diff --git a/.gitignore b/.gitignore
index 01564af..ce8df52 100644
--- a/.gitignore
+++ b/.gitignore
@@ -1 +1,3 @@
 *.tex
+/cards/_output/**
+/cards/img/**
diff --git a/Process and Reality.org b/Process and Reality.org
index 217e235..a2a2997 100644
--- a/Process and Reality.org	
+++ b/Process and Reality.org	
@@ -11,7 +11,7 @@
 * primordial nature
 
 #+ATTR_LATEX: :options [Alfred North Whitehead]
-#+BEGIN_qf 
+#+BEGIN_qf
 There is urgency in coming to see the world as a web of interrelated processes of which we are integral parts, so that all of our choices and actions have consequences for the world around us.
 #+END_qf
 
@@ -31,7 +31,7 @@ There is urgency in coming to see the world as a web of interrelated processes o
  - play occurs in ’the environment’ (a clear area to play the cards)
  - cards not in ’the environment’ are part of ’the penumbra’ (area around the play)
  - there is a ’wider realm’ which contains the game but is not the game.
- 
+
 * a continuum of overlapping events
 
 process (L0) in outline
@@ -49,7 +49,7 @@ process (L0) in outline
 
 ** play starting cycle (option: chance)
  - divide deck in to O, Q & V piles
- - shuffle & place each pile face down 
+ - shuffle & place each pile face down
  - each player takes a card from the O & Q piles in turn
  - put cards face-up in the ’environment’  as pair(s)
  - repeat as required (maybe?)
@@ -66,19 +66,19 @@ process (L0) in outline
 
 ** play starting cycle (option: combined?)
  - start as (option: chance) but take several cards from each pile
- - each player decides from their own ‘hand’ as to which pairs to place 
+ - each player decides from their own ‘hand’ as to which pairs to place
 OR
  - each player is dealt an occasion card and can pick a qualifier to describe the current situation.
  - etc
  - (choose the verbs)
-   
+
 ** select the verbs (option: chance)
  - shuffle the V cards. face down.
  - take one card from the deck  at the beginning of each cycle
 OR
  - take cards from the deck, one for each cycle  you have decided to play
   - place card(s) to the left (?) of the environment face up.
-   
+
 ** select the verbs (option: deliberation)
   - decide which V cards should be played, based on ’deliberation’ as described above.
   - there should be as many cards as the number of cycles that has been agreed upon.
@@ -86,48 +86,48 @@ OR
 
 ** continuation cycle (options)
 
-NOTE: a cycle is made of a number of rounds. cycle ’ends’ when a proposition is realised. 
+NOTE: a cycle is made of a number of rounds. cycle ’ends’ when a proposition is realised.
 NOTE: a round consists of  each player playing in turn (counterclockwise?) around a circle.
  - cycles can be played ‘open’ or ’closed’
  - in an ’open’ game, all cards are available and placed face up  around the ’environment’ (aka in the penumbra)
  - in a ’closed’ or ’chance’ game the O, Q cards are divided into separate decks that are face-down.
-   - players can be dealt a ‘hand’ of potential pairs (which should be more than the number of cycles) or take cards one-at-a-time 
+   - players can be dealt a ‘hand’ of potential pairs (which should be more than the number of cycles) or take cards one-at-a-time
 
 ** begin the continuation cycle
 
-- r0. each player adds a qualifier to the propositions in the environment (either to one proposition or to connect two propositions) the qualifier should make it more appealing to entertain the propositions in the wider realm. 
+- r0. each player adds a qualifier to the propositions in the environment (either to one proposition or to connect two propositions) the qualifier should make it more appealing to entertain the propositions in the wider realm.
 - rn. each player can add one card to the environment. it can be either O or Q and must ’pair’ with another card in the environment (i.e. O played next to a Q, or a Q played next to an O)
   - at some point (further?) a V card can be played (see below)
   - if players agree to ’actualise the proposition’ the round is concluded. if not, play another round.
-   
+
 ** verbing (options)
 
  during the continuation cycle, a verb can be played on a P (proposition, pair or pile…)
  - the possibility of playing a V card can rotate to each player with each round
- OR 
+ OR
  - the V card can be introduced by any player at any time
    - when a V card is ’played’ is it attached to a P, and provides a ’lure’ to enact the proposition.
    - the player that has played the V card describes how the P can be ’actualised’ in the ’wider realm’
-   - other players can agree, or not (and remain ’unlured’ ) 
+   - other players can agree, or not (and remain ’unlured’ )
 
-** realising the proposition 
+** realising the proposition
   - (immantize the eschaton in the wider realm as agreed…)
   - at this point the game can conclude, or continue
   - if there is another cycle of the game, then group the ’realised’ cards with the verb (in a pile?)
   -  (maybe: The propositions that were not actualised in the cycle are moved to the penumbra)
-  - each player plays a Q card on the realised P (and discuss if required…) NOTE: eqiv. to round 1 of cycle 
+  - each player plays a Q card on the realised P (and discuss if required…) NOTE: eqiv. to round 1 of cycle
   - begin the ’next round’ of the ’continuation’ cycle
 
 * occasions of experience
 
-=to be continued…= 
+=to be continued…=
 
 #+BEGIN_EXPORT latex
 \clearpage
 #+END_EXPORT
 * diagrams
 
-** general  flow 
+** general  flow
 
 #+CAPTION: overview of game flow
 #+ATTR_ORG: :width 400
@@ -139,7 +139,7 @@ NOTE: a round consists of  each player playing in turn (counterclockwise?) aroun
 \clearpage
 #+END_EXPORT
 
-** a more detailed  flow 
+** a more detailed  flow
 
 #+caption: game flow in detail
 #+ATTR_ORG: :width 400
@@ -165,32 +165,43 @@ NOTE: a round consists of  each player playing in turn (counterclockwise?) aroun
 
 A description of terms which may be particular to Whiteheads cosmology and terms which are used in a specific way in the game. (see also [[https://subetha.fo.am/p/superject][subetha]] notes)
 
-- *Proposition* (game, process, etc)
-- *Occasion* (and "Actual occasions" or “Occasion of experience”)
-- *Qualifier* (card) a “predicative pattern” of an occasion.
-- a *Verb* (card) needs a new term…
-- The *Wider Realm*  and the “actual world” 
-- to *actualise a proposition* (an *event*) and *satisfaction* as completion… 
-- *Prehension*  and *Negative prehension*  (etc)
-- The *Environment* (game)
-- The *Penumbra* (game)
-- A *lure for feeling* (transmute) emotions, purposes, valuations, adversions, and aversions
-- *God* as an eternal lure who wants to bring about the greatest possibility of satisfaction.
-- etc
+The cards
+ - There are 3 (or 4) types of cards;  *Occasions*, Qualifiers, *Lures* (and *vitality*)
+ - *Occasions* (and "Actual occasions" or “Occasion of experience”)
+ - (Qualifiers) \rarr Eternalities, Potentialities, Emotions. (name is not yet finalised….)
+ - *Lures* which create a *lure for feeling* (transmute) emotions, purposes, valuations, adversions, and aversions.
+ - *Life* or  *vitality*  (proposed as a separate type of card or as part of occasions/lures/qualifiers. still undecided)
+ - A *Proposition* is created by combining  *Occasions* and *Qualifiers* and provides an essential *incitement to novelty* in the game
 
+Spaces (as gradients, able to change shape and permeate parts of each other as propositions are entertained and satisfied)
+ - *Locus* (was Environment) in which the cards are played.
+ - *Penumbra* surrounding the Locus and containing potentials
+ - *The Wider realm* (?) beyond the cards yet containing the game. sometimes referred to as the *actual world* which the players inhabit
 
-- a superject \rarr become a satisfied occasion that becomes data for another world to concrese 
-     (concresence as a process, of infinite prehensions.conclusion)
+(Concrescent) *Phases* of the game
+ - A cycle of the game can be composed of one or more rounds in which players take turns to change the *Locus* of the game.
+ - *Conformal* cycles include the starting cycle which establishes the current situation, and cycle after a proposition has been satisfied in the wider realm
+ - *Non-conformal*  cycles where  alternative propositions are entertained along with the creation of novelty.
 
- maybe
-    - Propositional Feelings
-    - Concrescence and Time
-    - Societies and Empty Space
-    - Perpetual Perishing
-    - Initial Aim
-    - Intensity
-    - Durations
-    - Superject
-    - Unity of Feeling 
+and also…
+
+The *Life-cycle of occasions*, their genealogy, time stream for the online version (over the whole game or multiple games, tracked and played as animation at the end)
+
+To *actualise a proposition* (an *event*) and *satisfaction* as completion…
+
+*Prehension*  and *Negative prehension*  (etc)
+
+A *superject* \rarr become a satisfied occasion that becomes data for another world to concrese  (concresence as a process, of infinite prehensions.conclusion)
+
+and maybe
+ - Propositional Feelings
+ - Concrescence and Time
+ - Societies and Empty Space
+ - Perpetual Perishing
+ - Initial Aim
+ - Intensity
+ - Durations
+ - Superject
+ - Unity of Feeling
 
 * a  certain  extreme  finality
diff --git a/Process and Reality.pdf b/Process and Reality.pdf
index c0145c3..43f9dc2 100644
Binary files a/Process and Reality.pdf and b/Process and Reality.pdf differ
diff --git a/cards/deck-neural.rb b/cards/deck-neural.rb
index 42a9ce3..60539d9 100755
--- a/cards/deck-neural.rb
+++ b/cards/deck-neural.rb
@@ -30,9 +30,10 @@ $keyword = ""
 $img_source = "unsplash"
 
 # cards descriptions
-#$cards_csv = 'cards-p50-1.csv'    # 23:02
-#$cards_csv = 'cards-p50-2.csv'    # 21:24
-#$cards_csv = 'cards-p50-3.csv'    # 22:52
+#$cards_csv = 'cards-a1.csv'    # 16h
+#$cards_csv = 'cards-a2.csv'    # 17h
+$cards_csv = 'cards-a3.csv'     # 18h
+#$cards_csv = 'cards.csv'
 
 # unsplash config
 Unsplash.configure do |config|
@@ -42,8 +43,12 @@ Unsplash.configure do |config|
   config.utm_source = "pandemic"
 end
 
-# cards descriptions input from csv 
-data = Squib.csv file: $cards_csv
+# cards descriptions input from csv
+if $cards_csv
+  data = Squib.csv file: $cards_csv
+else
+  raise "no cards file defined"
+end
 
 # text2image slurp
 
@@ -93,7 +98,7 @@ def get_img_pexels (phrase)
   r0 = $pxl.photos.search("#{$keyword} #{phrase}", per_page: 1)
   f0 = "img/#{d0}.png"
   if !r0.photos.empty?
-    r1 = r0.photos[0].src["portrait"] 
+    r1 = r0.photos[0].src["portrait"]
     t0 = MiniMagick::Image.open(r1)
     t0.format('png').write(f0)
     p "wrote: " + f0
@@ -132,21 +137,21 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
       c1
     elsif (t.eql? 'Q')
       c2
-    elsif (t.eql? 'Q')
-      c3      
+    elsif (t.eql? 'L')
+      c3
     else
       c4
     end
   end
-  
+
   # set fill colour per card type
   fg = data['type'].map do |t|
    if (t.eql? 'O')
       c2
     elsif (t.eql? 'Q')
       c1
-    elsif (t.eql? 'Q')
-      c4  
+    elsif (t.eql? 'L')
+      c4
     else
       c4
    end
@@ -167,22 +172,22 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
   else
     puts "unknown image source " + $img_source
   end
-  
-  # sharing & colours  
-  background color: bg 
+
+  # sharing & colours
+  background color: bg
   rect fill_color: fg , x: '3mm', y: '3mm', width: '32mm', height: '54mm', radius: 32
-    
+
   #rect layout: 'cut'   # cut line as defined by TheGameCrafter in economy.yml
   #rect layout: 'safe' # safe zone as defined by TheGameCrafter in economy.yml
 
-  # in z-order low->high 
+  # in z-order low->high
   text str: data['text'], layout: 'description'
   png file: dlimages, layout: 'illustration'
   png file: dlimages, layout: 'overlay'
   text str: data['type'], layout: 'type'
   text str: data['name'], layout: 'title'
-  
-  # output a png of each card 
+
+  # output a png of each card
   tag = Time.now.strftime('%Y%m%d_%H%M')
 
   save format: :png, prefix: "cards_#{$keyword}_#{tag}_#{$img_source}_", count_format: '%d'
@@ -196,5 +201,4 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
 
   #save_png
   #save_pdf
-  
 end
diff --git a/cards/deck.rb b/cards/deck.rb
index f348537..e9bcd6b 100755
--- a/cards/deck.rb
+++ b/cards/deck.rb
@@ -15,7 +15,7 @@ require 'squib'
 data = Squib.csv file: 'cards.csv'
 
 #layouts = ['economy.yml', 'space-layout-1.yml']
-layouts = ['space-layout-3.yml']
+layouts = ['space-layout-2.yml']
 
 c1 = '#9f68ed'
 c2 = '#ed9f68'
@@ -36,12 +36,12 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
     elsif (t.eql? 'Q')
       c2
     elsif (t.eql? 'Q')
-      c3      
+      c3
     else
       c4
     end
   end
-  
+
   # set fill colour per card type
   fg = data['type'].map do |t|
    if (t.eql? 'O')
@@ -49,7 +49,7 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
     elsif (t.eql? 'Q')
       c1
     elsif (t.eql? 'Q')
-      c4  
+      c4
     else
       c4
    end
@@ -59,25 +59,23 @@ Squib::Deck.new cards: data['name'].size, width: '38mm', height: '60mm', layout:
   #  https://experiments.runwayml.com/generative_engine/
   #  https://deepai.org/machine-learning-model/text2img
 
-  
-
-  # testing "Hanafuda" style/size cards 
+  # testing "Hanafuda" style/size cards
   #  https://squib.readthedocs.io/en/v0.15.0/text_feature.html#width-and-height
-  
-  background color: bg 
+
+  background color: bg
   rect fill_color: fg , x: '3mm', y: '3mm', width: '32mm', height: '54mm', radius: 32
-    
+
   #rect layout: 'cut'   # cut line as defined by TheGameCrafter in economy.yml
   #rect layout: 'safe' # safe zone as defined by TheGameCrafter in economy.yml
 
   text str: data['type'], layout: 'type'
   text str: data['name'], layout: 'title'
   text str: data['text'], layout: 'description'
-  #svg file: data['illustration'], layout: 'illustration'
-  png file: data['illustration'], layout: 'illustration'
-  
+  svg file: data['illustration'], layout: 'illustration'
+  #png file: data['illustration'], layout: 'illustration'
+
   # output a png of each card and pdf of the deck
   save_png
   save_pdf
-  
+
 end
diff --git a/cards/preprocess.rb b/cards/preprocess.rb
index 3f31ee7..a017770 100755
--- a/cards/preprocess.rb
+++ b/cards/preprocess.rb
@@ -5,6 +5,9 @@ require 'ostruct'
 require 'pp'
 require 'roo'
 
