User:Charlie/Paracosmos - Revision history

Charlie at 19:34, 15 November 2025

2025-11-15T19:34:02Z

← Older revision		Revision as of 21:34, 15 November 2025
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	Michael Loewy '''''Incandescent Flame'''''		Michael Loewy '''''Incandescent Flame'''''

			= Protocols for Magic =

			<div style="font-family: cursive; text-align: justify;">
			<big>'''Magic History - Forms of Magic'''</big>
			{\| class="wikitable"
			\|+
			!Source
			!Synopsis
			!Source Form
			\|-
			\|C. Gosden (2020), “Magic: A History: From Alchemy to Witchcraft, from the Ice Age to the Present”
			\|
			\|📚
			\|-
			\|DK (2020), “A History of Magic, Witchcraft and the Occult”
			\|<small>Illustrated compendium on the history of magic practices through the ages</small>
			\|📚
			\|-
			\|L. Williams (2025), "Compendium Of The Occult - Arcane Artefacts, Magic Rituals and Sacred Symbolism"
			\|<small>Illustrated compendium on the history of occult practices through the ages</small>
			\|📚
			\|}
			'''<big>Magic in theory and function</big>'''
			{\| class="wikitable"
			!Source
			!Synopsis
			!Source Form
			\|-
			\|E. Bever, R. Styers (2017), “Magic in the Modern World: Strategies of Repression and Legitimization”
			\|<small>Contemporary analysis of modern magic practices and its function in society</small>
			\|📚
			\|-
			\|P. Stevens Jr. (2023), “Rethinking the Anthropology of Magic and Witchcraft: Inherently Human”
			\|<small>Anthropological theory on Magic's function in the human mind and society throughout history</small>
			\|📌👀
			\|-
			\|J. Sorensen (2006), “A Cognitive Theory of Magic”
			\|
			\|📌👀
			\|-
			\|M. Mauss (1902), “A General Theory On Magic”
			\|
			\|💾
			\|-
			\|R. Dukes (2002), “S.S.O.T.B.M.E. Revised - An Essay On Magic”
			\|<small>Theoretical concept of Magic as way of thinking, in comparison to scientific, religious or artistic thinking</small>
			\|💾
			\|}
			'''<big>The Intersection of Magic & Art</big>'''
			{\| class="wikitable"
			!Source
			!Synopsis
			!Source Form
			\|-
			\|J. Sutcliffe ( 2021), “Magic”
			\|<small>On magic's generative relationship with contemporary art practice</small>
			\|📚
			\|-
			\|S. Bellisario (2025), “Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic”
			\|<small>Intersection of art and magic, symbolic value of artistic practice with the purpose of magic</small>
			\|💾
			\|-
			\|A. Davies (2023), “Art is Magic”
			\|<small>Intersection of art and magic, experience in a museum setting, contemporary art</small>
			\|💾
			\|-
			\|P. E. Moore (2019), "Art and Magick in the 21st Century; Reflections of a Neophyte", TULCA Festival Of Visual Arts, TULCA, Galway, IE.
			\|
			\|[http://www.padraicmoore.com/art-and-magick-in-the-21st-century-reflections-of-a-neophyte/ 🌐]
			\|-
			\|J. Gilhooly (2010), “Enchanted Objects: Agency in the Magic and Contemporary Art Practice”
			\|<small>Secular” Magic and the agency of art and magic in “Technologies of Enchantment”</small>
			\|💾
			\|-
			\|H. Cornish (2022), “Sensing materiality in the Museum of Witchcraft and Magic”
			\|<small>Multi-modal experience/perception of magic practitioners in a Museum space</small>
			\|💾
			\|-
			\|L. O., Haute (2023), ' Talismans pour celles qui ne savent pas de quoi ils parlent'
			\|<small>Zine (translation: Talismans for the ones who don't know what they talk about)</small>
			\|📚
			\|}
			<big>'''Art & Artists'''</big>
			{\| class="wikitable"
			!Source
			!Synopsis
			!Source Form
			\|-
			\|
			\|
			\|
			\|-
			\|
			\|
			\|
			\|-
			\|
			\|
			\|
			\|-
			\|
			\|
			\|
			\|}
			📚 = physical copy 💾 = .pdf 🌐 = online 📌👀 = still need a copy ⏳ = waiting for copy
			</div>

	= References =		= References =

Charlie at 16:01, 21 May 2025

2025-05-21T16:01:25Z

@@ Line 119: / Line 119: @@
 === Research Context ===
 ...
 = References =

Charlie: /* Synopsis */

2025-05-07T14:41:25Z

Synopsis

← Older revision		Revision as of 16:41, 7 May 2025
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	'''Format:''' Column		'''Format:''' Column

			'''On the author:'''

	Vicky Osterweil...		Vicky Osterweil...

	=== Synopsis ===		=== Synopsis ===
	In her column, