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"Prescriptions" is a transcription of a handwritten manuscript, dated to approximately 1650, containing a wide range of medicinal and magical remedies. Currently housed in the Cornell University Witchcraft Collection, it is assumed this practical handbook was a reference for healing, midwifery, and other medical/magical advice. Recipes and instruction cover various(...)
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"Prescriptions" is a transcription of a handwritten manuscript, dated to approximately 1650, containing a wide range of medicinal and magical remedies. Currently housed in the Cornell University Witchcraft Collection, it is assumed this practical handbook was a reference for healing, midwifery, and other medical/magical advice. Recipes and instruction cover various(...)
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Prescriptions: A collection for many evils of body and the mind, also for witchcraft
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"Prescriptions" is a transcription of a handwritten manuscript, dated to approximately 1650, containing a wide range of medicinal and magical remedies. Currently housed in the Cornell University Witchcraft Collection, it is assumed this practical handbook was a reference for healing, midwifery, and other medical/magical advice. Recipes and instruction cover various methods of purging, ointments for swellings, fevers, and pain reduction, lotions for venereal disease, advice for childbirth, and dilemmas such as "worms in the ear." Accompanying these medicinal prescriptions are a series of magical prescriptions: charms, rituals, and spells recorded to fortify the ailing body, induce amorous desire, or seek revenge. With its mix of Latin words, Early Modern English parlance, colloquial plant names, apothecary weights, and archaic medical terms, the recipes can at first appear opaque, but with sustained engagement one can begin to decipher the logics and structures within the writer(s)' shorthand.
Prescriptions: A collection for many evils of body and the mind, also for witchcraft
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Résumé:
"Prescriptions" is a transcription of a handwritten manuscript, dated to approximately 1650, containing a wide range of medicinal and magical remedies. Currently housed in the Cornell University Witchcraft Collection, it is assumed this practical handbook was a reference for healing, midwifery, and other medical/magical advice. Recipes and instruction cover various methods of purging, ointments for swellings, fevers, and pain reduction, lotions for venereal disease, advice for childbirth, and dilemmas such as "worms in the ear." Accompanying these medicinal prescriptions are a series of magical prescriptions: charms, rituals, and spells recorded to fortify the ailing body, induce amorous desire, or seek revenge. With its mix of Latin words, Early Modern English parlance, colloquial plant names, apothecary weights, and archaic medical terms, the recipes can at first appear opaque, but with sustained engagement one can begin to decipher the logics and structures within the writer(s)' shorthand.
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livres
livres
Publication:
janvier 2024
janvier 2024
Sujet:
Zines
Zines
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During the crucifixion Christ is said to have sustained 5 wounds: 1 in each hand and foot from the nails of the cross, and the 5th was formed when the side of Christ was pierced by the sword of Longinus. These 5 wounds became objects of specific veneration in the late Middle Ages and in manuscripts the side wound is usually depicted as a mandorla: an almond/diamond/vulvic(...)
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During the crucifixion Christ is said to have sustained 5 wounds: 1 in each hand and foot from the nails of the cross, and the 5th was formed when the side of Christ was pierced by the sword of Longinus. These 5 wounds became objects of specific veneration in the late Middle Ages and in manuscripts the side wound is usually depicted as a mandorla: an almond/diamond/vulvic(...)
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Side wound: the female Christ
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During the crucifixion Christ is said to have sustained 5 wounds: 1 in each hand and foot from the nails of the cross, and the 5th was formed when the side of Christ was pierced by the sword of Longinus. These 5 wounds became objects of specific veneration in the late Middle Ages and in manuscripts the side wound is usually depicted as a mandorla: an almond/diamond/vulvic shape, generally isolated from Christ's body and oriented vertically on the page. It is the vulvic shape of these images, and their implications, that this publication takes as its focus. Images of the side wound were used as talismans, one could gain magical protections by looking at them, touching, ingesting, or wrapping them around your body, and they are often found on birth girdles: rolls of parchment with magical formulae for easing birth. Mystics of this time speak of drinking from the wound, kissing it, entering it, living within it, and subsequently being birthed from the wound. The vulvic representation of the wound produced a state where Christ was seen as neither fully male, nor fully female, but rather as an unstably sexed figure, asserting a constant fluidity. Through this side wound Christ became a mother, lover, object of erotic desire, and a portal for the whole universe to emerge from.
