
|
range of energy sources through the nature of crystals and minerals as
|
|
|
an energy-storing matter.</p>
|
|
|
<p>Lídia and Artemis, Special Issue 20 guest editors, asked us to modify
|
|
|
an oracle deck of our choice. We, Cara and Boyana, prototyped a
|
|
|
holographic oracle deck where a type of crystal is coupled with a type
|
|
|
of energy resource in a single card in an attempt to talk about the
|
|
|
global energy crisis we are facing today. It was important to us to
|
|
|
provide multiple perspectives not only on how energy is used, but where
|
|
|
and under what conditions it is sourced. We attempted this by using
|
|
|
crystals sourced in particular areas to provide a specific insight and
|
|
|
perspective onto a facet of the global energy eco-system. In practice,
|
|
|
our deck provides an educational experience through the use of a DIY
|
|
|
prism and complimentary audiovisual materials, which serve to create an
|
|
|
immersive learning environment.</p>
|
|
|
<p>After a quick research, we decided to couple Aquamarine and Liquified
|
|
|
Natural Gas (LNG) which we thought would fit nicely as a first example
|
|
|
of such a card.</p>
|
|
|
<p><strong><em>Why Aquamarine?</em></strong> It looks like water that
|
|
|
has been crystallised; stored energy; compression; solidified; put under
|
|
|
pressure, or exposed to a specific temperature so that it changes its
|
|
|
state (from liquid to solid).</p>
|
|
|
<p><strong><em>Why LNG?</em></strong> It is natural gas that has been
|
|
|
liquified; compressed; liquified; put under pressure, or exposed to a
|
|
|
specific temperature so it changes its state (from gas to liquid);
|
|
|
stores energy that can be channelled later.</p>
|
|
|
<p>Next, we wrote a short poem weaving these two elements into an
|
|
|
everyday narrative. Later, this poem served as a script to create a
|
|
|
voice narration (a one-minute-long audio piece) that went into the video
|
|
|
creation process. Although the final text deviates slightly from our
|
|
|
initial idea, we felt the change was appropriate, as it was inspired by
|
|
|
a conversation we had with our tutor, Steve, earlier that day. He talked
|
|
|
about his childhood memories of collecting rocks in notebooks, perhaps
|
|
|
similar to what geologists do when documenting their discoveries. He
|
|
|
also mentioned a few things about caverns and a mine (which later turned
|
|
|
into a museum) located near the city in which he used to live.</p>
|
|
|
<p>To visualise the card, we used a hologram video-maker app. The
|
|
|
process was fun and easy. All we had to do was simply find a high
|
|
|
resolution image of the Aquamarine crystal on a black surface and upload
|
|
|
it into the app. Lastly, we made a model of a pyramid prism so that we
|
|
|
could demonstrate the prototype fully. To get the full holographic
|
|
|
effect, we had to put it on top of a phone screen and play the video,
|
|
|
which we uploaded on YouTube and embedded as a link onto our Special
|
|
|
Issue’s website.</p>
|
|
|
<p>We saw in this prototype a potential to provide new knowledge, to
|
|
|
create an engaging learning experience around energy sources, and also
|
|
|
to provide a bit of wonder and immersion into a discourse that can often
|
|
|
feel dense. By combining these different elements, we were hoping to
|
|
|
create an unusual experience that can help people better understand and
|
|
|
appreciate the importance of energy sources and sustainability. It will
|
|
|
be interesting to see how our prototype evolves and impacts people’s
|
|
|
perceptions of these topics.</p>
|
|
|
<p><img src="Aquamarine-Poem.jpg" alt="Aquamarine Poem" /> <img
|
|
|
src="Diamond-holo.jpg" alt="Diamond" /> <img src="Earth-holo.jpg"
|
|
|
alt="Earth" /> <img src="Jellyfish-holo.jpg" alt="Jellyfish" /> <img
|
|
|
src="LNG-and-Aquamarine.jpg" alt="LNG and Aquamarine" /> <img
|
|
|
src="UFO-holo.jpg" alt="UFO" /></p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Fruitual (fruit + ritual)">
|
|
|
<h1>click-click</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1
|
|
|
id="click-click-the-clicking-game---a-matter-of-accumulation">click-click,
|
|
|
the clicking game - a matter of accumulation</h1>
|
|
|
<h2 id="clicking-game">clicking game</h2>
|
|
|
<p>A couple of months ago, I didn’t even know clicking games existed.
|
|
|
When I played for the first time, I couldn’t understand why people were
|
|
|
intrigued enough to devote themselves to clicking, and I still struggle
|
|
|
to understand it. I wanted to create a clicking game that would
|
|
|
highlight the act of clicking to the player through the interface of the
|
|
|
screen. People would see a hand clicking on their screen and then at the
|
|
|
next stage a person in front of a screen (with a hand clicking) clicking
|
|
|
etc. My poor java script skills didn’t allow me to realise my initial
|
|
|
idea, so eventually I came up with really simple version of the
|
|
|
click_click game. People click on the click button that makes a “click”
|
|
|
sound. Every time they click, a new button is generated. The aim is to
|
|
|
click and accumulate bricks. A repetitive performance. You click you
|
|
|
gain. The game ends when you fill your screen and build a wall out of
|
|
|
click buttons. Then the screen clears automatically and a small victory
|
|
|
message appears. What happens when the only function to be performed is
|
|
|
clicking? Nothing I guess.</p>
|
|
|
<figure>
|
|
|
<img src="click.png" alt="the click wall" />
|
|
|
<figcaption aria-hidden="true">the click wall</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Long Time">
|
|
|
<h1>Fruitual (fruit + ritual)</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="fruitual">Fruitual</h1>
|
|
|
<h2 id="text-adventre-game">text adventre game</h2>
|
|
|
<p>Creating a text adventure game is no easy feat. It takes a lot of
|
|
|
time, creativity, trial and error. The key to creating an interesting
|
|
|
game is putting yourself in the player’s shoes and making sure there are
|
|
|
plenty of fun twists and turns along the way.</p>
|
|
|
<p>I decided to keep my game simple and tell a linear story. I used a
|
|
|
web engine called Twine (twinery.org, an open-source tool for telling
|
|
|
interactive, nonlinear stories) to help generate the game’s storyline,
|
|
|
and I adapted the script from a Bulgarian fairytale (“The Most Precious
|
|
|
Fruit”). But things didn’t always go smoothly. When the python script
|
|
|
started generating the wrong messages for players who strayed from the
|
|
|
script, I tried to find solutions on StackOverflow, but it was all too
|
|
|
complicated for me.</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 don’t have much coding experience. I had to approach
|
|
|
it more from a writer’s 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. It’s all part of the journey. Before starting this project, I had
|
|
|
no idea text adventure games even existed, but now I’m happy to say I’ve
|
|
|
made one in just a few weeks. Lastly, I would like to express my
|
|
|
appreciation for the guidance and support provided by our prototyping
|
|
|
tutors in 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 class="header-page" id="Fortnite">
|
|
|
<h1>Long Time</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="long-time">Long Time</h1>
|
|
|
<h2 id="six-sigma-fortune-telling">Six Sigma Fortune Telling</h2>
|
|
|
<p>The future cannot be predicted with certainty, but our current
|
|
|
understanding in various scientific fields means we can predict some
|
|
|
far-future events, if only in the broadest outline. These fields include
|
|
|
astrophysics, particle physics, evolutionary biology, plate tectonics
|
|
|
and sociology. The far future begins after the end of the current
|
|
|
millennium, in 3001 CE, which is the start of the 4th millennium, and
|
|
|
continues until the furthest reaches of future time. This timeline
|
|
|
includes alternative future events that address unresolved scientific
|
|
|
questions, and is in fact not six sigma accurate at all.</p>
|
|
|
<p>This timeline (based on Wikipedia’s <a
|
|
|
href="https://en.wikipedia.org/wiki/Timeline_of_the_far_future">Timeline
|
|
|
of the Far Future</a>) claims to make accurate predictions far into the
|
|
|
future at timescales that are difficult to comprehend; beyond our
|
|
|
lifetimes, beyond the death of the earth, beyond the death of atoms. The
|
|
|
scientific method claims to have an intense relationship to the material
|
|
|
world which is “orders of magnitude” more accurate than other ways of
|
|
|
interacting with and understanding where we are. The scientist often
|
|
|
pits themself as “against” the fortune-teller, the tarot reader, or the
|
|
|
mystic, and yet they make even bigger claims about our collective
|
|
|
future. Is there any way to disprove the scientist’s method in their own
|
|
|
mind?</p>
|
|
|
<p>This web-based game attempts to highlight the uselessness of this
|
|
|
approach. Sometimes a human can have no effect on the extreme truth that
|
|
|
science offers, or to put it more usefully, sometimes science has
|
|
|
nothing to offer humans. This timeline uses scientific and objective
|
|
|
distance to avoid the most inevitable and obvious event in the future:
|
|
|
your own death. Death is non-relational: no one can die in one’s place,
|
|
|
and we cannot understand our own death through the death of others
|
|
|
(Heidegger, Being and Time, 1962). Just like the scientist, the
|
|
|
philosopher doesn’t have much to offer solace here. So where do we go to
|
|
|
talk about death?</p>
|
|
|
<figure>
|
|
|
<img src="long-time-1.jpg" alt="The future" />
|
|
|
<figcaption aria-hidden="true">The future</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Papa Louie’s Ghosteria">
|
|
|
<h1>Fortnite</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1
|
|
|
id="sometimes-the-world-as-it-is-and-the-world-as-it-could-be-are-devastatingly-close-to-each-other.">Sometimes
|
|
|
the world as it is and the world as it could be are devastatingly close
|
|
|
to each other.</h1>
|
|
|
<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 it’s just that
|
|
|
dream where you remember putting your keys somewhere, but where? You’re
|
|
|
wandering around looking for them for what feels like hours. Whether it
|
|
|
was real or not isn’t important, you were still there. Why do we stay
|
|
|
here? What’s even here for us? If you don’t get them first, they’ll get
|
|
|
you. Then you wake up and you still can’t find the fucking keys. But
|
|
|
sometimes it’s sunny and you’re standing there and there’s something
|
|
|
cinematic about the whole thing, is it worth it just to be there for
|
|
|
that maybe. There’s really no difference between a dream about falling
|
|
|
and a dream about flying.</p>
|
|
|
<p>::::: :::::{.hide-on-web} 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 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 helped, or changed somehow.</p>
|
|
|
<p>The only reason I’m still here is because you’re still here.</p>
|
|
|
<p>🚶</p>
|
|
|
<p><img src="fortnite-10.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-9.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-8.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-7.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-6.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-3.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-2.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-1.jpg" alt="screenshot from Fortnite" /> <img
|
|
|
src="fortnite-0.jpg" alt="screenshot from Fortnite" /></p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Peace, Monday Morning Ritual by Cara">
|
|
|
<h1>Papa Louie’s Ghosteria</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="papa-louies-ghosteria">Papa Louie’s Ghosteria</h1>
|
|
|
<h2
|
|
|
id="papa-louies-ghosteria-is-a-comic-like-fan-fiction-written-by-us.">Papa
|
|
|
Louie’s Ghosteria is a comic-like fan fiction written by us.</h2>
|
|
|
<p>Following a discussion about the texts ‘Notes on Deconstructing The
|
|
|
Popular’ by Stuart Hall and ‘Game Modding: Cross-Over Mutation and
|
|
|
Unwelcome Gifts’ from The Player’s Power to Change the Game by
|
|
|
Anne-Marie Schleiner, we started dissecting the ideology behind the
|
|
|
games we have played as children. To do that, we utilised several
|
|
|
prompts to help us examine the ideology that two popular video games
|
|
|
enforce through their narrative and gameplay. The list of questions we
|
|
|
needed to answer while playing the game includes:</p>
|
|
|
<p>What are the win conditions? If the game is quest based, what types
|
|
|
of quests are you asked to complete? What is the gameplay? What is the
|
|
|
narrative? How much space is there for alternative ways of playing this
|
|
|
game? What is missing? What type of relationships are you allowed to
|
|
|
form? What is the role of non-player characters? What are the
|
|
|
requirements for surviving the game? Which behaviours are rewarded? What
|
|
|
real-world values are reproduced in the game you are playing? How are
|
|
|
you situated in the hierarchy of the game? What change in status is
|
|
|
promised? What are you being trained for? What fantasies are lived out
|
|
|
or explored?</p>
|
|
|
<p>Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie:
|
|
|
When Pizzas Attack. Soon after we started investigating the game, its
|
|
|
elements and modifications, we discovered that other players had already
|
|
|
written heaps of fan fiction about it. We were bewitched by the
|
|
|
multitude of stories fans have written and the really good memes they
|
|
|
have created about Papa and his businesses. Yes, plural. Papa’s
|
|
|
Freezeria. Sushiria. Donuteria. Burgeria. PanCakeria. CupCakeria. Taco
|
|
|
Mia. Taco Mia To Go. You name it.</p>
|
|
|
<p>After spending some time analysing the ideology behind the game, we
|
|
|
discovered a few elements that reinforce a capitalist narrative, such as
|
|
|
the need to fight to survive and collect coins to purchase weapons. In
|
|
|
response, we decided to create a new version of the game with a
|
|
|
storyline that focuses on healing and coping as a response to grief and
|
|
|
loss, rather than violence. To link the new storyline to SI20’s topic we
|
|
|
added ritualistic elements as actions during the gameplay.</p>
|
|
|
<p>What was changed was the topic, purpose and outcome of the game. Papa
|
|
|
no longer fought to save his customers, but he dealt with his own loss
|
|
|
and grief over what happened. Our version promoted rest and rituals for
|
|
|
healing instead of revenge-seeking, violence and toxic pizzeria
|
|
|
culture.</p>
|
|
|
<p>We started by putting some keywords and suggestions on a blackboard
|
|
|
about “How To Cope With Grief” and “How to Use Rituals and Ceremonies to
|
|
|
Overcome Grief” to define what Papa Louie lost and what rituals could
|
|
|
help him heal.</p>
|
|
|
<figure>
|
|
|
<img src="papa-louie-story.jpg" alt="The Storyboard" />
|
|
|
<figcaption aria-hidden="true">The Storyboard</figcaption>
|
|
|
</figure>
|
|
|
<p>We then made a comic-like storyboard that visualised the new
|
|
|
narrative for Papa Louie’s Ghosteria. To create a few scenes depicting
|
|
|
some of the 5 levels we outlined, we used an app called Papa Louie Pals.
