User:Charlie/Graduate Proposal - Revision history

Charlie: /* ✦ Relation to a larger context ✦ */

2025-11-21T07:44:32Z

✦ Relation to a larger context ✦

← Older revision		Revision as of 09:44, 21 November 2025
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	The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three definitions of Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to situating my position and personal motivation.		The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three definitions of Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to situating my position and personal motivation.

	The framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. It has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, ass well as Gosden, 2020 ,and Sutcliff, 2021.)		The framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. It has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, ass well as Gosden, 2020, and Sutcliff, 2021.)

	I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial and extractive attitudes. Which permeate the popular Western notions of Magic. (Gottlieb, 2017) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.		I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial and extractive attitudes. Which permeate the popular Western notions of Magic. (Gottlieb, 2017) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.

Charlie: /* ✦ What do you want to make? ✦ */

2025-11-21T07:43:57Z

✦ What do you want to make? ✦

Charlie: /* Bibliography & References */

2025-11-20T15:55:27Z

Bibliography & References

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	<br>		<br>
	= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;">Bibliography ~~& References~~</span> =		= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big></span> <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;">Bibliography <big>✧</big></span> =
	<div style="font-family: cursive; text-align: justify;">		<div style="font-family: cursive; text-align: justify;">
	<big>'''Magic History - Forms of Magic'''</big>		<big>'''Magic History - Forms of Magic'''</big>

Charlie: /* ✧ References ✧ */

2025-11-20T15:55:09Z

✧ References ✧

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 Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].
 Sutcliffe, J. (ed.) ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.
 = <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span>   =

Charlie: /* ✦ Relation to a larger context ✦ */

2025-11-20T15:52:25Z

✦ Relation to a larger context ✦

Charlie at 14:46, 20 November 2025

2025-11-20T14:46:22Z

← Older revision		Revision as of 16:46, 20 November 2025
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	Davies, A. (2023). ''Art is Magic.'' University of New South Wales. Sydney, Australia.		Davies, A. (2023). ''Art is Magic.'' University of New South Wales. Sydney, Australia.

	~~DK (2020). ''A History of Magic, Witchcraft and the Occult''. Dorling Kindersley Ltd. London, United Kingdom.~~

	Gilhooly, J. (2010). ''Enchanted Objects: Agency in the Magic and Contemporary Art Practice''. University for the Creative Arts, University of Kent. Canterbury, United Kingdom.		Gilhooly, J. (2010). ''Enchanted Objects: Agency in the Magic and Contemporary Art Practice''. University for the Creative Arts, University of Kent. Canterbury, United Kingdom.
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	Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].		Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].

	Sutcliffe, J ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.		Sutcliffe, J ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.

	~~Williams, L. (2025). ''Compendium Of The Occult - Arcane Artefacts, Magic Rituals and Sacred Symbolism''. Thames & Hudson. London, United Kingdom.~~

	= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =		= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =

Charlie: /* ✦ Relation to a larger context ✦ */

2025-11-20T14:38:07Z

✦ Relation to a larger context ✦

← Older revision		Revision as of 16:38, 20 November 2025
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	The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three popular positions to defining Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to my situating of the project and personal motivation. As the framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. And has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, Gosden, 2020 and Sutcliff, 2021.)		The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three popular positions to defining Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to my situating of the project and personal motivation. As the framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. And has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, Gosden, 2020 and Sutcliff, 2021.)

	I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial, racist and ~~oppressive~~ attitudes. Which permeate the popular Western notions of Magic. (❎) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.		I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial, racist and extractice attitudes. Which permeate the popular Western notions of Magic. (❎) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.

	I see direct parallels in the ways in which certain forms of art and design, including folk arts and crafts, and what would be considered "low" magic (it's in the name), or ''folk'' magic, have historically been excluded from institutional spaces and pushed to the margins of "lesser" domains. A marginalization of (artistic and magical) practices which has been and continues to be reinforced through repression and stigmatization (again based in colonial, patriarchal and capitalist ideologies). (❎)		I see direct parallels in the ways in which certain forms of art and design, including folk arts and crafts, and what would be considered "low" magic (it's in the name), or ''folk'' magic, have historically been excluded from institutional spaces and pushed to the margins of "lesser" domains. A marginalization of (artistic and magical) practices which has been and continues to be reinforced through repression and stigmatization (again based in colonial, patriarchal and capitalist ideologies). (❎)

Charlie: /* ✦ Relation to a larger context ✦ */

2025-11-20T14:36:24Z

✦ Relation to a larger context ✦

← Older revision		Revision as of 16:36, 20 November 2025
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	My artistic practice often focuses on merging cross-media art (mix-and-matching analog and digital tools) with illustration and print-making techniques. Experimenting with a lot of different mediums and methods to create images, stories and experiences.		My artistic practice often focuses on merging cross-media art (mix-and-matching analog and digital tools) with illustration and print-making techniques. Experimenting with a lot of different mediums and methods to create images, stories and experiences.

	These are elements which I want to incorporate into this project in the form of ''<u>bricolage</u>''<ref name=":3"><small>'''Bricolage:''' (...)</small></ref>, crafting, and possibly other forms of low-tech and accessible artistic mediums. As one cebtral goal of this project, and my practice as a whole, is to create and facilitate interaction with art that is accessible and approachable to a variety of audiences outside of the academic or institutional (arts) setting.		These are elements which I want to incorporate into this project in the form of ''<u>bricolage</u>''<ref name=":3"><small>'''Bricolage:''' French word. English equivalent: D.I.Y'''.''' A method of doing art, crafting using "materials at hand" or found materials and objects.</small></ref>, crafting, and possibly other forms of low-tech and accessible artistic mediums. As one cebtral goal of this project, and my practice as a whole, is to create and facilitate interaction with art that is accessible and approachable to a variety of audiences outside of the academic or institutional (arts) setting.

	The project also reflects aspects of [[SI25 Sounds Of Marmalade: Jam session with stuff\|SI#25 Sounds Of Marmalade]] and [[SI26 3DS-Zine\|SI#26 3DS-Zine]] projects' methodology, wherein we took existing tools and concepts, and investigated/explored/adapted/re-contextualized it, with an audience. — Subverting existing frameworks to explore them through a new perspective or context.		The project also reflects aspects of [[SI25 Sounds Of Marmalade: Jam session with stuff\|SI#25 Sounds Of Marmalade]] and [[SI26 3DS-Zine\|SI#26 3DS-Zine]] projects' methodology, wherein we took existing tools and concepts, and investigated/explored/adapted/re-contextualized it, with an audience. — Subverting existing frameworks to explore them through a new perspective or context.

Charlie at 14:33, 20 November 2025

2025-11-20T14:33:39Z

← Older revision		Revision as of 16:33, 20 November 2025
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	</div>		</div>
	~~'''PUT IN ALPHABETICAL ORDER'''~~		Bellisario, S. (2025). ''Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic.''Journal of Design History, Volume 37, Issue 4. Oxford University Press. Oxford, United Kingdom.

	Bellisario, S. (2025). ''Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic.''Journal of Design History, Volume 37, Issue 4. Oxford University Press. Oxford, United Kingdom.

	Bever, E., Styers, R. (2017). ''Magic in the Modern World: Strategies of Repression and Legitimization.'' Penn State University Press, Magic in History series. Pennsylvania, United States.		Bever, E., Styers, R. (2017). ''Magic in the Modern World: Strategies of Repression and Legitimization.'' Penn State University Press, Magic in History series. Pennsylvania, United States.

Charlie at 14:32, 20 November 2025

2025-11-20T14:32:27Z

← Older revision		Revision as of 16:32, 20 November 2025
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	'''PUT IN ALPHABETICAL ORDER'''		'''PUT IN ALPHABETICAL ORDER'''

	~~Gosden~~, C (~~2020~~). ''Magic~~: A~~ History~~: From Alchemy to Witchcraft~~, ~~from the Ice Age to the Present''~~. ~~Penguin~~. ~~London~~, United Kingdom.		Bellisario, S. (2025). ''Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic.''Journal of Design History, Volume 37, Issue 4. Oxford University Press. Oxford, United Kingdom.

	DK (~~2020~~). ''~~A History~~ of ~~Magic, Witchcraft~~ and ~~the Occult~~''. ~~Dorling Kindersley Ltd. London~~, United ~~Kingdom~~.		Bever, E., Styers, R. (2017). ''Magic in the Modern World: Strategies of Repression and Legitimization.'' Penn State University Press, Magic in History series. Pennsylvania, United States.

	~~Williams~~, L. (~~2025~~). ''~~Compendium Of~~ The ~~Occult - Arcane Artefacts,~~ Magic ~~Rituals and Sacred Symbolism~~''. ~~Thames & Hudson~~. ~~London, United Kingdom~~.		Charlesworth, J.J. (2022). ''The Return of Magic in Art.'' ArtReview. Available at: https://artreview.com/the-return-of-magic-in-art/ [Accessed 19 Nov. 2025].

	~~Sutcliffe~~, J ( ~~2021~~). ''Magic.'' ~~MIT Press, Whitechapel Gallery~~. ~~London~~, ~~United Kingdom~~.		Davies, A. (2023). ''Art is Magic.'' University of New South Wales. Sydney, Australia.

	~~Bever, E., Styers, R.~~ (~~2017~~). ''Magic in the ~~Modern World: Strategies of Repression and Legitimization.~~'' ~~Penn State University Press, Magic in History series~~. ~~Pennsylvania~~, United ~~States~~.		DK (2020). ''A History of Magic, Witchcraft and the Occult''. Dorling Kindersley Ltd. London, United Kingdom.

	~~Bellisario~~, S. (~~2025~~). ''~~Contemporary Visions~~: ~~Refiguring The Esoteric; The Transformational Act of “Making”~~ Magic.'' ~~Journal of Design History~~, ~~Volume 37, Issue 4. Oxford~~ University ~~Press~~. ~~Oxford~~, United Kingdom.		Gilhooly, J. (2010). ''Enchanted Objects: Agency in the Magic and Contemporary Art Practice''. University for the Creative Arts, University of Kent. Canterbury, United Kingdom.

	~~Davies~~, A. (~~2023~~). ''~~Art is~~ Magic.'' ~~University of New South Wales~~. ~~Sydney~~, ~~Australia~~.		Gosden, C (2020). ''Magic: A History: From Alchemy to Witchcraft, from the Ice Age to the Present''. Penguin. London, United Kingdom.

	Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].		Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].

	~~Charlesworth~~, J~~.J.~~ (~~2022~~). ''~~The Return of~~ Magic ~~in Art~~.'' ~~ArtReview~~. ~~Available at: [https://artreview.com/the-return-of-magic-in-art/ http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/] [Accessed 19 Nov. 2025]~~.		Sutcliffe, J ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.

	~~Gilhooly~~, J. (~~2010~~). ''~~Enchanted Objects: Agency in the~~ Magic and ~~Contemporary Art Practice~~''. ~~University for the Creative Arts, University of Kent~~. ~~Canterbury~~, United Kingdom.		Williams, L. (2025). ''Compendium Of The Occult - Arcane Artefacts, Magic Rituals and Sacred Symbolism''. Thames & Hudson. London, United Kingdom.

	= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =		= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =

← Older revision		Revision as of 09:43, 21 November 2025
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	'''Protocols for Magic''' aims to create introductory frameworks for the development of idiosyncratic Magic practices through artistic expression. In other words, this project investigates how creative exercises and artistic play, in the form of protocols, can act as didactic tools to facilitate a user's/audience's personal relation to Magic.		'''Protocols for Magic''' aims to create introductory frameworks for the development of idiosyncratic Magic practices through artistic expression. In other words, this project investigates how creative exercises and artistic play, in the form of protocols, can act as didactic tools to facilitate a user's/audience's personal relation to Magic.