Side wound: the female Christ
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During the crucifixion Christ is said to have sustained 5 wounds: 1 in each hand and foot from the nails of the cross, and the 5th was formed when the side of Christ was pierced by the sword of Longinus. These 5 wounds became objects of specific veneration in the late Middle Ages and in manuscripts the side wound is usually depicted as a mandorla: an almond/diamond/vulvic shape, generally isolated from Christ's body and oriented vertically on the page. It is the vulvic shape of these images, and their implications, that this publication takes as its focus. Images of the side wound were used as talismans, one could gain magical protections by looking at them, touching, ingesting, or wrapping them around your body, and they are often found on birth girdles: rolls of parchment with magical formulae for easing birth. Mystics of this time speak of drinking from the wound, kissing it, entering it, living within it, and subsequently being birthed from the wound. The vulvic representation of the wound produced a state where Christ was seen as neither fully male, nor fully female, but rather as an unstably sexed figure, asserting a constant fluidity. Through this side wound Christ became a mother, lover, object of erotic desire, and a portal for the whole universe to emerge from.
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livres
livres
Publication:
janvier 2025
janvier 2025
Sujet:
Zines
Zines
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Geomancy is an ancient form of divination that is practiced by making a series of random marks that are then counted into sets of odd or even sequences. Following a binary logic, the odd or even collections result in a possible sixteen figures that can be used for interpretation. The divinatory reading applies a process of mathematical recursion to these figures in order(...)
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Geomancy is an ancient form of divination that is practiced by making a series of random marks that are then counted into sets of odd or even sequences. Following a binary logic, the odd or even collections result in a possible sixteen figures that can be used for interpretation. The divinatory reading applies a process of mathematical recursion to these figures in order(...)
Titre:
Geomancy : A Handbook og Practice and Interpretation
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Geomancy is an ancient form of divination that is practiced by making a series of random marks that are then counted into sets of odd or even sequences. Following a binary logic, the odd or even collections result in a possible sixteen figures that can be used for interpretation. The divinatory reading applies a process of mathematical recursion to these figures in order to arrive at a final answer to the query. Drawing on a range of historical sources, this handbook covers the general principles of the geomantic method, its mythological origin, the interpretation of the figures, and provides a blank “shield” for conducting your own geomantic reading.
Geomancy : A Handbook og Practice and Interpretation
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Geomancy is an ancient form of divination that is practiced by making a series of random marks that are then counted into sets of odd or even sequences. Following a binary logic, the odd or even collections result in a possible sixteen figures that can be used for interpretation. The divinatory reading applies a process of mathematical recursion to these figures in order to arrive at a final answer to the query. Drawing on a range of historical sources, this handbook covers the general principles of the geomantic method, its mythological origin, the interpretation of the figures, and provides a blank “shield” for conducting your own geomantic reading.
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livres
livres
Publication:
janvier 2023
janvier 2023
Sujet:
Zines
Zines
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A magic square is a grid of numbers, arranged in such a way that the sum along any row, column, or corner to corner diagonal is the same. Magic squares are found throughout antiquity and by the time they had arrived in Renaissance Europe, by way of the translation of Arabic magical texts, 7 magic squares were known, starting with a 3x3 and ending with a 9x9 square. Due to(...)
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A magic square is a grid of numbers, arranged in such a way that the sum along any row, column, or corner to corner diagonal is the same. Magic squares are found throughout antiquity and by the time they had arrived in Renaissance Europe, by way of the translation of Arabic magical texts, 7 magic squares were known, starting with a 3x3 and ending with a 9x9 square. Due to(...)
Titre:
Magic squares: Some notes on the tables of Agrippa
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A magic square is a grid of numbers, arranged in such a way that the sum along any row, column, or corner to corner diagonal is the same. Magic squares are found throughout antiquity and by the time they had arrived in Renaissance Europe, by way of the translation of Arabic magical texts, 7 magic squares were known, starting with a 3x3 and ending with a 9x9 square. Due to their numerical balance, these squares were seen as reflective of an inherent balance in the cosmos, and were linked to the 7 known planetary bodies of the time: Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon. Through the magic of the numbers in each square, radiating forces associated with each planet could be accessed and directed by way of a talismanic sigil.
Magic squares: Some notes on the tables of Agrippa
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A magic square is a grid of numbers, arranged in such a way that the sum along any row, column, or corner to corner diagonal is the same. Magic squares are found throughout antiquity and by the time they had arrived in Renaissance Europe, by way of the translation of Arabic magical texts, 7 magic squares were known, starting with a 3x3 and ending with a 9x9 square. Due to their numerical balance, these squares were seen as reflective of an inherent balance in the cosmos, and were linked to the 7 known planetary bodies of the time: Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon. Through the magic of the numbers in each square, radiating forces associated with each planet could be accessed and directed by way of a talismanic sigil.
