Bücher veröffentlicht von Eyecorner Press

Baka Tarot is a calligraphic tarot that pays homage to martial arts, Zen masters, and the powerful energy of black ink to come through in any rendition, from the hand to the digital processing of the marks left on paper. In this book Camelia Elias describes her cards, offering also short readings of 3-card strings for each individual representation.Baka Tarot consists of 26 cards: 22 are named after the standard tarot trumps and 4 are named after poker actions: Call, Check, Raise, and Fold. The aim of this combination is to suggest that what we do with the cards and the way we create them is forever subject to chance. If this wasn't the case, we wouldn't be able to appreciate the ludic in life. 'Baka,' the Japanese word for Fool, participates in this game as a nod to the calligraphic tradition.Note: The cards are not included with this book. They can be purchased from the author.

This book is about the tension between how singular the manifestation of love is and what we assume, often wrongly, about the idea of togetherness. To know the difference means to know the heart of the other.

This book is the third in a trilogy of books based on courses in cartomancy under the signature Read Like the Devil. It is packed with examples of student work and teacher feedback. Camelia Elias lives up to her reputation of a cartomantic martial artist, taking no prisoners. Her cuts through misunderstandings and misinterpretations are clean, leaving the serious student of cartomancy with a sense of wonder. The aim is to establish a top-level cartomancy that gives the possibility for all students of the Lenormand Oracle cards to reach the level of competence where they are beyond comparison, in a league of their own.This course book offers rigorous deconstructions and revisions of traditional approaches to reading the Lenormand cards, establishing a unique, oracular voice that's efficient, convincing, and poetic. The fortuneteller that emerges from these pages is analytical, deductively logical, and contextually situated. Her Read like the Devil method fuses the obvious with an incisively penetrating Zen clarity.In addition to method and technique, the book features extensive in-depth readings of the grand tableau, demonstrating dazzling detective skills that emphasize the beauty of interpretation at its finest expression.

If you really love me, throw me off the mountain is a memoir of love and adventure. It tells of one very whole woman's experience of being disabled in a world that cannot imagine her being anything other than broken. In 2014, aerial dancer Erin Clark moves from Canada to command the stages of New York City. When her wheelchair breaks, sepsis nearly kills her, and her marriage ends, she is flung out of her life and into a dramatic series of events which culminates with her moving to Spain to join a paragliding school and master one of the world's most dangerous sports. When she falls in love in the Andalusian mountains, she learns that a flying wheelchair might not be the biggest risk of all.

This is a book of haiku poems using the Arcades Tarot as an inspiration.

This book deconstructs the 22 trumps of the Marseille Tarot, bringing a fresh and original perspective to divination. The book aims to inspire both seasoned and inexperienced diviners.

This is a collection of essays that gathers the voices of both reputed veteran and young cartomancers. The book captures the heart of cartomancy through 21+1 snappy rules, delivered with martial arts aplomb in the form of manifestos.

This book aims to cover four basic questions: Why do we read cards? What's so special about the Marseille Tarot? How can the cards uncover our blind spots? What does it mean to live a magical life, when we allow the stories that the cards tell us to offer solutions to our real problems? The book is also the first to introduce the readers to the wonderful and strange cards of Carolus Zoya, a most rare and unseen Tarot de Marseille deck made in Turin at the end of 1700.

In 'Kant in Hong Kong' travel, philosophy, and the city weave through one another. The book brings Immanuel Kant-famous for the regularity of his walks in his hometown of Königsberg-into the swarming streets of the hypermodern city and carries everyday urban experience into the labyrinthine texts of Kant's critical idealism. It lets the empirical and the transcendental play with one another in Kowloon, Hung Hom, Sheung Wan, and Admiralty as we move up and down the travelator between Queen's Road Central and the Mid-Levels, or take the bus to the beach at Shek-O. Freedom and knowledge swirl through the thick incense in the Temple of Tin Hau. When Kant comes to visit, walking, thinking, and the city illuminate one another more brightly than the colored lights of the nightly laser shows illuminate the harbor-front skyline of Hong Kong.