	The desired end result of this research is to create a compounded publication. Possibly in the form of a booklet, workbook and other print-based objects. ~~Which include~~ parts of my thesis research, general information on Magic I collected, and the '''Protocols for Magic'''. ~~With each~~ section ~~containing~~ one or several related protocols for <u>art-based Magic</u><ref name=":0"><small>'''Art-based Magic:''' A term I use to distinguish between artistic and creative expressions that exist with the expressed purpose of engaging with Magic, as opposed to what I may call '''magic-based Art'''; Art that contains or reflects ideas of Magic or magical symbolism, but is created without the expressed purpose of using the artistic medium as a tool to engage with/do/make/cast Magic, directly.</small></ref>, as a way to explore different types, forms, practices, within Magic, through different perspectives and artistic mediums (e.g.: visual vs. written, experimental vs. structured, individual vs. collective, etc).		The desired end result of this research is to create a compounded publication. Possibly in the form of a booklet, workbook and other print-based objects. Including parts of my thesis research, general information on Magic I collected, and the '''Protocols for Magic'''. Each section contains one or several related protocols for <u>art-based Magic</u><ref name=":0"><small>'''Art-based Magic:''' A term I use to distinguish between artistic and creative expressions that exist with the expressed purpose of engaging with Magic, as opposed to what I may call '''magic-based Art'''; Art that contains or reflects ideas of Magic or magical symbolism, but is created without the expressed purpose of using the artistic medium as a tool to engage with/do/make/cast Magic, directly.</small></ref>, as a way to explore different types, forms, practices, within Magic, through different perspectives and artistic mediums (e.g.: visual vs. written, experimental vs. structured, individual vs. collective, etc).

	=== <u>✦ How do you plan to make it? ✦</u> ===		=== <u>✦ How do you plan to make it? ✦</u> ===
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	<small>A classification which denotes forms of Magic through their practitioners' position and function within a societal structure and hierarchy. "High" forms of Magic may be practiced by priests/priestesses, shamans, oracles or others in elite positions. This may include ceremonial and ritual magic, complex divination methods and other more "scholarly"/learned forms of Magic. Often practiced in specialized, or institutional settings. "Low" magic, also referred to as ''folk-magic'' or natural Magic, can be simpler divination methods, charms and spells and/or other more "accessible" forms of Magic. ''Low'' Magic is most often practiced in the domestic sphere or as part of cultural and folkloric traditions.</small> </ref>, <u>Sympathetic Magic</u><ref><small>'''''Sympathetic Magic''''':</small>		<small>A classification which denotes forms of Magic through their practitioners' position and function within a societal structure and hierarchy. "High" forms of Magic may be practiced by priests/priestesses, shamans, oracles or others in elite positions. This may include ceremonial and ritual magic, complex divination methods and other more "scholarly"/learned forms of Magic. Often practiced in specialized, or institutional settings. "Low" magic, also referred to as ''folk-magic'' or natural Magic, can be simpler divination methods, charms and spells and/or other more "accessible" forms of Magic. ''Low'' Magic is most often practiced in the domestic sphere or as part of cultural and folkloric traditions.</small> </ref>, <u>Sympathetic Magic</u><ref><small>'''''Sympathetic Magic''''':</small>

	<small>An umbrella-term that is sometimes used to categorize magical believes (ranging from "primitive"/ancient to contemporary examples) which are based on the concept of "like produces like, or that an effect resembles its cause" — ''The Law of Similarity''. In other words, the believe that one may effect Magic onto an object, person or state by invoking its resemblance through imitation (visual/aesthetic representation) or correspondence (symbolic representation/association).</small></ref>, etc). It looks at existing projects, artistic practices and artists who work within the concept of Magic, for inspiration and as a way to situate the project within a contemporary context and artistic field. As well as, other texts and resources on more specific practices and tools, that may not be discussed in depth within the thesis. ~~Which~~ are used and adapted to form '''''Protocols for Magic'''''. I.e. exercises, prompts and templates that help introduce and let a user explore different aspects of Magic through art and creativity.		<small>An umbrella-term that is sometimes used to categorize magical believes (ranging from "primitive"/ancient to contemporary examples) which are based on the concept of "like produces like, or that an effect resembles its cause" — ''The Law of Similarity''. In other words, the believe that one may effect Magic onto an object, person or state by invoking its resemblance through imitation (visual/aesthetic representation) or correspondence (symbolic representation/association).</small></ref>, etc). It looks at existing projects, artistic practices and artists who work within the concept of Magic, for inspiration and as a way to situate the project within a contemporary context and artistic field. As well as, other texts and resources on more specific practices and tools, that may not be discussed in depth within the thesis. These references are used and adapted to form '''''Protocols for Magic'''''. I.e. exercises, prompts and templates that help introduce and let a user explore different aspects of Magic through art and creativity.