+# scrip to use to build the deck
+$deck_build = "./deck-neural.rb"
+
 # command line options
 class Optparsec
   # Return a structure describing the options.
@@ -35,7 +38,7 @@ class Optparsec
       end
       # type of input file (can also check extension)
       opts.on("-t", "--type [TYPE]", ["ods", "csv", "txt"],
-            "Input type (ods, csv or txt)") do |t| 
+            "Input type (ods, csv or txt)") do |t|
         options.input_type = t
       end
       opts.on("-v", "--[no-]verbose", "Verbosity") do |v|
@@ -65,10 +68,10 @@ if options.verbose
 end
 
 # assuming an .ods file laid out as follows
-# 
+#
 # col 1 - occasions
-# col 2 - qualifiers 
-# col 3 - verbs
+# col 2 - qualifiers
+# col 3 - lures
 
 case options.input_type
 when "ods"
@@ -101,12 +104,14 @@ end
 
 # Qualifiers
 def write_qualifier(line)
-  File.write($cards_csv, "#{line},Q,#{$label},img/q_card.svg\n", mode: "a")
+    File.write($cards_csv, "\"" + %Q[#{line}] + "\"" + ",Q,#{$label},img/q_card.svg\n", mode: "a")
+    #File.write($cards_csv, "#{line},Q,#{$label},img/q_card.svg\n", mode: "a")
 end
 
 # Verbs
-def write_verb(line)
-  File.write($cards_csv, "#{line},V,#{$label},img/v_card.svg\n", mode: "a")
+def write_lure(line)
+  File.write($cards_csv, "\"" + %Q[#{line}] + "\"" + ",L,#{$label},img/v_card.svg\n", mode: "a")
+  #File.write($cards_csv, "#{line},L,#{$label},img/v_card.svg\n", mode: "a")
 end
 
 # read descriptions and write to file...
@@ -115,7 +120,7 @@ when "txt"
   puts "reading descriptions from text files" if options.verbose
   File.foreach($cards_o) { |line| write_occasion line.chomp }
   File.foreach($cards_q) { |line| write_qualifier line.chomp }
-  File.foreach($cards_v) { |line| write_verb line.chomp }
+  File.foreach($cards_v) { |line| write_lure line.chomp }
 when "ods"
   if options.verbose
     puts "reading descriptions from ods file: " + options.input_file
@@ -123,13 +128,13 @@ when "ods"
   end
   # filter empty cells
   ods.column(1).reject{ |n| n.nil?}.each do |line|
-    puts "1> " + line if options.verbose; write_occasion line.chomp 
+    puts "1> " + line if options.verbose; write_occasion line.chomp
   end
   ods.column(2).reject{ |n| n.nil?}.each do |line|
-    puts "2> " + line if options.verbose; write_qualifier line.chomp 
+    puts "2> " + line if options.verbose; write_qualifier line.chomp
   end
   ods.column(3).reject{ |n| n.nil?}.each do |line|
-    puts "3> " + line if options.verbose; write_verb line.chomp 
+    puts "3> " + line if options.verbose; write_lure line.chomp
   end
 else
   puts "input format not supported."
@@ -139,10 +144,10 @@ end
 puts "written out to file: " + options.output_file if options.verbose
 
 if options.build
-  puts "building..."
-  system("./deck.rb") # run the deck builder
+  puts "building a deck with #{$deck_build}"
+  system($deck_build) # run the deck builder
 else
-  puts "not"
+  puts "not building a deck"
 end
 
 puts "done" if options.verbose
diff --git a/cards/space-layout-3.yml b/cards/space-layout-3.yml
index 7a23212..dcb7789 100644
--- a/cards/space-layout-3.yml
+++ b/cards/space-layout-3.yml
@@ -4,11 +4,11 @@
 # 9f68ed
 # ed9f68
 # b5ed68
-  
+
 corner:
   x: 0
   y: 0
-  
+
 type:
   x: '4.5mm'
   y: '3mm'
@@ -30,14 +30,14 @@ title:
   stroke_strategy: :stroke_first
   alpha: 0.9
   align: :center
-  
+
 description:
   y: '8mm'
   width: :deck
   align: :center
   font: 'Solide Mirage, 12'
   color: "#333"
-  
+
 illustration:
   x: 3mm
   y: 12.5mm # or '3mm'
@@ -59,7 +59,6 @@ overlay:
 
 
 # The possibilties include :none, :multiply, :screen, :overlay, :darken, :lighten, :color_dodge, :color_burn, :hard_light, :soft_light, :difference, :exclusion, :hsl_hue, :hsl_saturation, :hsl_color, :hsl_luminosity
-  
 
 # The "cut line", without rounded corners
 cut:
diff --git a/notes/diagrams.org b/notes/diagrams.org
index b0e161a..990a058 100644
--- a/notes/diagrams.org
+++ b/notes/diagrams.org
@@ -115,24 +115,27 @@ There is urgency in coming to see the world as a web of interrelated processes o
     :shuffle & select {x} cards from the O and Q pile;
     :create some propositios\n (by pairing O & Q cards);
     :shuffle & select some V cards;
-    note right: conformal proposition(s)
+    note left: conformal proposition(s)
   }
 
+repeat:observe the current environment;
+  :each player adds a Q card on available P;
+note left: (individual) valuation
+
+
    partition "cycle n+1n" {
-    repeat
-      :observe the current environment;
-      note right: (individual) valuation
-      :each player adds a Q card on available P;
 	repeat
 	:each player extends the environment\nwith either an O or Q card;
-	note right: non-conformal proposition(s)
+	note left: non-conformal proposition(s)
 	:one player chooses a V card to\n "provide a lure";
 	:the player describes the lure;
-       backward : move V to penumbra\nor pass to next player;
+ 
+       backward :move V to penumbra\nor pass to next player;
        repeat while (realise the proposition?) is (<font color=red>no</font>) not (<font color=red>yes</font>)
+}
        #palegreen:  <font color=red>&#8230;in the <b>Wider Realm</b></font>;
     repeat while (continue the game?) is (<font color=red>yes</font>) not (<font color=red>no</font>)
-  }
+
   :conclude&#8230;;
 #+END_SRC
 
@@ -168,7 +171,7 @@ There is urgency in coming to see the world as a web of interrelated processes o
 	:create some propositions\n (by pairing O & Q cards);
 	:shuffle & select some V cards;
 	 }
-	  elseif (deliberation) 
+	  elseif (deliberation)
 	  partition "deliberation cycle" {
 	:divide deck in to O, Q & V piles;
 	:place all cards face up;
diff --git a/notes/diagrams.pdf b/notes/diagrams.pdf
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diff --git a/notes/purpose, propositions & prototypes.org b/notes/purpose, propositions & prototypes.org
index 6d9be28..2f0fce9 100644
--- a/notes/purpose, propositions & prototypes.org	
+++ b/notes/purpose, propositions & prototypes.org	
@@ -12,16 +12,16 @@
 * Superject (as of \today)
 
 #+ATTR_LATEX: :options [Adam Nocek]
-#+BEGIN_qf 
+#+BEGIN_qf
 A proposition, for Whitehead, is neither true nor false in itself. It is a lure for feeling the world that “might be.” A proposition is what places a concrescing subject (an occasion of experience) in relation to a potential predicative pattern. It is the potential togetherness of subject and predicate that characterizes a proposition and not its actual exemplification. But propositions do not hang in the thin air of abstraction; they always emerge from somewhere and are entertained by an actual subject within a particular milieu. The proposition’s relevance and importance (or its “truth”—in William James’ sense) is contingent upon the world that it finds itself within.
 #+END_qf
 
-edited & synthesised notes can be found  near [[file:~/code/foam-repo/space/notes][here]] (local file) and [[https://repo.fo.am/foam/space/][here]] (foam repo).
+edited & synthesised notes can be found  near [[file:~/code/foam-repo/superject/notes][here]] (local file) and [[https://repo.fo.am/foam/space/][here]] (foam repo).
 
 * propositional #1 — 2019-09-24
 
-#+caption: in progres…
-file:img/20190924-01.png
+#+caption: in progress…
+[[file:img/20190924-01.png]]
 
 Reading: A.N. Whitehead. [[https://archive.org/stream/AlfredNorthWhiteheadProcessAndReality/Alfred%20North%20Whitehead%20-%20Process%20and%20Reality_djvu.txt][Process and Reality]], Chapter IX: The Propositions
 
@@ -30,17 +30,17 @@ Reading: A.N. Whitehead. [[https://archive.org/stream/AlfredNorthWhiteheadProces
 #+END_export
 * propositional #2 — 2019-09-26
 
-*Question*: How to translate Whitehead's proposition into a generative worldbuilding toolkit? 
+*Question*: How to translate Whitehead's proposition into a generative worldbuilding toolkit?
 *Proposition:* A card game as a philosophical technique.
 
-FoAM & CPT hosted a workshop exploring how to design a card deck which could clarify, generate and/or play with propositions (as described by Whitehead). These cards could be used in workshop situations, classrooms, futures sessions, policy labs, etc. 
+FoAM & CPT hosted a workshop exploring how to design a card deck which could clarify, generate and/or play with propositions (as described by Whitehead). These cards could be used in workshop situations, classrooms, futures sessions, policy labs, etc.
 
 * prototyping a game
 
-Some ideas, principles, decisions, constraints, suggestions, open questions that emerged as we explored the propositions. 
+Some ideas, principles, decisions, constraints, suggestions, open questions that emerged as we explored the propositions.
 
 #+caption: Whiteboard annotations from the workshop where we attempted to understand how Whitehead's propositions might be translated into a deck of cards.
-file:img/20190926-01.png
+[[file:img/20190926-01.png]]
 
 
 * Design constraints
@@ -49,16 +49,16 @@ file:img/20190926-01.png
 - It should be possible to play the game  in different contexts, languages and cultures
 - A game needs a starting point.
 - …
-  
+
 #+caption:  An attempt to reduce (or begin) with a simple set of potentials (or categories, types, mechanisms, etc)
-file:img/20190926-02.png
+[[file:img/20190926-02.png]]
 
 A proposition (P) requires an "actual occasion" (O) and a "predicative pattern" or "adverbial qualification" (Q)  We tested the idea of a proposition (P) requiring two cards 1xO and 1xQ which are played as a single unit, which could be seen as  "entertaining the proposition"
 
-We tried using 2xO cards as a seed to begin the game. Some alternatives could be to use a minimal P (as a pair of 1xO and 1xQ), to decide collectively on a spread, or randomly choose cards for a starting point. 
+We tried using 2xO cards as a seed to begin the game. Some alternatives could be to use a minimal P (as a pair of 1xO and 1xQ), to decide collectively on a spread, or randomly choose cards for a starting point.
 
 #+caption: A minimal Proposition comprised of an Occasion and Qualifier
-file:img/20190926-03.png
+[[file:img/20190926-03.png]]
 
 #+BEGIN_export latex
 \newpage
@@ -72,7 +72,7 @@ file:img/20190926-03.png
  - *Blank* cards/wildcards/jokers
 
 #+caption: An example of four types of cards as they could work in the Shadow Belmont scenario (blank cards not depicted)
-file:img/20190926-04.png
+[[file:img/20190926-04.png]]
 
 #+BEGIN_export latex
 \newpage
@@ -91,7 +91,7 @@ Once the starting point is established, players can add a P "below" any of the O
 
 
 #+caption:  an example of propositions in an Environment
-file:img/20190926-05.png
+[[file:img/20190926-05.png]]
 
 This appeared to create a game which could mindlessly perpetuate existing patterns., raising concerns about the role of storytelling, game play and collective/individual player's roles.
 
@@ -100,20 +100,20 @@ This appeared to create a game which could mindlessly perpetuate existing patter
  - Prehension. Playing a Proposition (P=O+Q) alters the Environment (by "entertaining" or "prehending" the proposition, i.e. putting the cards "on the table")
  - Adding multiple propositions (P) adds complexity to the environment (through accretion)
  - Negative prehension. Moving one element of an unwanted proposition to the Penumbra (a space in which all cards continue to be available)
- - Massive change to the environment can happen through "Modifier" cards or "Viruses". 
+ - Massive change to the environment can happen through "Modifier" cards or "Viruses".
  - Different types of viruses can modify the environment in different ways by changing, moving or grouping cards
  - Once the virus has modified the environment it moves itself to the Penumbra
  - Novelty: We thought blank cards (wild/joker/temp) could be interesting (but haven't explored the ways they could work much).
 
 *** more on Modifiers/Viruses
 
-We thought that "virus" V cards are needed to cause disruptions or unexpected change. They can interact with all other cards in some way. This could be structural in that it changes the cards that are present in E for example, by moving cards from E into U (penumbra) swapping Q or O cards, etc. It could also be a way to change game play in various interesting, unpredictable ways. 
+We thought that "virus" V cards are needed to cause disruptions or unexpected change. They can interact with all other cards in some way. This could be structural in that it changes the cards that are present in E for example, by moving cards from E into U (penumbra) swapping Q or O cards, etc. It could also be a way to change game play in various interesting, unpredictable ways.
 
 This game dynamic seems to create a more complex game where the environment keeps growing, changing and collapsing. It isn't clear how this version of the game would end…
 
 ** Game dynamic #3: Reflection/Storytelling
 
-We agreed on the importance of including narrative or storytelling aspects. The Environment could acts as a prompt, or way of developing a scenario. To test how we could introduce this as part of the game play (rather than between rounds for example) we tested "reflection" cards (R)  as a way to ask questions (which could be about the propositions, environment or players) and to tell stories. 
+We agreed on the importance of including narrative or storytelling aspects. The Environment could acts as a prompt, or way of developing a scenario. To test how we could introduce this as part of the game play (rather than between rounds for example) we tested "reflection" cards (R)  as a way to ask questions (which could be about the propositions, environment or players) and to tell stories.
 
 A reflection card requires a player to explain, elaborate or describe the Proposition (we chose the most recently played, but could be applied to  any other card, or branch in the Environment). This could involve the player who played the card, another player or all players. Various combinations of Reflection cards could prompt structured conversation around the various Propositions.
 