'Cruel Theory Sublime Practice' consists of three parts. Each part addresses both theoretical and practical dimensions of Buddhism. Authored individually, each part nonetheless interacts with the concerns of the others. Those concerns include the formation of an autonomous subject in the face of Buddhism's concealment of its ideological force; the possibility of a practice that thus serves as a theory or science of ideology; the reconstitution of practice as an organon of authoritative structures, including controlling social-conceptual representations; and the perception of Buddhism as the subject of a historical process. Perhaps the most salient theme running throughout the book concerns the crucial necessity of transfusing anemic contemporary Buddhist discourse with the lifeblood of rigorous, creative thought. Will Buddhism in the twenty-first century West help fashion a liberated subject? Or will it continue to be a deceptive mythos spawning subjects who are content to rest at ease in the thrall of predatory capitalism? The three parts of 'Cruel Theory Sublime Practice' share a common concern: to push Buddhism to the brink.

In these 2 volumes Enrique gathers fresh voices and sharp tongues to speak of the art of Tarot as the art of living magically. Forty-seven tarot luminaries (readers, historians, philosophers, magicians, and scientists alike) gather here to offer unique perspectives on what we can think of as divination with bones, human bones. Artists, deck creators, and modern-day neo-platonists follow Enrique's lead, letting themselves be enchanted by the piper at the gate of games. Some of the central questions that Enrique deals with are: do we read for the symbol, or the image? Do we read for the narrative that the cards create or their potential for transformation? Do we read for the plot, the poetry, or the formal properties? We find Enrique holding the torch and asking everybody the same questions: how do we experience the tarot? Through symbolic readings or through interacting with the image? While it is clear that he goes with the latter, he gives everyone a chance to state their preferences. But he doesn't stop there. He wants to see what the argument is for such preferences. What are the motivations in considering where images take us? How do the images do that? Why do we go to fortunetellers? My own contribution to this is to suggest that we read cards for the magic of narrative. We go to fortunetellers to see others play with our lives. Here are 47 of them. -- CAMELIA ELIAS, "HE RECO ME: ENRIQUE ENRIQUEZ'S POETICS OF DIVINATION"

In these 2 volumes Enrique gathers fresh voices and sharp tongues to speak of the art of Tarot as the art of living magically. Forty-seven tarot luminaries (readers, historians, philosophers, magicians, and scientists alike) gather here to offer unique perspectives on what we can think of as divination with bones, human bones. Artists, deck creators, and modern-day neo-platonists follow Enrique's lead, letting themselves be enchanted by the piper at the gate of games. Some of the central questions that Enrique deals with are: do we read for the symbol, or the image? Do we read for the narrative that the cards create or their potential for transformation? Do we read for the plot, the poetry, or the formal properties? We find Enrique holding the torch and asking everybody the same questions: how do we experience the tarot? Through symbolic readings or through interacting with the image? While it is clear that he goes with the latter, he gives everyone a chance to state their preferences. But he doesn't stop there. He wants to see what the argument is for such preferences. What are the motivations in considering where images take us? How do the images do that? Why do we go to fortunetellers? My own contribution to this is to suggest that we read cards for the magic of narrative. We go to fortunetellers to see others play with our lives. Here are 47 of them. -- CAMELIA ELIAS, "HE RECO ME: ENRIQUE ENRIQUEZ'S POETICS OF DIVINATION"