	<br>		<br>
	'''②''' The second and most important part of the project is the '''prototyping''' of the Protocols. ~~Which~~ means: '''Actively experimenting with and testing''' a large variety of protocols '''with an audience/user(s)'''. Whether through '''individual test sessions''' or through '''workshops,''' both including a formalized feedback section. Using the findings and feedback to reflect on:		'''②''' The second and most important part of the project is the '''prototyping''' of the Protocols. This means: '''Actively experimenting with and testing''' a large variety of protocols '''with an audience/user(s)'''. Whether through '''individual test sessions''' or through '''workshops,''' both including a formalized feedback section. Using the findings and feedback to reflect on:

	* how people engage with the protocols		* how people engage with the protocols
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	'''③''' The third step is the '''documentation of my research''' through archiving the results on my '''dedicated wiki-pages''' (f.ex.: [[User:Charlie/Protocols for Magic\|Protocols for Magic]] and [[User:Charlie/GRS ProcessLog\|Process Log]]).		'''③''' The third step is the '''documentation of my research''' through archiving the results on my '''dedicated wiki-pages''' (f.ex.: [[User:Charlie/Protocols for Magic\|Protocols for Magic]] and [[User:Charlie/GRS ProcessLog\|Process Log]]).

	The insights gained from the prototypes (process, observations, feedback, reflections, etc) will contribute to my thesis and research question, specifically discussed in Chapter 3, as a way to answer: '''What lays at the intersection of Art and Magic, as a ~~grounds~~ for forming novel and idiosyncratic Magic practices through creative expression?'''<div style="font-family: cursive; font-size: 25px; background-color: white; color: maroon; font-style: bold;padding-left: 10px; padding-right: 10px; padding-top: 5px; padding-bottom: 5px; width: 100%; text-align: center;"></div><br>		The insights gained from the prototypes (process, observations, feedback, reflections, etc) will contribute to my thesis and research question, specifically discussed in Chapter 3, as a way to answer: '''What lays at the intersection of Art and Magic, and how can it serve as a ground for forming novel and idiosyncratic Magic practices through creative expression?'''<div style="font-family: cursive; font-size: 25px; background-color: white; color: maroon; font-style: bold;padding-left: 10px; padding-right: 10px; padding-top: 5px; padding-bottom: 5px; width: 100%; text-align: center;"></div><br>
	<div class="toccolours mw-collapsible mw-collapsed" style=" background-color: white; color: black; border-style: dotted; border-color: black; border-thickness:6px; width:80%;">		<div class="toccolours mw-collapsible mw-collapsed" style=" background-color: white; color: black; border-style: dotted; border-color: black; border-thickness:6px; width:80%;">
	<span style="font-size:15px; padding-left: 10px; text-align: center;">'''<u><big>First Prototypes..</big></u>'''</span>		<span style="font-size:15px; padding-left: 10px; text-align: center;">'''<u><big>First Prototypes..</big></u>'''</span>
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	However, parts of my motivation in investigating this research question also emerged from an apparent lack of readily available resources and publications on practicing Magic that are separate from, or not directly reflecting, established religions or codified belief systems (e.g. Wicca, New Age spiritualism, Neo-Pagan beliefs, etc). Despite my deep interest in Magic and learning about many existing movements and beliefs around it, from past to present, prior to this project, I have always approached the practice of Magic with a degree of skepticism and reluctance towards any form of dogma. Especially in the form of superstition or supernatural beliefs relating Magic to higher powers/forces/entities, etc.		However, parts of my motivation in investigating this research question also emerged from an apparent lack of readily available resources and publications on practicing Magic that are separate from, or not directly reflecting, established religions or codified belief systems (e.g. Wicca, New Age spiritualism, Neo-Pagan beliefs, etc). Despite my deep interest in Magic and learning about many existing movements and beliefs around it, from past to present, prior to this project, I have always approached the practice of Magic with a degree of skepticism and reluctance towards any form of dogma. Especially in the form of superstition or supernatural beliefs relating Magic to higher powers/forces/entities, etc.