|
|
|
The images turned out pretty nice! Playing around with the app was fun
|
|
|
mainly because it allowed us to materialise our idea in just a couple of
|
|
|
hours.</p>
|
|
|
<p>The gameplay revolves around things Papa lost and the needs he needs
|
|
|
to fulfil. Different types of losses are organised into the five levels
|
|
|
of the game:</p>
|
|
|
<ol type="1">
|
|
|
<li>loss of safety (innocence, physical safety)</li>
|
|
|
<li>loss of community (clients, belonging)</li>
|
|
|
<li>loss of future (hope, dreams)</li>
|
|
|
<li>loss of identity (dignity, making things himself)</li>
|
|
|
<li>loss of labour (money, time, effort, pizza)</li>
|
|
|
</ol>
|
|
|
<p>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.</p>
|
|
|
<p>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 seeked ways to cope with grief and ease himself. He
|
|
|
tried different rituals throughout this process, built his new identity
|
|
|
and overcame his troubles.</p>
|
|
|
<figure>
|
|
|
<img src="papa-louie-final.jpg" alt="The Comic" />
|
|
|
<figcaption aria-hidden="true">The Comic</figcaption>
|
|
|
</figure>
|
|
|
<h2 id="papa-louies-text-adventure-healing">Papa Louie’s Text-Adventure
|
|
|
Healing</h2>
|
|
|
<p>Following this comic production, a small text-adventure Pyhton game
|
|
|
was developed following the same storyline. The game was fundamentally
|
|
|
an explorative game, in which the player could follow four levels of
|
|
|
healing. Playing as Papa Louie and helping him heal his shattered soul,
|
|
|
the player would go in each room and type “take” or “carry” to pick up
|
|
|
possibilties for healing. The possbilities for each room were:</p>
|
|
|
<pre><code>1. empty pizzeria: [closure,catharsis, anger]
|
|
|
2. living room: [connection,understanding,support]
|
|
|
3. study room: [expression,hope,new experiences]
|
|
|
4. bedroom: [self-discovery,self-care]
|
|
|
5. kitchen: [work,nourishment,purpose].</code></pre>
|
|
|
<p>Once one had picked up enough healing chances, the game would end and
|
|
|
thank you for healing papa. The following picture shows the introductory
|
|
|
illustration.</p>
|
|
|
<figure>
|
|
|
<img src="healinggame.png" alt="The Game" />
|
|
|
<figcaption aria-hidden="true">The Game</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Sims Mod">
|
|
|
<h1>Peace, Monday Morning Ritual by Cara</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="peace">Peace</h1>
|
|
|
<p><strong><em>Peace</em></strong> 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.”</p>
|
|
|
<figure>
|
|
|
<img src="dovecara.jpg"
|
|
|
alt="Duif met kroon by Claude Mellan 1608 - 1688, courtesy of the Rijksmuseum’s Free Archive." />
|
|
|
<figcaption aria-hidden="true">Duif met kroon by Claude Mellan 1608 -
|
|
|
1688, courtesy of the Rijksmuseum’s Free Archive.</figcaption>
|
|
|
</figure>
|
|
|
<p><strong><em>Peace</em></strong> 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.</p>
|
|
|
<p>Here is an excerpt:</p>
|
|
|
<pre><code>You are wearing thin cotton. Can you feel the warm ground through the layer
|
|
|
Can you feel the warmth of the sun on your face?</code></pre>
|
|
|
<p><strong><em>if yes, then…</em></strong></p>
|
|
|
<pre><code>The smell of lavender and warm soil is thick in the air.
|
|
|
The flowers are so full.
|
|
|
When you just touch them,
|
|
|
it feels like they burst with beads of lavender oil.
|
|
|
|
|
|
Their nectar is sweet.
|
|
|
|
|
|
The air is clear.
|
|
|
The sky is blue.
|
|
|
There are no clouds.
|
|
|
There is only sun and peace and lavender.
|
|
|
|
|
|
|
|
|
Would you like to explore another daydream?</code></pre>
|
|
|
<p><strong><em>if yes, then… and so on</em></strong></p>
|
|
|
<p>You can find the game on our website.</p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Youtube Tarot">
|
|
|
<h1>Sims Mod</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="the-player-is-the-author">The Player is the Author</h1>
|
|
|
<p>In The Sims™ 4 some values are certainly given by the game; make
|
|
|
money to buy nicer things, progress in your career by doing tasks that
|
|
|
improve your skills, 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. In
|
|
|
contrast with what has been said by game design theorists in the past
|
|
|
(Aarseth, 2004), the narrative power and “richness of character” of a
|
|
|
game like The Sims™ 4 lies precisely in the freedom left open to the
|
|
|
players. “The positive potential of authorship” come precisely from the
|
|
|
malleability and user control, once you see that the player is the
|
|
|
author. 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?</p>
|
|
|
<p>The development of this community has also led to a strong culture of
|
|
|
modding or rewriting the game’s actual code to change appearance,
|
|
|
performance and behavoior.This brings the power of authorship even more
|
|
|
into the hands of the players and users.</p>
|
|
|
<p>In a spirit of respect and love for this community we have published
|
|
|
Console as downloadable content for The Sims™ 4, find out more on
|
|
|
issue.xpub.nl/20</p>
|
|
|
<figure>
|
|
|
<img src="sims.png" alt="Console in Sims" />
|
|
|
<figcaption aria-hidden="true">Console in Sims</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Tetris Fantasies">
|
|
|
<h1>Youtube Tarot</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="youtube-tarot">YouTube Tarot</h1>
|
|
|
<h2 id="youtube-comments-as-tarot-readings">YouTube comments as Tarot
|
|
|
readings</h2>
|
|
|
<p>The question for me (Irmak) at the beginning was why people feel the
|
|
|
need to know the future or their oracles that they go on YouTube and
|
|
|
subscribe to a channel there. Knowing the future made me anxious when
|
|
|
for many people it is something to look forward to or head towards. For
|
|
|
Ada, the answer to that question was simple. Everyone needs some clarity
|
|
|
and a sense of belonging and safety and it’s better and easier to
|
|
|
believe when told by someone else. The problem we were facing was then
|
|
|
about, how can a performance so intimate and personal be transferred
|
|
|
online for thousands to see. Doesn’t that strip the whole act of the
|
|
|
tarot reading of its authenticity or specificity to you? Once you have
|
|
|
someone read your tarot online, you are exposed to advertisement and
|
|
|
capitalism in a very ironic sense. The sole reason you are there is to
|
|
|
have a peaceful and perhaps sentimental moment with yourself, however,
|
|
|
you are interrupted by unintended messages.</p>
|
|
|
<p>Moving from these discussions, we searched for the answers in the
|
|
|
comments below certain tarot videos. Many commenters mentioned how their
|
|
|
life changed after the reading, how their luck came back and their work
|
|
|
life improved, or how the reading helped them get their life straight.
|
|
|
This was a community that needed tarot and used it as a remedy. In the
|
|
|
end, we decided to use some of these comments as the interpretation of
|
|
|
some cards. The main themes in the comments were luck, love and work. We
|
|
|
picked three comments for each theme and made tarot cards for them with
|
|
|
a divination board. We modified the illustrations on existing tarot
|
|
|
cards and renamed them according to the commenters’ names.</p>
|
|
|
<p>The divination board: <img src="001.jpg"
|
|
|
alt="The Divination Board" /> <img src="002.jpg" alt="Cards on love" />
|
|
|
<img src="003.jpg" alt="Cards on luck" /> <img src="004.jpg"
|
|
|
alt="Cards on work" /> <img src="005.jpg" alt="Cards on work" /> <img
|
|
|
src="006.jpg" alt="Cards on work" /></p>
|
|
|
<p>Part of the dictionary of YouTube Tarot cards: <img src="007.jpg"
|
|
|
alt="The Cassandra" /> <img src="008.jpg" alt="The Bella Vita" /> <img
|
|
|
src="009.jpg" alt="Vibing" /> <img src="010.jpg"
|
|
|
alt="Help get gas price down" /> <img src="011.jpg" alt="The Jessica" />
|
|
|
<img src="012.jpg" alt="The dhananjai" /> <img src="013.jpg"
|
|
|
alt="The Hummingbird" /></p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Super(de)construction">
|
|
|
<h1>Tetris Fantasies</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="tetris-fantasies">Tetris Fantasies</h1>
|
|
|
<h3 id="death-geometry-and-the-structure-of-the-individual">Death,
|
|
|
Geometry and the Structure of the Individual</h3>
|
|
|
<p>Tetris is a game where a single player is encouraged to organise the
|
|
|
chaos given to them from above, a limited space for play of ten by
|
|
|
twenty units leads to a limited ability to approach the perfection
|
|
|
implied by the simple shapes that are encountered in the world (always a
|
|
|
collection of four squares, in their seven permutations). The harnesses
|
|
|
of time and gravity make perfection impossible in this world; instead,
|
|
|
the player can only attempt, approach, and increase their efficiency. A
|
|
|
life’s function approaching the limit, there is no way to win, only to
|
|
|
get higher and higher scores, to live as long as possible through
|
|
|
increased throughput. Death is inevitable in Tetris, and each passing
|
|
|
block seems to come faster than the last. Why does it feel like
|
|
|
everything just keeps getting harder?</p>
|
|
|
<p>There are many squares to be organised in Tetris, an infinite number
|
|
|
apparently, but only one player is organising them. Other people can
|
|
|
only be seen by this individual in faint ghosts; their high scores are
|
|
|
there only to be beaten. And the current player can only hope to reach
|
|
|
those people by leaving their own mark on the high score table.
