João Acuio – Manifesto


Manifesto – Some considerations on astrology, oracle and dramatic function

Translated by Adriana Ferreira Heery

An oracle card spread is any game, operated according to chance, which is structured and speaks following its own grammar and deals with luck and its vicissitudes.

Every query to an oracle produces a throw of the dice.

The oracle card spread is a narrative structure, it produces a web of meanings.

When one draws the first card from an oracle deck, the course of the narrative begins its journey.

There is no chance for grammar, much less for narrative or plot.

Chance is at the heart of the text.

The oracle (narrative) does not exist, it is necessary to create it.

The oracle (answer) only exists if someone consults it.

The first step is in the embodiment of the seeker’s voice.

It is not wise to offer fortune-telling like the seller who shouts his offers in the aisles of a market.

Decks, runes, stars – the game channel doesn’t matter, what matters is the narrative resulting from the dice throw.

Luck has its way, but the oracle is a return to the center of the world.

The oracle is the navel of the world.

And the navel is the mark between worlds.

The oracle unites us with those who left and those who will come.

The oracle is a hole.

The oracle is a bow.

Those who seek the oracle do so with the ambition of giving legs to Fate, this invisible actor.

“Who will I become at the end of my life?”

“Who am I becoming at every step?”

“Am I becoming who I am?”

The oracle is a lucky horse, television of the world, a bite into an ancient apple.

The oracular text is about the future, the present and the past, but the time of the oracle is now and timeless.



There is no truth, what exist are narratives.

“Scripts scripts scripts scripts scripts.” (Oswald de Andrade)

Reading an oracle is equivalent to making a world: talking movies.

– it is a poetic act.

poiésis: making worlds with words.

It’s a terrible act.

It is an ancient act.

poiésis: “a production that gives shape, a manufacturing that engenders, a creation that organizes, orders and establishes a new reality, a being.” (Benedito Nunes)

The voice of the oracle speaks a ritual language.

The breath of the verb binds atoms together.

The oracle card spread composes a dramatic scene as old as the sign.

“How to overcome death and mystery with the help of some grammatical formulas?” (Oswald de Andrade)

The translator uses the word.

The querent uses the word.

Inside the mouth we have a roof shaped as the sky.

Its representation is the world, and also not.


Poet, Astrologer and Saturn, I believe, are synonymous. Poetry is the marrow of Saturn. Or rather: the gelatinous tissues of the marrow of Saturn, the moss. The moss of time. Each map has an inner voice, as well as a good poem and the spirit of each day. To translate a map is to write it, to nail it to the back of Time. And, to translate, it is necessary to make narrative choices that the oracular structure itself proposes. Saturn is Mercury. But the one who prepares the object-celestial-poem is the poet-soothsayer-astrologer. And it is their responsibility to create the text.


The actors:

The respective roles of asking, answering, and translating.

The one who asks is the Moon.

The tool that delimits the answer is Mars.

The one who translates is Mercury.


The one who asks suffers from doubt – it is the reason for the existence of the oracle query.

The following maxim has been tattooed on the eyelids: belief is prophecy, belief is prophecy, belief is prophecy…

The querent is Tiresias in reverse.

Whoever asks loves the oracle.

Whoever asks hates the oracle.

Whoever asks transfers their hopes to the oracle.

Whoever asks transfers their horror.

Whoever asks transfers their love.


The machine reminds you that there is a way to operate it.

The oracle is a machine that unpacks meaning, pulls the grenade pin, separates chaos from the lynx.

The oracle is meter, rhyme, media – it is the labyrinth and the thread of the narrative.

Its main blade is the analogic one.

It has the following phrase written on its metal:

“Bad omen is not a prognosis.”


You have an obligation to master the analogic machine, the art of correspondence.

The translator joins those who once gave their lives and were injured in the reflection of Mars’ knives.

Tradition takes him back to the modus operandi of those who once walked this same road.

Mercury is the bridge between the Moon and Mars, and Mars has its own secrets with Hades.