	As such, this project is aimed at an audience who may feel similarly to Magic as myself, and who may have an interest in exploring their personal relationship to and interpretation of what Magic is, or can be. Although I hope that my project can be potentially valuable to anyone, whatever their preexisting notions of Magic is. ~~As the~~ project investigates how Art and creative expression can be a conduit to Magic, as an introductory practice or supplementary method to existing practices.		As such, this project is aimed at an audience who may feel similarly to Magic as myself, and who may have an interest in exploring their personal relationship to and interpretation of what Magic is, or can be. Although I hope that my project can be potentially valuable to anyone, whatever their preexisting notions of Magic is. The project investigates how Art and creative expression can be a conduit to Magic, as an introductory practice or supplementary method to existing practices.

	As such, ''Protocols for Magic'' ~~gives~~ enables me to actively investigate other people's perception of Art and Magic as an intersection. Since I have always felt there ~~to be~~ an inherent link between Art and Magic, as a mode of expression and inquiry that leaves a lot of space for personal subjectivity and purpose. In the words of Sarah Bellisario:		As such, ''Protocols for Magic'' enables me to actively investigate other people's perception of Art and Magic as an intersection. Since I have always felt there is an inherent link between Art and Magic, as a mode of expression and inquiry that leaves a lot of space for personal subjectivity and purpose. In the words of Sarah Bellisario:
	<div style="background-color: whitesmoke; padding: 20px;">		<div style="background-color: whitesmoke; padding: 20px;">
	"[...] it may be the very act of designing and making the object and the considerations of its form, decoration, and materials that comprise it that enliven and empower it. It is a marriage of art and meaning but with the purpose of magical function. Symbolic and ritual occult artifacts help people to connect with the magic they aim to undertake, and the art of making can be a symbolic and transformational ritual in itself." (Bellisario, 2025, p.404 )		"[...] it may be the very act of designing and making the object and the considerations of its form, decoration, and materials that comprise it that enliven and empower it. It is a marriage of art and meaning but with the purpose of magical function. Symbolic and ritual occult artifacts help people to connect with the magic they aim to undertake, and the art of making can be a symbolic and transformational ritual in itself." (Bellisario, 2025, p.404 )
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	'''''Protocols for Magic''''' partly situates itself within the context of the current "revival" and interest in Magic (as an umbrella term for many <u>adjacent concepts</u><ref name=":1"><small>'''Magic-adjacent:''' I consider spiritualism, witchcraft, occultism, esotericism, astrology and divinatory practices, as well as, certain forms of folklore and fantasy, to be adjacent to or containing ideas of Magic.</small></ref>), found within the Arts, popular culture and (Western) society at large. (Charlesworth, 2022) (Moore, 2019) As well as the greater interconnected history of Magic and Art.		'''''Protocols for Magic''''' partly situates itself within the context of the current "revival" and interest in Magic (as an umbrella term for many <u>adjacent concepts</u><ref name=":1"><small>'''Magic-adjacent:''' I consider spiritualism, witchcraft, occultism, esotericism, astrology and divinatory practices, as well as, certain forms of folklore and fantasy, to be adjacent to or containing ideas of Magic.</small></ref>), found within the Arts, popular culture and (Western) society at large. (Charlesworth, 2022) (Moore, 2019) As well as the greater interconnected history of Magic and Art.