|
|
|
Employee-of-the-month, world’s-best-mom. But maybe there is an
|
|
|
alternative, a world where there is more to each falling tetromino than
|
|
|
simply an obstacle to be overcome, a problem to be solved. Maybe there
|
|
|
is a story behind the fatal pixels, a bigger space than the 10 x 20 grid
|
|
|
on the screen. Maybe there are humans out there with more to them than
|
|
|
what they produce.</p>
|
|
|
<p>This fanfic takes the form of a series of hand-drawn illustrations
|
|
|
depicting fantastical Tetris pieces, each of which is accompanied with a
|
|
|
fragment of a story. The cards can be read and arranged in any order,
|
|
|
intentionally removing the linear and framed limits of the original
|
|
|
Tetris, although the illustration and text on any one card have some
|
|
|
sort of relationship with each other.</p>
|
|
|
<figure>
|
|
|
<img src="tetris-documentation-1.jpg" alt="hand drawn tetris fanfic" />
|
|
|
<figcaption aria-hidden="true">hand drawn tetris fanfic</figcaption>
|
|
|
</figure>
|
|
|
<figure>
|
|
|
<img src="tetris-documentation-2.jpg"
|
|
|
alt="printed fanfic: imagined four-sided realities" />
|
|
|
<figcaption aria-hidden="true">printed fanfic: imagined four-sided
|
|
|
realities</figcaption>
|
|
|
</figure>
|
|
|
<!--  -->
|
|
|
<figure>
|
|
|
<img src="tetris-documentation-4.png"
|
|
|
alt="imagining a tetris without labour" />
|
|
|
<figcaption aria-hidden="true">imagining a tetris without
|
|
|
labour</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="The Wheel of Fortune">
|
|
|
<h1>Super(de)construction</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="superdeconstruction">Super(de)construction</h1>
|
|
|
<h2 id="text-adventure-game">text adventure game</h2>
|
|
|
<p>My text-adventure game was (first and foremost a struggle and) an
|
|
|
attempt to dive a little bit into the world of python and deal
|
|
|
peacefully with the potential trauma of coding. The first unsuccessful
|
|
|
try started by making a map on paper with all the possible rooms,
|
|
|
corridors, spaces and the potential inputs of the player. It was proved
|
|
|
to be a too ambitious plan though. So this was the time when the
|
|
|
super(de)construction game was born! My intention was to make a fan
|
|
|
fiction text adventure game(!) of the marxist superstructure theory.
|
|
|
There are three basic rooms where the player can navigate : the
|
|
|
Base-ment, the Apparatus and the Megaroom. People can grab specific
|
|
|
"objects" from each room and check their inventory (for example you can
|
|
|
have unpaidlabour, church, mostlywhitemen from base-ment, apparatus and
|
|
|
megaroom respectively in the same bag!). The aim of the game is to
|
|
|
accumulate enough points in order to bring eventually the revolution and
|
|
|
win. The fermentation and the radicalization happen only in the
|
|
|
base-ment.</p>
|
|
|
<p>Will you be part of the revolutionary class?</p>
|
|
|
<p>``` import os , time , random</p>
|
|
|
<p># Setting up the current (saved) state</p>
|
|
|
<p>currentRoom = "base-ment"</p>
|
|
|
<p>start = True</p>
|
|
|
<p>graduation = False</p>
|
|
|
<p>study = 0</p>
|
|
|
<p>items = {</p>
|
|
|
<p> "base-ment": ["unpaidlabor", "consiousness", "lackoftime",
|
|
|
"dipression", "commodities", "collectivememory", "laborforce",
|
|
|
"survivalmode"],</p>
|
|
|
<p> "apparatus": ["game", "work", "symbols", "family", "church",
|
|
|
"institutionalmemory", "army", "ideology"],</p>
|
|
|
<p> "megaroom": ["hegemony", "control", "power", "violence",
|
|
|
"accumulationofwealth", "property", "mostlywhiterichmen"]</p>
|
|
|
<p>}</p>
|
|
|
<p>inventory = []</p>
|
|
|
<p># Seperating the text and printing in delay so the content on the
|
|
|
screen is readable and easy to comprehend</p>
|
|
|
<p>def printer (text):</p>
|
|
|
<p> for t in text:</p>
|
|
|
<p> print(t, end = "", flush= True)</p>
|
|
|
<p> time.sleep(random.choice([0.0001, 0.005, 0.007]))</p>
|
|
|
<p> print()</p>
|
|
|
<p># Defining the "taker" function and setting it up in each of the
|
|
|
three rooms below</p>
|
|
|
<p>def taker(room):</p>
|
|
|
<p> if any(x in spliti for x in ["get", "grab", "take", "carry",
|
|
|
"steal", "expropriate"]):</p>
|
|
|
<p> for item in items[room]:</p>
|
|
|
<p> if item in spliti:</p>
|
|
|
<p> printer("You took " + item)</p>
|
|
|
<p> inventory.append(item)</p>
|
|
|
<p> items[room].remove(item)</p>
|
|
|
<p># Creating the while-loop</p>
|
|
|
<p>while True:</p>
|
|
|
<p> if (start == True):</p>
|
|
|
<p> printer("""</p>
|
|
|
<p> Super(de)construction: The game</p>
|
|
|
<p> </p>
|
|
|
<p> </p>
|
|
|
<p> __
|
|
|
__ __
|
|
|
</p>
|
|
|
<p> /\ \
|
|
|
/\ \__ /\ \__ __
|
|
|
</p>
|
|
|
<p> ____ __ __ _____ __ _ __ \_\ \ __ ___ ___
|
|
|
___ ____\ \ ,_\ _ __ __ __ ___\ \ ,_\/\_\ ___ ___
|
|
|
</p>
|
|
|
<p> /',__\/\ \/\ \/\ '__`\ /'__`\/\`'__\/'_` \ /'__`\ /'___\ / __`\ /'
|
|
|
_ `\ /',__\\ \ \/ /\`'__\/\ \/\ \ /'___\ \ \/\/\ \ / __`\ /' _ `\
|
|
|
</p>
|
|
|
<p>/\__, `\ \ \_\ \ \ \L\ \/\ __/\ \ \//\ \L\ \/\ __//\ \__//\ \L\ \/\
|
|
|
\/\ \/\__, `\\ \ \_\ \ \/ \ \ \_\ \/\ \__/\ \ \_\ \ \/\ \L\ \/\ \/\
|
|
|
\</p>
|
|
|
<p>\/\____/\ \____/\ \ ,__/\ \____\\ \_\\ \___,_\ \____\ \____\ \____/\
|
|
|
\_\ \_\/\____/ \ \__\\ \_\ \ \____/\ \____\\ \__\\ \_\ \____/\ \_\
|
|
|
\_\</p>
|
|
|
<p> \/___/ \/___/ \ \ \/ \/____/ \/_/ \/__,_ /\/____/\/____/\/___/
|
|
|
\/_/\/_/\/___/ \/__/ \/_/ \/___/ \/____/ \/__/ \/_/\/___/
|
|
|
\/_/\/_/</p>
|
|
|
<p> \ \_\
|
|
|
|
|
|
</p>
|
|
|
<p> \/_/
|
|
|
|
|
|
</p>
|
|
|
<p> """)</p>
|
|
|
<p> printer("""</p>
|
|
|
<p> ’Welcome to the super(de)costruction game or How to destroy
|
|
|
the ideological apparatus and capitalism in small steps.</p>
|
|
|
<p>You are a witch in the body of a cultural worker leaving in the poor
|
|
|
south. However, you cannot make a living only by selling your labor
|
|
|
power so you have to use your magic powers to maintain yourself. You can
|
|
|
become invisible in order to expropriate goods from chain supermarkets
|
|
|
and share them with your comrades and girlfriends. That’s okay!
|
|
|
Inflation ...</p>
|
|
|
<p>You will have an extraordinary chance to walk a lead bit through an
|
|
|
enormous architectural miracle and why not dismantle the master's
|
|
|
house!</p>
|
|
|
<p>Are you readyyy???</p>
|
|
|
<p> """)</p>
|
|
|
<p> start = False</p>
|
|
|
<p> </p>
|
|
|
<p> if (graduation == True):</p>
|
|
|
<p> printer("You Win!")</p>
|
|
|
<p> exit()</p>
|
|
|
<p># Clearing the screen: "cls" for Windows; "clear" for macOS
|
|
|
</p>
|
|
|
<p> i = input()</p>
|
|
|
<p> #os.system("cls")</p>
|
|
|
<p> spliti = i.split(" ")</p>
|
|
|
<p># Creating an inventory</p>
|
|
|
<p> if "inventory" in i:</p>
|
|
|
<p> printer("The truth is that you don't own anything. You are
|
|
|
proletarian. You don't really have private property. However, in you
|
|
|
current inventory you can find " + ", ".join(inventory))</p>
|
|
|
<p> </p>
|
|
|
<p> if i in ["talk","discuss","debate","ask","say"]:</p>
|
|
|
<p> printer("Hiiiiiii witch, how can I help you, now that nobody
|
|
|
is watching us?")</p>
|
|
|
<p> i = input()</p>
|
|
|
<p> if i in ["revolution","finish","free", "freedom"]:</p>
|
|
|
<p> if study >= 119:</p>
|
|
|
<p> printer("You did so many things! You struggle a lot,
|
|
|
you care, you respect! You are a true witch fighter! Revolution is in
|
|
|
the corner.")</p>
|
|
|
<p> graduation = True</p>
|
|
|
<p> else:</p>
|
|
|
<p> printer("We should keep the hard work. Do not give up
|
|
|
though. Things do change and your contribution is valuable! You have
|
|
|
gained " + str(study) + " points. Shall we go again to the base-ment?
