ORACLE of Visions BY CIRO MARCHETTI If art serves any purpose other than simple decoration, it’s to bring into focus, if only for an instance, that which might otherwise pass unnoticed.Copyright © 2014 U.S. Games Systems, Inc. All rights reserved. The illustrations, cover design, and contents are protected by copyright. No part of this booklet may be reproduced in any form without permis- sion in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or website. Photographic reference has been used as inspiration for many of the characters used in these ¢ards. However, any resulting resemblance to real persons, living or dead, is purely coincidental. First Edition 10098765 4 Made in China Published by U.S. Games Systems, Inc. 179 Ludlow Street, Stamford, CT 06902 USA www.usgamesinc.comFOREWORD ver the previous decade I have been involved O: the world of tarot and have created three tarot decks during that period. Despite attempt- ing to add personal touches and variations to those projects, by default they still adhered in great part to the structure and format that define the tarot genre. Nevertheless, as I describe in the latter part of this book, I found the pro- cess increasingly restricting and concluded that producing an oracle deck offered a far more flexible opportunity to create a worthwhile tool for divination and meditation. With its lack of established pre-conceived format and structure, it provided a platform for far more personal cre- ative output. This Oracle of Visions is the result of having taken that opportunity. Browsing through the spirituality shelves of your local bookstore, it is likely that you will find many options for oracle decks that are themed on goddesses, faeries, angels or some kind of New Age system of positive affirmation. God- desses and angels, with their corresponding attributes, serve as archetypes for certain char- 3acteristics, virtues and gifts. But beyond the more commonly known, one is obliged to learn and become familiar with the numerous other goddesses (along with their attributes) that make up the full deck in order to be able to use it. The different qualities associated with each goddess, fairy or themed character is not apparent unless one reads the corresponding explanations pro- vided for each. My intention was to create a set of images that would speak for themselves and require no sup- porting text in communicating their possible meanings; a deck consisting of a set of visual starting points on which to base readings from an entirely intuitive level. Additionally, these images would for the most part be neutral; their purpose would not be to provide a consistent ‘feel good’ positive spin or motivational self-help encouragement (although they can certainly provide that if you, the reader, see them in that way). In and of themselves, these images could be interpreted quite differently, often with con- trasting or contradictory conclusions, depending on the specifics of any reading. I hope that this Oracle of Visions fulfills that objective.Life is a constantly changing maze filled with choices at every turn with consequences for every decision. Making better decisions requires the reference point of experience, intuition and com- parison. The best we can do is think our circum- stances through, evaluate the possible scenarios, and consider the various factors related to them. We do this by using our instincts, as well as con- firming facts. Where appropriate we consider the ramifications of our decisions and actions both for ourselves and any others directly or indirectly involved. Ultimately, despite it all, we must be cognizant of the fact that despite our best inten- tions, there are still no guarantees that whatever choices we make will prove to be the correct ones. SEBS he images of the Oracle of Visions are loosely broken into four categories: Situa- tions, Emotions, Actions and Behavior. Initially I had intended to subdivide the deck into only those four groups, but I soon realized that this would be imposing an unnecessary restriction. The images needed to be able to apply to morethan one category, e.g., a card depicting “fear” (an emotion) might equally be communicating “danger” (a situation). Similarly, a card depict- ing “memories” (a concept) might equally serve to communicate “remembering” (an action). By discarding such categories, each card is free to serve in many roles. By extension, there is no need for reversals in a reading as the potential for such variations are contained within the images themselves. To this end I have also chosen not to include keywords or titles on the face of the cards. I believe that doing so would only serve as restrictions to their inter- pretations. By omitting any preconceived mean- ings, it will be far easier for you, the reader, to interpret them differently for the context of a par- ticular reading. I have included numbers, but that is simply to provide a practical reference point. There is no intended significance on my part as to which numbers were chosen for which cards apart from 21 for Lady Luck. (I couldn’t resist.) Visually there is no one common theme. My per- sonal penchant for jesters, masks, and mechani- cal devices, along with faux Victoriana costumesand characters, are shared throughout, and there is no specific significance to which cards they are employed. In general terms the jest- ers, masks and theatrical performances serve as archetypes. Masked figures and performers can serve as either generalizations or individu- als. They are both anonymous and role playing and as such can more easily be representative of whoever is the subject of the reading. The mechanical devices serve as they do in most of my work (including the previous tarot decks) as metaphors of our partial control in our fate. A Wheel of Fortune may represent the cyclical spiritual and mystical ups and downs of life, but in its man-made mechanical form it also suggests that we have some buttons and levers of our own making that we can adjust along the way. The Victorian feel is a decora- tive indulgence that visually aligns with the “Steampunk” (or as I have always described it, “Retrotech”) style of my mechanical devices, and gives them a complementary setting. What commonality the images do share is hopefully they all in their own way invite interpretation and ask to be given meaning.SBS hope that these images can be equally appli- I cable to the bigger issues as well as the every- day nuances of our lives. If there is a common thread, it’s that they mostly deal with the theme of choice. Choices made, choices to be made, their timing and the influences that go into making them. Our lives are filled with decision making and its consequences. These images may help provide a perspective as to how we might arrive at those decisions and consider their con- sequences both to ourselves and others. How we evaluate our options is influenced by a myriad of factors, including personal self-interest, moral issues, fear, anticipation, value of rewards and consequences of punishment. Historically, images of tarot acknowledged this element of choice, albeit reflected heavily through the iconography and agenda of church doctrine on how best to live one’s life. This was encouraged with the corresponding promises and threats offered in the afterlife, but despite that there was also great emphasis on the role of fate. The battle between good and evil forces 8vying for our souls was often a conflict played out by the deities on our behalf and beyond our mortal control. From that viewpoint one can almost see humans as merely bit part players in a grand theatrical performance of life, following a predetermined script. Today, we are aware of having greater choices in our lives compared to the past. Clearly, this can be an overgeneralization and regrettably, this might not apply to the majority of people even today. But for the vast majority of those who are likely to be using this deck, it is applicable. We enjoy many freedoms of choice that simply would not have applied to less complex times in the past. Where we live and work, with whom we choose to share our lives, how many children to bear and when, what religious beliefs and polit- ical opinions we hold; these are just some of the options we experience that would not have been the case in earlier times. The images on this deck reflect those freedoms of choice we may now have along with considerations and responsibili- ties we have to apply when making them.SBS n the following pages I have provided a brief Tivmmary of my personal description and meanings for each card, along with some occa- sional opposing suggestions where applicable. These can serve as a starting point from which you are welcome and encouraged to deviate. You as a reader will take it from this point. What will the Oracle have to say? Your journey with these cards will be your own as mine has been; but I am confident that you will have a wealth of images to accompany you. 10THE CARDSA New Beginning Release from the Past You may have a fresh start any moment you choose, for this thing we call “failure” is not the falling down, but the staying down. -UNKNOWN 12— CARD 1 - o move on from failures or simply to T expand and explore new horizons, we make choices to leave the past behind. Whether it is in the form of treasured objects of mate- rial or symbolic value, relationships, careers, familiar surroundings or even personal ideals, at some point we may have to discard them like a tree shedding leaves in order to liberate our- selves and allow for future growth. On the floor are three discarded cards, each a Fool from my three tarot decks. From the box their spirits are released as doves for a new beginning. Ensure that the time is right to move on. Has your present circumstance been truly fulfilled, or is it being abandoned prior to its completion? See additional interpretations of this particular card on pages 117-121. 