	While the project doesn't intend to answer the hows-and-whys of this supposed revival (I leave that to the anthropologists and social sciences), it does aim to question how changing perceptions and relations towards Magic has changed over time. And how these fluctuating positions may be reflected in contemporary artists' and practitioners' attempts at merging Art and Magic as interconnected practices, today.		While the project doesn't intend to answer the hows-and-whys of this supposed revival (I leave that to the anthropologists and social sciences), it does aim to question how changing perceptions and relations towards Magic has changed over time. And, how these fluctuating positions may be reflected in contemporary artists' and practitioners' attempts at merging Art and Magic as interconnected practices today.

	The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three ~~popular positions to defining~~ Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to my ~~situating of the project~~ and personal motivation. ~~As the~~ framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. ~~And~~ has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, ass well as Gosden, 2020 ,and Sutcliff, 2021.)		The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three definitions of Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to situating my position and personal motivation.

			The framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. It has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, ass well as Gosden, 2020 ,and Sutcliff, 2021.)

	I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial and extractive attitudes. Which permeate the popular Western notions of Magic. (Gottlieb, 2017) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.		I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial and extractive attitudes. Which permeate the popular Western notions of Magic. (Gottlieb, 2017) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.

← Older revision		Revision as of 17:52, 20 November 2025
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	While the project doesn't intend to answer the hows-and-whys of this supposed revival (I leave that to the anthropologists and social sciences), it does aim to question how changing perceptions and relations towards Magic has changed over time. And how these fluctuating positions may be reflected in contemporary artists' and practitioners' attempts at merging Art and Magic as interconnected practices, today.		While the project doesn't intend to answer the hows-and-whys of this supposed revival (I leave that to the anthropologists and social sciences), it does aim to question how changing perceptions and relations towards Magic has changed over time. And how these fluctuating positions may be reflected in contemporary artists' and practitioners' attempts at merging Art and Magic as interconnected practices, today.

	The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three popular positions to defining Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to my situating of the project and personal motivation. As the framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. And has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, Gosden, 2020 and Sutcliff, 2021.)		The history and evolution of the modern conceptualization of Magic is a topic discussed within the first chapter of the thesis, by comparing three popular positions to defining Magic (which I compiled from references). The most crucial being the "Magic as a mode-of-thought" position, which most often defines Magic through its strict separation from Art, Religion and Science. Reflecting on this approach to Magic, especially in regards to Science, is particularly important to my situating of the project and personal motivation. As the framing of Magic as being in complete opposition to Science and absolute rationality, has played an important role in the propagation of Western Colonialism and convergent triumph of the Capitalist economic system. This century-old "campaign" against Magic, by defining it as a nefarious form of superstition, delusion and "primitivism", has actively contributed to political and economic objectives seeking social and cultural cohesion, as a way to uphold the idea of white-western supremacy. And has actively contributed to the continued legitimization of racialized oppression and exploitation of non-Western cultures and beliefs. (Topics discussed in-depth in the works of Bever and Styers, 2017, ass well as Gosden, 2020 ,and Sutcliff, 2021.)

	I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial~~, racist~~ and ~~extractice~~ attitudes. Which permeate the popular Western notions of Magic. (❎) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.		I believe that understanding these historical contexts, that have actively shaped our common associations with Magic, are particularly important to the project's strive towards novel contemporary Magic practices. While these contexts also aid to understand how and where many past-and-present <u>magic-adjacent</u><ref name=":1" /> movements and believes originated, and equally continue to uphold post-colonial and extractive attitudes. Which permeate the popular Western notions of Magic. (Gottlieb, 2017) Which is why I find it important to incorporate an educational/informative component in the protocols, and project as a whole. Striving to avoid further cultivating and reproducing these tendencies.

	I see direct parallels in the ways in which certain forms of art and design, including folk arts and crafts, and what would be considered "low" magic (it's in the name), or ''folk'' magic, have historically been excluded from institutional spaces and pushed to the margins of "lesser" domains. A marginalization of (artistic and magical) practices which has been and continues to be reinforced through repression and stigmatization (again based in colonial, patriarchal and capitalist ideologies). ~~(❎)~~		I see direct parallels in the ways in which certain forms of art and design, including folk arts and crafts, and what would be considered "low" magic (it's in the name), or ''folk'' magic, have historically been excluded from institutional spaces and pushed to the margins of "lesser" domains. A marginalization of (artistic and magical) practices which has been and continues to be reinforced through repression and stigmatization (again based in colonial, patriarchal and capitalist ideologies).