@@ -127,20 +127,20 @@ We entertained the possibly that the V and R cards could be merged, or that ther
 
  -  a Proposition P is composed of one Q card and one O card
  -   (details and the specific cards are still to be sketched…)
- -   A 'turn' is comprised of a single activity (play) 
+ -   A 'turn' is comprised of a single activity (play)
  -   valid actions are to play P, V or R in E; to play one P in U; or to swap one card from U into the players hand (or the unplayed deck?)
  -   a player can only play one P,  V or R at a time (turn?)
  -   a P can be played in E or U (the Penumbra)
  -   a P played in E is appended to an 'active' O in a vertical sequence (an active O is one of the lower most...)
- -   the cards played in E are usually fixed and accrete. 
+ -   the cards played in E are usually fixed and accrete.
  -   any cards played in U become available for other players and are messy (visible? layered?)
- -   one R or V card can be played at a time (turn?) 
- -   a R card starts a process of reflection on one card or collection of cards in E (or possibly U?) 
+ -   one R or V card can be played at a time (turn?)
+ -   a R card starts a process of reflection on one card or collection of cards in E (or possibly U?)
  -   e.g. a question about a P or a story about the present E, and could also include creative prompts...
  -   a player can swap one of their cards for a card in U
  -   […]
 
-At this point, we still need to describe lures, iceberg tips of lures, the inside, outside or boundedness of a game, how it could be expanded, extend, situated, localised… 
+At this point, we still need to describe lures, iceberg tips of lures, the inside, outside or boundedness of a game, how it could be expanded, extend, situated, localised…
 
 
 #+BEGIN_export latex
@@ -149,10 +149,10 @@ At this point, we still need to describe lures, iceberg tips of lures, the insid
 
 * propositional #3 — 2020-09-17
 
-These instruction emerged during a series of discussions, tests and design probes conducted mainly online from September to November 2020. 
+These instruction emerged during a series of discussions, tests and design probes conducted mainly online from September to November 2020.
 
-some ideas, reiterations, motivations and questions 
- - The card or deck types can be “situated”, “archetypal” or “blank” we still think this is open, yet defined enough to be interesting and that cards, from different decks can be mixed, or merged as  required. 
+some ideas, reiterations, motivations and questions
+ - The card or deck types can be “situated”, “archetypal” or “blank” we still think this is open, yet defined enough to be interesting and that cards, from different decks can be mixed, or merged as  required.
  - play as an origin story of a shared world
  - As the game develops, lures for feeling can emerge and provide ways to blur gameplay and the “outside”
  - A proposition, or the process of realisation, or following a lure is not usually “instructional”
@@ -183,7 +183,7 @@ some ideas, reiterations, motivations and questions
  - generate new O cards to bring to round 2.
 
 *round 2* (with cards)
- - Q&O –actualised\rightarrow into a new ‘O ’  
+ - Q&O –actualised\rightarrow into a new ‘O ’ 
  - after returning from the ’actualised occasion’ add Q cards to the new compound  O (qualifiers of O as experienced)
  - create new propositions: by adding O cards generated during round 1 to the Q cards played in this round.
   (alternatively:  Play a  Q&O  as an ’occasion’ to become ’actual’. actualise. come back, add Q card to new O, generate more Os during dinner & play them)
@@ -220,7 +220,7 @@ working from various ideas and minimal conditions (as above)
    - e.g. shuffle & randomly select an agreed upon number of pairs to start working with
 
 *Gameplay proposition*
-  
+
 *round 0*
     - establish duration, conditions for ending the game, ’way of beginning’
     - establish relationships between cards & non-card world (should be fairly explicit)
@@ -234,14 +234,14 @@ working from various ideas and minimal conditions (as above)
     - select new cards (pairs)  based on their experience of the (something that has been done)
     - player(s) can play Q card(s) on the ’actualised proposition’ (now treated an “occasion“?)
     - layer, add, repeat
- 
+
 
 place a proposition…
 #+BEGIN_example text
       [Q][O]
 #+END_example
 
-each player (or unit of players) adds a Q to the now (unified?) Q&O pair that was ’realised’. 
+each player (or unit of players) adds a Q to the now (unified?) Q&O pair that was ’realised’.
 #+BEGIN_example text
  [Q]
  [Q] [[Q][O]]
@@ -262,19 +262,24 @@ repeat
          [Q]/
 #+END_example
 
+
+#+ATTR_org: :width 400px
 #+caption: Proposition and Verb. does it provide a lure?
-file:img/20201028-cards1.png
+[[file:img/20201028-cards1.png]]
 
+
+#+ATTR_org: :width 400px
 #+caption:   An actualised propositions, with qualifiers
-file:img/20201028-cards2.png
+[[file:img/20201028-cards2.png]]
 
+#+ATTR_org: :width 400px
 #+caption: Extended, accreted…
-file:img/20201028-cards3.png
+[[file:img/20201028-cards3.png]]
 
 
-* prototyping a ’situated deck’ 
+* prototyping a ’situated deck’
 
-On 2020-10-08 & 2020-10-22 we embarked upon some more specific game play tests using a situated ’pandemic’ deck for context. There are 3 types of cards, O,Q & V, each is labelled with a single word (in English) and there are consistent colours for each type of card. 
+On 2020-10-08 & 2020-10-22 we embarked upon some more specific game play tests using a situated ’pandemic’ deck for context. There are 3 types of cards, O,Q & V, each is labelled with a single word (in English) and there are consistent colours for each type of card.
 
 We began with an extensive deck (of around 260 cards) in the expectation that some cards would work together in particular ways, and could suggest interesting directions for specific cards.
 
@@ -376,7 +381,7 @@ We began with an extensive deck (of around 260 cards) in the expectation that so
 #+BEGIN_export latex
 \newpage
 #+END_export
-* propositional #4 — 2020-10-14 
+* propositional #4 — 2020-10-14
 
 continuing from previous tests with the pandemic situated deck…
 
@@ -395,24 +400,24 @@ continuing from previous tests with the pandemic situated deck…
 
 
 *Second cycle (continuation)*
- - *Round 1*: everyone adds a qualifier to the propositions in the environment (either to one proposition or to connect two propositions \rarr propositions that shouldn't connect, connect \rarr depth of satisfaction). the qualifier should make it more appealing to entertain the propositions in the wider realm. 
+ - *Round 1*: everyone adds a qualifier to the propositions in the environment (either to one proposition or to connect two propositions \rarr propositions that shouldn't connect, connect \rarr depth of satisfaction). the qualifier should make it more appealing to entertain the propositions in the wider realm.
  - *Round 2* (,3,4,5,n): everyone can play either a qualifier or an occasion on the propositions that are in the environment
    - after the 2nd round the players can discuss if they want to play the verb on a proposition and go actualise it in the wider realm. if they're insufficiently 'lured' they play another round (Q/O cards)
-   - alternatively \rarr any player can BECOME GOD - choose to play the verb that is already in the environment and add it to a proposition, in whichever round (if the player has an idea how the proposition could be actualised). the other players can discuss. 
+   - alternatively \rarr any player can BECOME GOD - choose to play the verb that is already in the environment and add it to a proposition, in whichever round (if the player has an idea how the proposition could be actualised). the other players can discuss.
    - the players decide how to actualise the proposition and go and do this in the wider realm. if they are satisfied they can decide to end the game. otherwise they come back to the card game for the next cycle
    - The propositions that are not going to be actualised in this cycle move into the penumbra.
 
 *Third cycle*
- - *Round 1*: the actualised proposition now becomes an occasion. 
+ - *Round 1*: the actualised proposition now becomes an occasion.
    - players add qualifiers to this occasion based on their experience of actualising it in the wider realm
    - a new verb card is given/chosen
- - *Round 2* (,3,4,5,n) - the same process as in the Second Cycle (playing occasions or qualifiers until the verb is added to a proposition. 
-   - a player can decide to bring a proposition from the first round back from the penumbra and entertain it in the environment again with a different verb. 
+ - *Round 2* (,3,4,5,n) - the same process as in the Second Cycle (playing occasions or qualifiers until the verb is added to a proposition.
+   - a player can decide to bring a proposition from the first round back from the penumbra and entertain it in the environment again with a different verb.
    - as the propositions get more complex (if multiple rounds are played), things at the end of a chain are more prominent for the actualisation.
  - After the proposition is actualised in the wider realm, the players decide to either stop (satisfied) or continue for another cycle.
 
 *Questions*
- 
+
 When does the discussion about duration of play happen (i.e. how many cycles will be played)?
 
 The game can end in a few different ways
@@ -452,6 +457,8 @@ The  glossary has been transferred to subetha (at [[https://subetha.fo.am/p/supe
 #+END_export
 * design notes
 
+** online and automated
+
 In thinking about how image centric cards could work, we tested a few methods of automating image selection for the pandemic deck.
 the =squib= script now includes an option to add  images from searches based on the description of the card.
  - *text2image* generates an image from the card’s “name” using a GAN
@@ -463,7 +470,7 @@ the =squib= script now includes an option to add  images from searches based on
 #+caption: https://superject.space
 #+ATTR_LaTeX: :width 170mm :placement [!h]
 #+ATTR_org: :width 400
-file:img/superject.space.jpg
+[[file:img/superject.space.jpg]]
 
 #+BEGIN_export latex
 \newpage
@@ -476,11 +483,239 @@ file:img/superject.space.jpg
 #+ATTR_org: :width 400
 [[file:img/cards-automat.png]]
 