13.Belonging Acceptance Assimilation The primary joy of life is acceptance, approval, the sense of appreciation and companionship of our human comrades. JOSHUA LIEBMAN 14— CARD 2—- ur sense of belonging and acceptance by Other requires affirmation. Peer recogni- tion and acceptance is a compelling motivation and reward for our participation. To that aim we may have to demonstrate, to some degree, our allegiance. Some communicate their allegiance and commitment through body marking, others by more transient expressions such as dress code and fashion, and still others by their conduct or mannerisms. Whatever the form, all are varia- tions of the same basic objective, namely a con- firmation that “I am this and I belong”, and in turn “you are this and we accept you.” The flamboyantly coiffed female modifies her appearance with a disguise in order to assimi- late. The masked beak transforms her visual per- sona, and her poise and means of posture fur- ther confirm her spiritual transformation. She is at one with those she has joined. In our enthusiasm and desire for acceptance, we must be careful to stay true to ourselves. Are we really comfortable with the “me” we are claim- ing to be or is it strained, forced and ultimately unsustainable? 15Dreams Meditation Spiritual Escape Some colors exist in dreams that are not present in the waking spectrum. —TERRI GUILLEMETS— CARD 3 - Or dreams provide us with an alternate real- ity. Limitless and unfettered, we are free to soar with angels or sink to the depths of demons. To imagine, to create, to escape the norm, to won- der and ask “what if” and to awaken refreshed, and question “why not?” A jester rests atop a magical box prop, her cos- tume a nightcap and slippers. It is a time now for rest and escape. Around her float magical dream catcher nets, which capture her drifting elusive imagination. Climbing up the adjacent pole are a variety of creatures, each symbolically associ- ated with dreams in different cultures. Be wary of dreams and interpreting them falsely, they may be true visions or merely mirages of the truth that will send us further from reality. 17Perspective Points of View I was once like you are now, and I know that it’s not easy to be calm when you’ve found something going on. But take your time, think a lot. Why, think of everything you've got. For you will still be here tomorrow, but your dreams may not. LYRICS FROM FATHER AND SON, CAT STEVENS 18— CARD 4- here may be no right or wrong. The view is the same but its perception is different. Fresh ideas and experience sharing the same eyes, but a different vision. Two manifestations of the same person share a commonality: one from the fresh, eager inno- cence of youth, the other from the calmer, sober- ing maturity of experience. Both grasp the same mask in unison, their destinies entwined and ultimately inseparable. At some point, both will see the same vision. 19Flights of Fancy Leap of Faith Taking a Next StepTwenty years from now you will be more disappointed by the things you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover. -H. JACKSON BROWN — CARD 5 -— f you take that leap of faith, oh the places you Tenaa go...but you'll never know until you try. We can dream and hope and take that leap, but there are risks involved. Nevertheless we do not have to be a tarot Fool innocently leaping from a cliff. We can instead assess the scenario, the dangers, and prepare. We can train or educate ourselves, become informed, take precautions and increase our chances of success. 21Tranquility At Peace I go to nature to be soothed and healed, and to have my senses put in order. -JOHN BURROUGHS 22— CARD 6 — W; have experienced a difficult period, but the trial is over. Challenging times in their multitude of forms, worries over financial or health issues, troubled relationships or con- cern for others close to us have left us physically weakened or spiritually tested. Now, either by acceptance or conclusion, our troubles are past. Now, we need the comforting embrace of rest. It’s time to recuperate and regain our strength. A woman draped in a purple cloth reclines peacefully. A glowing divine light or spirit drives away the shadows of her troubles. She floats gen- tly above a Zen-like garden of cherry blossoms. 23Infinity No Limits Perseverance Difficult things take a long time, impossible things a little longer. -ANDRE A. JACKSON 24— CARD 7 -— he abstract concept of infinity is given a visual reference here. This card represents limitless possibilities that infinity embraces. A monkey would, by random keystrokes, even- tually put them into the precise order required to replicate the entire works of Shakespeare. This intriguing theory is effective despite its over- whelming odds because it defines infinity in terms other than an abstract improbability. It provides enough essence of possibility that it can be quantified and grasped, even if only in the realms of our imagination. But then, we are free to imagine so many other improbable scenar- ios. It is appealing to consider that any personal goals or ambitions, no matter how fanciful, can by the same criteria as our Shakespearean anal- ogy, ultimately be achieved. The only limitation to their fulfillment is a matter of time and effort. 25Goals Dedication Process When we are motivated by goals that have deep meaning, by dreams that need completion, by pure love that needs expressing, then we truly live life. -GREG ANDERSON 26— CARD 6 - n a larger metaphysical sense, our journey I through life is said to be full of transformation from an imperfect, corruptible state towards a perfect, healthy and everlasting state. What does not kill us makes us stronger. Thus, painful or difficult changes that we endure can in theory burnish us in a spiritual sense to a high, golden shine. We can also seek out knowledge, opportu- nity and challenge; it is not necessary to merely allow life to happen to us. In this scene, an Alchemist serves as an analogy for striving to achieve an end goal through study, experimentation, dedication and perseverance. His facial markings trace the beginning and end points of his quest from base lead through its various stages of purification of the soul to gold. The symbol for gold appears in the center of his forehead, where the Third eye chakra is perceived to be. This card is a reminder to stay focused on the goal and to continually apply the required self-discipline. It will all be worth it in the end. 27Support Bearing the Weight of Others ‘Tis not enough to help the feeble up, but to support them after. -WILLIAM SHAKESPEARE, TIMON OF ATHENS, 1.1 28— CARD 9- his card represents the offering of strength and assistance, and bearing a burden on behalf of others. Providing support can take many forms: moral, emotional, physical and financial. We can offer our shoulders to bear the weight or lend an ear to share grief. Here, a jester offers his shoulders on which the girl can perform. He raises her up, allowing her to be the focus of the audience’s attention, his subdued posture deliberately taking second place. His identity hidden, he provides an anon- ymous contribution. In the background are three tarot Strength cards, which serve as props and reaffirm this card’s message. While the effort and gesture is a noble one, there are times where we should come out of the shad- ows and take credit for our contributions. You do not always have to settle for being second fiddle. Be careful not to allow others to take advantage of your generosity. 29Knowledge Research Knowing the Facts Being Prepared ForewarnedAs the biggest library if it is in disorder is not as useful as a small but well-arranged one, so you may accumulate a vast amount of knowledge but it will be of far less value than a much smaller amount if you have not thought it over for yourself. ~ARTHUR SCHOPENHAUER — CARD 10 — art of the process of assessing a situation is the use of intuition and psychic gifts. But some circumstances may merit a more analytic approach. Being better informed and armed with a greater understanding of the facts and back- ground to any situation might provide a stronger basis from which to make better decisions. It appears that the character in this scene has ded- icated the necessary due diligence and is armed with a substantial amount of information. But therein is a question of how much may be too much. One can become overwhelmed and tied down in the detail, suffocated by the volume or unnecessary diversions, at the risk of over analyz- ing or not seeing the forest through the trees. 31Harmony Balance Being in Tune with Others You don’t get harmony when everybody sings the same note. ~ DOUG FLOYD 32— CARD 11 - armony is not achieved in isolation; it Hiviine a resonance or participation with others linked by time, rhythm or agree- ment. To be out of sync results in disharmony, discord and conflict. These musical metaphors can easily be applied to other actions and relationships that require us to live, work and generally relate to others. Adjusting our perspective and modifying our position allows us to disregard differences and move forward in tune with others. With deft fingers the jester produces a melodic rain- bow of harmony, her dress and the musical score sheet also working together to tell the same message of her “delight”...Greensleeves of course. Be wary of always making adjustments for the common good. There will be occasions when you should take the lead and solo performance is also required. 33Wonder of Creation Protection Destiny The guardian angels of life fly so high as to be beyond our sight, but they are always looking down upon us. -JEAN PAUL RICHTER 34— CARD 12 - guardian angel is witness to the birth of the one whose life he will oversee. He is in awe of the wonder of creation and its signifi- cance. Cradling a mystical incubator in which this new life is enclosed, he understands its fra- gility. As he is now so will he remain throughout, offering help and support, yet knowing the lim- itations of his influence. Fate and destiny will play their part, the chakras and astrological zodiacs orbit the central sphere, suggesting the role they will play in this future life. But this wondrous mechanism is also man- made; a grand part of how this life will be lived, and what it will achieve will not be pre-deter- mined by fate alone, but by free will and choice. 