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livres
livres
Publication:
janvier 2025
janvier 2025
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Zines
Zines
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livres
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Titre:
Notes on the minor character
Notes on the minor character
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In "Notes on the minor character" Bopha Chhay meditates on "the minor" - those secondary characters or objects that populate the background and seemingly only serve to support or surround the area of focus. Through a series of fragments we encounter the minor characters from paintings and novels; the minor anecdotes appended to the overarching ideology of state-hood; and(...)
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In "Notes on the minor character" Bopha Chhay meditates on "the minor" - those secondary characters or objects that populate the background and seemingly only serve to support or surround the area of focus. Through a series of fragments we encounter the minor characters from paintings and novels; the minor anecdotes appended to the overarching ideology of state-hood; and(...)
Titre:
Notes on the minor character
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In "Notes on the minor character" Bopha Chhay meditates on "the minor" - those secondary characters or objects that populate the background and seemingly only serve to support or surround the area of focus. Through a series of fragments we encounter the minor characters from paintings and novels; the minor anecdotes appended to the overarching ideology of state-hood; and the minor details, usually overlooked, that can become a great revealer of falsehood. Ranging from Bruegel The Elder to Jane Eyre, Y-Dang Troeung to Dostoevsky, we see 'the minor' played out in multiple ways out of the corner of our eye. Here Chhay proposes 'the minor' to be that which quietly disrupts the main narrative, and as we re-orient our focus to the outskirts we are given the opportunity to think through a different set of stories: the fan fictions, the non-player characters, and the un-heroic gestures.
Notes on the minor character
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In "Notes on the minor character" Bopha Chhay meditates on "the minor" - those secondary characters or objects that populate the background and seemingly only serve to support or surround the area of focus. Through a series of fragments we encounter the minor characters from paintings and novels; the minor anecdotes appended to the overarching ideology of state-hood; and the minor details, usually overlooked, that can become a great revealer of falsehood. Ranging from Bruegel The Elder to Jane Eyre, Y-Dang Troeung to Dostoevsky, we see 'the minor' played out in multiple ways out of the corner of our eye. Here Chhay proposes 'the minor' to be that which quietly disrupts the main narrative, and as we re-orient our focus to the outskirts we are given the opportunity to think through a different set of stories: the fan fictions, the non-player characters, and the un-heroic gestures.
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livres
livres
Publication:
janvier 2024
janvier 2024
Sujet:
Zines
Zines
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livres
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In 1953, the Swiss mystic, healer, and artist Emma Kunz conducted an experiment on calendula flowers growing in her medicinal garden. With the aid of a pendulum she applied a process she termed “polarization” whereby the form of the flowers were altered in order to produce additional blooms following a numerical sequence. This publication explores Kunz’s practice and(...)
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In 1953, the Swiss mystic, healer, and artist Emma Kunz conducted an experiment on calendula flowers growing in her medicinal garden. With the aid of a pendulum she applied a process she termed “polarization” whereby the form of the flowers were altered in order to produce additional blooms following a numerical sequence. This publication explores Kunz’s practice and(...)
Titre:
The Polarized Calendula Blooms
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In 1953, the Swiss mystic, healer, and artist Emma Kunz conducted an experiment on calendula flowers growing in her medicinal garden. With the aid of a pendulum she applied a process she termed “polarization” whereby the form of the flowers were altered in order to produce additional blooms following a numerical sequence. This publication explores Kunz’s practice and intentions, the process of polarization, number symbolism, and the contextual implications of the era. An appendix provides a summary of historical and medicinal uses of the calendula flower.
The Polarized Calendula Blooms
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In 1953, the Swiss mystic, healer, and artist Emma Kunz conducted an experiment on calendula flowers growing in her medicinal garden. With the aid of a pendulum she applied a process she termed “polarization” whereby the form of the flowers were altered in order to produce additional blooms following a numerical sequence. This publication explores Kunz’s practice and intentions, the process of polarization, number symbolism, and the contextual implications of the era. An appendix provides a summary of historical and medicinal uses of the calendula flower.
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livres
livres
Publication:
janvier 2023
janvier 2023
Sujet:
Zines
Zines
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livres
livres
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$65.00
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The volume, realized in co-operation with the Vitra Design Museum is both the catalogue of an internationally travelling exhibition and one of the first monographical studies entirely devoted to the subject of children’s games and furniture. Furniture and games for children, irrespective of culture or period, can be perceived as vehicles for communicating society’s(...)