+#+BEGIN_export latex
+\newpage
+#+END_export
+
+** decks & directions
+
+We agreed to create two prototype decks. One *archetypal* and one deck  “situated” in the *pandemic*
+
+card design directions, elucidations, dilapidation…
+ - abstract ⟷ figurative
+ - sparse  ⟷ elaborate
+ - playing cards  ⟷ blank cards
+ - consistent style ⟷ variety of style
+
+elements to consider
+ - obvious differentiation of types of cards (O,Q,L) colour, symbols, icons, type, etc.
+ - words
+ - images
+ - template for fixed elements & generative layout
+
+#+BEGIN_export latex
+\newpage
+#+END_export
+
+* …and 2020-11-18
+
+extracted from [[https://subetha.fo.am/p/superject][superjected and continued]]
+
+** a glossary (The Fallacy of Misplaced Concreteness)
+
+A description of terms which may be particular to Whiteheads cosmology and terms which are used in a specific way in the game
+
+Cards:
+ - Occasions
+ - (Qualifiers) -> Eternalities, Potentialities, Emotions -> needs a different name (ADAM TO CHECK IN WHITEHEAD'S LATER WORK.)
+ - Lures
+ - Life/vitality? As a separate type of card or as part of occasions/lures/qualifiers?
+
+Spaces (gradients, able to change shape and permeate parts of each other as propositions are entertained/satisfied)
+ - Locus (was Environment)
+ - Penumbra
+ - Wider realm (?)
+
+(Concrescent) Phases
+ - Conformal (starting cycle, first cycle after a proposition is satisfied in the wider realm)
+ - Non-conformal (second, third, n-th cycle where the alternative propositions are entertained - creation of novelty)
+
+Life-cycle of occasions, the genealogy, time stream for the online version (over the whole game or multiple games, tracked and played as animation at the end)
+
+** Good quotes, maybe integrate somewhere...
+
+"The concrescence, absorbing the derived data into immediate privacy, consists in mating the data with ways of feeling provocative of the private synthesis. These subjective ways of feeling are not merely receptive of the data as alien facts; they clothe the dry bones with the flesh of a real being, emotional, purposive, appreciative" (PR, 85)
+
+"The creative process is rhythmic: it swings from the publicity of many things to the individual privacy; and it swings back from the private individual to the publicity of the objectified individual" (151).
+
+A summary
+
+"Thus the actual entity, as viewed morphologicaIIy through its 'satisfaction,' is novel in reference to anyone of its component feelings. It presupposes those feelings. But conversely, no feeling can be abstracted either from its data, or its subject. It is essentiaIIy a feeling aiming at that subject, and motivated by that aim. Thus the subjective form embodies the pragmatic aspect of the feeling; for the datum is felt with that subjective form in order that the subject may be the superject which it is" (233).
+
+
+- Proposition (game, process, etc)
+- Occasion (and "Actual occasions" or “Occasion of experience”)
+
+"Actual entities' -also termed 'actual occasions' -are the final real things--, of which the world is made up" (PR, 18).
+
+- Qualifier (card) a “predicative pattern” or "eternal object" of an occasion needs a new name.
+ (some suggestions -> "Eternalities", "Potentialities", "Predicates", Emotions - none of them seem quite right)
+
+     what is it?
+
+     "that which overflows"
+
+    potential for relation
+
+    something raw, visceral to add to "facts" (clothing on alien bones)
+
+    horror, relief and purpose are the primary feelings when entertaining propositions. they exist in different intensities (rather than separate categories). we could use them as filters when designing the cards.
+
+
+- a Verb (card) ->  "Lure"
+
+- The Wider Realm  -> might need a new name.
+(suggestion the “actual world” but it's too dry and perhaps not the correct term for this)
+
+- to actualise a proposition (an event) and satisfaction as completion…
+
+- Prehension  and Negative prehension  (etc)
+
+"Each actual entity is 'divisible' in an indefinite number of ways, and each way of 'division' yields its
+definite quota of prehensions" (PR, 19).
+
+"Actual entities involve each other by reason of their prehensions of each other. There are thus real individual facts of the togetherness of actual entities, which are real, individual, and particular, in the same sense in
+which actual entities and the prehensions are real, individual, and particular" (PR, 20).
+
+"A negative prehension holds its datum as inoperative in the progressive concrescence of prehensions constituting the unity of the subject" (23-24).
+
+"A negative prehension is the definite exclusion of that item from positive contribution to the subject's own real internal constitution. This doctrine involves the position that a negative prehension expresses a bond" (41).
+
+"The actual entity terminates its becoming in one complex feeling involving a completely determinate bond with every item in the universe, the bond being either a *positive or a negative prehension" (44).
+
+- The Environment (game)  -> "Locus"
+
+"The character of an actual entity is finally governed by its datum; whatever be the freedom of feeling arising in the concrescence, there can be no transgression of the limitations of capacity inherent in the datum. The datum both limits and supplies. It follows from this doctrine that the character of an organism depends on that of its environment" (110).
+
+- The Penumbra (game)
+
+- A lure for feeling (transmute) emotions, purposes, valuations, adversions, and aversions
+
+"It is an essential doctrine in the philosophy of organism that the primary function of a proposition is to be relevant as a lure for feeling"
+
+The 'lure for feeling' is the final cause guiding the concrescence of
+feelings (185).
+
+- God as an eternal lure who wants to bring about the greatest possibility of satisfaction. -> Evocateur of Intensity
+- etc
+
+There is no going behind actual entities to find anything  more real. They differ among themselves: God is an actual entity, and so is the most trivial puff of existence in far-off empty space. But, though there are gradations of importance, and diversities of function, yet in the principles which actuality exemplifies all are on the same level (18).
+
+"The primary element in the 'lure for feeling' is the subject's prehension of the primordial nature of God" (189).
+
+"The primordial nature of God is the acquirement by creativity of a primordial character" (344).
+
+"He is the lure for feeling, the eternal urge of desire. His particular relevance to each creative act, as it arises from its own conditioned standpoint in the world, constitutes him the initial 'object of desire' establishing the initial phase of each subjective aim" (344).
+
+- a superject -> becoming a satisfied occasion that becomes data for another world to concrese (concresence as a process, of infinite prehensions. conclusion)
+
+The ultimate attainment is 'satisfaction.' This is the final characterization of the unity of feeling of the one actual entity, the 'superject which is familiarly termed the 'subject' " (166).
+
+"This process of the integration of feeling proceeds until the concrete unity of feeling is obtained" (211).
+
+" Self-realization is the ultimate fact of facts. An actuality is self-realizing, and whatever is selfrealizing is an actuality. An actual entity is at once the subject of selfrealization, and the superject which is self-realized" (222).
+
+"An actual entity considered in reference to the publicity of things is a 'superject'; namely, it arises from the publicity which it finds, and it adds itself to the publicity which it transmits" (289).
+
+ maybe
+    - Propositional Feelings
+
+ "When an actual entity belongs to the locus of a proposition, then conversely the proposition is an element in the lure for feeling of that actual entity. If by the decision of the concrescence, the proposition has been admitted into feeling, then the proposition constitutes what the feeling has felt" (185).
+
+"A proposition has neither the particularity of a feeling, nor the reality of a nexus. It is at datum for feeling, awaiting a subject feeling it. Its relevance to the actual world by means of its logical subjects makes it a
+lure for feeling. In fact many subjects may feel it with diverse feelings, and with diverse sorts of feelings. The fact that propositions were first considered in connection with logic, and the moralistic preference for true propositions, have obscured the role of propositions in the actual world" (259).
+
+    - Concrescence and Time
+    - Societies and Empty Space
+    - Perpetual Perishing
+    - Initial Aim
+
+"This subjective aim is not primarily intellectual; it is the lure for feeling. This lure for feeling is the germ of mind. Here I am using the term 'mind' to mean the complex of mental operations involved in the constitution of an actual entity" (85)
+
+    - Intensity
+
+"What is inexorable in God, is valuation as an aim towards order'; and order' means society permissive of actualities with patterned intensity of feeling arising from adjusted contrasts"(244).
+
+"This 'aim at contrast' is the expression of the ultimate creative purpose that each unification shall achieve some maximum depth of intensity of feeling, subject to the conditions of its concrescence" (249).
+
+“the novelty [introduced by a nonconformal proposition] may promote or destroy order; it may be good or bad. But it is new, a new type of individual and not merely a new intensity of individual feeling” (187).
+
+“Existence, in its own nature, is the upholding of value intensity” (Modes of Thought, 111).
+
+“The primordial appetitions which jointly constitute God’s purpose are seeking intensity, and not preservation. Because they are primordial, there is nothing to preserve. He, in his primordial nature, is unmoved by his love for this particular, or that particular. . . . In the foundations of his being, God is indifferent alike to preservation and to novelty. He cares not whether an immediate occasion be old or new. . . . His aim is for depth of satisfaction” (PR, 105).
+
+“God’s purpose in the creative advance is the evocation of intensity. The evocation of societies, is purely subsidiary to this absolute end” (PR, 105).  Meaning: God cares nothing for "humans" in themselves since humans are nothing but "societies"
+
+    - Durations
+    - Superject
+    - Unity of Feeling
+
+    - Life: robbery, alien, empty space, anti-social. An organism has life in it. Too much life = cancer.
+
+
+-------
+
+a few excerpts from Chapter IX: The Propositions
+
+"A living occasion is characterised by a flash of novelty among the appetitions of its mental pole. Such 'appetitions" i.e., 'conceptual prehensions' can be 'pure' or 'impure'. (...) The datum of a pure conceptual prehension is an eternal object; the datum of an impure prehension is a proposition, otherwise termed a 'theory'"
+
+"In a physical purpose the subjective form has acquired a special appetition –adversion or aversion– in respect to that eternal object as a realized element of definiteness in that physical datum."
+
+"It is evident, however, that the primary function of theories is as a lure for feeling, thereby providing immediacy of enjoyment and purpose. "
+
+"Thus in our actual world of today, there is a penumbra of eternal objects" (note: layout-wise -> does this mean that all the qualifiers should be placed in the penumbra to start with (in a (semi) circle), while the occasions are placed in the environment (in a pile or smaller semi-circle)? (both can be either face up or face down)
+)
+"the possibilities of another course of history"
+
+ "penumbra of alternatives" "penumbral welter of alternatives" (note: in the game - while we're coming up with the propositions, we're playing in the penumbra, until we decide to satisfy (some of) the propositions in the wider realm. they then become part of the environment (actual world). the propositions that we don't satisfy move further into the penumbra as alternatives. can the unsatisfied propositions in the penumbra ever be played back in the environment? in the layout of the game the penumbra is more like a gradient, and the environment (in the centre) changes shape to incorporate parts of the penumbra with the propositions that have been satisfied. right?)
+
+ "The elements of this penumbra are propositional prehensions, and not pure conceptual prehensions.
+
+ "Thus an element in this penumbral complex is what is termed a 'proposition'. A proposition is a new kind of entity. It is a hybrid between pure potentialities and actualities. A 'singular' proposition is the potentiality of an actual world including a definite set of actual entities in a nexus of reactions involving the hypothetical ingression of a definite set of eternal objects."
+
+ "The definite set of actual entities involved are called 'the logical subjects of the proposition'; and the definite set of eternal objects involved are called 'the predicates of the proposition'. The predicates define a potentiality of relatedness for the subjects. The predicates form one complex eternal object: this is the 'complex predicate'. The 'singular proposition' is the potentiality of this complex predicate finding realization in the nexus of reactions between the logical subjects, with assigned stations in the pattern for the various logical subjects."
+
+ "... every proposition must be somewhere. The 'locus' of a proposition consists of those actual occasions whose actual worlds include the logical subjects of the proposition. When an actual entity belongs to the locus of a proposition, then conversely the proposition is an element in the lure for feeling of that actual entity. "
+
+ "... the main function of propositions in the nature of things. They are not primarily for belief, but for feeling at the physical level of unconsciousness. They constitute a source for the origination of feeling which is not tied down to a mere datum. A proposition is 'realized' by a member of its locus, when it is admitted into feeling. "
+
+"There are two types of relationship between a proposition and the actual world of a member of its locus. The proposition may be conformal or non-conformal to the actual world, true or false.
+
+When a conformal proposition is admitted into feeling, the reaction to the datum has simply resulted in the conformation of feeling to fact, with some emotional accession or diminution, by which the feelings inherent in an alien fact are synthesized in a new individual valuation. (note: first cycle of the game, where the 'members of the locus of a proposition' establish a 'new individual valuation' of their 'actual world' ? + the cycle that comes after a proposition was satisfied in the wider realm.  )
+
+When a non-conformal proposition is admitted into feeling, the reaction to the datum has resulted in the synthesis of fact with the alternative potentiality of the complex predicate. A novelty has emerged into creation. The novelty may promote or destroy order; it may be good or bad. But it is new, a new type of individual, and not merely a new intensity of individual feeling. That member of the locus has introduced a new form into the actual world; or at least an old form in a new function. " (note: the second cycle, where the 'members of the propositional locus' come up with propositions that can provide alternatives to the 'datum' / 'actual world')
+
+"in their primary role they pave the way along which the world advances into novelty. Error is the price which we pay for progress."
+
+"Judgement is the decision admitting a proposition into intellectual belief"
+
+"In considering the life-history of occasions, forming the historic route of an enduring physical object, there are three possibilities as to the subjective aims which dominate the internal concrescence of the separate occasions. (note: something to consider for multiple rounds, when we satisfy propositions into occasions? history, geneology, traces of how O@Q cards have been played together. and which lures have been played )
+
+Either:
+
+(i) the satisfactions of the antecedent occasions may be uniform with each other, and each internally without discord or incitement to novelty. In such a case, apart from novel discordance introduced by the environment, there is a mere conformal transformation of the feeling belonging to the datum into the identical feeling belonging to the immediate subject. Such pure conformation involves the exclusion of all the contraries involved in the lure, with their various grades of proximity and remoteness. This is an absolute extreme of undifferentiated endurance, of which we have no direct evidence. In every instance for which we can analyse (...) the formal constitutions of successive occasions, these constitutions are characterised by contraries supervening upon the aboriginal data, but with a regularity of alternation which produces stability in life-history. Contrast is thus gained. In physical sciences, this is 'vibration'. This is the main character of life-histories of an inorganic physical object, stabilised in type.
+
+(ii) there is a zest for the enhancement of some dominant element of feeling, received from the data, enhanced by decision admitting non-conformation of conceptual feeling to other elements in the data, and culminating in a satisfaction transmitting enhancement of the dominant element by reason of novel contrasts and inhibitions. Such a life-history involves growth dominated by a single final end. Such physical objects are mainly 'organic' so far as concerns our present knowledge of the world.  (PR 187,188)
+
+(iii) there is a zest for the elimination of all dominant elements of feeling, received from the data. In such a case, the route soon loses its historic individuality. It is the case of decay."
+
+"The admission of the selected elements in the lure, as felt contraries, primarily generates purpose; it then issues in satisfaction; and satisfaction qualifies the efficient causation. But a fe;t 'contrary' is consciousness in germ. When the contrasts and identities of such feelings are themselves felt, we have consciousness."
+
+"The presupposed logical subjects may not be in the actual world of some actual entity. In this case, the proposition does not exist for that actual entity. The pure concept of such a proposition refers in the hypothetical future beyond that actual entity. The proposition itself awaits its logical subjects. This propositions grow with the creative advance of the world. They are neither pure potentials nor pure actualities; they are a manner of potential nexus involving pure potential and pure actualities. They are a new type of [impure] entities."
+
+"The primary mode of realization of a proposition in an actual entity is not by judgement but by entertainment. A proposition is entertained when it is admitted into feeling. Horror, relief, purpose, are primarily feelings involving the entertainment of propositions."
+
+"There are four main types of entities in the universe, of which two are primary types and two are hybrid types. The primary types are actual entities and pure potentials (eternal objects); the hybrid types are feelings and propositions (theories). Feelings are the 'real' components of actual entities. Propositions are only realizable as one sort of 'objective' datum for feelings.
+
+The primary element in the 'lure for feeling" is the subject's prehension of the primordial nature of God. Conceptual feelings are generated, and by integration with physical feelings a subsequent phase of propositional feelings supervenes. The lure for feeling develops with the concrescent phases of the subject in question. (...) It is this realized extension of eternal relatedness beyond the mutual relatedness of the actual occasions which prehends into each occasion the full sweep of eternal relatedness. I term this abrupt realisation the 'graded envisagement' which each occasion prehends into its synthesis. This graded envisagement is how the actual includes what (in one sense) is 'not being' as a positive factor in its own achievement. It is the source of error, of truth, of art, of ethics, and of religion. By it, fact is confronted with alternatives."
+
+"There is a togetherness of the component elements in individual experience. This 'togetherness' has that special peculiar meaning of 'togetherness in experience'. It is a togetherness of its own kind, explicable by reference to nothing else."
 
 
 #+BEGIN_export latex
 \newpage
-#+END_export latex
+#+END_export
+
 * other games, gameplay and/or narrative tangents
 
 Looking at various cards, decks and games in an attempt understand our possibility space, focus and intent, through the lens of Whitehead's propositions....
@@ -535,11 +770,16 @@ some examples, an attempt at taxonomy and cartomancy  (game like rules \rightarr
 “One player is the storyteller for the turn and looks at the images on the 6 cards in her hand. From one of these, she makes up a sentence and says it out loud (without showing the card to the other players). Each other player selects the card in their hands which best matches the sentence and gives the selected card to the storyteller, without showing it to the others.”
 
 *** Kabufuda / Hanufuda
+
  [[https://en.wikipedia.org/wiki/Hanafuda][Hanafuda]] and [[https://en.wikipedia.org/wiki/Kabufuda][Kabufuda]] “cards are tiny, only 2 1/8 by 1 1/4 inches (54 x 32 mm), but about three times thicker than Western cards. […] There are twelve suits, representing months of the year. Each is designated by a flower and has four cards. The point values should be considered merely as a ranking mechanism, as the most popular games only concern themselves with certain combinations of taken cards. ”
 
 
 #+caption: Hanafuda Cards
-[[file:img/6558902_orig.jpg]]
+n[[file:img/6558902_orig.jpg]]
+
+** further examples
+
+Further examples of cards, games, and gameplay can be found in the  idiosyncratic collection of [[file:various cards.org][various cards]] (local file) or online at [[https://superject.space/various-cards.html][superject.space]]
 