35Productivity Control Organization Take your needle, my child, and work at your pat- tern; it will come out a rose by and by. Life is like that—one stitch at a time taken patiently and the pattern will come out all right like the embroidery. -OLIVER WENDELL HOLMES 36— CARD 13- his card considers the gathering of separate elements, people, or ideas, from the every- day nuances of family dynamics to the manag- ing of a corporate team. This Victorian seamstress manipulates various components as threads of color. With skillful hands, she arranges them, taking into consider- ation the distinct and individual qualities that each may possess. She coaxes the best from each and orchestrates their ultimate working together as a whole. Giving each strand order, position and purpose, she blends them into a rainbow of unity. Its beauty is a metaphor of accomplish- ment surpassing that of its original, separate parts. Be wary of over-controlling, micro-managing or getting lost in the details. Allow each participant to contribute fully and not be undermined by one person’s overall position. 37Creativity Imagination Each day is a new canvas to paint upon. Make sure your picture is full of life and happiness, and at the end of the day you don’t look at it and wish you had painted something different. -RITU GHATOUREY 38— CARD 14 - n its myriad forms, creativity is an expression I of our humanity and imagination, both in its production and in its recognition. To take shape, color, form, sound, or words and give them a new life is an act of creation. Various symbols of the tools and medium through which creativity is expressed are worn by our artist as a decorative headdress of imagination. Sometimes creativity can consume our thoughts as slow-burning embers waiting for release. At other times it is a spontaneous explosion of inspiration. Either way, it is a wondrous human characteristic and there are infinite varieties of individual expression, but alas also an infinite variety of assessment by others. 39Farewell Goodbyes Closure Forever and forever, farewell, Cassius! If we do meet again, why, we shall smile; If not, why then this parting was well made. — WILLIAM SHAKESPEARE, JULIUS CAESAR, 5. 1 40— CARD 15 - his card portrays a farewell, which might be a final parting or a temporary good-bye. A tragic loss or simply a turned page could be lead- ing to a new future. The woman’s sober expression gives us no clue as to the content of her envelope. A farewell mes- sage yes, but one received or to be given? The rose suggests a possible lovers’ separation, but is it a final goodbye or a temporary one “until next time?” Either way as any airport scene will demonstrate, departure lounges tend to be sad- der than arrivals. The birds flying in the back- ground suggest that a return is in the future. Our lives are a constant flow of farewells, to peo- ple, places and things, some with regret but some with enthusiasm as they are replaced with new options. 41Distance Isolation Perspective Distance not only gives nostalgia, but perspective, and maybe objectivity. -ROBERT MORGAN 42— CARD 16 — hysical distance or emotional detachment serve to give us a greater comprehensive view. Distance may also provide a clearer over- all perspective than a close-up would. From this vantage point we can often get “the big picture” and reach different conclusions. A solitary woman strolls a desolate beach, her isolation providing a point of reflection. Dis- tanced from the influence of others, this is a scene of personal contemplation. The floating monoliths provide perspective and suggest the distances with greater emphasis than would an empty sky. Perhaps representing issues in her life, their distance reinforces her isolation but may also provide her with the perspective and clarity of vision that she is seeking. We need to strike a balance when assessing a sit- uation. Are we too closely involved? Or, should we step back? 43Balance Equality If I’m losing balance in a pose, I stretch higher and God reaches down to steady me. It works every time, and not just in yoga. —TERRI GUILLEMETS 44— CARD 17 — espite our differences, by changing our Drrition stance or direction, we may finda common ground and jointly interact. This pro- cess is made easier when both sides participate in unison. A jester performs his dance. Strength and motion combine and in one instance he remains frozen in perfect poise. In his hands he balances two masks of opposing shapes. Despite their funda- mental differences, his dancing form positions them so their opposites are transformed, and their shapes now morph to one—of compliment- ary yin and yang harmony. Balance by default requires equality of purpose, position and desire. Both sides of a pivotal point must consider the position of the other. If one side fails to cooperate, balance is lost. 45Nurturing Taking Care of Others When you are a mother, you are never really alone in your thoughts. A mother always has to think twice, once for herself and once for her child. -SOPHIA LOREN 46— CARD 18 — his card may represent the nurturing nature of a mother embracing her child, a teacher guiding his student or a master training his apprentice. Each balances the desire to protect and provide direction to those under his or her care, with the need to also allow room for per- sonal growth. We can prepare them, inform them, advise them, but eventually there will come the moment when we will need to resist the impulse to reach out, and instead must let them fall. When they rise again of their own accord, we can take comfort in knowing that we taught them well. 47Contemplation Analysis Awareness Man is the only animal for whom his own existence is a problem which he has to solve. -ERICH FROMM 48— CARD 19 — hile we share common traits with all other living entities and are indeed linked to them in so many ways, our humanity is prob- ably best defined by our awareness of ourselves. We alone can look up at the sky and contem- plate our role in the universe. We alone have the freedom of choice and the capability of rational thought beyond survival and procreation. We alone can question relative values and choose right from wrong. Our consciousness is both a blessing and a bur- den. It provides us with the ability to ponder and question. More than any other living entities, we have the capacity to consider variables and options for the future, and to be either encour- aged or concerned about the possibilities. 49Belief Faith Faith must be enforced by reason. When faith becomes blind it dies. -MAHATMA GANDHI 50— CARD 20 - he concept of this card is similar to those pre- sented in the Faith cards of my tarot decks. A selection of religious symbolism represents a gamut of beliefs. The irony of this common denominator is tragic. With so much suffering inflicted in their name, religions have much to answer for. The blindfold can represent the blind faith such religions demand from their followers, but also the blindness often shown towards the beliefs of others. All this is set against the backdrop of Darwinian evolution shown in red below the various golden symbols. An ironic contradiction that represents the common denominator of humanity is shared by all religions, and adds a question mark to them all. 51Lady Luck Fate Taking Risks Evaluating the Odds Superstition 52You’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk? - CLINT EASTWOOD IN DIRTY HARRY — CARD 21 - his card is all about evaluating the odds and taking risks. Life is a constant roll of the dice, so you must consider all the pros and cons. While some choices can be avoided, others we are forced to make. Each comes with its own promise of reward or consequence. Our perception of our chances are often influenced by our individual abilities, beliefs or superstitions. But, ultimately only the lady knows what card she holds. Lady Luck personifies our conceptual approach to luck and fate. Adorned and surrounded by a collection of associated symbols, she offers us another card that will determine whether we have a winning or losing hand. Are we relying too much on luck? Are we strug- gling to pay our bills, but still buying a lottery ticket? Are we basing important decisions simply on the hope that things will turn out in our favor? If so, good luck and keep your fingers crossed. 53Reflections Looking Back Hindsight A moral being is one who is capable of reflecting on his past actions and their motives—of approving of some and disapproving of others. — CHARLES DARWIN 54— CARD 22 - uccesses, failures, mistakes and regrets all belong in the past and cannot be changed. Some things should not be dwelt upon, and we should move on. But both the good and bad have value and have contributed to what we are now and offer lessons to be learned for future deci- sions. The distance of time adds context and per- spective to a nostalgic review of past events. In this scene a man views a selection of images from his past. A retro-styled projector is loaded with images of other cards from this deck. As his expression is neutral, it’s unclear whether those projected images are evoking fond memories or painful regrets. Probably like any album or cata- logue from the past, it will be a mixture of both. Do not dwell in the past, there may also be a tendency to overlook details and remember with emotional bias rather than accuracy. 55Providing Shelter Home is a shelter from storms—all sorts of storms -WILLIAM J. BENNETT 56— CARD 23 - ur relationship with the natural world is O:: its lowest ebb, and as humans we are becoming increasingly detached. Our physical lives may have been made more comfortable by our technical advances but our spiritual lives may be diminished. A woman transforms her body with a symbolic tree, as she offers support and safety to nature. The sincerity of her offer is accepted and returned with complete trust. A warm glow is generated from that interaction. In the distance a unicorn notices and looks on approvingly, but ironically there is a sad poignancy in his attention. Is it that this magical creature has seen so few of such acts? Despite the overall trend there is hope in that we are at least aware of our damaging imprint and an increasing acknowledgment and desire to redress the imbalances. 