|
|
|
We have to organise stuff! Please don't give up. Here is something small
|
|
|
for you!")</p>
|
|
|
<p> printer("""</p>
|
|
|
<p> </p>
|
|
|
<p> For it is not the anger of Black Women which is
|
|
|
dripping down over this globe like a diseased liquid. It is not my anger
|
|
|
that launches rockets, spent more than 60,000 dolars second on missiles
|
|
|
and other agents of war and death, slaughters children in cities,
|
|
|
stockpiles nerve gas and chemical bombs, sodomizes our daughters and the
|
|
|
earth. This is not the anger of Black Women which corrodes into blind,
|
|
|
dehumanising power, bent upon the annihilation of us all unless we meet
|
|
|
it with what we have, our power to examine and to redefine the terms
|
|
|
upon which we will live and work; our power to envision and to
|
|
|
reconstruct, anger by painful anger, stone upon heavy stone, a future of
|
|
|
pollinating difference and the earth to support our choices.</p>
|
|
|
<p> We welcome all women who can meet us, face to face,
|
|
|
beyond objectification and beyond guilt.</p>
|
|
|
<p> by Audre Lorde</p>
|
|
|
<p> </p>
|
|
|
<p> """)</p>
|
|
|
<p> </p>
|
|
|
<p># Choices in the base-ment</p>
|
|
|
<p> if currentRoom == "base-ment":</p>
|
|
|
<p> if i in ["look","see","view","explore"]:</p>
|
|
|
<p> printer("Oh I'm in an base-ment, cool. There is little
|
|
|
light here. Soooo many people. TheY do work hard. The seem unhappy and
|
|
|
dipressed")</p>
|
|
|
<p> printer("You can find here: " + ",
|
|
|
".join(items["base-ment"]))</p>
|
|
|
<p> </p>
|
|
|
<p> elif i in ["exit","walk","run","door","leave"]:</p>
|
|
|
<p> printer("You can use this tiny door to exit the
|
|
|
base-ment. To be completely honest, you cannot escape that easily the
|
|
|
base-ment. You wish you could. It can be really suffocating. However you
|
|
|
are a witch, you have class consiousness and you have your caring
|
|
|
comrades. So now let's move. ")</p>
|
|
|
<p> currentRoom = "apparatus"</p>
|
|
|
<p># The ECTS condition, or the point-gaining system. Every "study"
|
|
|
adds 30 points to the player's score. The goal is to reach 120 points or
|
|
|
credits. </p>
|
|
|
<p> elif i in ["disconstruct", "dismantle", "poetry", "street",
|
|
|
"public", "library", "counter-culture","read", "struggle", "collective",
|
|
|
"solidarity", "fight", "feminism", "queer", "act", "expropriate",
|
|
|
"parasite", "organise", "care", "reclaim", "speak", "counterhegemony",
|
|
|
"escape", "burn", "collective", "demonstrate", "zine", "create",
|
|
|
"enjoy", "disobedience", "occupy", "protest", "manifest", "shout",
|
|
|
"sing", "anarchy", "radical", "barricade", "putaspell", "witchcraft",
|
|
|
"unlearn"]:</p>
|
|
|
<p> printer("You have struggled soo much!")</p>
|
|
|
<p> study = study + 30</p>
|
|
|
<p> printer("The revolution seems to be closer. Cracks still
|
|
|
happen and are completely important and vital and powerful. You have
|
|
|
gained " + str(study) + " points")</p>
|
|
|
<p> else:</p>
|
|
|
<p> taker("base-ment")</p>
|
|
|
<p> </p>
|
|
|
<p># Choices in the neutral zone</p>
|
|
|
<p> elif currentRoom == "apparatus":</p>
|
|
|
<p> if i in ["look","see","view","explore", "open"]:</p>
|
|
|
<p> printer("Vrooom, vroom, vroom. You are now in the
|
|
|
apparatus room! What a contradictory place to be. A wise-structured
|
|
|
organised chaos ... Monumental huge buildings, computers, archives,
|
|
|
cameras, people in uniforms, banks campus and other big buildings, and
|
|
|
borders. Where is the public, though? If you see a little bit closer, it
|
|
|
is not that solid.")</p>
|
|
|
<p> printer("Oh look in the apparatus you can find: " + ",
|
|
|
".join(items["apparatus"]))</p>
|
|
|
<p> </p>
|
|
|
<p> elif i in ["exit","walk","run","door","leave"]:</p>
|
|
|
<p> printer("You may use this door to exit the
|
|
|
apparatus.")</p>
|
|
|
<p> i = input("which door? (1 or 2)")</p>
|
|
|
<p> if i == "1":</p>
|
|
|
<p> printer("You use the door to the base-ment")</p>
|
|
|
<p> currentRoom = "base-ment"</p>
|
|
|
<p> elif i == "2":</p>
|
|
|
<p> printer("You use the door to the megaroom")</p>
|
|
|
<p> currentRoom = "megaroom"</p>
|
|
|
<p> else:</p>
|
|
|
<p> taker("apparatus")</p>
|
|
|
<p> </p>
|
|
|
<p># Choices in the megaroom</p>
|
|
|
<p> elif currentRoom == "megaroom":</p>
|
|
|
<p> if i in ["look","see","view","explore", "open"]:</p>
|
|
|
<p> printer("Oh You are in the megaroom! You can tell that it
|
|
|
is luxurious, monumental structure classical and contemporary in the
|
|
|
same time. You haven’t seen something similar before! Wowww. But why are
|
|
|
so little people? Why the are mostly white men? Don’t be stressed - they
|
|
|
will not notice you! You enter the mansion as a cleaning lady. You are
|
|
|
invisible to them. However, YOU know how radical our marginal identities
|
|
|
are! ")</p>
|
|
|
<p> printer("Oh look in the megaroom! There is : " + ",
|
|
|
".join(items["megaroom"]))</p>
|
|
|
<p> </p>
|
|
|
<p> elif i in ["exit","walk","run","door","leave"]:</p>
|
|
|
<p> printer("You use the door to exit the megaroom.")</p>
|
|
|
<p> currentRoom = "apparatus"</p>
|
|
|
<p> else:</p>
|
|
|
<p> taker("megaroom")</p>
|
|
|
<p>``` </p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="The Wheel of Fortune">
|
|
|
<h1>The Wheel of Fortune</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<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 daily, weekly
|
|
|
or at 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 at 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 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
|
|
|
have 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. 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>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
|
|
|
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>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Oracolotto">
|
|
|
<h1>The Wheel of Fortune</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="the-wheel-of-fortune-manual">The Wheel of Fortune — Manual</h1>
|
|
|
<p>“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 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 hold it
|
|
|
to the screen. Think about that question by looking at it and the tiny
|
|
|
film together like friends. If you feel like writing your thoughts, you
|
|
|
can use the tiny notepad made just for you.</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>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Fiction Friction">
|
|
|
<h1>Oracolotto</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="oracolotto">oracolotto</h1>
|
|
|
<p><em>Those who dream of drinking wine may weep when morning comes;
|
|
|
those 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>
|
|
|
<p><em>And when I say you are dreaming, I am dreaming, too.</em></p>
|
|
|
<p><strong>Zhuàngzi</strong> <strong>莊子</strong></p>
|
|
|
<h2 id="preface">✧ Preface</h2>
|
|
|
<p>Have you ever woken up feeling like there is a word on the tip of
|
|
|
your tongue in a language you don’t quite understand?</p>
|
|
|
<p>It’s the feeling you feel when a dream leaves too quickly after you
|
|
|
wake up, like a regretful lover. You grasp and reach out, but it’s gone,
|
|
|
and you forget something so fundamentally important that your stomach
|
|
|
caves into itself.</p>
|
|
|
<p>This deck of oracle cards invites you to go back into that cave, that
|
|
|
pit. Back to the start of that word. Tarot and oracle cards are always
|
|
|
tools for self-exploration, but the Oracolotto invites you to travel
|
|
|
deep into the subconscious realm of your dreams.</p>
|
|
|
<p>Oracolotto includes twenty-one cards and one guidebook. The cards
|
|
|
follow the paved journey of Tarot’s major arcana, but do not be fooled
|
|
|
by the numbers – they will not give you insight into the path. You do
|
|
|
not need prior knowledge to use these cards, only the ability to dream
|
|
|
and a soul – your own or the soul of another.</p>
|
|
|
<p>The Oracolotto cards present illustrations of collective dream
|
|
|
archetypes as delineated by Neapolitan tradition. While the cards
|
|
|
symbolically follow the traditional Tarot journey from the fool to the
|
|
|
world (minus the Emperor), they are based on the Neapolitan art form of
|
|
|
the Smorfia, intended not as the grimace but as a method for
|
|
|
interpreting dreams.</p>
|
|
|
<p>The Smorfia is an ancient art form in which symbols and archetypes
|
|
|
from a person’s dreams are analysed and converted into numbers. To use
|
|
|
the Smorfia, you would recall every event, person and object that
|
|
|
appeared in your dream, and then use the extensive list of dream
|
|
|
archetypes to find the associated numbers. This may be used to find the
|
|
|
meaning of your dreams or, most commonly, to find numbers to play the
|
|
|
lottery (Ricciardone, 1987; Zezza, 1835).</p>
|
|
|
<p>In Oracolotto, the archetypes are used as a storytelling device, an
|
|
|
exploration tool for imagination and self-discovery. You may choose to
|
|
|
use these cards in the two ways I have imagined or create your own.</p>
|
|
|
<ol type="1">
|
|
|
<li>The first method, and the one I recommend, asks your soul to sit
|
|
|
with the cards, ask them a question, read the answer in the following
|
|
|
pages and find a language for new or old feelings.</li>
|
|
|
<li>The second method requires you to keep the deck next to your bed.
|
|
|
Once you wake up, while the dream is still supple and alive, reach for
|
|
|
the Oracolotto and try and find the cards that most closely resemble the
|
|
|
dream. This allows you to give language to the unformed and reveal the
|
|
|
apparent truths the cards hold.</li>
|
|
|
</ol>
|
|
|
<p>If you have read this far, you may want to remember your dreams and
|
|
|
connect to your subconscious, but feel unable to do so. You may never
|
|
|
remember your dreams and think that they are random. If that’s the case,
|
|
|
I recommend using the Oracolotto with the method I first describe. As
|
|
|
the subconscious seeps into our daily thoughts and feelings, the deck
|
|
|
will reveal hidden patterns.</p>
|
|
|
<p>You may also choose your path, disregard what I said and make your
|
|
|
own game, read old or future dreams or even play the lottery. The tools
|
|
|
are in your hands.</p>
|
|
|
<p>:::::</p>
|
|
|
<p>:::::{.hide-on-web}</p>
|
|
|
<h3 id="how-to-care-for-the-oracolotto">✧ How to care for the
|
|
|
Oracolotto</h3>
|
|
|
<p>You may have grown up believing that objects do not have spirit. If
|
|
|
so, I suggest you tuck the inner sceptic into bed and let the curious
|
|
|
child out to play. The Oracolotto, like any Tarot or Oracle, does not
|
|
|
believe itself to be an object. It thinks that no object is simply a
|
|
|
thing but also exists in a spiritual plane. All objects have a soul, a
|
|
|
spirit that connects to yours.</p>
|
|
|
<p>The Oracolotto has a playful and deep soul. It asks to be cared for
|
|
|
as a living thing (more like a plant than a pet). It asks to be touched,
|
|
|
used, cried on, and laughed with. Most importantly, it asks for a place
|
|
|
to rest every night. I would recommend, at your discretion, to free all
|
|
|
negative intentions from the cards. This may happen if you do a reading
|
|
|
for someone with bad intentions, or a heavy, painful load to carry. Or
|
|
|
it may happen if you use them alone in a moment of intense sadness or
|
|
|
anger. In such cases, find a way to release these feelings from the
|
|
|
cards, leave them out to breathe, or hold them in your hands and think
|
|
|
positive thoughts.</p>
|
|
|
<h3 id="how-to-do-a-reading">✧ How to Do a Reading</h3>
|
|
|
<p>Set an intention at the start. You or the person you are reading for
|
|
|
will ask a question, out loud or in your mind, as you shuffle the cards.
|
|
|
You then have two options: either spread them out or fan them, and
|
|
|
choose one card at a time with your dominant hand, or place the whole
|
|
|
deck on a surface and run your fingers alongside it until you feel like
|
|
|
splitting the deck and picking a card. Do it as you wish, it is
|
|
|
important to let your intuition guide you to a card.</p>
|
|
|
<p>Lay the card in front of you (the “How to Lay Out the Cards” section
|
|
|
follows). Turn the card over and feel, hear, see, and intuit its meaning
|
|
|
concerning your question. Refer to this guidebook for interpretations.
|
|
|
If you give readings to others, always keep a record of your readings
|
|
|
because messages for others often weave into your own. Sometimes cards
|
|
|
will “jump” out of the deck while you are shuffling. These cards are
|
|
|
trying to get your attention. They are part of your reading or perhaps
|
|
|
the entire reading. They are important messages; take heed.</p>
|
|
|
<p>Alternatively, and if applicable, you may choose one card and place
|
|
|
it on your altar or under your pillow at night to usher in a deeper
|
|
|
understanding.</p>
|
|
|
<h3 id="how-to-lay-out-the-cards">✧ How to Lay Out the Cards</h3>
|
|
|
<p>.One Card Spread</p>
|
|
|
<p>A single card can be used for several purposes:</p>
|
|
|
<ul>
|
|
|
<li>Draw a card in the morning for guidance about what you need to know
|
|
|
that day.</li>
|
|
|
<li>Draw a card after you ask a question. The one you pick is your
|
|
|
answer.</li>
|
|
|
<li>Draw a card to help further explain your dream.</li>
|
|
|
</ul>
|
|
|
<p>.Three-Card Spread</p>
|
|
|
<p>A three-card spread can also be used in several different ways:</p>
|
|
|
<ul>
|
|
|
<li>Draw three cards representing what you need to know in general
|
|
|
terms.</li>
|
|
|
<li>The three cards may represent the past, present or future.</li>
|
|
|
<li>The three cards answer questions about three issues, such as career,
|
|
|
love and friendship.</li>
|
|
|
</ul>
|
|
|
<p>If you want to arrive at a more fleshed-out narrative, you may choose
|
|
|
to do a bigger spread. Information about those can be found in any book
|
|
|
about tarot or online.</p>
|
|
|
<h4 id="dream-well">✧ <strong>Dream well!</strong></h4>
|
|
|
<h2 id="the-coffee-or-o-ccafè"><strong>✳ 42. the coffee or ’o
|
|
|
ccafè</strong></h2>
|
|
|
<p>.keywords: beginnings, unformed potential, taking a risk, answering a
|
|
|
‘call’, trusting in the universe, overcoming self-doubt, embracing
|
|
|
uncertainty.</p>
|
|
|
<p>Coffee is brewing, waiting to be poured into the empty cup on the
|
|
|
counter. A spiritual guide sits patiently, urging you to begin while the
|
|
|
sun shines outside a closed window. On the side, enormous snowdrops have
|
|
|
blossomed, indicating the first tentative steps of spring.</p>
|
|
|
<p>While the Coffee is number 42, this card comes before the others.
|
|
|
Like an unhatched egg, it contains all the potential for the journey.