 #+BEGIN_export latex
 \newpage
diff --git a/notes/purpose, propositions & prototypes.pdf b/notes/purpose, propositions & prototypes.pdf
index 67bf048..9482b77 100644
Binary files a/notes/purpose, propositions & prototypes.pdf and b/notes/purpose, propositions & prototypes.pdf differ
diff --git a/notes/various cards.org b/notes/various cards.org
new file mode 100644
index 0000000..caf8db6
--- /dev/null
+++ b/notes/various cards.org	
@@ -0,0 +1,463 @@
+# -*- mode: org;  coding: utf-8; -*-
+#+LaTeX_CLASS: zzkt-article
+#+LateX_Header: \setcounter{secnumdepth}{0}
+#+OPTIONS: toc:2
+#+author: The S.P.A.C.E consortium & SUPERject working group
+#+title: cards (various)
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+
+* playing cards
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Font Deck. Learn about typography while playing poker.  https://www.forrestgoods.com/shop/the-font-deck
+[[file:img/20201125_18-30_RedShoot_4x6.jpg.jpeg]]
+
+#+ATTR_org: :width 400px
+#+ATTR_LaTeX: :placement [!htb]  :width 50mm
+#+caption: https://felix-blommestijn.blogspot.com/
+[[file:img/20201125_18-32_felix9.jpg]]
+
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Playing Arts deck “eclectic and powerful, with 55 artists from all over the world involved”  https://playingarts.com/en/special
+#+ATTR_LATEX: :environment subfigure :width 0.5\textwidth :align c
+| [[file:img/20201125_18-44_intro__700.png]] | [[file:img/20201125_18-47_Screenshot 2020-11-25 at 18.46.34.png]] |
+| o                                      | x                                                             |
+
+
+ - https://playingarts.com/en/special
+ - https://www.boredpanda.com/unique-card-deck-design-playing-arts/
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Concept and Design for a minimalist Playing Cards decks. Francesca Pagani.  https://francescapagani.graphics/portfolio-item/playing-cards/
+[[file:img/20201125_18-48_Play.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Four sided
+#+ATTR_LATEX: :environment subfigure :width 0.5\textwidth :align c
+| [[file:img/20201125_20-19_vintage_playing_cards.jpg]]                                         | 1-side |
+| [[file:img/20201125_23-01_reeks-van-negen-antieke-uitstekende-speelkaartruggen-17296490.jpg]] | 2-side |
+| 3-side |[[file:img/20201125_23-02_Backs_odds.jpeg]] |
+| inside | [[file:img/20201125_23-04_b1746b4001c84635bae60f045467a9a2.jpeg]]  |
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Jokers
+#+ATTR_LATEX: :environment subfigure :width 1\textwidth :align c
+|  [[file:img/20201126_01-07_7fe46076caab90f022519e6684585eeec38c71d8.jpg]] |  [[file:img/20201126_01-08_8f79eb029479e3086708b021b35206563b9e2bda.jpg]] |
+| + | |
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption:  woodblock-printed and stencil-coloured Spanish-suited playing cards made in Italy by Agostino Bergallo for export to Spanish territories, 18th century.
+[[file:img/20201126_00-24_bergallo-3.jpg]] 
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+name:  Fortune Telling Cards
+#+ATTR_LATEX: :environment subfigure :width 1\textwidth :align c
+| [[file:img/20201126_00-55_billings-0.jpg]] | [[file:img/20201126_00-57_rameses.76288917.jpg]]                                                                                                      |
+| Cabalistic Playing Cards, 1873         | The Rameses Fortune Telling Cards, manufactured by Chas. Goodall & Son Ltd, Camden Works, London, c.1910. 52 cards + extra 'Subject' card in box. |
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+name: Fortune Telling Cards
+#+ATTR_LATEX: :environment subfigure :width 1\textwidth :align c
+| [[file:img/20201125_18-38_IMG-0520-flip-large-edit_797394.png]] |
+| [[https://www.core77.com/projects/77591/The-Tarot-Cards-of-Tech-A-Fun-Way-for-Designers-to-Predict-the-Impact-of-Tech-on-their-Products][The Tarot Cards of Tech]]                                     |
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* Tarot (and variations)
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Thoth Tarot
+ [[file:img/20201125_19-22_Tarot-Deck-main.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Sola-Busca Tarot
+[[file:img/20201125_19-24_image053.jpg]]
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: Hermetic Tarot
+[[file:img/20201125_19-25_image067.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Revelations Tarot
+[[file:img/20201125_19-30_tumblr_lvdzgtjOHI1r2yfzeo1_1280.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Housewives Tarot
+#+ATTR_LATEX: :environment subfigure :width 0.5\textwidth :align c
+| [[file:img/20201125_19-35_tumblr_lrstl3ATq71r2yfzeo1_640.jpg]] | [[file:img/20201125_19-31_tumblr_lsxwfmbLjp1r2yfzeo1_500.jpg]] |
+|   |    3     |
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION:  Margarete Peteresen Tarot
+[[file:img/20201125_19-32_tumblr_ls23zqQ5ql1r2yfzeo1_640.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Vertigo Tarot deck. Art by Dave McKean
+[[file:img/20201125_19-37_tumblr_lrm7nas3sJ1r2qx4ao1_1280.jpg]]
+
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: III
+[[file:img/20201125_18-40_tarot_card_design_ii_by_bencebalaton-d586tlr.jpg.jpeg]]
+
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: I
+[[file:img/20201125_18-41_sliders_major-arcana1.png.png]]
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: tarocchi degli insetti - acquarelli.
+[[file:img/20201125_19-38_tumblr_lrgneshCra1r1g3ldo1_1280.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Phantasmagoric Theater Tarot
+[[file:img/20201125_19-39_tumblr_lqv4r7Aq9t1r2yfzeo1_640.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Quantum Tarot by Christopher Butler and Kay Stopforth
+[[file:img/20201125_19-41_Screenshot 2020-11-25 at 19.41.17.png]]
+
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: Starchild Tarot
+[[file:img/20201125_19-43_static1.squarespace.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Dali Tarot
+#+ATTR_LATEX: :environment subfigure :width 1\textwidth :align c
+| [[file:img/20201125_19-45_dali_tarot_new_edition_va_int_box002_cards_44640_1909301503_id_1259893.jpg]] |
+| [[https://www.taschen.com/pages/en/catalogue/art/all/44640/facts.dali_tarot.htm][Dali Tarot - Taschen]]                                                                               |
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: cards from “Self-Guided Tarot” by Cameo Victor, 1999
+[[file:img/20201126_00-59_self-guided-tarot-2.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Ikea Tarot https://www.core77.com/posts/90881/Ikea-Based-Tarot-Cards
+#+ATTR_LATEX: :environment subfigure :width 0.5\textwidth :align c
+| [[file:img/20201125_18-35_961653_81_90881_0PTb7mCXx.jpg]] | [[file:img/20201125_18-36_961656_81_90881_Q0mFWcKLh.jpg]] |
+| VI                                                    |                                                     5 |
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Brown Magic Oracle cards
+ [[file:img/20201125_19-48_static1.squarespace-86.jpg]]
+
+[[http://www.evolveandascend.com/2015/12/13/how-the-mysterious-brown-magick-oracle-card-deck-came-to-be/][How the Mysterious ‘Brown Magick’ Oracle Card Deck Came to Be]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Brown Magic Oracle cards
+[[file:img/20201125_19-49_tumblr_inline_nmj4t0srnf1ts0fpt_500.jpg]]
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: Tarot Decks (A-G) at https://tarot.com
+ [[file:img/20201125_19-53_Screenshot 2020-11-25 at 19.51.56.png]]
+  and [[https://fuckyeahtarotdecks.tumblr.com/][so on, and so on]]…
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* Design (thinking), Futures & Method cards
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: IDEO Method cards. https://www.ideo.com/post/method-cards
+[[file:img/20201125_23-54_IDEO_Method_Cards_gallery_a0ea0e2c-beb5-48fd-b880-89fa22af0ba6_1024x1024.jpg.jpeg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: IDEO Method Cards
+[[file:img/20201125_23-55_Screenshot 2020-11-25 at 23.54.00.png]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Thing from the Future. http://situationlab.org/project/the-thing-from-the-future/
+[[file:img/20201126_1215_sample-prompt-1024x358.png]]
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Playing “The Thing from the Future”
+[[file:img/20201126_1215_P1030184-1200x900.jpg]]
+
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: designing the IBM design thinking cards
+[[file:img/20201125_18-53_1*wBOqufjX8xPWj4zVqdbOQw.jpeg]]
+
+[[file:img/20201125_18-54_1*ZC3AsH-foTdfSleMo7YASA.jpeg]]
+
+ - https://medium.com/design-ibm/prototyping-ibm-design-thinking-method-cards-1328080da382
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Tiles: A Card-based Ideation Toolkitfor the Internet of Things Simone Mora, Francesco Gianni and Monica Divitini.
+[[file:img/20201125_18-56_Screenshot 2020-11-25 at 18.55.39.png]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: When all you have is a method card set, everything looks like a design problem.
+[[file:img/20201125_18-58_tools4.jpg]]
+
+ - [[https://designingscience.wordpress.com/2013/04/05/when-all-you-have-is-a-method-card-set-everything-looks-like-a-design-problem/][When all you have is a method card set, everything looks like a design problem.]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption:  a suite of workshop method cards to support the learning model of the new Bachelor of Creative Intelligence and Innovation degree at UTS.
+[[file:img/20201125_18-59_2.Equilibrium-Method-Cards-box-set.jpg]]
+
+
+[[file:img/20201125_19-00_4.Equilibrium-Method-Cards-scatter.jpg]]
+
+ - https://www.equilibrium.design/projects/uts-method-cards/
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: https://www.mightydeals.com/deal/design-deck-playable-inspiration.html
+[[file:img/20201125_18-52_Artboard 1.png]]
+
+
+#+ATTR_LATEX: :PLACEMENT [!htb]
+#+CAPTION: oracle cards
+[[file:img/20201125_19-47_DzJdpbuX0AASVdA.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption:  A Method Kit for Method Kits
+[[file:img/20201125_20-14_Screenshot 2020-11-25 at 20.12.21.png]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption:  A Method Kit for Method Kits
+[[file:img/20201125_20-13_cards-kitkit.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: At a UN summit in 2015, 193 world leaders agreed to 17 Global Goals for Sustainable Development. The Global Goals Cards are 58 colour-coded cards that illuminate and allow us to discuss the UN goals for transforming our world.
+[[file:img/20201125_20-15_globalgoalscards.png]]
+
+
+#+caption: Method kit for Personal Projects
+[[file:img/20201125_20-16_stackcardsprojectscards.png]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_EXPORT
+* Fluxx
+
+The [[https://www.looneylabs.com/games/fluxx][Card Game With Ever-Changing Rules]] “It starts out simple: draw one card and play one card – but New Rule cards quickly make things chaotic. Even the object of the game will often change as you play, as players swap out one Goal card for another. Can you achieve World Peace before someone changes the goal to Bread and Chocolate?”
+
+#+caption: Fluxx
+file:./img/20201126_11-55_fluxx.jpeg
+
+
+#+caption: varieties of Fluxx
+[[file:img/20201126_1202_.jpeg]]
+
+#+caption: FLuxx gameplay instructions. https://www.looneylabs.com/
+[[file:img/20201126_1204_FluxxSampleGame.png]]
+
+
+
+(see also the [[https://www.looneylabs.com/lit/type/rules][Looney Labs Literature Index]] (printable rules and rulesheets) and [[https://www.looneylabs.com/games/chrononauts][Chrononauts]])
+
+* MTG
+
+“Magic can be played by two or more players, either in person with printed cards or on a computer, smartphone or tablet with virtual cards through the Internet-based software Magic: The Gathering Online or other video games such as Magic: The Gathering Arena. It can be played in various rule formats, which fall into two categories: constructed and limited. Limited formats involve players building a deck spontaneously out of a pool of random cards with a minimum deck size of 40 cards; in constructed formats, players create decks from cards they own, usually with a minimum of 60 cards per deck.  New cards are released on a regular basis through expansion sets.” [[https://en.wikipedia.org/wiki/Magic:_The_Gathering][Magic: The Gathering (Wikipedia)]]
+
+Formats: MTG Arena, Tabletop Magic, Magic Online and Magic Pro League (digital and tabletop tournaments)
+
+#+caption: MTG Arena (gameplay)
+[[file:img/20201126_1222_mtg-arena-2.jpg]]
+
+
+#+caption: MTG Grand Prix (gameplay)
+[[file:img/20201126_1223_gplv18-open.jpg]]
+
+* RPG cards
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Keyforge
+[[file:img/20201125_19-19_keyforge_anatomy.jpg]]
+
+
+#+caption: weapons
+[[file:img/20201125_19-05_062e6f3d9521bd46c9fa91e2303e54f5.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: FAITH: The Sci-Fi RPG
+[[file:img/20201125_19-09_Captura-de-pantalla-2015-02-14-a-las-23.23.46.png]]
+
+#+caption: FAITH: The Sci-Fi RPG (example Player, Gear and NPC cards)
+[[file:img/20201125_19-09_687474703a2f2f692e696d6775722e636f6d2f786f4858647a642e6a7067.jpeg]]
+
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The afterlife of Android: Netrunner (Nextrunner International Support and Expansion Initiative)  https://www.dicebreaker.com/categories/trading-card-game/feature/android-netrunner-community-afterlife
+[[file:img/20201125_19-14_android-netrunner-nisei-cards-2.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Pokémon Trading Card Game
+[[file:img/20201125_19-17_pokemon-trading-card-game-cards-3.JPG]]
+
+* 1KBWC
+
+“At its simplest, a card is just that: a physical card, which may or may not have undergone any modifications. Its role in the game is both as itself and as whatever information it carries, which can be changed, erased or amended. Many cards have been created which demanded their own modification, destruction or duplication, and many have been created which display nothing but a picture or text bearing no explicit significance whatsoever. Some have been eaten, burned, or cut and folded into other shapes.  As conceived, the game is not inherently limited in length or scope, is radically self-modifying, and can contain references to, or actual instances of, other games or activities. The game can also encode algorithms (trivially functioning as a Turing machine), store real-world data, and hold or refer to non-card objects.” [[https://en.wikipedia.org/wiki/1000_Blank_White_Cards][1000 Blank White Cards (Wikipedia)]]
+
+#+caption: 1000 Blank White Cards (modified)
+[[file:img/20201126_1239_pic449101.jpg]]
+
+
+#+caption: 1KBWC 333 Card Booster Pack
+[[file:img/20201126_1238_pic5808531.jpg]]
+
+* Kabufuda / Hanufuda
+
+[[https://en.wikipedia.org/wiki/Hanafuda][Hanafuda]] and [[https://en.wikipedia.org/wiki/Kabufuda][Kabufuda]] “cards are tiny, only 2 1/8 by 1 1/4 inches (54 x 32 mm), but about three times thicker than Western cards. […] There are twelve suits, representing months of the year. Each is designated by a flower and has four cards. The point values should be considered merely as a ranking mechanism, as the most popular games only concern themselves with certain combinations of taken cards. ”
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Hanafuda Cards
+[[file:img/20201125_23-36_.jpeg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Nintendo Hanafuda Cards Deck
+[[file:img/20201125_23-37_Zekes-Board-Game-Revue-Hanafuda-Nintendo-Cards-Deck.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Hanafuda cards
+[[file:img/20201126_00-05_eea9ee23743607.560489e8d5094.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* Dasavatara Ganjifa
+
+“Ganjifa cards are used in India, Pakistan, Iran and Turkey, and are usually hand-painted. This version was printed chromo-lithographically by the Chitrasala Press in around 1950. Ten suits of twelve cards, each suit is based on one of the ten incarnations of Vishnu. An upper court card, Raja, a lower court card, Pradhan or Mantri, and ten numerals in each suit. Suits are: Matsya (fish), Kurma (turtle), Varaha (boar), Narasimha (lion), Vamana (water pot), Parashurama (axe), Rama (bow & arrow, or monkey), Krishna (quoit or cow), Buddha (conch) and Kalkin (sword or horse).” https://www.wopc.co.uk/india/dasavatara
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Ganjifa cards
+[[file:img/20201126_00-11_dasavatara-ganjifa.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* The Children’s Alphabetical Packs
+
+“At least three different editions of the cards were published; two with Marathi text and a third edition in Urdu. The cards were obviously intended as a game for fun but also with an educational agenda, i.e. the teaching of reading, matching and etiquette.”
+
+#+caption: The images on the numeral cards show everyday objects such as ships, trains, rivers, a holy man or yogi, fruit, animals and a fire altar.
+[[file:img/20201126_01-03_alphabetical-marathi-1a.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* Tonalamatl
+
+“Baraja Tonalamatl Mexican Aztec playing cards based on the prehispanic Codex Borgia manuscript - “A synthesis of Mesoamerican Cosmogonical, Chronometrical, Astronomical and Mathematical thought”. The cards run from 1 - 13 in each colour, plus 20 violet cards and six extra cards, making a total of 78 cards.“ https://www.wopc.co.uk/mexico/tonalamatl
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption:  Baraja Tonalamatl Mexican Aztec playing cards ()1985) based on the prehispanic Codex Borgia
+[[file:img/20201126_00-17_tonalamatl-extra.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* Hakka (客家)
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Hakka cards arranged according to rank and suit. https://www.wopc.co.uk/china/hakka
+[[file:img/20201126_00-21_hakka-overview.jpg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: 六虎牌 Six tiger cards, 鴻獅廠 Hong Shi Factory
+[[file:img/20201126_00-21_hakka-5.jpg]]
+
+
+* Logica Memorativa
+
+‘Influenced by Byzantium, Vittorino da Feltre's school 'La Giocosa' revived in Italy the habit of using exercise-games in elementary levels of teaching. From that model, perhaps, the Franciscan named Thomas Murner in the late fifteenth century devised his course for teaching elements of logic. He presented students (in parallel with his 16 written lectures as 'Letters' or charta), with suites of practical exercises and mnemonic diagrams to supplement and reinforce students' memory of the material. Each lecture was linked with its associated exercises and diagrams by use of a common emblem, the 16 emblems speaking to philosophical symbolism and to stages of progress through academe's 'little year.' ’  https://www.wopc.co.uk/germany/murner
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Logica Memorativa Playing Cards by Thomas Murner (1507)
+[[file:img/20201126_00-39_thomas-murner.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* corners, miniatures & indices
+
+“My invention consists in combining a number or letter with an emblem - such as a heart, spade, club or diamond - so that upon seeing the emblem, which may be in a corner, the denomination of the card is at once understood.”  https://www.wopc.co.uk/cards/corner-indices
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Patent number US182166
+[[file:img/20201126_00-28_chanony-patent-1876-1.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: The Muir & Moodie Pictorial Playing Cards, published by Muir & Moodie (1898-1916), Dunedin, New Zealand, c.1903.
+[[file:img/20201126_00-30_muir-moodie-pictorial.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* miscellanea
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: secondary uses
+[[file:img/20201126_00-37_secondary-1792.jpg]]
+
+
+“Card RPGs seem to be all the rage now and there is good reason for that: phones. It’s an easy concept to toss out to people on their commute and when trying to kill some time.”  https://www.thegamer.com/best-card-rpgs-ranked/
+
+design in progress > https://www.kickstarter.com/discover/advanced?term=cards
+
+
+#+ATTR_LaTeX: :placement [!htb] :width 50mm
+#+caption: Holographic Lunar Cards
+[[file:img/20201126_01-16_House-of-Formlab-Limited_Edition_uusi_luna_cards_1800x1800-003-570x554.jpg]]
+
+
+#+BEGIN_export latex
+\clearpage
+#+END_export
+* various artists
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Daniel Martin Diaz. http://danielmartindiaz.com/
+[[file:img/20201125_23-25_The-Purgatory-copy.jpg.jpeg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Peter Madden
+[[file:img/20201125_23-28_PeterMadden2.jpeg]]
+
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Victoria Siemer
+[[file:img/20201125_23-45_birds_small.jpg]]
+
+#+ATTR_LaTeX: :placement [!htb]
+#+caption: Marian Bantjes
+[[file:img/20201125_23-47_bantjes_2008_design-ignites-3.jpg]]
+
+* FIN
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diff --git a/web/img/20201126_01-16_House-of-Formlab-Limited_Edition_uusi_luna_cards_1800x1800-003-570x554.jpg b/web/img/20201126_01-16_House-of-Formlab-Limited_Edition_uusi_luna_cards_1800x1800-003-570x554.jpg
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diff --git a/web/shuffle.html b/web/shuffle.html
index 448de99..da17c7e 100644
--- a/web/shuffle.html
+++ b/web/shuffle.html
@@ -9,47 +9,46 @@
   <script src="scripts/granim.min.js"></script>
 