57Letting Go Offering a Way Out Truly loving another means letting go of all expectations. It means full acceptance, even celebration of another’s personhood. -KAREN CASEY 58— CARD 24 — ave the courage to set it free, if it flies Hive it was never truly yours. If it returns of its own free will, then you know for sure it was yours. Such is the old adage regarding a loved one. To truly love and be loved, love has to be given and returned freely and unconditionally. This image captures that moment of release. Will the butterfly return or leave through the open window? It is a poignant moment and one of courage for the girl who has released the butterfly but is herself a prisoner. Her scenario is symbolically represented by the chess pieces. The analogy of imprisonment can of course be applied to self-incarceration. We are often prisoners trapped in a cell of our own making, either by fear, perceptions of duty, or loyalty to causes or people. Whether caring for a loved one or feeling trapped by financial, medical or any other such circumstances can represent an emotional imprisonment as real as any barred window. 59Misleading Illusion Confusion Do not be misled by what you see around you, or be influenced by what you see. You live in a world which is a playground of illusion, full of false paths, false values and false ideals. But you are not part of that world. -SAI BABA 60— CARD 25 — \ K 7 hat we experience and how we interact is often indirect and from a distance. Phys- ical interaction that would normally have pro- vided all of our senses an opportunity for feed- back and assessment is now increasingly being replaced by virtual alternatives. From e-mail and texting to social networking, our relationships are becoming increasingly defined by virtual interaction that can distort and substitute real- ity. We can now create multiple new identities. How we go about quantifying people and events is now increasingly based on new paradigms that can provide a false perspective both for viewed and viewer alike. 61Past 6 Future Fresh Start You just have to turn the page. It’s tough knowing what has happened in the past and how close we’ve been, but you can’t dwell on the past. This is the time to rewrite a new chapter for the future. Hopefully we can put ourselves in a position where we'll all be happy. —DONOVAN McNABB 62— CARD 26 - e are often encouraged to live in the moment, enjoy the present and not to dwell too much on either the past or future. Yet in a sense the “present” is the least consequen- tial of the three concepts; it’s merely an abstract state that we inhabit but for an instant. In this frozen moment the woman balances symbols of the enduring concepts of time that precede and follow on from it. On one side is the past, which is now locked and cannot be changed, symbolized by a book on its last page and fully written. But there is also a mirror, as the past still provides value as a reference for reflection, and for appraisal and lessons learned. On the other side of her there’s a key that will open doors to new opportunities and a blank book ready to be written. 63Attraction Magnetism Infatuation For every man there exists a bait which he cannot resist swallowing. FRIEDRICH NIETZSCHE 64— CARD 27 - his card portrays a seductive and alluring femme fatale. At some point we have all met her in some guise and gender. Possibly not even in a human form but as a situation, a place, or an invitation to act. We are attracted irresistibly like moths to a flame. We may even be cognizant of how ill advised it would be to fall for her charms. Iron- ically, that suspicion of danger may even add to her allure like some complementary adorn- ment. And casting caution to the wind we are driven and motivated. But attraction alone can be shallow, a tem- porary infatuation with little substance. Such an emotion not only lacks duration, but along with brevity, it is also fraught with danger and repercussions. But despite it all we cannot entirely reject her, we look once more, and yes she is still there, still alluring, still beckoning. 65Contact Reaching Out Spiritual Bonds Connections Each contact with a human being is so rare, so precious, one should preserve it. -ANAIS NIN 66— CARD 28 - n this life, we are spirit and we are flesh. When we forget that we are both, we can suf- fer unnecessarily. This card can indicate a need to take time for meditation and to connect with one’s Higher Self. This will in turn allow us to see the spiritual aspect of others more clearly and be able to reach out to them more easily. A young man stands in a contemplative mood. The mask before him indicates that he has stepped away from his usual role in life. A flame beside the mask signifies the eternity of our nature and reminds us that all that we see in this earthly realm is no more than a mask. In his right hand he holds a bell jar that con- tains the face of a woman. Maybe she is his spirit guide, or a love from a past life. She is reaching out to him with much love and tenderness. In his left hand he holds two batons indicating the duality of human nature. They might also indi- cate that he has more than enough will to move forward in his life. 67Temptation Resisting Willpower There is a charm about the forbidden that makes it unspeakably desirable. -MARK TWAIN 68— CARD 29 - hat is it about that ingredient called ‘for- bidden’ that whets the appetite? From the innocent indulgence of one more piece of choco- late to more significant forbidden fruits of social behavior, we are often tempted. We indulge, even at a risk to our health, our relationship with oth- ers, and our general well-being. Our ability to see through the illusion, to weigh the consequences and resist the temptation is a measure of our per- sonal willpower, character and strength. To suc- cumb or to resist will be a choice that defines us. A horned jester pulls apart the curtains revealing an apple and serpent, symbols from temptation and original sin. A Salome-styled performance manifests as a vision from a flaming cauldron. As we come to understand our weaknesses and the reasons for them, they lose their power to control us. The devil becomes simply a man in a silly hat. 69Danger Fear Avoiding danger is no safer in the long run than outright exposure. The fearful are caught as often as the bold. -HELEN KELLER 70— CARD 30 - n the darkness, our fears feed from us and Lovow Our imaginations nourish them and give them form. In return, they can weaken us further or trigger our defenses. This scene, a clear take on Little Red Riding Hood, reinforces the concept that danger may not always be obvious; it may be hidden or disguised. In some cases we are utterly fooled or taken by surprise and will suffer the conse- quences. But very often we*have a sense that all is not right, that something is out of place. Our basic instincts are triggered and our senses are alerted. Is this the time for caution or boldness? Is all as it should be? Is he all that he claims to be? Is the offer too good to be true? 71Secrecy Confidentiality Every relationship between two individuals or two groups will be characterized by the ratio of secrecy that is involved in it. -GEORG SIMMEL 72- CARD 31 - rom the clandestine world of espionage to the privacy of our personal inner thought, we attempt to keep our own secrets, but seek those of others. Any sharing of such confidentialities requires a demonstration of trust whether it is between nations, corporations or intimate fam- ily and friends. In the context of human relation- ships our curiosity or need to know may be for self-interest or a desire to help others. To achieve either will require a key, that in turn provides access to the information we seek. It may be facts and figures, or simply a better understanding of the circumstances. Such information may be provided freely by those who control it, or with- held until we have proven ourselves. These keys may take the form of the most complex cryptic puzzle or password, but also a simple “you can trust me” gesture offered to a troubled friend. In this card, the guardian is herself symbolically an oracle. She possesses the answers you seek and can provide you with the keys to access them. But before doing so, you may have to prove that you are ready. Seeking greater truths, even those of self-discovery, often requires some demonstra- tion of worthiness. 73Memories Lessons Learned Choices Made Memory...is the diary that we all carry about with us. —OSCAR WILDE, THE IMPORTANCE OF BEING EARNEST 74— CARD 32 — woman closes her eyes as she con- templates treasured memories from the past. She releases to the world all the details of her thoughts and feelings, suc- cesses and failures, good times and bad. Remembered moments fly about her as pages from a diary swirl like falling leaves. From an open locket a golden light streams with images of loves lost but not forgotten. Embracing a favorite doll that remains with her still, she relives all that has been. This card captures tender moments and childhood joys. 75Patience Waiting for the Right Moment Time is but the stream I go a-fishing in. I drink at it, but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. -HENRY DAVID THOREAU 76— CARD 33 - ballerina casts a golden line and lure with which to capture a desired goal or item. The process is calm and planned, the pace leisurely. There is no rush nor looming deadline. She will know when the right time has come, and the moment is appropriate. A kingfisher, a harbin- ger of tranquility, accompanies her and together they will wait. Despite the desire for results, some occasions or decisions simply should not be rushed. We should approach either with caution or restraint, waiting for the opportune moment. We must also be wary of being too indulgent, and devoting too much time waiting for some imagined perfect moment, person or thing. Wor- thy opportunities may be lost if they are over- looked in anticipation of some intangible better option to arrive. 77Breaking Free Chasing a Dream A horse is the projection of peoples’ dreams about themselves—strong, powerful, beautiful— and it has the capability of giving us escape from our mundane existence. -PAM BROWN 78— CARD 34 - inally breaking free, a real horse embodying F a true inner spirit escapes from the carnival shell, which represented his existence up to this point. The constant repetition finally ends as he soars through his glass confinement. His escape and transformation is witnessed with awe and incredulity, but also with envy by those he leaves behind. This card represents the numbing routine of daily life, for example, the mindless repetition of the morning commute. What might be com- forting familiarity to some, can become claustro- phobic, choking of our inner spirit. We occasion- ally escape through dreams of what might be, but at some point we may act upon them to the amazement of others. 