The persona of the oracle translator does not exist, at least this is his quest, his Fortune.

He is just the messenger.

Respect for tradition evokes the protection of the spirit of the dead.

Disdain for tradition evokes the indifference of the underworld.

Whoever looks into the lynx’s eyes is committed to being faithful to the lynx.

After much use of the tool, an alliance is created with the listening itself and a mark on the knife edge to be left for posterity.

Oracle is the ability to listen.

Oracle is the craft of translation secrets.

Mercury finds himself between translation and betrayal.

Translating is being true to the lynx’s path.

But when faced with a crossroads, it is the interpreter who arbitrates which path to choose in the translation.

When the oracle speaks more about the person of the translator than the text to be translated, the mystery closes like a player folding their cards.

“There is only determinism where there is no mystery.” (Oswald de Andrade)

The dramatic function

The oracular query is a performance art.

Performance art: work structured under the sign of chance, impossible to be reproduced.

Its function is to prepare those who ask their announced fate.

“Between yes and no there is a gap.” (Itamar Assumpção)

The performance

It is what happens during a dramatic action.

Chances are played.

On the board or in the skies, an alliance is created between the querent, the answerer and the interpreter.

The translator makes use of the analog machine.

You have an obligation to master this knife.

The one who asks looks in the mirror.

“I was born with my ascendant in the sign of the crab, so my life goes backwards. One walks back and forth to go forward.”

The logic of correspondence detaches us from the farce of the logic of cause and effect.

Breaking the mirror means seven years of bad luck.

The construction of the analog text comes in waves, has rhythm, meter and pain, it follows the machine’s pace.

Analogy: as if he didn’t want anything, he gradually spreads his senses everywhere.

The logic of correspondence unites the vital points, forming a constellation of meanings, a web of significations, to the point of extracting a sliver of light from the sheet of darkness.

As the word ‘port’ within ‘purport’, the final destination is connected with the intended meaning of the communication.

Reading the oracular text manufactures a world of words.

When luck is recreated, reread, the world is reinvented.

The world is healed.

Oracle reading performance is a co-creation, just as Fate needs Free Will.

It is a creative act.

Smoothly creative.

Terribly creative.

And then the translator invents himself as a demiurge.

Demiurge, French démiurge (demiourgon) < Latin demiurgis borrowed from Greek démiourgós, meaning “artist, doctor, artisan”.

In addition to the analogy, the translator makes use of metaphor, the talking movies, the rupture of belief, the saturnine verse, and the rite. Oh, and of course, Mercury’s sense of humor. The range of resources to achieve the purpose of the dramatic function (preparing the person for the fate that is being announced) will depend on the type of question and the draw, of course.

Performance is a rite. There is no need to value the setting. Don’t be wishing for anything else, just let yourself be enough.

The oracle is already a profane and sacred place.

If the performance reaches its goal, the querent is no longer the Moon, and it has become the Fortune.

The machine, in addition to becoming dirtier with grease, achieves its luck of being a tool of Fortune.

And the interpreter achieves his ambition, his destiny, his Fortune, that of being just the messenger.

After reading the oracle, fold it as a tomb closes.

Put away the bow.

Oracle care (machine hazard icon)

The translator can intoxicate himself with Mercury.

The one who asks may not stop asking.

The machine can jam the wheel with the veils of illusion.

Reading oracles is translation art.

A bandit art.

Stealing the fire of the gods.

“A throw of the dice will never abolish chance.” (Mallarmé)

And the next step is the listening of those who seek the oracle.




João Acuio

João Acuio, has studied Astrology since 1992. Creator of the website Saturnália – Astrologia & Cidade, now also School of Astrology (Escola de Astrologia, in Portuguese). He proposes an astrology rooted in cultural phenomena and a critical reinterpretation of ancient astrology. His practice is mostly dedicated to Natal Astrology. In these 28 years, he has developed what he calls Celestial Dramaturgy, astrology as a language, Heaven as a narrative.


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