|
|
|
The cup is empty, but you are urged to pour it, to drink it and to be on
|
|
|
the journey. A spiritual guide urges you forward. Like the prophet
|
|
|
Muhammad who was given coffee(قهوة) by the Archangel Jibreel, you are
|
|
|
urged to begin.</p>
|
|
|
<p>The Coffee upright in a reading tells you that now is the time to be
|
|
|
naive and courageous. Set on a new adventure and do not worry about the
|
|
|
consequences. It is time; the coffee is ready.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>If the Coffee appears reversed, it is a warning. The coffee will
|
|
|
spill, and it may burn you or others. Be careful not to disregard the
|
|
|
consequences of your actions. Your eagerness for freedom and new
|
|
|
beginnings may harm others or yourself. Now, you are being asked for
|
|
|
consistency and patience. There is a time to be brave and to set off on
|
|
|
new paths, a time to be reliable and patient. Wisdom lies in knowing the
|
|
|
difference.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 0. the fool.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: all signs, the
|
|
|
universe.</p>
|
|
|
<h2 id="the-two-spinsters-or-e-ddoie-zetelle"><strong>✳ 66. the two
|
|
|
spinsters or e ddoie zetelle</strong></h2>
|
|
|
<p>.keywords: magic, manifestation, setting intentions, directing energy
|
|
|
consciously, willpower, concentration, having all the resources you
|
|
|
need.</p>
|
|
|
<p>Two old women stand before a table, one pointing above, the other
|
|
|
below. Their eyes glow with mystic power. If they appear in your dreams,
|
|
|
you will feel their power radiating. This is a particularly powerful
|
|
|
card. While looking at it, reject what you have been told about the
|
|
|
emotional loneliness of spinsters and focus on their ability to spin a
|
|
|
magical web. These women appear to you at an important time, at the
|
|
|
moment when you may choose your path. You are now fully able to manifest
|
|
|
your desires. The Spinsters show you the power you hold and ask you for
|
|
|
intense concentration. There is power in your focus and dedication, now
|
|
|
is the time to channel all your resources to achieve what you wish.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>If the Spinsters have appeared reversed, it is a sign that you are
|
|
|
ignoring your powers. You no longer see two crone magicians who have
|
|
|
chosen the path of spiritual power but two unmarried older women. Do not
|
|
|
be fooled. The power is in your hands; your potential lays dormant
|
|
|
beneath your doubts and lack of self-esteem. Trust in your ability, and
|
|
|
trust the Spinsters to weave you back to an active role within your own
|
|
|
life.<br />
|
|
|
</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 1. the magician.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: gemini & virgo.</p>
|
|
|
<h2 id="the-bride-or-a-sposa"><strong>✳ 63. the bride or ’a
|
|
|
sposa</strong></h2>
|
|
|
<p>.keywords: intuition, subconscious, higher wisdom, knowing something
|
|
|
you can’t explain, stillness, meditation, spell-work and ritual.</p>
|
|
|
<p>The Bride sits in silence in an underground cistern, two eyes closed
|
|
|
and a third eye open. Upon her head, two crescent moons hold the globe.
|
|
|
She is alone but does not appear to be waiting. The Bride is a figure of
|
|
|
divine wisdom, feminine mystery and intuitive knowledge. She is the
|
|
|
guardian of the unconscious, and she is meeting you. By receiving this
|
|
|
card, you are gently invited to go deeper. To artists, she is the
|
|
|
representation of creative potential. The bride has little care for the
|
|
|
material because her powers lay in the true nature of emotion. Let your
|
|
|
intuition lead the way, quieten the chatter of the rational and
|
|
|
logical.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>If you are facing a reversed Bride, it is an invitation to examine
|
|
|
when you ignore your gut. Perhaps you have allowed your thinking mind to
|
|
|
run loose; you have not been listening to your gut. You overvalue the
|
|
|
opinions of others or act too hastily. Whichever it is, it is time to be
|
|
|
still, reflect and meditate on your intuition.<br />
|
|
|
</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 2. the high priestess.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: cancer & pisces.</p>
|
|
|
<h2 id="the-mother-or-a-mamma"><strong>✳ 52. the mother or ’a
|
|
|
mamma</strong></h2>
|
|
|
<p>.keywords: maternal figure, familiar love, abundance, life force,
|
|
|
strong protection, dignity.</p>
|
|
|
<p>The Mother sits on a throne in the middle of the river of life force.
|
|
|
A crown on her head, a sword in her hand. In this iconography, she is
|
|
|
Juno, the Roman goddess of marriage and family. As such, she sits near a
|
|
|
pregnant cow and a peacock eating a pomegranate. Nature thrives around
|
|
|
her. She is the embodiment of femininity and the bringer of life and
|
|
|
growth. Her energy is both nurturing and fiercely protective. She
|
|
|
appears to indicate that she is looking after you and your growth. She
|
|
|
is abundant, and as such, so will your expression be, both creative and
|
|
|
sensual. Deep fulfilment awaits.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Mother has appeared reversed. Juno’s warlike nature is more
|
|
|
active than her nurturing side. Your search for protection is keeping
|
|
|
you from true love and joy. You were guarding yourself, and while you
|
|
|
were right to do so, now is the time to let your shield down. Your
|
|
|
emotional crops are thriving; you have put in the work. Let go of your
|
|
|
war; lean into joy and love.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 3. the empress. </p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: libra.</p>
|
|
|
<h2 id="the-church-or-a-chiesa"><strong>✳ 84. the church or ’a
|
|
|
chiesa</strong></h2>
|
|
|
<p>.keywords: belief systems, ancestry, study, tradition, conformity,
|
|
|
learning about the past.</p>
|
|
|
<p>A priest stands in front of you, with one hand hidden and the other
|
|
|
towards the divine. A church sits on his shoulders, with a black door
|
|
|
highlighting a shining key. The Church card beckons you inside a
|
|
|
mysterious, sacred place. In the Christian belief, a church is not only
|
|
|
where the religious community meets; it is the seat of Divinity itself.
|
|
|
I invite you to disconnect the Church card from its Christian
|
|
|
associations. It stands in place of any established social structure,
|
|
|
spiritual tradition or source of ancestral knowledge. It is a teacher, a
|
|
|
leader, a guru of memory. If the Church has come up in your reading, it
|
|
|
indicates a need for deeper meaning or knowledge. Will you use your key
|
|
|
to follow the paved road and find out who paved it and who walked it
|
|
|
before you?</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Church is upside down. Its integrity is questioned; the status
|
|
|
quo stumbles. The pressure of conformity weighs heavy; the belief
|
|
|
systems of others hang above your head. This card is now urging you to
|
|
|
move. Tradition can be a teacher or a jailer, and in this case, it is
|
|
|
trapping you. It may be time to shake your ancestors’ wishes away and
|
|
|
start anew upon a path you paved yourself.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 4. the hierophant.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: taurus, libra &
|
|
|
capricorn.</p>
|
|
|
<h2 id="the-upside-down-or-sotte-ncoppa"><strong>✳ 69. the upside down
|
|
|
or sott’e ncoppa</strong></h2>
|
|
|
<p>.keywords: love (of all kinds), making heart-centred choices,
|
|
|
compassion, partnerships and relationships, equilibrium, harmony.</p>
|
|
|
<p>Two hands reach for each other, the space between them filled with
|
|
|
light and eyes. Roses grow around their wrists. There is an obvious
|
|
|
story being told of two souls meeting in companionship. But this is also
|
|
|
a card about balance and choices. The Upside Down is a reference to love
|
|
|
and the two sides of a coin. When this card appears, it speaks of love
|
|
|
and strong bonds. It asks you to choose love, to make heartfelt, loving,
|
|
|
compassionate choices. The Upside Down is a simple card that asks you to
|
|
|
choose. Listen to your heart and follow it.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>Due to the nature of this card, up is down and down is up. However
|
|
|
you pull this card, it shows you both the Yin and the Yang. In this
|
|
|
case, sourness is prevalent. The eyes look away, giving you space to
|
|
|
identify within yourself why a commitment has turned sour. Your inner
|
|
|
voice is unbalanced. Use your heart for your choices and seek out
|
|
|
harmony.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 5. the lovers.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: gemini.</p>
|
|
|
<h2 id="the-bird-or-laucelluzz"><strong>✳ 35. the bird or
|
|
|
l’aucelluzz</strong></h2>
|
|
|
<p>.keywords: focused <em>action, s</em>elf-belief and confidence,
|
|
|
commitment, drive and determination, hard, passionate work,
|
|
|
assertion.</p>
|
|
|
<p>A chariot flies across a starry sky with two half moons. Inside it, a
|
|
|
man dressed in Roman armour with the head of a turtledove looks straight
|
|
|
at you. The dove drives through the sky, led by stars. This is the card
|
|
|
of control and victory. The Bird has control of his fate, but it will
|
|
|
also help you with yours. It directs you to assert your will with
|
|
|
mastery, careful practice and self-discipline. It reminds you of your
|
|
|
courage and strength. It encourages you to direct your energies towards
|
|
|
the stars.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>When reversed, the Bird is spinning further and further out of
|
|
|
control. It may be due to an attempt to control too much or an
|
|
|
underdeveloped assertiveness. Loosen the reins. Redirect your chariot.
|
|
|
Some things are beyond your power to change, and others wait for your
|
|
|
confidence and hard work. Assess which is which and begin riding.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 6. the chariot.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: cancer.</p>
|
|
|
<h2 id="the-breasts-or-e-zzizze"><strong>✳ 28. the breasts or ’e
|
|
|
zzizze</strong></h2>
|
|
|
<p>.keywords: inner strength and courage, dignified resistance,
|
|
|
emotional labour, heart.</p>
|
|
|
<p>A naked woman covered in flowers looks to the side, casually taming
|
|
|
the lion in front of her. A natural landscape opens up behind her. Do
|
|
|
not be fooled by her gentle appearance; she is not effortless. Her
|
|
|
strength lies in her heart as this is the card for Breasts. Emotional
|
|
|
weakness is discarded as a patriarchal concept, as the Breasts show you
|
|
|
a dignified taming of the wild through your heart. Emotion can steady
|
|
|
your demeanour and your powers of inner strength. This indicates
|
|
|
positive emotional labour of your ferocity and expression of pure
|
|
|
emotional strength. Go towards your chest, to the place of pain, anger,
|
|
|
greed, and fear in your life. Acknowledge where these things live within
|
|
|
you and own them, pour love over them.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The lion is now overpowering as the Breasts appear upside down. This
|
|
|
is an indication of weakness; your strength becomes feeble as your
|
|
|
self-confidence lessens. Your emotions are no longer a power but an
|
|
|
overwhelming force you cannot control. Do not let anger or pain dictate
|
|
|
your choice; find your strength once again.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 7. strength.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: leo.</p>
|
|
|
<h2 id="the-crying-or-o-chianto"><strong>✳ 65. the crying or ’o
|
|
|
chianto</strong></h2>
|
|
|
<p>.keywords: introspection, solitude, retreat, working things through
|
|
|
on your own, claiming space and time for you, self-guided or guided
|
|
|
study.</p>
|
|
|
<p>A figure cries in an underwater cocoon, wrapped in a cape of hair and
|
|
|
seaweed. They are holding themselves as their bright tears float
|
|
|
upwards. This figure is in deep introspection. The Crying card is not
|
|
|
negative, regardless of your view of tears. It indicates a need for
|
|
|
comfort and solitude. It asks for a moment of introspection, the only
|
|
|
thing that may lead you to true self-discovery. Once you have expressed
|
|
|
your pain and truly felt it, you will gain a better understanding.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The tears fall upon you as the Crying card is reversed. You have
|
|
|
relied on yourself too much and become over-isolated. The cocoon has
|
|
|
served its purpose. The time for solitude is over. You may let others in
|
|
|
or leave your safe space altogether. The time for crying is over.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 8. the hermit.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: virgo.</p>
|
|
|
<h2 id="the-set-table-or-a-tavula-mbandita"><strong>✳ 82. the set table
|
|
|
or ’a tavula mbandita</strong></h2>
|
|
|
<p>.keywords: positive luck, change, predictions and prophesies, feeling
|
|
|
like something is ‘destined’ to happen, an interconnected bigger
|
|
|
picture.</p>
|
|
|
<p>A table is set with plates spelling out the ancient names for tarot
|
|
|
and wheel. In the centre of the table, you can see water, soil, air and
|
|
|
fire. Around the table sit the four fixed signs, Taurus, Leo, Scorpio
|
|
|
and Aquarius. Three eyes, symbolising the three Fates, oversee the
|
|
|
table. This is an incredibly auspicious card to pick. Like the table,
|
|
|
your destiny has been set, the tempo will crank up as your vision
|
|
|
develops into reality. This card asks you to accept your fate but also
|
|
|
take responsibility for it. The table is set, but it is up to you to
|
|
|
serve.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Set Table has been turned the wrong way. This indicated elements
|
|
|
outside your control, spinning your fate. Luck has not been on your
|
|
|
side, and you may have been unhappy with your circumstances. Take a
|
|
|
moment to analyse what could have happened. Are the elements toying with
|
|
|
your luck internal or external? Is there someone to blame; if so, who?