79Solitude Loneliness Isolation Only in quiet waters do things mirror themselves undistorted. Only in a quiet mind is adequate perception of the world. -HANS MARGOLIUS 80— CARD 35 - W; all need some “me” time. The family, the job, the groceries, the world...they can all wait. During these few precious moments of escape, they do not exist. I am alone—my only companions are my own thoughts. A solitary figure sits beneath a golden domed shelter, a raised island of solitude that is separate and distant from others of its kind. Their forms are mirrored in the silent waters below. Here, she embraces her solitude, which provides her with purity and clarity of thought. There are no dis- tractions. Her book is empty, there is nothing to read or enter. Only passing thoughts are present, which are released to float gently in the breeze and drift away. While such moments can refresh and recharge our spirits, be wary that by degree or frequency, solitude does not become uncontrolled isolation. If the distance between us and others is extended too far, it may become difficult to return. 81Entrapment Limitations Restrictions Complications 82We have more ability than willpower, and it is often an excuse to ourselves that we imagine that things are impossible. -FRANGOIS DE LA ROCHEFOUCAULD — CARD 36 - W: are entangled by obstacles, real or imagined, that restrict our wishes and actions. Whether by ignorance, self-doubt or a paralyzing fear, we allow them to control, limit or imprison us. If we could just summon the strength of will and confront them, we might face them down, and ultimately overcome them. In doing so we are free to fly once more. This is an angel without flight, her wings entangled by troubles, obstacles and _ fear. In her suicidal pose, red ribbons entwine her wrists like streaks of blood. But her entrapment is a consequence of her own fear. Blinded by anxiety, she is unaware that the nearby sword could be used to cut her ties and set her free to fly once more. 83Relationships Interaction with Others When something seems to be missing in your life, it usually turns out to be someone. -ROBERT BRAULT 84— CARD 37 — ur life is defined by relationships: family, Oyrnreners friends and foes. Each enters and passes through like a comet crossing through our sky. Some shine briefly never to return again and gradually fade from memory. Others settle in and remain in our orbit. A mechanical photography device displays those who have played a part in our lives. The intricate rotations create infinite combinations to repre- sent the presence and partings. Mimicking the steps of an imaginary cosmic dance, some will remain as permanent participants, although their closeness will oscillate and be relative to each other. Additional frames will constantly be added waiting to portray others who will enter our lives in the future. 85Inner Peace An Instant in Time It strikes! One, two, three, four, five, six. Enough, enough, dear watch, Thy pulse hath beat enough. Now sleep and rest; Would thou could’st make the time to do so too; I'll wind thee up no more. -BEN JONSON 86— CARD 38 — \ K Je are lost in the moment, staring into a void, utterly engrossed and transfixed on some specific point or action in the distance. In this state we are oblivious to time and reality. A young woman seated on a columned platform stares at a dragonfly settling on the lilies below. Its movements become the focal point of her concentration, transforming her into a calming meditative state in which all other distractions are removed. The numbers on the clock above float away, the recording of passing time tempo- rarily on hold. She is at one with her universe. All worries, concerns and negativity fade. In this captured moment of escape, there is only still- ness and peace. 87Offering Comfort Healing Caring In the arms of the angel, fly away from here... You are pulled from the wreckage of your silent reverie. You're in the arms of the angel, may you find some comfort here. -SARAH McLACHLAN 88— CARD 39 — or a broken wing or a broken spirit, the heal- Fins process begins with the bond of caring and comfort. Let a kind word or gentle touch offer assurance that you are there and the other is not alone. A pure white dove is held in a nurturing manner by a caring woman dressed in deep, vibrant red. The red of her clothing and headdress bring to mind the color of the first chakra, muladhara, the chakra associated with self-preservation. This is a card about caring. Whether you have a need to nurture your own soul with some quiet time or recreation, or there is someone who needs your help. This card shows that by doing every- thing you can to be well grounded you can be a nurturing spirit. Hold the object of your ministrations lightly in your hand; lest, like a frightened bird, they fly beyond your power to heal. 89Time Life Time is a figure eight, at its center the city of Déja Vu. -ROBERT BRAULT 90— CARD 40 — T ime, the ultimate thief, gradually takes from us and never gives back. A hooded priestess holds out her hand, offering us a lifetime in the form of an hourglass. Its shape suggests a cyclical nature that we might simply rotate and start a fresh. In smaller issues that may be true and indeed we often sense rep- etition. But in the larger sense the hourglass is simply an illusion. In truth, such perceived pat- terns are merely detours along one’s journey. Here we see that the golden sand does not merely fall to be recollected, but escapes and eventually the glass will be empty. Time is a commodity that is never really ours, but merely something we have use of for a given period. The only way to ensure the balance in our favor is for us to use our allotted time fully before it is taken from us. Live every day, hour and minute to its fullest. 91Identity Self-Analysis Knowing Oneself One’s own self is well hidden from one’s own self; of all mines of treasure, one’s own is the last to be dug up. -FRIEDRICH NIETZSCHE 92— CARD 41 — his card presents an image of self-exam- ination. The answer to who we are can have multiple answers, and those answers may change with time and circumstances. We wear our various masks to falsely reflect or truthfully portray the myriad versions of what we are or can be. In this scene we see a reflection of our many selves. Like the Russian dolls below, we are per- sonas within personas, any of which can be the prominent or visible facsimile we choose to outwardly project at any given moment. By deliberate choice or emotional reaction we reach out and choose from one of many masks. In this scene a plain and a flamboyant choice is available, but in truth there are so many others. The danger is that on some occasions we are not in control. Outside influences can provoke emotional states. It is then, at our vulnerable moments that the masks choose us. 93Ambition Goals Inspiration If you want to make your dreams come true, the first thing you have to do is wake up. ~J.M. POWER 94— CARD 42 - his card is about setting a target, a goal, something to strive for, a purpose. Motivated by need or ambition, we now have something to aim for—success in our chosen field. A young performer lays on the floor in an almost fetal position, possibly exhatsted or at the point of giving up. Despite the constant effort and rep- etition she has put into her endeavors so far, she is once again questioning herself. Can she ever be good enough? Will she ever make it? Despair, doubt and frustration cloud her progress. Pos- sibly her efforts are hampered further by other limitations, physical or mental, or possibly out- side factors. Other commitments distract her or compete for her time. It’s easy enough to dream and establish goals. The question now is whether that dream is realis- tically achievable, or a distracting oasis that will simply torment but never be reached. 95Obsession Delusion Self-Interest Nature never deceives; it is we who deceive ourselves. -JEAN-JACQUES ROUSSEAU, EMILE, 1762 96— CARD 43 — A stream of light penetrates a darkened room revealing a solitary figure. Like Miss Havisham from Great Expectations, she sits in a world of her own isolation. Her reflections are her only companions. She preens herself, yet again, reassuring her- self with false truths. The mirrors do not lie, but her obsession does, indulging her only with the images that she wants to see. Her excesses represent an ever-increasing desire to create an ideal that is never achieved or in reality is not even required. We should look in the mirror and see our true reflection, as others would see us, and strip away the psychological makeup of ego and vanity. 97Unison Common Goals Shared Values At One With OthersIt is probably not love that makes the world go around, but rather those mutually supportive alliances through which partners recognize their dependence on each other for the achievement of shared and private goals. -FRED ALLEN — CARD 44 — his card shows us a sense of belonging. We are at one with our surroundings and our relationships with others. We can move together with a common direction and purpose. Our pres- ence is accepted and welcome. A young girl glides effortlessly through a gated lake, in the companionship of a group of swans. Their speed and direction in unison, they become of one mind. They symbolize finding new friends, or a group who share similar ideas. There is a strong affinity with other like-minded souls. Be wary of becoming just one of many, at some point their actions, their direction, and their pace may not be yours. Where they are leading may not be the best path for you. 99Manipulation Control Role Playing Wishful Thinking 100What good is sitting alone in your room? Come hear the music play. Life is a cabaret, old chum. Come to the cabaret. LYRICS FROM THE MUSICAL CABARET — CARD 45 - ife is a cabaret, a theatre, a performance. We are acting out our roles as villains and heroes. Like marionettes we are both manipu- lated and manipulating, writing and following the script. We share the stage with others for some acts and perform solo in others. In this parody, we can create artificial scenar- ios or planned outcomes. We can transform into something or someone that we are not. There may be a creative benefit in that we are encour- aged to fulfill our dreams and wishes. The dan- ger is in losing oneself in the role, and losing touch with the reality beyond the stage doors. 