	~~As (❎) writes in (❎), within~~ the public sphere and popular culture, Art has become a proxy to engaging with ideas of Magic. Especially through the medium of fiction and entertainment media, as they don't necessarily require the audience to question and "forgo" rationality and its embedded aversion to Magic as superstitious nonsense. Which has contributed to Magic's recasting as an aesthetic object of consumption, rather than "something one does".		Within the public sphere and popular culture, Art has become a proxy to engaging with ideas of Magic. Especially through the medium of fiction and entertainment media, as they don't necessarily require the audience to question and "forgo" rationality and its embedded aversion to Magic as superstitious nonsense. Which has contributed to Magic's recasting as an aesthetic object of consumption, rather than "something one does" or actively engages in. (Sutcliffe, 2021)

	This contributes to another important context the project incorporates. Which is a focus on maintaining an anti-capitalist and anti-commodification attitude towards Magic, especially in regards to Art, artistic mediums and materials.		This contributes to another important context the project incorporates. Which is a focus on maintaining an anti-capitalist and anti-commodification attitude towards Magic, especially in regards to Art, artistic mediums and materials.
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	Bellisario, S. (2025). ''Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic.''Journal of Design History, Volume 37, Issue 4. Oxford University Press. Oxford, United Kingdom.		Bellisario, S. (2025). ''Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic.''Journal of Design History, Volume 37, Issue 4. Oxford University Press. Oxford, United Kingdom.

	Bever, E., Styers, R. (2017). ''Magic in the Modern World: Strategies of Repression and Legitimization.'' Penn State University Press, Magic in History series. Pennsylvania, United States.		Bever, E. (ed.), Styers, R. (ed.) (2017). ''Magic in the Modern World: Strategies of Repression and Legitimization.'' Penn State University Press, Magic in History series. Pennsylvania, United States.

	Charlesworth, J.J. (2022). ''The Return of Magic in Art.'' ArtReview. Available at: https://artreview.com/the-return-of-magic-in-art/ [Accessed 19 Nov. 2025].		Charlesworth, J.J. (2022). ''The Return of Magic in Art.'' ArtReview. Available at: https://artreview.com/the-return-of-magic-in-art/ [Accessed 19 Nov. 2025].

	~~Davies~~, A. (~~2023~~). ''~~Art is~~ Magic.'' ~~University of New South Wales~~. ~~Sydney~~, ~~Australia~~.		Gosden, C. (2020). ''Magic: A History: From Alchemy to Witchcraft, from the Ice Age to the Present''. Penguin. London, United Kingdom.

	~~Gilhooly~~, J. (~~2010~~). ~~''Enchanted Objects: Agency~~ in ~~the Magic~~ and ~~Contemporary Art Practice''~~. ~~University for the Creative Arts,~~ University of ~~Kent. Canterbury~~, ~~United Kingdom.~~		Gottlieb, K. (2017). Cultural Appropriation in Contemporary Neopaganism and Witchcraft. University of Maine, Honors College. Maine, United States.

	~~Gosden, C (2020). ''Magic: A History: From Alchemy to Witchcraft, from the Ice Age to the Present''. Penguin~~. ~~London~~, United ~~Kingdom~~.

	Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].		Moore, P. E. (2019). ''Art and Magick in the 21st Century; Reflections of a Neophyte''. TULCA Festival Of Visual Arts, TULCA, Galway, IE. Available at: http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ [Accessed 15 Nov. 2025].

	Sutcliffe, J ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.		Sutcliffe, J. (ed.) ( 2021). ''Magic.'' MIT Press, Whitechapel Gallery. London, United Kingdom.

	= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =		= <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧</big> Glossary <big>✧</big></span> =