|
|
|
Whatever you find, trust that the Table will be set again, and out of
|
|
|
darkness, a new light will be born, informed by your discoveries.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 9. the wheel of fortune.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: aquarius, leo, taurus &
|
|
|
scorpio</p>
|
|
|
<h2 id="the-lament-or-se-lamenta"><strong>✳ 60. the lament or se
|
|
|
lamenta</strong></h2>
|
|
|
<p>.keywords: truth, logical thought, objectivity, binary thinking,
|
|
|
justice, fairness, balance, accountability, social justice principles,
|
|
|
intersectionality.</p>
|
|
|
<p>A woman, Justice, walks the steps out of darkness, and a lament
|
|
|
distorts her face. In the Lament, you see Justice wearing white,
|
|
|
carrying a sword on her waist and holding scales, with a heart on one
|
|
|
side and a brain on the other. Her eyes are closed, but the piercing
|
|
|
light around her penetrates the truth. It is her cry for truth, her
|
|
|
lament, propeling her forward. This card calls out to you. Every action
|
|
|
has an equal reaction, but it is often an expression of injustice that
|
|
|
brings justice forward. It is the Lament that leads to balance. Believe
|
|
|
that your expression of injustice is worth sharing.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>When the Lament appears reversed, it indicates a flawed system, a
|
|
|
hidden truth or a bias. This injustice may have been committed against
|
|
|
you or by you. However it happened, the scales are not balanced, but
|
|
|
soon they will be as someone faces consequences. It also begs for you to
|
|
|
re-balance your perspective. Look at the issue from both sides and hear
|
|
|
the Lament.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 11. justice.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: libra.</p>
|
|
|
<h2 id="purgatorys-souls-or-llaneme-o-priatorio"><strong>✳ 85.
|
|
|
purgatory’s souls or ll’aneme o priatorio</strong></h2>
|
|
|
<p>.keywords: passivity, cost, holding back, patience, allowing events
|
|
|
to unfold, meditation and mindful practice, inner peace,
|
|
|
self-acceptance, overcoming ego</p>
|
|
|
<p>A man dangles, his foot loosely tied with rope, his wings closed by
|
|
|
his sides, his braids falling beyond sight. Next to him, others hang in
|
|
|
the same situation. We see Purgatory’s Souls, the souls of people in a
|
|
|
state of temporary punishment and purification, in a state of grace, but
|
|
|
not yet ready to enter heaven. Let the souls inspire you in their state
|
|
|
of acceptance, as it is not their work that will send them to heaven.
|
|
|
They are, just like you, ready for peace and joy. What you must do now
|
|
|
is fully succumb to your situation and release. If the soul trusts the
|
|
|
flow of events and let’s go, he realises he has had wings all along. A
|
|
|
brazen metaphor, a simple reminder that it is not time to struggle for
|
|
|
control. Trust the universe, trust yourself and let go.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>As Purgatory’s Souls appear reversed, they tell a different story.
|
|
|
They are not hanging but anchored to the soil. You are pulling yourself
|
|
|
further down, digging your heels in on a decision that has to be made.
|
|
|
Your inaction now is pointless; it will just delay the inevitable. The
|
|
|
souls already can, the punishment has been lifted. And yet, here you
|
|
|
still are. You must face your inner turmoil to move on.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 11. the hanged man. </p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: pisces.</p>
|
|
|
<h2 id="the-talking-dead-or-o-muorto-che-pparla"><strong>✳ 48. the
|
|
|
talking dead or ’o muorto che pparla</strong></h2>
|
|
|
<p>.keywords: the ending of a cycle, letting go and saying goodbye, a
|
|
|
ritual to honour change, not resisting, honouring the seasons of
|
|
|
life.</p>
|
|
|
<p>A deer’s skeleton lays on a blooming prairie. Close by, another deer
|
|
|
looks into the sun rising above the hills. The Talking Dead card is
|
|
|
deeply sensitive and invites a gentle approach. It does not necessarily
|
|
|
symbolise literal death but is a positive harbinger of change. Death has
|
|
|
already happened, and the deer’s spirit is ready to move into the coming
|
|
|
day. The Talking Dead tells you it is time to let go of old habits, ways
|
|
|
of thinking, and of the buried. This is the only way to allow for more
|
|
|
rewarding patterns. Resisting change will not bring you joy; you must
|
|
|
embrace transformation. There is no other way; a profound experience
|
|
|
awaits you. Let the resting lead you.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>If the card is reversed, it appears that the Talking Dead is forced
|
|
|
to be still. Changes frighten you, and you may resist them. Your life is
|
|
|
now stagnant; the sunrise is eternal as the sun never reaches the sky.
|
|
|
Trust that change will lead you wherever you need to be. It is not a
|
|
|
matter of avoiding what has happened but of learning to live with what
|
|
|
it brought in the hope that better things lay ahead.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 12. death. </p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: scorpio.</p>
|
|
|
<h2 id="warm-soup-or-a-zuppa-cotta"><strong>✳ 68. warm soup or ’a zuppa
|
|
|
cotta</strong></h2>
|
|
|
<p>.keywords: balance, harmony, blending of dualities, seeking the
|
|
|
middle path, not making extreme decisions, taking a non-binary attitude,
|
|
|
testing the waters, self-care, grace, gentleness.</p>
|
|
|
<p>A large, genderless, dark figure stands in the sea. On their forehead
|
|
|
shines a triangle enclosed in a square, representing how humans are
|
|
|
bound by the Earth and natural law. The figure takes water from the sea,
|
|
|
but as they pour it into the bowl, it transforms into a bowl of steaming
|
|
|
soup. This card gives insight into the nuances of balance. Wherever
|
|
|
something is taken, something else must be given. The figure is taking
|
|
|
from the sea to deliver you the Warm Soup. See the figure as if it was
|
|
|
keeping a close eye on how well you handle dualities. Keep to the middle
|
|
|
path, do not make extreme decisions. You may be someone who tends to
|
|
|
have a peaceful nature or swings between extremes. Either way, now is
|
|
|
the time to test the waters of gentleness, give back what you have been
|
|
|
given and ask for what was taken.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Warm Soup now pours upwards from the ladle. Something has been
|
|
|
thrown off balance in your life. The coming times require meticulous
|
|
|
care of the balance. Equilibrium must be restored. The costs may be too
|
|
|
high for what you receive from the universe. You must reconsider your
|
|
|
choices, find the weak point that has thrown you off the balance and
|
|
|
adjust it.</p>
|
|
|
<p>A <strong>✳</strong> tarot correspondence: 13. temperance.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: sagittarius.</p>
|
|
|
<h2 id="the-devils-or-e-riavule"><strong>✳ 77. the devils or ’e
|
|
|
riavule</strong></h2>
|
|
|
<p>.keywords: bondage, addiction, materialism, destructive behaviours,
|
|
|
harmful cycles, choosing to get free, or choosing not to get free,
|
|
|
confronting fear, committing to your freedom.</p>
|
|
|
<p>Five little devils dance naked above a reversed pentacle. They hold a
|
|
|
chain that leads to a circle of light containing a key. The Devils
|
|
|
symbolise that which keeps us bound and trapped. It is a small circle
|
|
|
containing you, a metaphorical jail to which you do not yet have a key.
|
|
|
This card cautions you against finding blame and refers instead to what
|
|
|
is constrained by ourselves, our subconscious and direct choices. Do not
|
|
|
let ideas, people or situations absorb you so intensely that it causes
|
|
|
you to ignore other relationships.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Devil being upside down immediately reveals the bondage. You are
|
|
|
aware of your chains. The unhealthy dynamics in your life that keep you
|
|
|
trapped are finally emerging into the light. Caution, this does not
|
|
|
imply freedom but may entail further temptation, which leads you to
|
|
|
crawl back into your trap. This time needs your complete attention; use
|
|
|
your newfound awareness to break the chains and escape your jail. </p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 14. the devil.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: capricorn.</p>
|
|
|
<h2 id="the-storm-or-o-maletiempo"><strong>✳ 83. the storm or ’o
|
|
|
maletiempo</strong></h2>
|
|
|
<p>.keywords: revolution, disaster, shock, mourning, blowing apart old
|
|
|
structures, demolition of the status quo, toppling systems of power,
|
|
|
potential, rebuilding after disaster, a blessing in disguise as a
|
|
|
disaster, rehabilitation, regeneration.</p>
|
|
|
<p>An ancient maritime pine tree towers in the night. Above, the
|
|
|
all-seeing Storm is unleashing lightning, cutting the tree down as birds
|
|
|
escape. The Storm, as the name suggests, is a complicated card to
|
|
|
receive. It indicates a profound disruption, a complete reset of the
|
|
|
known. The situation may seem grim at times, but you must understand
|
|
|
that the change brought is ultimately positive. You may find this hard
|
|
|
to believe, but this card indicates the demolition and toppling of a
|
|
|
structure that can feel quite devastating. However, new growth will come
|
|
|
from this, and the old cannot last forever, lest it becomes decrepit.
|
|
|
Remember well that when the Storm appears in front of you, you are not
|
|
|
the tree but the doves escaping.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>In this situation, the Storm that topples the pine tree is coming
|
|
|
from within. The issue is within your response to the situation and your
|
|
|
worries within your head. Your perception is bringing you great pain.
|
|
|
Take care not to become a vortex of negativity, be mindful of your
|
|
|
feelings and take responsibility for how your responses affect you and
|
|
|
those around you.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 15. the tower. </p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: scorpio & aries.</p>
|
|
|
<h2 id="christmas-or-natale"><strong>✳ 25. christmas or
|
|
|
natale</strong></h2>
|
|
|
<p>.keywords: hope, love and support, coming home to yourself,
|
|
|
self-care, healing, being true to yourself, being guided by your
|
|
|
intuition, integrity, honesty, a positive new start or new vision.</p>
|
|
|
<p>In a warm room, a candle-lit Christmas appears next to a window. On
|
|
|
the windowsill sits a still, warm cup of tea. The comforting view of the
|
|
|
room is contrasted by the magical view through the window, where an
|
|
|
enormous star pours light on a snowy landscape. Christmas is a card of
|
|
|
hope. A time of renewal, comfort and homeliness lies ahead. It is time
|
|
|
to leave the hard times behind. The star shines alone through the
|
|
|
window, filling the landscape with positivity and opportunity. Like this
|
|
|
card, we all contain infinite possibilities, infinite capacity for
|
|
|
beauty, and infinite wonder. When times are hard, Christmas reminds you
|
|
|
of your ability for healing and magic. Know that you are a creature of
|
|
|
this earth and this universe, you belong here, and you are loved.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>When Christmas appears reversed, you may have lost your hope. Life’s
|
|
|
challenges are overwhelming and leave you questioning everything and
|
|
|
everybody. When this card appears reversed in a reader, it is a beacon
|
|
|
over your disconnection. Your faith in the possibility of a comforting
|
|
|
and fulfilling life is weaning as daily routines become dreary. It is an
|
|
|
important alarm, a light shining on the parts of your life that do not
|
|
|
align with your joyful purpose. Now is not the time to push harder, as
|
|
|
you may deplete your energies further. It’s time to nourish yourself and
|
|
|
your life at a deeper level and rest.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 16. the star.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: aquarius.</p>
|
|
|
<h2 id="blood-or-o-sangue"><strong>✳ 18. blood or ’o
|
|
|
sangue</strong></h2>
|
|
|
<p>.keywords: shadow work, getting in touch with your wild nature,
|
|
|
listening deeply to your intuition, secrets, signs and symbols,
|
|
|
non-rational, witchcraft, magic and spell-work, lies and deception,
|
|
|
deceiving yourself, wearing a mask.</p>
|
|
|
<p>A wolf drinks from a pond filled with blood. Close by, a wild dog
|
|
|
turns away from the pond to face the moon that illuminates everything
|
|
|
around them. Away from them, a crab floats on a leaf in the pond, rising
|
|
|
from the subconscious. The Blood tells you that all is not what it
|
|
|
seems. Unsettling as a nightmare can be, this card allows your inner
|
|
|
wildness to be seen. The Blood represents witchcraft, spell-work and
|
|
|
occult arts of any kind. Do not be fooled by the blood; nobody in this
|
|
|
figure will come to harm. The moon shines its silvery light on the
|
|
|
elements within a reality that are dishonest and manipulative.