101Connections Putting the Pieces Together Coming to Conclusions To the question of your life you are the answer, and to the problems of your life you are the solution. ~JOE CORDARE 102— CARD 46 — A young woman sits on a bridge, a physi- cal and metaphysical connecting point between here and there. Her identity is ini- tially concealed not only to us but also to her- self. She is, in essence, finding her true self. She reaches out to gather pieces of a puzzle, and with each one, finds clues and discovers more about herself. Each of us attempts to make sense of our place as we search for connections and relation- ships with others. Gradually, despite failures and experimenta- tion along the way, an image starts to take form. Increasing clarity manifests itself from the initial confusion. The process is self-rein- forcing and often becomes easier and acceler- ates as more pieces are added, each finding their corresponding place. Eventually a point is reached where everything comes into focus and starts to make sense. 103Healing Caring Friendships The power of love to change bodies is legendary, built into folklore, common sense, and everyday experience. Love moves the flesh, it pushes matter around. 104Throughout history, “tender loving care” has uniformly been recognized as a valuable element in healing. -LARRY DOSSEY — CARD 47 - f healing is to make one whole, and love is a Tyan to healing, then the‘healing energy of a loving friendship is a sacred act. This card is an indication to either give or receive the heal- ing energy of love. A woman appears to rest or sleep in a circle of healing light. If we could see Reiki energy as though it were radiant light, it would perhaps look like this. The flawless circle suggests per- fection and completeness. Hands reach out to send help and heal. They suggest that one of the main reasons we are here is to love and heal one another. A sim- ple touch or caring gesture from a friend can mean so much! 105Choices Risks Consequences Men anger the gods with their pride, and in order to punish them, the gods looked on as Pandora opened her box letting chaos loose. -UNKNOWN 106— CARD 48 - W: may often be intrigued by a “what if” scenario. This card depicts curiosity, temp- tation and wanting to know. It’s natural to want to know, or want to try, and the only way to find out is to try. It’s through such processes that we can grow and avoid stagnation. But there are causes and effects. Here, a regal queen opens a jeweled, egg-shaped treasure, from which flies a column of faeries. Glowing like fireflies, they are now free. What is unclear is whether the outcome of their release will be reflected on with fondness or regret. Our acts invariably result in consequences, both good or bad. So there is a balance to be struck. Unless we try, we will never know and that in turn may be a lost opportunity that will gnaw away if not acted upon. But equally so, are we fully appreciative of the possible repercussions that may result? 107Assistance Help Support I felt a tug. You must be at the end of your rope. -UNKNOWN 108-— CARD 49 — e have trained and we have studied. We have fallen and picked ourselves up to try yet again. Certainly, progress has been made with each effort and each attempt. But some- times despite it all we have to acknowledge the reality that we can’t do it entirely on our own. In this imagery, the white doves are visual met- aphors for helping hands. The physical support they provide here might take the form of emo- tional encouragement, financial assistance, or expert advice based on knowledge or previous experience. The challenge now is to achieve a balance, to offer help but not reliance. 109Curiosity Comparisons Dissatisfaction One of the most tragic things I know about human nature is that all of us tend to put off living. We are all dreaming of some magical rose garden over 110the horizon instead of enjoying the roses that are blooming outside our windows today. -DALE CARNEGIE — CARD 50 - e are driven, at first by curiosity and then by dissatisfaction, to consider alternatives to our present circumstances. The grass appears to be greener on the other side of the fence, or so we believe. And so it is with this visual take on the tale of the Little Mermaid. The glass sphere provides her with a means of briefly experiencing another world, and much like a vacation away from home, or brief foray into a different life- style, the experience can prove to be intoxicat- ing. It may turn out to be something that leaves us discontent, or it may provide the impetus to move on, and make such changes permanent. But we should be wary and consider carefully whether we would truly belong in this new envi- ronment. We should try to judge it for what it would be in reality. The attraction and appeal of those brief encounters may not survive a length- ier commitment. 111Messages Deadlines Anticipation Waiting, waiting, waiting. All my life, I’ve been wait- ing for my life to begin, as if somehow my life was ahead of me, and that someday I would arrive at it. —CAMRYN MANHEIM 112— CARD 51 - wees for a message to arrive can bring anxiety, fear, hope, good news or bad news, acceptance or rejection. A ticking clock counts down the time remaining. A young woman has been waiting anxiously, and the sleeping dog suggests she has done so for some time. The phone is silent, and the bou- quet of roses suggest a previous response was received, but from whom? The same sender or someone else? Either way the anticipated answer finally arrives, but by now the clock indicates that the hour is passed. Just in time or too late? The process of waiting for a response isn’t merely one of passing the time patiently. The immediacy or tardiness of the response may also provide some insight beyond the message itself. A deadline imposed may be tied to a con- dition or ultimatum. Is there flexibility or has the opportunity been lost? 113Direction Purpose Objectives Taking a First Step 114If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours. —HENRY DAVID THOREAU — CARD 52 - urpose and direction, goals and plans for the future; without these our life would be stagnant and have little meaning. Having something to aim for, to achieve, to look for- ward to, no matter how small is the difference between a day-to-day existence and living a fuller life. Reading, learning, seeing, experi- encing something new and setting goals is a journey to tomorrow. Even the longest journey starts with one first step. Consider the reasons why, the options, the cho- sen direction and let your journey begin. 115INTERPRETATION he meaning of each image of the Oracle of Visions is intended to be as flexible as possi- ble. I have provided my personal descriptions, but the intention is that you should feel free to come up with your own interpretations. Furthermore, your interpretations for any given card will also vary from one reading to another depending on the specific circumstance of each occasion. As an example of this versatility, in addition to my earlier description for this card, on the follow- ing pages are two different additional interpreta- tions of CARD 1 provided by different readers. 116— INTERPRETATION 1 — A woman holds the robe of memories to her heart. Her eyes are closed as she thinks back to other times when she was prepared to take a chance, just like The Fool in the tarot cards at her feet. Before she opens her eyes to behold what comes next, three doves of pure joy and faith are released. They flutter encouragingly 117above the box containing her unlimited, and still yet untested, possibilities. The moon looks on from behind. She breathes and meditates a second more and then moves into the moment. In a defining moment, a decision is made. Per- haps it is your choice, or the result of a choice by another. You find yourself outside the gate, which is now locked behind you. There is no turning back. You are temporarily immobilized by the significance of this moment, You must now gar- ner the courage to move forward. You know that taking the next step is necessary, albeit difficult and stressful. We are all ever poised on the brink of now, ever prepared to look foolish in the pursuit of mys- tical perfection. What is each moment in time but another chance of now; the opportunity to choose to be who we truly are? Close your eyes, connect with your heart, and go within to say a silent prayer for strength and appropriate tim- ing. Can you remove your mask and drop the security of your protective robe? Are you ready to begin? 118— INTERPRETATION 2 — Are you having trouble starting something? This card shows three Fool cards on the ground, each representing the number “zero.” Zero is that time in the ethers before anything happens, before we can get an idea up and running. It has no numeric value so it hasn’t quite happened yet. And because there are three of these Fool cards, perhaps you have tried to consider something more than once? There are also three doves, so things may happen for you in threes. The light shining out of the box shows the bright- ness of your dream, your vision’s light, and it wants to take flight like those doves. Doves rep- resent peace, so the feeling of peace you'd feel in realizing this dream is evident. Yet you hold your cloak tightly in a protective manner over your heart. What are you holding back? How does this effect the expression of your heart and soul? Why do you hold back? The dove also represents a powerful time of clear vision, and the ability to glimpse into the future. The dove nurtures us with its care, and it suggests letting go of worry and anxiety and 119finding peace. Don’t focus on doubt; instead see the light of hope and manifestation. This may involve passing an olive branch to someone, as a sign of forgiveness, in order for you to be able to move on. When the doves take flight, what happens? Do you see a lost opportunity as they fly away? Or do you see freedom taking flight and the hope of personal release through manifesting and move- ment? Is there anything remaining in the box? Will the box have something left inside if you open it again later, or is time of the essence, a one-shot deal? The moon can carry much deception. It looks like it casts light, but it is merely reflecting the light of the sun. It is not all that it seems. It can create illusions and can make us feel unsure. Understand what parts of your subconscious may be feeling alone and unsure, or acting out of instinct or fear. The moon evolves from night to night. Some nights it expands, other nights it wanes. Where are you in your life now? Is oppor- tunity growing or diminishing? When we see by the light of the moon, we don’t see the full picture, because even the silver light of a full 120moon casts long shadows of darkness. We have to use context in order to fill in what we don’t see. Take note of your subconscious thoughts and the impact they have on your reality. Note how you are personally filling in what you are unsure about in order to fulfill or complete your vision. Her mask keeps her true identity hidden. What is under the mask that we don''t see? How would this help identify her? How would it make her dif- ferent? What does this say about you if you were to remove the mask and show your true self? The box is open and something has been let out, even if it is just a vision of light. Note what visions you see and what needs to be released. It may take more than one time to fully manifest as there are three doves and three cards, but they show the progression of taking flight: speeding up on the runway, leaving the ground, and then soaring. 