In TAROLOGY Enrique Enriquez sees the Tarot de Marseille through the prism and science of pataphysics, the science of imaginary solutions. By following into the footsteps of Oulipian writers, he applies the idea of constraint and the rule of restriction to the surprisingly visual and gestural nature of Tarot. The result is not only illuminating but also enriching for all those interested in the history of Tarot and its divinatory practices. Enriquez develops a whole new method of reading cards, which combines careful considerations of chance with choice. By using a phenomenological and constructivist approach to the cards, Enriquez shows how the Tarot de Marseille speaks poetry and thus reveals some of our deepest concerns with language, with what we can say when we are at a loss for words. --- "In TAROLOGY, going from pataphysics to poetry, Enrique Enriquez PERFORMS tarot in a way that is marvelously free of cultural preconditioning to the workings of myth and symbol, while at the same time proposing following the rules of 'watch and learn', 'keep it simple', 'stay on track', 'be surprised', 'be fearless', and 'let the image talk the walk'. This is no small achievement." (Camelia Elias, Professor of American Studies and Tarot de Marseille Reader)

Towards a Genealogy of Spectacle is an exploration of contemporary experience of spectacle in its multiple layers, as it attempts to expose the forces that are at work in the making of spectacular events. It sets before itself two goals: to understand the language of spectacle, and to dissect the pathos of spectacle of contemporary society. In an age that is saturated with technology and the products of mass media, it aims to show how and why grand artistic spectacles are needed for the life and health of a culture. The book engages with the ideas of various thinkers from Kant and Schopenhauer to Foucault and Debord on the subject and aims to open up new spaces for thinking and is an invitation to spectacle-makers towards a fusion of art and philosophy. --- "In Towards a Genealogy of Spectacle Yunus Tuncel shows what it means to reflect, once again, Nietzsche's claim of aesthetic justification of life in the height of our time. He does not just accept this claim, but rather renews it by thoughtfully bringing before our eyes how spectacle could be thought of as a place for the gathering of creative forces." (Arno Böhler, Wien)

The epistemic creative writer is not merely an expressive writer, a writer who writes for creative writing programs at diverse university colleges. Rather, the epistemic creative writer is the writer who understands that in order to say something useful you must step out of the space that engages your ego. Awareness of what really matters comes from the contemplation of the futility of words. Before the word there is silence. After the word there is silence. But during the word there is knowledge that can be made crystal clear. This book is about extracting what writing means to a few writers who formulate ideas about creative writing without, however, making claims to instruction. Can creative writing that produces knowledge be taught without a method? Samuel Beckett, Raymond Federman, Gertrude Stein, Jacques Lacan, Frank O'Hara, Douglas Hofstadter, Brian Rotman, Herman Melville, Kathy Acker, Friedrich Nietzsche, David Markson, Andrei Codrescu, and a host of others, gather here to offer an answer. -- "Camelia Elias speaks to the reader from that place where the language of the birds becomes the language of silence." (Patrick Blackburn, Professor of Formal Logic, Roskilde University)

This volume of prose poems takes the reader through a journey which starts in the living-room. At the core of the collection are a number of Socratic dialogic exchanges between the main speaker of each poem and a number of other figures (fictional and non-fictional). The initiating conversations between a woman and a man continue through dialogues between the woman speaker and other voices (mainly academics and writers) and culminate with exchanges between the woman's voice and that of literary protagonists. There is an intended symmetry at work between the poems which are dedicated to real-life authors and the poems which are dedicated to fictional characters. The poems show how literature is entangled with the geography of being on more than one level.

This is a book of fragments and prose poetry celebrating what mothers try to pass on to their children: a sense of how to be grateful for the experiences in life that can be said to be not only beautiful but also significant in form. The author's own mother, a logician, emerges as a powerful woman who has things to say to people she encounters through mediation: mathematicians, prophets, lovers, and fools. The introduction to the collection is an informative memoir which entangles the personal essay with the formal properties of writing that can be said to be both epistemic, creating a certain kind of knowledge, and also creative in terms of approaches to narrative.

This bilingual volume introduces the work of American prose poet Robert Gibbons to a transatlantic audience. The volume shows how multifaceted a poet he is, effortlessly exploring political, aesthetic and emotional themes, such as war, poverty, exile, work, love and the archives of Time. Presenting Danish translations of 64 of the poet's best pieces, juxtaposed with the American original versions, the book also contains a lengthy scholarly introduction by the editor and translator, Bent Sørensen, forming the first sustained academic study of Gibbons' work.