   <script>
-    var granimInstance = new Granim({
-	element: '#canvas-image',
-	name: 'anima',
-	direction: 'radial',
-	isPausedWhenNotInView: true,
-	elToSetClassOn: 'body',
-	opacity: [1, 1],
-	image : {
-            source: 'img/prehension.png',
-            blendingMode: 'hue',
-	    stretchMode: ['stretch', 'stretch'],
-	    position: 	['center', 'center']
-	},
-	states : {
-	    "default-state": {
-		gradients: [
-		    ['#834D9B', '#D04ED6'],
-		    ['#1CD8D2', '#93EDC7']
-		],
-		transitionSpeed: 23*1000
-	    }}});
+   function pickimg(x){
+       var rnd = Math.round( Math.random() * 120);
+       document.getElementById(x).src = "img/c".concat(rnd, ".png")
+   }
+
+	   var granimInstance = new Granim({
+	       element: '#canvas-image',
+	       name: 'anima',
+	       direction: 'radial',
+	       isPausedWhenNotInView: true,
+	       elToSetClassOn: 'body',
+	       opacity: [1, 1],
+	       image : {
+		   source: 'img/prehension.png',
+		   blendingMode: 'hue',
+		   stretchMode: ['stretch', 'stretch'],
+		   position: 	['center', 'center']
+	       },
+	       states : {
+		   "default-state": {
+		       gradients: [
+			   ['#834D9B', '#D04ED6'],
+			   ['#1CD8D2', '#93EDC7']
+		       ],
+		       transitionSpeed: 23*1000
+	   }}});
   </script>
 
 
   <script>
-    
     var content = document.getElementById('card');
-
     function moveDown () {
 	var top = parseInt(content.style.marginTop); // get the top margin
                                                  // we'll be using this to
                                                  // push the div down
-
 	if (!top) {
             top = 0; // if the margin is undefined, default it to zero
 	}
-	
 	top += 20; // add 20 pixels to the current margin
-	
 	content.style.marginTop = top + 'px'; // push div down
-	
 	if (top < 200) {
             // If it's not yet 200 pixels then call this function
             // again in another 100 milliseconds (100 ms gives us
@@ -58,8 +57,7 @@
 	}
     }
   </script>
-  
-  
+
   <style>
     #canvas-image {
 	position: absolute;
@@ -82,17 +80,22 @@
     #card2 { position: absolute; right: 30%; top: 50%; }
     #card3 { position: absolute; right: 40%; top: 50%; }
     #card4 { position: absolute; right: 60%; top: 50%; }
-    
+
   </style>
 </head>
 