121-CARD 36- —-CARD 34- —-CARD 30- Working with CARD COMBINATIONS he flexibility of the Oracle imagery grows exponentially when working with combi- nations of cards, where each image influences its immediate neighbor, and then in turn as a cohesive overall combination. Presented here is an example of a six-card combination. A. You feel trapped by your circumstances, pos- sibly your job. Yet with sufficient effort and desire the ties can be overcome. B. You dream of breaking free and realizing your true potential. In this sample scenario, that might be working for yourself or starting your own business.-CARD 10- -CARD 5- -CARD 49- . Pursuing this dream is not free of risk or danger. Should it not succeed, you may have burned your bridges. Any repercussions may effect both yourself and others. . Io minimize the risks, do your research and gather all relevant information that would allow you be as well informed and prepared in making your final decision. . You have weighed the various factors and con- siderations. Now make the decision. Taking that leap of faith begins the next stage of your journey. . All is generally going in the right direction, but there are often unforeseen obstacles along the way. Don’t be adverse to asking for and accept- ing help. 123BACKGROUND and the Journey to Here he Oracle of Visions project is the direct result of the learning curve that accompanied the production of my previous three tarot decks. It is also a product of some questions asked and conclusions reached during that process. I con- cluded that there is a certain paradox inherent in creating a divinatory tool that is specifically a tarot deck. On the one hand it’s a category that is steeped in its own tradition. To change or devi- ate from which can be a risk; it might confuse and perhaps alienate many who prefer the tra- ditional rendering of the images. It might also 124detract from some of the mystique that is part of tarot. On the other hand, much of that very imagery is mired in symbolic meanings, the meanings of which are questionable and might be considered less applicable for today’s read- ers. Many scenes depicted in earlier tarot decks would have been more easily recognized and rel- evant centuries ago but now require some study and assimilation by those who seek to read with them today. As I worked on the creation of my three tarot decks, in each case I was challenged by the notion of doing so in a way that honored tradition without bowing to it and providing imagery that could be read more intuitively. My relationship with the world of cards as a tool for divination, specifically tarot cards, started a little more than a decade ago; a brief number of years by comparison to many in the tarot com- munity. However, I qualify that by noting that this relatively short period was one of almost full time involvement, so in terms of accumulated hours it represents a significant investment of time. During this period I have engaged in a wide range of related activities, from initial overviews and research in preparation for my first deck, to 125more detailed study and experimentation for the projects that followed. The history and symbol- ism behind tarot’s imagery became of increasing interest to me, and as with so many things in our lives, the more I learned, the clearer it became how much more there was (and still is) to learn! Ironically, the more progress I made, the more doubts and confusion I had as to the relationship between tarot’s history and the role of its imagery from the past as a part of a “reading” in today’s world. Even when considering those images from the perspective of generalized archetypes for the human experience presented in their tradi- tional way, I wondered if those images still had relevance to today’s world. If not, what changes could be made to those images in order to make them more reflective of current circumstances, beliefs and values? There has been a deluge of attempts to break the mold over the last thirty-odd years, with varia- tions in style, content and format to add fresh faces to tarot. Personally, I had no interest in devoting the time involved simply to produce a safe, close reworking of an existing deck. But by the same token, I sympathized with the view 126that part of tarot’s heart was its visual and con- ceptual links to the past. However, judging any deck requires some refer- ence point of comparison if that judgment is to serve any purpose other than offering a simple personal opinion. It requires a standard with which one can measure the distance a new ver- sion has deviated from a previous marker, and therein lay my personal dilemma; namely, to counterbalance my respect for tarot’s heritage with my increasing belief that tarot’s past did not provide any such definitive original. There was no starting point that could be traced back through the mists of time, ultimately arriving at some sacrosanct and correct “first” to be either defended at all costs or if deviated from, done with a compelling rationale. Instead, it became increasingly apparent that the creation of decks of tarot had always been an evolutionary process; an accumulation of various modifications and tampering along the way. Changes also reflected numerous nuances from country to country and from printer to printer as well as more significant ideological personal views of various key protag- onists along the way. This realization provided 127me some latitude with my own experimentation to deviate from the norms. Tampering with tra- dition in any field always tends to be received with mixed responses ranging from complete dismissal by traditionalists to more enthusiastic acceptance by others whose views are less rigid. In this sense tarot is certainly no exception; indeed it has to contend with both symbolic attri- butions and artistic style, both highly subjective criteria. Some of my customers’ reviews sum up the feel- ings of the former group. In several cases they question my lack of accuracy or consistency rel- ative to the Rider-Waite-Smith (RWS) system. Whereas I personally felt that I had in fact kept a very strong association to the basic Rider-Waite- Smith. To have kept the symbolism even closer by simply recreating the deck with minor varia- tions as has been done by others so many times before, albeit even using my own style, was of no interest to me. Nevertheless, it seems that for some I had veered too much from the accepted norm. What is telling from this is the inference that the RWS constitutes the correct version of tarot and that any deviation from it by default is 128incorrect. This is something with which any afi- cionados of the Marseilles-styled decks that pre- ceded the RWS would no doubt have strong issue. However, via my interaction over the years with the tarot community, I could see that it is clearly a view that is shared by many. With recent tarot decks, this adherence (or lack thereof) to classic images and symbolism of the core pillars of the tarot past—the Marseilles and RWS—by more recent tarot decks has been the subject of many conversations I’ve enjoyed over the years. Such comparisons go to the core question of what constitutes a tarot deck, so let me return to that point. As I mentioned, there is no single original pure and correct deck. Tarot’s history is riddled with changes and variations, based on nebu- lous arguments and associations to religious and mythological beliefs, which in turn are based on even more esoteric historical references. Tarot’s evolution from an initial existence as a card game through various stages that embraced religious, political, moral and philosophical mes- sages, is now more or less universally accepted. The images of early Italian decks reflected values and understanding of the world by the thinkers 129of their day. Tarot’s adoption and adaption over time by such characters as Levi, Gebellin, Waite and Crowley introduced twists and turns along the way as each added their own variations of rationale and esoteric interpretation. Despite the intellectual credentials of such key players, their contributions did not in themselves convince me that their version of tarot’s historical meaning and purpose was akin to some kind of irrefutable law of physics such as the speed of light. On the contrary, there is no evidence that I’m aware of that was ever presented by these grand figures of tarot to give substance to their views. They appeared to be merely personal conclu- sions; conclusions which readily tinkered with others that had preceded them and with which they publicly disagreed. Evidence of competing theories merely added to my skepticism that something was correct merely because it had a quasi-official stamp of “historical authority”. Crowley’s Thoth Tarot, which many consider to be the third major pillar of tarot’s history, was based in part on his claims of epiphany while traveling in Egypt and studying its ancient his- tory, specifically the Book of the Dead. As interest- ing and convincing as they may have been at the 130time, I cannot help but wonder how such claims would be regarded today. In Robert Place’s various books on tarot’s sym- bolism (which I highly recommend) he explains the various rationales behind the content, order and combination of cards. To fully appreciate tarot’s rich heritage, it would indeed be a sacri- lege to not be aware of what was going on behind those images from centuries past. However, one should also consider their limitations and the relevance of those images to today’s values and circumstances. There are many examples but one that serves particularly well in demonstrat- ing the changing values from the earlier days of tarot to the present is the myriad uses of the number seven. Seven is a powerful number with mystical associations in many cultures. In a cer- tain card game that is still played today in Italy, the Seven of Coins is the trump card of what is also a trump suit. The Seven of Coins is the only card in the deck that is worth a point on its own, in addition to any trick won with it. This Sette Bello, or “beautiful seven”, is such a commonly understood token of positive connotations that an express train was named after it, along with numerous Italian restaurants. 