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The volume, realized in co-operation with the Vitra Design Museum is both the catalogue of an internationally travelling exhibition and one of the first monographical studies entirely devoted to the subject of children’s games and furniture. Furniture and games for children, irrespective of culture or period, can be perceived as vehicles for communicating society’s(...)
Sujet:
Zines
Zines
Publication:
décembre 1998, Milano
décembre 1998, Milano
Titre:
Kid size : the material world of childhood
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The volume, realized in co-operation with the Vitra Design Museum is both the catalogue of an internationally travelling exhibition and one of the first monographical studies entirely devoted to the subject of children’s games and furniture. Furniture and games for children, irrespective of culture or period, can be perceived as vehicles for communicating society’s attitudes towards learning, the child’s physical and phychological development, safety, order in the family, territory, the place of play and patterns of social behaviour; although the child, by contrast, regards them as largely interchangeable objects in the serious work of play, the organization of modern society tends to give them always more importance, changing them into real products of design. The volume aims to explore the world of childhood throughout the different types of furniture artefacts and games from various periods and cultures in the world which illuminate the changing relationship between children and adults, the growing attention to child-centred provision and educational values and the fundamental role of playing in the history of childhood of different countries. The catalogue essays are written by chilhood specialists, social historians, ethnologists, educationalists, industrials designers (specialist in playground and play equipment) and experts on children living in the various cultures of the world: Lucy Bullivant, Mike Scaife, Linda Pollock, Eileen Adams, Günter Beltzig, Ingeborg Weber-Kellermann, Gerhard Kubik, Tina Wodiung and Sally Kevill-Davies.
Kid size : the material world of childhood
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The volume, realized in co-operation with the Vitra Design Museum is both the catalogue of an internationally travelling exhibition and one of the first monographical studies entirely devoted to the subject of children’s games and furniture. Furniture and games for children, irrespective of culture or period, can be perceived as vehicles for communicating society’s attitudes towards learning, the child’s physical and phychological development, safety, order in the family, territory, the place of play and patterns of social behaviour; although the child, by contrast, regards them as largely interchangeable objects in the serious work of play, the organization of modern society tends to give them always more importance, changing them into real products of design. The volume aims to explore the world of childhood throughout the different types of furniture artefacts and games from various periods and cultures in the world which illuminate the changing relationship between children and adults, the growing attention to child-centred provision and educational values and the fundamental role of playing in the history of childhood of different countries. The catalogue essays are written by chilhood specialists, social historians, ethnologists, educationalists, industrials designers (specialist in playground and play equipment) and experts on children living in the various cultures of the world: Lucy Bullivant, Mike Scaife, Linda Pollock, Eileen Adams, Günter Beltzig, Ingeborg Weber-Kellermann, Gerhard Kubik, Tina Wodiung and Sally Kevill-Davies.
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livres
livres
Publication:
décembre 1998, Milano
décembre 1998, Milano
Sujet:
Zines
Zines
Classification:
livres
livres
Titre:
Mamma Andersson: Skulptur
Mamma Andersson: Skulptur
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes(...)
$23.50
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes(...)
Titre:
Mamma Andersson: Skulptur
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes cinématographique et théâtrale, ou les peintures d'époque, les compositions de Karin Mamma Andersson (née en 1962, Luleå, Suède, vit et travaille à Stockholm) se caractérisent par leur sensibilité onirique et leur expressivité. Si ses références stylistiques vont de la peinture figurative nordique du début du XXe siècle à l'art populaire et vernaculaire, son utilisation de l'espace pictural et ses juxtapositions de peintures épaisses et de dessins au lavis lui sont propres. L'artiste prend régulièrement pour sujet des paysages et des intérieurs où s'expriment la mélancolie. En 2011, le travail d'Andersson a fait l'objet d'une exposition individuelle au Museum Haus Esters à Krefeld, en Allemagne. Elle a également exposé au Aspen Art Museum, Colorado, en 2010, à la Douglas Hyde Gallery, Dublin, en 2009, ainsi qu'au Moderna Museet, Stockholm, pour une rétrospective célébrée qui voyagera à la Kunsthalle Helsinki et au Camden Arts Centre de Londres. En 2006, Mamma Andersson a remporté le Carnegie Art Award, prix prestigieux consacrant la peinture nordique. Son travail a été présenté au Pavillon nordique à la 50e Biennale de Venise en 2003. Ses œuvres font partie des collections du Dallas Museum of Art, du Göteborgs Konstmuseum, (Göteborg, Suède), du Hammer Museum (Los Angeles), du Magasin 3 (Stockholm), du Malmö Konstmuseum (Suède), du Museum of Contemporary Art (Los Angeles), du Museum of Modern Art (New York), du Moderna Museet (Stockholm) et du Västerås Konstmuseum (Suède).