|
|
|
Uncomfortable questions must be asked, and someone may be just mad
|
|
|
enough to think of them. Things are strange; it is usual to feel
|
|
|
disorientated. Now is not the time for answers, but for wild magical
|
|
|
practice.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>When reversed, the Blood shows a moon shining in the front. The inner
|
|
|
confusion is clearing. However, you may find yourself deprived of a mask
|
|
|
you are not ready to let go of. Manipulation has been exposed, whether
|
|
|
you were the victim or perpetrator. Things will soon be lighter, but
|
|
|
first, they will be heavy. Mental health struggles as the truth emerges,
|
|
|
and you initiate a process of complete honesty with yourself.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 17. the moon.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: pisces.</p>
|
|
|
<h2 id="laughter-or-a-resata"><strong>✳ 19. laughter or ’a
|
|
|
resata</strong></h2>
|
|
|
<p>.keywords: positivity, saying yes, joy, practising gratitude,
|
|
|
success, things coming together, life’s simple pleasures, allowing
|
|
|
yourself to simply be, connecting to a dynamic life force.</p>
|
|
|
<p>Two children on a horse laugh in harmony. They hold each other’s
|
|
|
hands and wave a flag. The sun shines on them, and sunflowers grow
|
|
|
around them. Laughter is undoubtedly a positive card. It represents
|
|
|
enthusiasm, growth and victory. Your good choices will pay off. You will
|
|
|
soon laugh again, victory is so close you may already taste it. Joy will
|
|
|
fill your heart, and life will once again seem light-hearted and
|
|
|
effortless.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>Laughter is reversed, but do not panic. Victory is just not as close
|
|
|
as you thought it would be. A setback has brought you back into a
|
|
|
quieter place. There is a key element missing before you may achieve the
|
|
|
state of perfect joy. The effort will now need to be given to finding
|
|
|
once again things that make your heart swell up with joy, the things
|
|
|
that make you walk so light you feel you may just fly away. Follow them,
|
|
|
and soon Laughter will come back.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 18. the sun.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: leo.</p>
|
|
|
<h2 id="the-gossiping-woman-or-a-donna-o-barcone"><strong>✳ 43. the
|
|
|
gossiping woman or ‘a donna o’ barcone</strong></h2>
|
|
|
<p>.keywords: liberation, freedom, casting off shackles, laying down of
|
|
|
old baggage, total accountability for self, integrity, honesty,
|
|
|
forgiveness, allowing yourself to move forwards.</p>
|
|
|
<p>A woman with rollers in her hair stands on a balcony, looking down,
|
|
|
where a flock of ravens emerge from the darkness. This is a lofty card,
|
|
|
as, like Lament and the Set Table, it carries the theme of
|
|
|
accountability. In this particular case, it talks about being honest and
|
|
|
thorough about yourself. The Gossiping Woman sees all of you and calls
|
|
|
you to do the same. It is holding a mirror to your entire life,
|
|
|
successes and failure. You must face the Gossiping Woman to liberate
|
|
|
yourself and fly towards freedom. Moving forward unencumbered requires
|
|
|
acknowledgement of the present moment and everything it carries.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>Now the Gossiping Woman can not see you. This is an indication that
|
|
|
you refuse to acknowledge the hurt or pain that was caused to you and
|
|
|
the pain that you have caused yourself. However, you must own your
|
|
|
mistakes and let them be. When the Gossiping Woman is reversed, it asks
|
|
|
you to find forgiveness for yourself and others. It will be hard work
|
|
|
and may take a great amount of time, but the Gossiping Woman watches and
|
|
|
is rooting for you to free yourself of this burden.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 19. judgement.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: scorpio.</p>
|
|
|
<h2 id="the-good-wine-o-vino"><strong>✳ 45. the good wine ’o vino
|
|
|
</strong></h2>
|
|
|
<p>.keywords: completion, a sense of wholeness, knowing who you are in
|
|
|
the world, having a sense of place, feeling deeply connected to all
|
|
|
things, reaching your goal, celebration, jubilation.</p>
|
|
|
<p>Three friends are celebrating, drinking Good Wine and dancing on the
|
|
|
world, surrounded by a crown of vines, representing victory. One holds a
|
|
|
flag and another a wand, bringing your journey to a close. This is the
|
|
|
end of the road, the last card in this deck. The spiritual guide that
|
|
|
brought you Coffee now brings you here. The completion of the cycle and
|
|
|
the celebration that comes thereafter. You have changed and grown, and
|
|
|
now the energy of wholeness shines. Soon it will dissipate as life
|
|
|
shifts into a new beginning, but for now, the Good Wine urges you to
|
|
|
relish in your successes. One day you will surrender again to the flow
|
|
|
and remember that you are the same person that started this journey
|
|
|
filled with infinite possibilities.</p>
|
|
|
<p><em>Reversed</em></p>
|
|
|
<p>The Good Wine may not be drunk yet; completion is not yet within
|
|
|
reach. The end seemed in sight, but you tried cutting corners, and there
|
|
|
is still work to be done. The result will only bring fulfilment, if the
|
|
|
effort has been thorough and earnest. Keep dreaming, keep working, and
|
|
|
soon the Good Wine will be yours.</p>
|
|
|
<p><strong>✳</strong> tarot correspondence: 20. the world.</p>
|
|
|
<p><strong>✳</strong> zodiac correspondence: all signs.</p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="The Legend of the Worry">
|
|
|
<h1>Fiction Friction</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="fiction-friction">Fiction Friction</h1>
|
|
|
<h2 id="storytelling-tool">storytelling tool</h2>
|
|
|
<p>The Fiction Friction cards are made by two wanderers who spent a fair
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|
amount of time thinking about healing, witchcraft and (contemporary)
|
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|
witch-hunting, rituals, and Tarot culture. This approach can be seen as
|
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|
a way to create a ritual or a (personal) journey into a collective
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|
representation. The cards are carriers of our identities, individual
|
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|
past, memory, momentary frictions and fictions. We intended to reclaim
|
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|
the tarot reading ritual and reconsider the relation between the given
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card interpretation and the figure of the fortuneteller by reversing it.
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|
A group of players is invited to explore each card and reimagine its
|
|
|
meaning as a collective. We are keen to see how similar or completely
|
|
|
different experiences can be shared and new insights learned through
|
|
|
each round of exercise. This game serves as a tool that gives to the
|
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|
group the possibility to write together, meet, connect, talk about
|
|
|
unspeakable things, share, interpret or even get into conflict. Each
|
|
|
card is a starting point, an interface for an opening, a promising
|
|
|
healing, a collective moment.</p>
|
|
|
<p>Fiction Friction is a tool for (hyper)textual conversations on (via)
|
|
|
abstract/symbolic/surrealistic collage cards. We based our collaging on
|
|
|
political events that we have experienced or have been part of our
|
|
|
memories, mythological figures from our cultures, collective memory
|
|
|
moments, literature that has inspired us, musical references,
|
|
|
individuals etc. The main components of the game are a deck of
|
|
|
illustrated cards, dice with different methods of interpretation, an
|
|
|
empty deck to host the new potential stories along with a a deck of
|
|
|
questions created by the players.</p>
|
|
|
<h2 id="how-to-play">How to play:</h2>
|
|
|
<ul>
|
|
|
<li><p>One player picks a card from the illustrated card deck along with
|
|
|
a question card and places them in the middle. The card is the starting
|
|
|
point of a collective story.</p></li>
|
|
|
<li><p>Everyone takes an empty card.</p></li>
|
|
|
<li><p>In turns, players write their own interpretation of the collage
|
|
|
card having in mind the revealed question card that works as a navigator
|
|
|
for the story. (There is the possibility to use the dice in the process
|
|
|
so as to specify the method that a player should use to
|
|
|
“write”)</p></li>
|
|
|
<li><p>At the end of the round a small story will be created out of the
|
|
|
interpretations of each player.</p></li>
|
|
|
</ul>
|
|
|
|
|
|
</section>
|
|
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|
|
|
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|
|
<!-- <section class="header-page" id="bibliography">
|
|
|
<h1>The Legend of the Worry</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="the-legend-of-the-worry">The Legend of the Worry</h1>
|
|
|
<h2 id="worry-dolls">Worry dolls</h2>
|
|
|
<p>Worry dolls (also called trouble dolls; in Spanish, Muñeca quitapena)
|
|
|
are tiny, hand-made dolls originating from Guatemala. According to
|
|
|
legend, children tell their worries to the Dolls, then place them under
|
|
|
their pillow when they go to sleep. In the morning, the dolls have
|
|
|
gifted them with the wisdom and knowledge to eliminate their
|
|
|
worries.</p>
|
|
|
<p>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.</p>
|
|
|
<figure>
|
|
|
<img src="worry-doll.png" alt="Worry Dolls" />
|
|
|
<figcaption aria-hidden="true">Worry Dolls</figcaption>
|
|
|
</figure>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="SIXX license">
|
|
|
<h1>bibliography</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="bibliography">Bibliography</h1>
|
|
|
<p>Aarseth, E. (2012) “A narrative theory of games,” Proceedings of the
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|
|
International Conference on the Foundations of Digital Games [Preprint].
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|
|
Available at: https://doi.org/10.1145/2282338.2282365.</p>
|
|
|
<p>Althusser, L. et al. (2014) <em>On the reproduction of
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|
|
capitalism:</em> Ideology and ideological state apparatuses. London:
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|
|
Verso.</p>
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|
|
<p>“<em>Base and superstructure in Marxist cultural theory (1973)</em>”
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|
|
(2014) Raymond Williams on Culture & Society: Essential Writings,
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pp. 119–138. Available at: https://doi.org/10.4135/9781473914766.n8.</p>
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<p>Chisholm, Hugh, ed. (1911). “Court de Gebelin, Antoine”. Encyclopædia
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|
Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 324.</p>
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<p>Dean, Liz (2015). The Ultimate Guide to Tarot: A Beginner’s Guide to
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|
the Cards, Spreads, and Revealing the Mystery of the Tarot. Beverly,
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|
Massachusetts: Fair Winds Press. p. 9. ISBN 978-1592336579.</p>
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<p>Decker, Ronald, Thierry Depaulis and Michael Dummett. (1996). A
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Wicked Pack of Cards. London: Duckworth. ISBN 0-7156-2713-9</p>
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<p>De Sanctis, P. Ricciardone. <em>Il tipografo celeste. Il gioco del
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lotto tra letteratura e demologia nell’Italia dell’Ottocento e
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oltre.</em> Bari, Dedalo, 1987. ISBN 88-220-6066-0</p>
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<p>Dummet, M. (1993) <em>Il mondo e l’angelo: I tarocchi e la Loro
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Storia</em>. Napoli: Bibliopolis.</p>
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<p>Epic Games. (2017). <em>Fortnite: Save the World</em> [video game].