131After reading Robert Place’s books, associations like these made so much more sense to me, espe- cially in the context of Plato’s astrological ratio- nale of the heavens and its correlation to man’s soul and its progress through the heavens. In light of these associations, the numerological significance of the Major Arcana makes perfect sense. It also provides substance to the logic and purpose behind the tarot cards’ transformation from a game to a divinatory application. Despite the convincing logic, one has to also consider that the underlying structure of this “house of cards” is based on knowledge and corresponding beliefs of a different era. The compelling argu- ments that were used to provide a comprehensive logic, tying spiritual needs with physical facts into a cohesive entity, was also limited and argu- ably flawed by their proponent’s understanding and beliefs. In this case specifically, the accuracy of astronomical knowledge on which all these configurations and correlations were based was limited by awareness of only the seven planets visible in those times. Another example is inconsistency in symbolic meaning. Take the case of the Major Arcana 132card, Strength. It is commonly accepted today as a metaphor for strength of will, not physical strength. If so, then one can argue that this con- cept seems to be poorly communicated in ear- lier decks where a club-wielding man is seen to be imposing his will onto poor Leo via physical means. There are, of course, numerous inter- pretations regarding exactly who and what is being illustrated. Some suggest that it is Ludivico Sforza, Duke of Milan, and that this card is an early application of political propaganda visu- ally proclaiming his strength (of will) and cour- age in battling those troublesome Venetians, whose city emblem was a lion. Others even argue that the man is not in fact taking out his aggres- sion on the poor beast, but rather that they are both working together against some unseen common enemy beyond the card’s border. This, in my view, is truly pushing the argument. If this indeed is the intended meaning, I think the artist was particularly ineffective in conveying it. The most likely interpretation is that it is, in fact, Hercules in the act of defeating the Nemean lion as one his twelve labors. Either way, the use of Hercules really seems an obvious attempt to symbolize strength through physical prowess— 133qualities with which Hercules is associated— rather than the depiction of strength of will for which the man/beast relationship has now been commonly accepted. Many other inclusions of animals, birds, flow- ers and fruits in tarot imagery most certainly have their mythological and historical expla- nations, as do the use of specific colors and their elemental associations. Without question, a better understanding of them leads to a bet- ter appreciation of their legacy and relevance to their times. However, to judge the merits of a contemporary deck based on its adherence to these past norms, or conclude that their omis- sion or substitution would constitute inaccu- racy, is a questionable approach. Inaccuracies notwithstanding, to simply dismiss the past would be equally flawed or at the very least it would undermine the value that comes from an established system and format, the very essence that defines it as tarot. So I had arrived at no conclusion; my dilemma continued. For all its inconsistencies and variations over the centuries and for all the doubts that may be raised, accepted or disputed regarding specif- 134ics, the overall essence of tarot was lodged under one all-encompassing tradition. This mystique of the past was very much part of tarot’s value and character. Similar to a Hollywood movie with the setting of its scenes and its accompanying musical scores, traditional tarot images are emo- tional triggers that subconsciously prepare us. In the movies, beyond the actual dialogue and action, our responses to the depicted scenes are dependent on how it’s all delivered. Tarot history and visual tradition serves a similar purpose— beyond the actual meaning of the images, they provide a stage set that enhances the reading. 135APPROACH any people are surprised to learn that I M: in fact not a tarot reader. The impor- tance of that is subject to debate. Some may well argue that tarot should be understood and appreciated from the perspective of a reader to do justice to creative process. Yet, I have grown comfortable with my role as an outside observer of the process. In fact, I consider that such a viewpoint has proven to be advantageous as it allowed me certain perspectives that might otherwise have been overlooked by those too intimately connected from the inside. My approach has been to try to understand what I felt readers and their querents really required from their cards and from a reading, and to provide imagery that enriched that expe- rience. To that end I have actively sought the opinion of numerous readers. Participating in local tarot meet-up groups and larger tarot con- ferences, both in the U.S. and UK, has allowed me opportunities to interact with many hun- dreds of tarot practitioners, from beginners to the leading proponents of today’s tarot world. I 136have shared numerous enlightening conversa- tions, and received advice and direction from the likes of Rachel Pollack, Mary Greer, Ruth Ann and Wald Amberstone of the Tarot School, to mention just a few. I have also shared opin- ions and compared approaches with fellow artists who have created a good percentage of the contemporary decks produced over the last decade. Furthermore, my relationship with major tarot publishers, combined with my own self-pub- lishing efforts, have provided me with an extensive insight into the profile of the tarot market. I have received valuable information by means of direct communications and feed- back received from customers and through social networks. This multi-faceted interaction with the tarot market provided comprehen- sive insight and ultimately a clearer feel for the pulse of what did and didn’t work and for what any set of images in their collective tarot form really represented to the greater majority of tarot enthusiasts. These were all factors that I took into consideration for each new project. Through the production of my previous three 137decks, I always attempted to respect that tradi- tion while looking for new approaches. | did this not for the sake of novelty, but to experiment with new approaches to telling the story of The Fool’s Journey. I believe I broke new ground with the introduction of interactive media, animated cards and videos to accompany those decks. I also dabbled with the imagery itself, chang- ing the color-suit associations and substituting “Faith” for the Hierophant in the Major Arcana of the Tarot of Dreams and Legacy of the Divine Tarot decks, and generally trying to add stamps of personal style and interpretation. The absence of any definitive origin for tarot that I noted earlier was also a creative opportunity. I felt that its gradual morphing from a simple card game to its current role didn’t do roman- tic justice to the inherent mystery associated with it. I wondered how much more compelling it would be had tarot’s history actually been based on something tangible from the past. How much more significant would it be if it truly had a known original historical purpose. This was the logic and purpose behind the “GateWay” backstory that accompanied the Legacy of the 138Divine Tarot. It provided a platform and associ- ation for the images; a world to which the scenes and characters could correspond to. Within the fictional framework that I created, it ultimately provided a reason for tarot’s initial creation and a corresponding relevance for its continued use. Nevertheless, with the completion of that project, I also felt that I had reached a personal limit of what I could do in terms of creating tarot decks. Still, I wished to experiment further in produc- ing imagery for meditation and divinatory use, but felt that I could no longer do so within the structured format and system that defines it as a tarot. An oracle deck, on the other hand, offered a broader canvas. Thus, we come full circle to the opening notes in this companion book. It is my hope that the Oracle of Visions will pro- vide you with as many rich and interesting a journey in your readings as it has for me in its creation. 139ACKNOWLEGEMENTS A grateful thanks to all those friends on Face- book and other online social communities, who followed the development of this project. Their comments and observations have contributed useful feedback and encouragement. A special mention to Connie “Garnet” Schaeffer, Christiana Gaudette and Mary Collins. Three renowned and active members of the South Florida Tarot community, who along with Don- naleigh de LaRose of Beyond Worlds Tarot Tribe Podcast, provided invaluable assistance in the general direction of this book. 140www.usgamesince.com