 <body>
   <canvas id="canvas-image"></canvas>
 
-  <div class="card" id="card1"><img src="img/c1.png" height="320"></div>
-  <div class="card" id="card3"><img src="img/c3.png" height="320"></div>
-  <div class="card" id="card4"><img src="img/c4.png" height="320"></div>
-  
+  <div class="card" id="card1">
+      <a href="" onClick="pickimg('c1');return false;"><img src="img/c1.png" height="320"  id="c1"></a>
+  </div>
+  <div class="card" id="card3">
+      <a href="" onClick="pickimg('c3');return false;"><img src="img/c3.png" height="320"  id="c3"></a>
+  </div>
+  <div class="card" id="card4">
+      <a href="" onClick="pickimg('c4');return false;"><img src="img/c4.png" height="320"  id="c4"></a>
+  </div>
+
 </body>
 </html>
-  
diff --git a/web/various-cards.html b/web/various-cards.html
new file mode 100644
index 0000000..0161f58
--- /dev/null
+++ b/web/various-cards.html
@@ -0,0 +1,948 @@
+<!doctype html>
+<html lang="en">
+<head>
+<title>cards (various)</title>
+<!-- 2020-11-26 Thu 04:06 -->
+<meta charset="utf-8">
+<meta name="viewport" content="width=device-width, initial-scale=1">
+<meta name="generator" content="Org-mode">
+<meta name="author" content="The S.P.A.C.E consortium &amp; SUPERject working group">
+
+<link  href="https://cdnjs.cloudflare.com/ajax/libs/twitter-bootstrap/3.3.5/css/bootstrap.min.css" rel="stylesheet">
+<script src="https://cdnjs.cloudflare.com/ajax/libs/jquery/1.11.3/jquery.min.js"></script>
+<script src="https://cdnjs.cloudflare.com/ajax/libs/twitter-bootstrap/3.3.5/js/bootstrap.min.js"></script>
+<style>
+/* org mode styles on top of twbs */
+
+html {
+    position: relative;
+    min-height: 100%;
+}
+
+body {
+    font-size: 18px;
+    margin-bottom: 105px;
+}
+
+footer {
+    position: absolute;
+    bottom: 0;
+    width: 100%;
+    height: 101px;
+    background-color: #f5f5f5;
+}
+
+footer > div {
+    padding: 10px;
+}
+
+footer p {
+    margin: 0 0 5px;
+    text-align: center;
+    font-size: 16px;
+}
+
+#table-of-contents {
+    margin-top: 20px;
+    margin-bottom: 20px;
+}
+
+blockquote p {
+    font-size: 18px;
+}
+
+pre {
+    font-size: 16px;
+}
+
+.footpara {
+    display: inline-block;
+}
+
+figcaption {
+  font-size: 16px;
+  color: #666;
+  font-style: italic;
+  padding-bottom: 15px;
+}
+
+/* from twbs docs */
+
+.bs-docs-sidebar.affix {
+    position: static;
+}
+@media (min-width: 768px) {
+    .bs-docs-sidebar {
+        padding-left: 20px;
+    }
+}
+
+/* All levels of nav */
+.bs-docs-sidebar .nav > li > a {
+    display: block;
+    padding: 4px 20px;
+    font-size: 14px;
+    font-weight: 500;
+    color: #999;
+}
+.bs-docs-sidebar .nav > li > a:hover,
+.bs-docs-sidebar .nav > li > a:focus {
+    padding-left: 19px;
+    color: #A1283B;
+    text-decoration: none;
+    background-color: transparent;
+    border-left: 1px solid #A1283B;
+}
+.bs-docs-sidebar .nav > .active > a,
+.bs-docs-sidebar .nav > .active:hover > a,
+.bs-docs-sidebar .nav > .active:focus > a {
+    padding-left: 18px;
+    font-weight: bold;
+    color: #A1283B;
+    background-color: transparent;
+    border-left: 2px solid #A1283B;
+}
+
+/* Nav: second level (shown on .active) */
+.bs-docs-sidebar .nav .nav {
+    display: none; /* Hide by default, but at >768px, show it */
+    padding-bottom: 10px;
+}
+.bs-docs-sidebar .nav .nav > li > a {
+    padding-top: 1px;
+    padding-bottom: 1px;
+    padding-left: 30px;
+    font-size: 12px;
+    font-weight: normal;
+}
+.bs-docs-sidebar .nav .nav > li > a:hover,
+.bs-docs-sidebar .nav .nav > li > a:focus {
+    padding-left: 29px;
+}
+.bs-docs-sidebar .nav .nav > .active > a,
+.bs-docs-sidebar .nav .nav > .active:hover > a,
+.bs-docs-sidebar .nav .nav > .active:focus > a {
+    padding-left: 28px;
+    font-weight: 500;
+}
+
+/* Nav: third level (shown on .active) */
+.bs-docs-sidebar .nav .nav .nav {
+    padding-bottom: 10px;
+}
+.bs-docs-sidebar .nav .nav .nav > li > a {
+    padding-top: 1px;
+    padding-bottom: 1px;
+    padding-left: 40px;
+    font-size: 12px;
+    font-weight: normal;
+}
+.bs-docs-sidebar .nav .nav .nav > li > a:hover,
+.bs-docs-sidebar .nav .nav .nav > li > a:focus {
+    padding-left: 39px;
+}
+.bs-docs-sidebar .nav .nav .nav > .active > a,
+.bs-docs-sidebar .nav .nav .nav > .active:hover > a,
+.bs-docs-sidebar .nav .nav .nav > .active:focus > a {
+    padding-left: 38px;
+    font-weight: 500;
+}
+
+/* Show and affix the side nav when space allows it */
+@media (min-width: 992px) {
+    .bs-docs-sidebar .nav > .active > ul {
+        display: block;
+    }
+    /* Widen the fixed sidebar */
+    .bs-docs-sidebar.affix,
+    .bs-docs-sidebar.affix-bottom {
+        width: 213px;
+    }
+    .bs-docs-sidebar.affix {
+        position: fixed; /* Undo the static from mobile first approach */
+        top: 20px;
+    }
+    .bs-docs-sidebar.affix-bottom {
+        position: absolute; /* Undo the static from mobile first approach */
+    }
+    .bs-docs-sidebar.affix .bs-docs-sidenav,.bs-docs-sidebar.affix-bottom .bs-docs-sidenav {
+        margin-top: 0;
+        margin-bottom: 0
+    }
+}
+@media (min-width: 1200px) {
+    /* Widen the fixed sidebar again */
+    .bs-docs-sidebar.affix-bottom,
+    .bs-docs-sidebar.affix {
+        width: 263px;
+    }
+}
+</style>
+<script>
+$(function() {
+    'use strict';
+
+    $('.bs-docs-sidebar li').first().addClass('active');
+
+    $(document.body).scrollspy({target: '.bs-docs-sidebar'});
+
+    $('.bs-docs-sidebar').affix();
+});
+</script>
+</head>
+<body>
+<div id="content" class="container">
+<div class="row"><div class="col-md-3 col-md-push-9"><nav id="table-of-contents">
+<div id="text-table-of-contents" class="bs-docs-sidebar">
+<ul class="nav">
+<li><a href="#sec-1">1. playing cards</a></li>
+<li><a href="#sec-2">2. Tarot (and variations)</a></li>
+<li><a href="#sec-3">3. Design (thinking), Futures &amp; Method cards</a></li>
+<li><a href="#sec-4">4. RPG cards</a></li>
+<li><a href="#sec-5">5. Kabufuda / Hanufuda</a></li>
+<li><a href="#sec-6">6. Dasavatara Ganjifa</a></li>
+<li><a href="#sec-7">7. The Children’s Alphabetical Packs</a></li>
+<li><a href="#sec-8">8. Tonalamatl</a></li>
+<li><a href="#sec-9">9. Hakka (客家)</a></li>
+<li><a href="#sec-10">10. Logica Memorativa</a></li>
+<li><a href="#sec-11">11. corners, miniatures &amp; indices</a></li>
+<li><a href="#sec-12">12. miscellanea</a></li>
+<li><a href="#sec-13">13. various artists</a></li>
+<li><a href="#sec-14">14. FIN</a></li>
+</ul>
+</div>
+</nav>
+</div><div class="col-md-9 col-md-pull-3"><h1 class="title">cards (various)</h1>
+
+<div id="outline-container-sec-1" class="outline-2">
+<h2 id="sec-1"><span class="section-number-2">1</span> playing cards</h2>
+<div class="outline-text-2" id="text-1">
+
+<figure>
+<p><img src="img/20201125_18-30_RedShoot_4x6.jpg.jpeg" class="img-responsive" alt="20201125_18-30_RedShoot_4x6.jpg.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 1:</span> The Font Deck. Learn about typography while playing poker.  <a href="https://www.forrestgoods.com/shop/the-font-deck">https://www.forrestgoods.com/shop/the-font-deck</a></figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_18-32_felix9.jpg" class="img-responsive" alt="20201125_18-32_felix9.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 2:</span> <a href="https://felix-blommestijn.blogspot.com/">https://felix-blommestijn.blogspot.com/</a></figcaption>
+</figure>
+
+
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 1:</span> The Playing Arts deck “eclectic and powerful, with 55 artists from all over the world involved”  <a href="https://playingarts.com/en/special">https://playingarts.com/en/special</a></caption>
+
+<colgroup>
+<col  class="left">
+
+<col  class="left">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201125_18-44_intro__700.png" class="img-responsive" alt="20201125_18-44_intro__700.png"></td>
+<td class="text-left"><img src="img/20201125_18-47_Screenshot 2020-11-25 at 18.46.34.png" class="img-responsive" alt="20201125_18-47_Screenshot 2020-11-25 at 18.46.34.png"></td>
+</tr>
+
+<tr>
+<td class="text-left"> </td>
+<td class="text-left"> </td>
+</tr>
+</tbody>
+</table>
+
+
+<ul class="org-ul">
+<li><a href="https://playingarts.com/en/special">https://playingarts.com/en/special</a>
+</li>
+<li><a href="https://www.boredpanda.com/unique-card-deck-design-playing-arts/">https://www.boredpanda.com/unique-card-deck-design-playing-arts/</a>
+</li>
+</ul>
+
+
+
+<figure>
+<p><img src="img/20201125_18-48_Play.jpg" class="img-responsive" alt="20201125_18-48_Play.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 3:</span> Concept and Design for a minimalist Playing Cards decks. Francesca Pagani</figcaption>
+</figure>
+
+<ul class="org-ul">
+<li><a href="https://francescapagani.graphics/portfolio-item/playing-cards/">https://francescapagani.graphics/portfolio-item/playing-cards/</a>
+</li>
+</ul>
+
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 2:</span> Four sided</caption>
+
+<colgroup>
+<col  class="left">
+
+<col  class="left">
+</colgroup>
+<tbody>
+    <tr>
+	<td class="text-left"><img src="img/20201125_23-02_Backs_odds.jpeg" class="img-responsive" alt="20201125_23-02_Backs_odds.jpeg"></td>
+	<td class="text-left"><img src="img/20201125_23-01_reeks-van-negen-antieke-uitstekende-speelkaartruggen-17296490.jpg" class="img-responsive" alt="20201125_23-01_reeks-van-negen-antieke-uitstekende-speelkaartruggen-17296490.jpg"></td>
+    </tr>
+    <tr>
+    	<td class="text-left"><img src="img/20201125_20-19_vintage_playing_cards.jpg" class="img-responsive" alt="20201125_20-19_vintage_playing_cards.jpg"></td>
+	<td class="text-left"><img src="img/20201125_23-04_b1746b4001c84635bae60f045467a9a2.jpeg" class="img-responsive" alt="20201125_23-04_b1746b4001c84635bae60f045467a9a2.jpeg"></td>
+</tr>
+</tbody>
+</table>
+
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 3:</span> Jokers</caption>
+
+<colgroup>
+<col  class="left">
+
+<col  class="left">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201126_01-07_7fe46076caab90f022519e6684585eeec38c71d8.jpg" class="img-responsive" alt="20201126_01-07_7fe46076caab90f022519e6684585eeec38c71d8.jpg"></td>
+</tr>
+<tr>
+<td class="text-left"><img src="img/20201126_01-08_8f79eb029479e3086708b021b35206563b9e2bda.jpg" class="img-responsive" alt="20201126_01-08_8f79eb029479e3086708b021b35206563b9e2bda.jpg"></td>
+</tr>
+
+<tr>
+<td class="text-left"> </td>
+<td class="text-left">&#xa0;</td>
+</tr>
+</tbody>
+</table>
+
+
+<figure>
+<p><img src="img/20201126_00-24_bergallo-3.jpg" class="img-responsive" alt="20201126_00-24_bergallo-3.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 4:</span> woodblock-printed and stencil-coloured Spanish-suited playing cards made in Italy by Agostino Bergallo for export to Spanish territories, 18th century.</figcaption>
+</figure>
+
+
+<table id="Fortune Telling Cards" class="table table-condensed">
+
+
+<colgroup>
+<col  class="left">
+
+<col  class="left">
+</colgroup>
+<tbody>
+    <tr>
+	<td class="text-left"><img src="img/20201126_00-55_billings-0.jpg" class="img-responsive" alt="20201126_00-55_billings-0.jpg"></td>
+    </tr>
+    <tr>
+	<td class="text-left">Cabalistic Playing Cards, 1873</td>
+    </tr>
+    <tr>
+	<td class="text-left"><img src="img/20201126_00-57_rameses.76288917.jpg" class="img-responsive" alt="20201126_00-57_rameses.76288917.jpg"></td>
+    </tr>
+    <tr>
+	<td class="text-left">The Rameses Fortune Telling Cards, manufactured by Chas. Goodall &amp; Son Ltd, Camden Works, London, c.1910. 52 cards + extra 'Subject' card in box.</td>
+    </tr>
+</tbody>
+</table>
+
+
+<table id="Fortune Telling Cards" class="table table-condensed">
+
+
+<colgroup>
+<col  class="left">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201125_18-38_IMG-0520-flip-large-edit_797394.png" class="img-responsive" alt="20201125_18-38_IMG-0520-flip-large-edit_797394.png"></td>
+</tr>
+
+<tr>
+<td class="text-left"><a href="https://www.core77.com/projects/77591/The-Tarot-Cards-of-Tech-A-Fun-Way-for-Designers-to-Predict-the-Impact-of-Tech-on-their-Products">The Tarot Cards of Tech</a></td>
+</tr>
+</tbody>
+</table>
+</div>
+</div>
+<div id="outline-container-sec-2" class="outline-2">
+<h2 id="sec-2"><span class="section-number-2">2</span> Tarot (and variations)</h2>
+<div class="outline-text-2" id="text-2">
+
+<figure>
+<p><img src="img/20201125_19-22_Tarot-Deck-main.jpg" class="img-responsive" alt="20201125_19-22_Tarot-Deck-main.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 5:</span> Thoth Tarot</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_19-24_image053.jpg" class="img-responsive" alt="20201125_19-24_image053.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 6:</span> Sola-Busca Tarot</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_19-25_image067.jpg" class="img-responsive" alt="20201125_19-25_image067.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 7:</span> Hermetic Tarot</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-30_tumblr_lvdzgtjOHI1r2yfzeo1_1280.jpg" class="img-responsive" alt="20201125_19-30_tumblr_lvdzgtjOHI1r2yfzeo1_1280.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 8:</span> Revelations Tarot</figcaption>
+</figure>
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 4:</span> The Housewives Tarot</caption>
+
+<colgroup>
+<col  class="left">
+
+<col  class="right">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201125_19-35_tumblr_lrstl3ATq71r2yfzeo1_640.jpg" class="img-responsive" alt="20201125_19-35_tumblr_lrstl3ATq71r2yfzeo1_640.jpg"></td>
+<td class="text-right"><img src="img/20201125_19-31_tumblr_lsxwfmbLjp1r2yfzeo1_500.jpg" class="img-responsive" alt="20201125_19-31_tumblr_lsxwfmbLjp1r2yfzeo1_500.jpg"></td>
+</tr>
+
+<tr>
+<td class="text-left">&#xa0;</td>
+<td class="text-right">3</td>
+</tr>
+</tbody>
+</table>
+
+
+<figure>
+<p><img src="img/20201125_19-32_tumblr_ls23zqQ5ql1r2yfzeo1_640.jpg" class="img-responsive" alt="20201125_19-32_tumblr_ls23zqQ5ql1r2yfzeo1_640.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 9:</span> Margarete Peteresen Tarot</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-37_tumblr_lrm7nas3sJ1r2qx4ao1_1280.jpg" class="img-responsive" alt="20201125_19-37_tumblr_lrm7nas3sJ1r2qx4ao1_1280.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 10:</span> Vertigo Tarot deck. Art by Dave McKean</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_18-40_tarot_card_design_ii_by_bencebalaton-d586tlr.jpg.jpeg" class="img-responsive" alt="20201125_18-40_tarot_card_design_ii_by_bencebalaton-d586tlr.jpg.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 11:</span> III</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_18-41_sliders_major-arcana1.png.png" class="img-responsive" alt="20201125_18-41_sliders_major-arcana1.png.png">
+</p>
+<figcaption><span class="figure-number">Figure 12:</span> I</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_19-38_tumblr_lrgneshCra1r1g3ldo1_1280.jpg" class="img-responsive" alt="20201125_19-38_tumblr_lrgneshCra1r1g3ldo1_1280.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 13:</span> tarocchi degli insetti - acquarelli.</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_19-39_tumblr_lqv4r7Aq9t1r2yfzeo1_640.jpg" class="img-responsive" alt="20201125_19-39_tumblr_lqv4r7Aq9t1r2yfzeo1_640.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 14:</span> The Phantasmagoric Theater Tarot</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-41_Screenshot 2020-11-25 at 19.41.17.png" class="img-responsive" alt="20201125_19-41_Screenshot 2020-11-25 at 19.41.17.png">
+</p>
+<figcaption><span class="figure-number">Figure 15:</span> The Quantum Tarot by Christopher Butler and Kay Stopforth</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-43_static1.squarespace.jpg" class="img-responsive" alt="20201125_19-43_static1.squarespace.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 16:</span> Starchild Tarot</figcaption>
+</figure>
+
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 5:</span> Dali Tarot</caption>
+
+<colgroup>
+<col  class="left">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201125_19-45_dali_tarot_new_edition_va_int_box002_cards_44640_1909301503_id_1259893.jpg" class="img-responsive" alt="20201125_19-45_dali_tarot_new_edition_va_int_box002_cards_44640_1909301503_id_1259893.jpg"></td>
+</tr>
+
+<tr>
+<td class="text-left"><a href="https://www.taschen.com/pages/en/catalogue/art/all/44640/facts.dali_tarot.htm">Dali Tarot - Taschen</a></td>
+</tr>
+</tbody>
+</table>
+
+
+<figure>
+<p><img src="img/20201126_00-59_self-guided-tarot-2.jpg" class="img-responsive" alt="20201126_00-59_self-guided-tarot-2.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 17:</span> cards from “Self-Guided Tarot” by Cameo Victor, 1999</figcaption>
+</figure>
+
+<table class="table table-condensed">
+<caption class="t-above"><span class="table-number">Table 6:</span> Ikea Tarot <a href="https://www.core77.com/posts/90881/Ikea-Based-Tarot-Cards">https://www.core77.com/posts/90881/Ikea-Based-Tarot-Cards</a></caption>
+
+<colgroup>
+<col  class="left">
+
+<col  class="right">
+</colgroup>
+<tbody>
+<tr>
+<td class="text-left"><img src="img/20201125_18-35_961653_81_90881_0PTb7mCXx.jpg" class="img-responsive" alt="20201125_18-35_961653_81_90881_0PTb7mCXx.jpg"></td>
+<td class="text-right"><img src="img/20201125_18-36_961656_81_90881_Q0mFWcKLh.jpg" class="img-responsive" alt="20201125_18-36_961656_81_90881_Q0mFWcKLh.jpg"></td>
+</tr>
+
+<tr>
+<td class="text-left">VI</td>
+<td class="text-right">5</td>
+</tr>
+</tbody>
+</table>
+
+
+<figure>
+<p><img src="img/20201125_19-48_static1.squarespace-86.jpg" class="img-responsive" alt="20201125_19-48_static1.squarespace-86.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 18:</span> Brown Magic Oracle cards</figcaption>
+</figure>
+
+<p>
+<a href="http://www.evolveandascend.com/2015/12/13/how-the-mysterious-brown-magick-oracle-card-deck-came-to-be/">How the Mysterious ‘Brown Magick’ Oracle Card Deck Came to Be</a>
+</p>
+
+
+<figure>