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Burbank, CA: Warner Bros. Interactive Entertainment.</p>
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<p>Federici, S. (2019). <em>How the Demonization of ‘Gossip’ Is Used to
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Break Women’s Solidarity</em>. [online] In These Times. Available at: <a
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href="https://inthesetimes.com/article/the-subversive-feminist-power-of-gossip"
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class="uri">https://inthesetimes.com/article/the-subversive-feminist-power-of-gossip</a>.</p>
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<p>Fu, H., Li, Y. and Lee, F.L.F. (2022) “Techno-cultural domestication
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of online tarot reading in contemporary China,” <em>Media, Culture &
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Society</em>, 45(1), pp. 74–91. Available at: <a
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href="https://doi.org/10.1177/01634437221104700"
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class="uri">https://doi.org/10.1177/01634437221104700</a>.</p>
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<p>Heidegger, M. (1962). <em>Being and time and the Care for the
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Self</em>. In J. Macquarrie, & E. Robinson, (Trans.), New York, NY:
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Harper & Row.</p>
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<p>Jenkins, Phillip (2000). Mystics and Messiahs: Cults and New
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Religions in American History. Oxford University Press. ISBN
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978-0-19-512744-7.</p>
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<p>Kahvegibikahve. (2020). <em>Tablolarda Kahve Keyfi</em>. [online]
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Available at: <a
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href="https://kahvegibikahve.com/blog/tablolarda-kahve-keyfi"
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class="uri">https://kahvegibikahve.com/blog/tablolarda-kahve-keyfi</a> [Accessed
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<p>Lambert, G. (2013) “A thousand plateaus,” <em>The Deleuze and
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Guattari Dictionary</em> [Preprint]. Available at:
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https://doi.org/10.5040/9781350250291-0219.</p>
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<p>Marx, K. and Engels, F. (2009) “The Ruling Class and the Ruling
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|
|
Ideas,” in <em>Capital: A critical analysis of capitalist
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production</em>. London: Swan Sonnenschein & Co.</p>
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|
|
<p>Maté, G. and Maté, D. (2022). <em>The Myth of Normal Trauma, Illness,
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|
|
and Healing in a Toxic Culture</em>. New York: Penguin Publishing
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|
Group.</p>
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|
<p>McShane, A. (2016). Drink, song and politics in early modern
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|
|
England. <em>Popular Music</em>, [online] 35(2), pp.166–190. Available
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|
|
at: <a href="https://www.jstor.org/stable/24737078"
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|
|
class="uri">https://www.jstor.org/stable/24737078</a> [Accessed 22
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|
|
Mar. 2023].</p>
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|
|
<p>Neversoft (2003) <em>Tony Hawk’s Underground</em> [video game] Santa
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|
|
Monica, CA: Activision.</p>
|
|
|
<p>Osterweil V., (2018),<em> “Well Played Video Games reproduce the
|
|
|
worker’s capacity to continue working”</em> [online] Available at: <a
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|
|
href="https://reallifemag.com/well-played/"
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|
|
class="uri">https://reallifemag.com/well-played/</a></p>
|
|
|
<p>Salen, K. and Zimmerman, E. (2004). <em>Rules of play : game design
|
|
|
fundamentals</em>. Cambridge, Mass. The Mit Press.</p>
|
|
|
<p>Schleiner, A.M. (2012) <em>Ludic mutation: The player’s power to
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|
|
change the game.</em> S.l: s.n.</p>
|
|
|
<p>Smith, J.Z. (1980). “The Bare Facts of Ritual,” History of Religions,
|
|
|
20(1/2), pp. 112–127. Available at: https://doi.org/10.1086/462864.</p>
|
|
|
<p>S.O. <em>et al.</em> (2022) <em>The legend of the guatemalan worry
|
|
|
doll</em>, <em>Common Hope</em>. Available
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|
|
at: https://www.commonhope.org/the-legend-of-the-guatemalan-worry-doll/
|
|
|
(Accessed: March 22, 2023).</p>
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|
<p>The British Museum. (n.d.). <em>print; satirical print; broadside |
|
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|
British Museum</em>. [online] Available at: <a
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|
href="https://www.britishmuseum.org/collection/object/P_1973-U-216"
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|
class="uri">https://www.britishmuseum.org/collection/object/P_1973-U-216</a> [Accessed
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|
22 Mar. 2023].</p>
|
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|
<p>theschooloflife.com. (n.d.). <em>Aristotle - The School Of Life</em>.
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|
|
[online] Available at: <a
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|
|
href="https://www.theschooloflife.com/article/the-great-philosophers-aristotle/"
|
|
|
class="uri">https://www.theschooloflife.com/article/the-great-philosophers-aristotle/</a>.</p>
|
|
|
<p>Timofeeva, O. <em>What Lenin teaches us about witchcraft</em> (no
|
|
|
date) <em>Reshape</em>. Available at:
|
|
|
https://reshape.network/article/oxana-timofeeva-what-lenin-teaches-us-about-witchcraft
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|
|
(Accessed: March 23, 2023).</p>
|
|
|
<p>We’re Not Really Strangers. (n.d.). <em>We’re Not Really
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|
Strangers</em>. [online] Available at: <a
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|
href="https://www.werenotreallystrangers.com/"
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|
|
class="uri">https://www.werenotreallystrangers.com/</a>.</p>
|
|
|
<p>Zezza, M.(1835). <em>La smorfia ossia Il nuovo metodo per perdere
|
|
|
denaro, e cervello con maggior sicurezza al gioco del lotto.</em>
|
|
|
Napoli, Torchi della Società filomatica.</p>
|
|
|
<p>莊子, 齊物論, Zhuàngzi, <em>“Discussion on making all things
|
|
|
equal,”</em> 12. from Zhuàngzi, Burton Watson trans., Chuang Tzu (New
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|
|
York: Columbia University Press, 1996), 43. ISBN 978-0-231-10595-8
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|
|
[1]</p>
|
|
|
|
|
|
</section>
|
|
|
|
|
|
|
|
|
|
|
|
<!-- <section class="header-page" id="Colophon">
|
|
|
<h1>SIXX license</h1>
|
|
|
</section> -->
|
|
|
<section class="section">
|
|
|
<h1 id="sixx-license">SIXX License</h1>
|
|
|
<p>Copyright © 2023 XPUB</p>
|
|
|
<p>Everyone is permitted to copy and distribute verbatim copies of this
|
|
|
license document, but changing it is not allowed.</p>
|
|
|
<h4 id="preamble">Preamble</h4>
|
|
|
<p>The SIXX license is a free, copyleft license for rituals, games,
|
|
|
books and consolations in any medium, both software and hardware.</p>
|
|
|
<p>For the purposes of this paper, licensing is understood as a
|
|
|
responsibility towards an audience, towards each other and towards other
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|
|
people who might want to contribute to, use or amplify any work.</p>
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|
|
<p>The precise terms and conditions for copying, distribution and
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|
|
modification follow.</p>
|
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|
<h4 id="terms-and-conditions">TERMS AND CONDITIONS</h4>
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<p><em>1. Basic Permissions.</em></p>
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<p>All rights granted under this License are granted for the term of
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|
|
copyright and are irrevocable provided the stated conditions are
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|
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met.</p>
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|
|
<p>This License explicitly affirms your unlimited permission to use any
|
|
|
software, publication or any ritual or game-related medium. Any output
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|
|
from running a covered work is covered by this License only if the
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|
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output, given its content, constitutes a covered work.</p>
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<p>This License acknowledges your rights of fair use or other
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equivalents, as provided by copyright law.</p>
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<p>You may make, run and propagate covered works that you do not convey,
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without conditions so long as your license otherwise remains in
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force.</p>
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<p>You may convey covered works to others for the sole purpose of having
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them make modifications exclusively for you, or provide you with
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facilities for running those works, provided that you comply with the
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terms of this License in conveying all material for which you do not
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control copyright. Those thus making or running the covered works for
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you must do so exclusively on your behalf, under your direction and
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control, on terms that prohibit them from making any copies of your
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copyrighted material outside their relationship with you.</p>
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<p>Conveying under any other circumstances is permitted solely under the
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conditions stated below. Sublicensing is not allowed.</p>
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<p><em>2. Terms for Attribution</em></p>
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<p>You may convey a work based on anything under the License, or the
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modifications to produce it from the licensed material, in the form of
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source code under the following, provided that the work also meets all
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of these conditions:</p>
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<ul>
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<li><ol type="a">
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<li>You must give prominent notice of the original intent of the
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product.</li>
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</ol></li>
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<li>You must also follow the guidelines indicated in section 4a.</li>
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</ul>
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<p><em>3. Terms for Commercial Use </em></p>
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<p>Any work under the License may only be used for commercial purposes,
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intended as used with the purpose of commercial advantage or monetary
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compensation, provided that it meets all the following conditions:</p>
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<ul>
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<li><ol type="a">
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<li>Disclaiming warranty or limiting liability exactly as in the terms
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of sections 5 and 6 of this License;</li>
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</ol></li>
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<li><ol start="2" type="a">
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<li>Requiring preservation of the initial specified spiritual and
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emotional purpose of the original product;</li>
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</ol></li>
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<li><ol start="4" type="a">
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<li>Written notice must be given to the initial publisher of any
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following commercial use;</li>
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</ol></li>
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<li><p>e)Use of the license and any product under this license is
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specifically strictly forbidden to any person who falls under the
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umbrella of being one of Ada’s past romantic partners.</p>
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<ul>
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<li><p>1e. In case of usage by any of the prior specified parties, the
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publisher of the License has to be informed.</p></li>
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<li><p>2e. Permission for the usage of the License or anything covered
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by the license to anybody identifiable upon reasonable suspicion as a
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previous romantic partner of Ada may be granted by Ada alone.</p></li>
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</ul></li>
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<li><ol start="6" type="a">
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<li>Identification of yourself as a party wishing to use SIXX license
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for commercial use is necessary, through means of contacting any XPUB
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2023 student or teacher.</li>
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</ol></li>
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</ul>
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<p><em>4. Additional Permissions </em></p>
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<p>Additional permissions” are terms that supplement the terms of this
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License by making exceptions from one or more of its conditions.
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Additional permissions that are applicable to the entire Program shall
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be treated as though they were included in this License, to the extent
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that they are valid under applicable law.</p>
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<p>The following conditions must therefore be additionally met:</p>
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<p>4a. The true nature of the license for this document cannot be
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understood through reading alone, but only by entering into harmony with
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the rights-holders of its production and distribution.</p>
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<p>5a. To obtain the power to reproduce any document under the SIXX
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license, the product has to be held firmly in front of the body of the
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new rightsholder(s) (henceforth referred to as “the alchemical
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apprentice(s)”, or simply “the apprentice(s)”), who should close their
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eyes. The alchemical apprentice(s) should whisper the statement of
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control silently to themselves seven times or until clarity of mind is
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achieved. Through the objects’ contact with the skin of the
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apprentice(s) during this incantation they will begin to absorb its
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knowledge, in addition to the associated rights and intellectual
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property in the eyes of the effective national jurisdiction. When they
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start to feel an increased level of unity with the secrets of the
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publication, the alchemical apprentice(s) should conceal the publication
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within their garment to return it to their laboratory for further
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investigation. By this means the apprentice(s) shall have the glory of
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the whole world and thereby all obscurity shall fly from them.</p>
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<p>You intended as License claimer, may place additional permissions on
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material, added by you to a covered work, for which you have or can give
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appropriate copyright permission.</p>
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<p>Notwithstanding any other provision of this License, for the material
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you add to a covered work, you may (if authorized by the copyright
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holders of that material) supplement the terms of this License with
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additional terms.</p>
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<p><em>4. Disclaimer of Warranty </em></p>
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<p>THERE IS NO WARRANTY FOR THIS PUBLICATION, TO THE EXTENT PERMITTED BY
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APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT
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HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM “AS IS” WITHOUT
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WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT
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LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A
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PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF
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THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME
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THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.</p>
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<p><em>6. Limitation of Liability </em></p>
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<p>IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING
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WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR
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CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES,
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INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES
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ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT
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NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES
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SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE
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WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN
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ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.</p>
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|
|
<p><em>7. Interpretation of Sections 5 and 6</em></p>
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<p>If the disclaimer of warranty and limitation of liability provided
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above cannot be given local legal effect according to their terms,
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reviewing courts shall apply local law that most closely approximates an
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absolute waiver of all civil liability in connection with the Program,
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unless a warranty or assumption of liability accompanies a copy of the
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Program in return for a fee.</p>
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<p>END OF TERMS AND CONDITIONS</p>
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</section>
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<!-- <section class="header-page" id="">
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<h1>Colophon</h1>
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</section> -->
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<section class="section">
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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, illustrations and other
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type of visualisations in this publication are created by the same
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authors as the text. That which is below is like that which is above and
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that which is above is like that which is below, to do the miracle of
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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 the means
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is here in this.</p>
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<h3 id="printing-and-binding">Printing and Binding</h3>
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<p>Just lil old us.</p>
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<h3 id="typeface">Typeface</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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</section>
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</div>
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</div>
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</body>
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</html> |