Mamma Andersson: Skulptur
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes cinématographique et théâtrale, ou les peintures d'époque, les compositions de Karin Mamma Andersson (née en 1962, Luleå, Suède, vit et travaille à Stockholm) se caractérisent par leur sensibilité onirique et leur expressivité. Si ses références stylistiques vont de la peinture figurative nordique du début du XXe siècle à l'art populaire et vernaculaire, son utilisation de l'espace pictural et ses juxtapositions de peintures épaisses et de dessins au lavis lui sont propres. L'artiste prend régulièrement pour sujet des paysages et des intérieurs où s'expriment la mélancolie. En 2011, le travail d'Andersson a fait l'objet d'une exposition individuelle au Museum Haus Esters à Krefeld, en Allemagne. Elle a également exposé au Aspen Art Museum, Colorado, en 2010, à la Douglas Hyde Gallery, Dublin, en 2009, ainsi qu'au Moderna Museet, Stockholm, pour une rétrospective célébrée qui voyagera à la Kunsthalle Helsinki et au Camden Arts Centre de Londres. En 2006, Mamma Andersson a remporté le Carnegie Art Award, prix prestigieux consacrant la peinture nordique. Son travail a été présenté au Pavillon nordique à la 50e Biennale de Venise en 2003. Ses œuvres font partie des collections du Dallas Museum of Art, du Göteborgs Konstmuseum, (Göteborg, Suède), du Hammer Museum (Los Angeles), du Magasin 3 (Stockholm), du Malmö Konstmuseum (Suède), du Museum of Contemporary Art (Los Angeles), du Museum of Modern Art (New York), du Moderna Museet (Stockholm) et du Västerås Konstmuseum (Suède).
Classification:
livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Zines
Zines
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livres
livres
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Résumé:
QUÉBEC, JE ME SOUVIENS est un jeu de mémoire éco-responsable conçu tout spécialement pour les petits (et grands) amoureux du Québec.
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QUÉBEC, JE ME SOUVIENS est un jeu de mémoire éco-responsable conçu tout spécialement pour les petits (et grands) amoureux du Québec.
Titre:
Jeu de mémoire - Québec - Je me souviens - Boite
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QUÉBEC, JE ME SOUVIENS est un jeu de mémoire éco-responsable conçu tout spécialement pour les petits (et grands) amoureux du Québec.
Jeu de mémoire - Québec - Je me souviens - Boite
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QUÉBEC, JE ME SOUVIENS est un jeu de mémoire éco-responsable conçu tout spécialement pour les petits (et grands) amoureux du Québec.
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livres
livres
Publication:
juin 2016
juin 2016
Sujet:
Zines
Zines
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livres
livres
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$29.95
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Résumé:
Un jeu qui éveille la créativité, développe le sens logique et la mémoire. Un jeu évolutif pour tous les âges. Un jeu qui invite à des centimes de constructions imaginaires. Le livre propose des pistes de jeu pour susciter l'inventivité des enfants.
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Un jeu qui éveille la créativité, développe le sens logique et la mémoire. Un jeu évolutif pour tous les âges. Un jeu qui invite à des centimes de constructions imaginaires. Le livre propose des pistes de jeu pour susciter l'inventivité des enfants.
Titre:
Archi-blocs: un jeu d'intelligence spatiale
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Un jeu qui éveille la créativité, développe le sens logique et la mémoire. Un jeu évolutif pour tous les âges. Un jeu qui invite à des centimes de constructions imaginaires. Le livre propose des pistes de jeu pour susciter l'inventivité des enfants.
Archi-blocs: un jeu d'intelligence spatiale
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Un jeu qui éveille la créativité, développe le sens logique et la mémoire. Un jeu évolutif pour tous les âges. Un jeu qui invite à des centimes de constructions imaginaires. Le livre propose des pistes de jeu pour susciter l'inventivité des enfants.
Classification:
livres
livres
Publication:
octobre 2016
octobre 2016
Sujet:
Zines
Zines