+<p><img src="img/20201125_19-49_tumblr_inline_nmj4t0srnf1ts0fpt_500.jpg" class="img-responsive" alt="20201125_19-49_tumblr_inline_nmj4t0srnf1ts0fpt_500.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 19:</span> Brown Magic Oracle cards</figcaption>
+</figure>
+
+<p>
+<img src="img/20201125_19-53_Screenshot 2020-11-25 at 19.51.56.png" class="img-responsive" alt="20201125_19-53_Screenshot 2020-11-25 at 19.51.56.png">
+ and <a href="https://fuckyeahtarotdecks.tumblr.com/">so on, and so on</a>…
+</p>
+</div>
+</div>
+<div id="outline-container-sec-3" class="outline-2">
+<h2 id="sec-3"><span class="section-number-2">3</span> Design (thinking), Futures &amp; Method cards</h2>
+<div class="outline-text-2" id="text-3">
+
+<figure>
+<p><img src="img/20201125_23-54_IDEO_Method_Cards_gallery_a0ea0e2c-beb5-48fd-b880-89fa22af0ba6_1024x1024.jpg.jpeg" class="img-responsive" alt="20201125_23-54_IDEO_Method_Cards_gallery_a0ea0e2c-beb5-48fd-b880-89fa22af0ba6_1024x1024.jpg.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 20:</span> IDEO Method cards. <a href="https://www.ideo.com/post/method-cards">https://www.ideo.com/post/method-cards</a></figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_23-55_Screenshot 2020-11-25 at 23.54.00.png" class="img-responsive" alt="20201125_23-55_Screenshot 2020-11-25 at 23.54.00.png">
+</p>
+<figcaption><span class="figure-number">Figure 21:</span> IDEO Method Cards</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_18-53_1*wBOqufjX8xPWj4zVqdbOQw.jpeg" class="img-responsive" alt="20201125_18-53_1*wBOqufjX8xPWj4zVqdbOQw.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 22:</span> IBM design thinking cards</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_18-54_1*ZC3AsH-foTdfSleMo7YASA.jpeg" class="img-responsive" alt="20201125_18-54_1*ZC3AsH-foTdfSleMo7YASA.jpeg">
+</p>
+</figure>
+
+<ul class="org-ul">
+<li><a href="https://medium.com/design-ibm/prototyping-ibm-design-thinking-method-cards-1328080da382">https://medium.com/design-ibm/prototyping-ibm-design-thinking-method-cards-1328080da382</a>
+</li>
+</ul>
+
+
+
+<figure>
+<p><img src="img/20201125_18-56_Screenshot 2020-11-25 at 18.55.39.png" class="img-responsive" alt="20201125_18-56_Screenshot 2020-11-25 at 18.55.39.png">
+</p>
+<figcaption><span class="figure-number">Figure 24:</span> Tiles: A Card-based Ideation Toolkitfor the Internet of Things Simone Mora, Francesco Gianni and Monica Divitini.</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_18-58_tools4.jpg" class="img-responsive" alt="20201125_18-58_tools4.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 25:</span> When all you have is a method card set, everything looks like a design problem.</figcaption>
+</figure>
+
+<ul class="org-ul">
+<li><a href="https://designingscience.wordpress.com/2013/04/05/when-all-you-have-is-a-method-card-set-everything-looks-like-a-design-problem/">When all you have is a method card set, everything looks like a design problem.</a>
+</li>
+</ul>
+
+
+
+<figure>
+<p><img src="img/20201125_18-59_2.Equilibrium-Method-Cards-box-set.jpg" class="img-responsive" alt="20201125_18-59_2.Equilibrium-Method-Cards-box-set.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 26:</span> a suite of workshop method cards to support the learning model of the new Bachelor of Creative Intelligence and Innovation degree at UTS.</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-00_4.Equilibrium-Method-Cards-scatter.jpg" class="img-responsive" alt="20201125_19-00_4.Equilibrium-Method-Cards-scatter.jpg">
+</p>
+</figure>
+
+<ul class="org-ul">
+<li><a href="https://www.equilibrium.design/projects/uts-method-cards/">https://www.equilibrium.design/projects/uts-method-cards/</a>
+</li>
+</ul>
+
+
+
+<figure>
+<p><img src="img/20201125_18-52_Artboard 1.png" class="img-responsive" alt="20201125_18-52_Artboard 1.png">
+</p>
+<figcaption><span class="figure-number">Figure 28:</span> <a href="https://www.mightydeals.com/deal/design-deck-playable-inspiration.html">https://www.mightydeals.com/deal/design-deck-playable-inspiration.html</a></figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-47_DzJdpbuX0AASVdA.jpg" class="img-responsive" alt="20201125_19-47_DzJdpbuX0AASVdA.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 29:</span> oracle cards</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_20-14_Screenshot 2020-11-25 at 20.12.21.png" class="img-responsive" alt="20201125_20-14_Screenshot 2020-11-25 at 20.12.21.png">
+</p>
+<figcaption><span class="figure-number">Figure 30:</span> A Method Kit for Method Kits</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_20-13_cards-kitkit.jpg" class="img-responsive" alt="20201125_20-13_cards-kitkit.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 31:</span> A Method Kit for Method Kits</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_20-15_globalgoalscards.png" class="img-responsive" alt="20201125_20-15_globalgoalscards.png">
+</p>
+<figcaption><span class="figure-number">Figure 32:</span> At a UN summit in 2015, 193 world leaders agreed to 17 Global Goals for Sustainable Development. The Global Goals Cards are 58 colour-coded cards that illuminate and allow us to discuss the UN goals for transforming our world.</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_20-16_stackcardsprojectscards.png" class="img-responsive" alt="20201125_20-16_stackcardsprojectscards.png">
+</p>
+<figcaption><span class="figure-number">Figure 33:</span> Method kit for Personal Projects</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-4" class="outline-2">
+<h2 id="sec-4"><span class="section-number-2">4</span> RPG cards</h2>
+<div class="outline-text-2" id="text-4">
+
+<figure>
+<p><img src="img/20201125_19-19_keyforge_anatomy.jpg" class="img-responsive" alt="20201125_19-19_keyforge_anatomy.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 34:</span> Keyforge</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-05_062e6f3d9521bd46c9fa91e2303e54f5.jpg" class="img-responsive" alt="20201125_19-05_062e6f3d9521bd46c9fa91e2303e54f5.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 35:</span> game items</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_19-09_Captura-de-pantalla-2015-02-14-a-las-23.23.46.png" class="img-responsive" alt="20201125_19-09_Captura-de-pantalla-2015-02-14-a-las-23.23.46.png">
+</p>
+<figcaption><span class="figure-number">Figure 36:</span> FAITH: The Sci-Fi RPG</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_19-09_687474703a2f2f692e696d6775722e636f6d2f786f4858647a642e6a7067.jpeg" class="img-responsive" alt="20201125_19-09_687474703a2f2f692e696d6775722e636f6d2f786f4858647a642e6a7067.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 37:</span> FAITH: The Sci-Fi RPG (example Player, Gear and NPC cards)</figcaption>
+</figure>
+
+
+
+
+<figure>
+<p><img src="img/20201125_19-14_android-netrunner-nisei-cards-2.jpg" class="img-responsive" alt="20201125_19-14_android-netrunner-nisei-cards-2.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 38:</span> The afterlife of Android: Netrunner (Nextrunner International Support and Expansion Initiative)</figcaption>
+</figure>
+
+<ul class="org-ul">
+<li><a href="https://www.dicebreaker.com/categories/trading-card-game/feature/android-netrunner-community-afterlife">https://www.dicebreaker.com/categories/trading-card-game/feature/android-netrunner-community-afterlife</a>
+</li>
+</ul>
+
+
+<figure>
+<p><img src="img/20201125_19-17_pokemon-trading-card-game-cards-3.JPG" class="img-responsive" alt="20201125_19-17_pokemon-trading-card-game-cards-3.JPG">
+</p>
+<figcaption><span class="figure-number">Figure 39:</span> Pokémon Trading Card Game</figcaption>
+</figure>
+</div>
+</div>
+
+
+<div id="outline-container-sec-5" class="outline-2">
+<h2 id="sec-5"><span class="section-number-2">5</span> Kabufuda / Hanufuda</h2>
+<div class="outline-text-2" id="text-5">
+<p>
+<a href="https://en.wikipedia.org/wiki/Hanafuda">Hanafuda</a> and <a href="https://en.wikipedia.org/wiki/Kabufuda">Kabufuda</a> “cards are tiny, only 2 1/8 by 1 1/4 inches (54 x 32 mm), but about three times thicker than Western cards. […] There are twelve suits, representing months of the year. Each is designated by a flower and has four cards. The point values should be considered merely as a ranking mechanism, as the most popular games only concern themselves with certain combinations of taken cards. ”
+</p>
+
+
+<figure>
+<p><img src="img/20201125_23-36_.jpeg" class="img-responsive" alt="20201125_23-36_.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 40:</span> Hanafuda Cards</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_23-37_Zekes-Board-Game-Revue-Hanafuda-Nintendo-Cards-Deck.jpg" class="img-responsive" alt="20201125_23-37_Zekes-Board-Game-Revue-Hanafuda-Nintendo-Cards-Deck.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 41:</span> Nintendo Hanafuda Cards Deck</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201126_00-05_eea9ee23743607.560489e8d5094.jpg" class="img-responsive" alt="20201126_00-05_eea9ee23743607.560489e8d5094.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 42:</span> Hanafuda cards</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-6" class="outline-2">
+<h2 id="sec-6"><span class="section-number-2">6</span> Dasavatara Ganjifa</h2>
+<div class="outline-text-2" id="text-6">
+<p>
+“Ganjifa cards are used in India, Pakistan, Iran and Turkey, and are usually hand-painted. This version was printed chromo-lithographically by the Chitrasala Press in around 1950. Ten suits of twelve cards, each suit is based on one of the ten incarnations of Vishnu. An upper court card, Raja, a lower court card, Pradhan or Mantri, and ten numerals in each suit. Suits are: Matsya (fish), Kurma (turtle), Varaha (boar), Narasimha (lion), Vamana (water pot), Parashurama (axe), Rama (bow &amp; arrow, or monkey), Krishna (quoit or cow), Buddha (conch) and Kalkin (sword or horse).” <a href="https://www.wopc.co.uk/india/dasavatara">https://www.wopc.co.uk/india/dasavatara</a>
+</p>
+
+
+<figure>
+<p><img src="img/20201126_00-11_dasavatara-ganjifa.jpg" class="img-responsive" alt="20201126_00-11_dasavatara-ganjifa.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 43:</span> Ganjifa cards</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-7" class="outline-2">
+<h2 id="sec-7"><span class="section-number-2">7</span> The Children’s Alphabetical Packs</h2>
+<div class="outline-text-2" id="text-7">
+<p>
+“At least three different editions of the cards were published; two with Marathi text and a third edition in Urdu. The cards were obviously intended as a game for fun but also with an educational agenda, i.e. the teaching of reading, matching and etiquette.”
+</p>
+
+
+<figure>
+<p><img src="img/20201126_01-03_alphabetical-marathi-1a.jpg" class="img-responsive" alt="20201126_01-03_alphabetical-marathi-1a.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 44:</span> The images on the numeral cards show everyday objects such as ships, trains, rivers, a holy man or yogi, fruit, animals and a fire altar.</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-8" class="outline-2">
+<h2 id="sec-8"><span class="section-number-2">8</span> Tonalamatl</h2>
+<div class="outline-text-2" id="text-8">
+<p>
+“Baraja Tonalamatl Mexican Aztec playing cards based on the prehispanic Codex Borgia manuscript - “A synthesis of Mesoamerican Cosmogonical, Chronometrical, Astronomical and Mathematical thought”. The cards run from 1 - 13 in each colour, plus 20 violet cards and six extra cards, making a total of 78 cards.“ <a href="https://www.wopc.co.uk/mexico/tonalamatl">https://www.wopc.co.uk/mexico/tonalamatl</a>
+</p>
+
+
+
+<figure>
+<p><img src="img/20201126_00-17_tonalamatl-extra.jpg" class="img-responsive" alt="20201126_00-17_tonalamatl-extra.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 45:</span> Baraja Tonalamatl Mexican Aztec playing cards ()1985) based on the prehispanic Codex Borgia</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-9" class="outline-2">
+<h2 id="sec-9"><span class="section-number-2">9</span> Hakka (客家)</h2>
+<div class="outline-text-2" id="text-9">
+
+<figure>
+<p><img src="img/20201126_00-21_hakka-overview.jpg" class="img-responsive" alt="20201126_00-21_hakka-overview.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 46:</span> Hakka cards arranged according to rank and suit. <a href="https://www.wopc.co.uk/china/hakka">https://www.wopc.co.uk/china/hakka</a></figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201126_00-21_hakka-5.jpg" class="img-responsive" alt="20201126_00-21_hakka-5.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 47:</span> 六虎牌 Six tiger cards, 鴻獅廠 Hong Shi Factory</figcaption>
+</figure>
+</div>
+</div>
+
+
+<div id="outline-container-sec-10" class="outline-2">
+<h2 id="sec-10"><span class="section-number-2">10</span> Logica Memorativa</h2>
+<div class="outline-text-2" id="text-10">
+<p>
+‘Influenced by Byzantium, Vittorino da Feltre's school 'La Giocosa' revived in Italy the habit of using exercise-games in elementary levels of teaching. From that model, perhaps, the Franciscan named Thomas Murner in the late fifteenth century devised his course for teaching elements of logic. He presented students (in parallel with his 16 written lectures as 'Letters' or charta), with suites of practical exercises and mnemonic diagrams to supplement and reinforce students' memory of the material. Each lecture was linked with its associated exercises and diagrams by use of a common emblem, the 16 emblems speaking to philosophical symbolism and to stages of progress through academe's 'little year.' ’  <a href="https://www.wopc.co.uk/germany/murner">https://www.wopc.co.uk/germany/murner</a>
+</p>
+
+
+<figure>
+<p><img src="img/20201126_00-39_thomas-murner.jpg" class="img-responsive" alt="20201126_00-39_thomas-murner.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 48:</span> Logica Memorativa Playing Cards by Thomas Murner (1507)</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-11" class="outline-2">
+<h2 id="sec-11"><span class="section-number-2">11</span> corners, miniatures &amp; indices</h2>
+<div class="outline-text-2" id="text-11">
+<p>
+“My invention consists in combining a number or letter with an emblem - such as a heart, spade, club or diamond - so that upon seeing the emblem, which may be in a corner, the denomination of the card is at once understood.”  <a href="https://www.wopc.co.uk/cards/corner-indices">https://www.wopc.co.uk/cards/corner-indices</a>
+</p>
+
+
+<figure>
+<p><img src="img/20201126_00-28_chanony-patent-1876-1.jpg" class="img-responsive" alt="20201126_00-28_chanony-patent-1876-1.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 49:</span> Patent number US182166</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201126_00-30_muir-moodie-pictorial.jpg" class="img-responsive" alt="20201126_00-30_muir-moodie-pictorial.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 50:</span> The Muir &amp; Moodie Pictorial Playing Cards, published by Muir &amp; Moodie (1898-1916), Dunedin, New Zealand, c.1903.</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-12" class="outline-2">
+<h2 id="sec-12"><span class="section-number-2">12</span> miscellanea</h2>
+<div class="outline-text-2" id="text-12">
+
+<figure>
+<p><img src="img/20201126_00-37_secondary-1792.jpg" class="img-responsive" alt="20201126_00-37_secondary-1792.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 51:</span> secondary uses</figcaption>
+</figure>
+
+
+<p>
+“Card RPGs seem to be all the rage now and there is good reason for that: phones. It’s an easy concept to toss out to people on their commute and when trying to kill some time.”  <a href="https://www.thegamer.com/best-card-rpgs-ranked/">https://www.thegamer.com/best-card-rpgs-ranked/</a>
+</p>
+
+<p>
+design in progress &gt; <a href="https://www.kickstarter.com/discover/advanced?term=cards">https://www.kickstarter.com/discover/advanced?term=cards</a>
+</p>
+
+
+
+<figure>
+<p><img src="img/20201126_01-16_House-of-Formlab-Limited_Edition_uusi_luna_cards_1800x1800-003-570x554.jpg" class="img-responsive" alt="20201126_01-16_House-of-Formlab-Limited_Edition_uusi_luna_cards_1800x1800-003-570x554.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 52:</span> Holographic Lunar Cards</figcaption>
+</figure>
+</div>
+</div>
+<div id="outline-container-sec-13" class="outline-2">
+<h2 id="sec-13"><span class="section-number-2">13</span> various artists</h2>
+<div class="outline-text-2" id="text-13">
+
+<figure>
+<p><img src="img/20201125_23-25_The-Purgatory-copy.jpg.jpeg" class="img-responsive" alt="20201125_23-25_The-Purgatory-copy.jpg.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 53:</span> Daniel Martin Diaz. <a href="http://danielmartindiaz.com/">http://danielmartindiaz.com/</a></figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_23-28_PeterMadden2.jpeg" class="img-responsive" alt="20201125_23-28_PeterMadden2.jpeg">
+</p>
+<figcaption><span class="figure-number">Figure 54:</span> Peter Madden</figcaption>
+</figure>
+
+
+
+<figure>
+<p><img src="img/20201125_23-45_birds_small.jpg" class="img-responsive" alt="20201125_23-45_birds_small.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 55:</span> Victoria Siemer</figcaption>
+</figure>
+
+
+<figure>
+<p><img src="img/20201125_23-47_bantjes_2008_design-ignites-3.jpg" class="img-responsive" alt="20201125_23-47_bantjes_2008_design-ignites-3.jpg">
+</p>
+<figcaption><span class="figure-number">Figure 56:</span> Marian Bantjes</figcaption>
+</figure>
+</div>
+</div>
+
+<div id="outline-container-sec-14" class="outline-2">
+<h2 id="sec-14"><span class="section-number-2">14</span> FIN</h2>
+</div>
+</div></div></div>
+<footer id="postamble" class="">
+<div><p class="author">Author: The S.P.A.C.E consortium &amp; SUPERject working group</p>
+<p class="date">Created: 2020-11-26 Thu 04:06</p>
+<p class="creator"><a href="http://www.gnu.org/software/emacs/">Emacs</a> 28.0.50 (<a href="http://orgmode.org">Org-mode</a> 9.4)</p>
+</div>
+</footer>
+</body>
+</html>