Skip to main content
rile*books

Search books

Search books by title, author, publisher, keywords...

Cover of Draconis Lacrimae: Escape From The Guts of The Dragon

a.pass

Draconis Lacrimae: Escape From The Guts of The Dragon

Federico Vladimir Strate Pezdirc , Pablo Esbert Lilienfeld

€15.00

In this Player’s Handbook you’ll find the rules of a Fantasy Role Playing Game: Draconis Lacrimae. It can be played by a group of 3 to 6 players.

First, you will create the Characters, then you will create the World and, lastly, you will Role-Play to escape from the inside of The Dragon. The characters come from different background universes and they all meet in The Dragon’s guts after being swallowed/injected/tele-transported/etc. by their own dragons. In Draconis Lacrimæ there are no dungeons and dragons, the dungeon is the Dragon. The adventurers must join forces in order to “escape” from it, whatever escape might mean. 

This game is an invitation for the readers to play themselves otherwise and encounter otherness as an accomplice. In addressing certain construction paradigms of the self, the book invites the reader/player to welcome the alterity we have in us, in order to revisit fundamental archetypes of fiction. It aims at creating interstices that can open up to another view of the self and its social configurations.

Autobiography is used as a ground from which to start playing, as the material that one has at hand to transform, craft, dissolve, rebuild, paint, glitch, etc. Auto-fiction serves here as a tool to resist predefined categorizations of identity, as a technique of transformation and orientation in a world saturated with categories.

Hopefully, along the way, our fictional and real selves will start bleeding onto each other, the infinite threads of our possible selves hanging around us connected to our play partners, known and unknown.

“The Dragon is the figure that extends the couple, that expands the kin, that narrates the community. The Dragon is the shared collective fiction that appears within the mosh.”

The publication consists of two parts:

"Draconis Lacrimae. The Player’s Handbook” (A5, 160 pages), divided in three chapters: Character Building, World Building and Role-Playing.

“Draconis Lacrimae. After action report” (A5, 8 pages). A booklet that accompanies the book. An after action report contains the stories created during a game. This booklet is a draft of the fiction and characters created while playing Draconis Lacrimae.

recommendations

Cover of Forms Of Life Of Forms

a.pass

Forms Of Life Of Forms

Rob Ritzen

FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installation. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.

Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.

Cover of Beauty Kit

a.pass

Beauty Kit

Isabel Burr Raty

BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.

Cover of 24 European Ethnographic Museums

Roma Publications

24 European Ethnographic Museums

Sara Sejin Chang

With the series '24 European Ethnographic Museums' Van der Heide questions the construction and identity of the ethnographic museum today. Here, the project becomes a collection of artefacts in and upon itself and by recording the names of these institutions Van der Heide places the viewer in front of the dilemma: who is authorized to decide what is an artefact, and what should be collected and for what reason? In the 19th century, with the birth of the current European nations, museums openly referred to their colonial past. Today the museums bare more euphemistic names like: ‘Museum der Kulturen’ or ‘World Museum’ but still place the West as the self-acclaimed center of the world.  The existence of the ethnographic museum, which is intertwined with the complicated and loaded colonial past, has been subject to contemporary criticism. While some of the European ethnographic institutions have attempted to come to terms with the past of their collections and their heritage, Van der Heide focuses upon how language continues to reflect the political present of the institutions.

Cover of the she

Gevaert Editions

the she

Sylvie Eyberg, Asger Taiaksev

‘the she’ compares texts by Virginia Woolf with their French translation, reproducing parts of the novelles ‘The String Quartet' & ‘Blue and Green’ and the novel ‘The Years’. Of the novellas, she kept only the articles the in English and le, la, les in French, exactly as they appear in the editions. Of the novel, only the pronouns she in English and elle in French remain.

The publication includes identical two booklets, one bound and one unbound, both uncut, referring to old books which were often sold bound but uncut.

Offset printing. Printed by Cultura, Wetteren

Edition of 123 numbered copies

Cover of Time and Tide

Posture Editions

Time and Tide

Lisa Spilliaert

“In selecting the photographs for this publication, Lisa Spilliaert (b. 1990) was adamant that the image of a sunrise should be among the first in her book. It is, indeed, an emblematic image. For anyone with a camera, such a splendid sunrise is an irresistible trope: a visual motif that simply begs to be captured and fixed on film. In reality, however, the magic of this scene resides in the fleeting, subtle changes in colours and vibrations. This is the dynamic that captivates us.

Photography is usually understood as a technique for ‘stopping’ the flow of time. But as Spilliaert here demonstrates, the impact of photography can also be used to manifest an awareness of time and transience. By accentuating the photographer’s fixed position vis-à-vis the endlessly changing light source, Spilliaert evokes a correlation between stasis and movement, between the cosmic and the mundane. This duality is echoed again in the confrontation of the two equivalent silhouettes: that of the photographer and of his alias or ‘partner’: a life-size technical camera.” — From ‘Time and Tide’ Edwin Carels

Cover of Exocet

Self-Published

Exocet

Emilie De L'arbre

ἔξωκοῖτος is a journey through languages, a voyage through time and space. From Latin to Persian, Inuktitut, English, Dutch and French. This project is based on the idea of suppression in language; in particular on the different elements that compose writing systems, their functions and their potential persistance in our daily lives.

The publication gathers at the same time poetic, theoretical, experimental texts and typographic sketches. It is composed of 3 parts and the first one contains 9 chapters. Its title 'ἔξωκοῖτος' - from the ancient Greek, 'who comes out of his abode' and the Latin exōcoetus or 'a fish that sleeps on the shore'. The book is a form of palindrome, which means that it can be read in both directions.

Cover of The Error is Regretted

The Green Box

The Error is Regretted

Anita Di Bianco

‘Corrections and Clarifications’ is an ongoing newsprint project by Anita Di Bianco, an edited compilation of daily revisions, retractions, re-wordings, distinctions, and apologies to print news from September 2001 to the present. In essence, a reverse chronological catalogue of lapses in naming and classification, tangled catchphrases, and patterns of misspeak and inflection.

Previous editions have examined the printed news media in the United States and United Kingdom, Germany, Austria and Switzerland, and other international press from Asia, Turkey, and the Balkans printed in English. The publication includes text contributions by Di Bianco and Francesco Gagliardi.

108 p, ills bw, 24 x 32 cm, hb, German/English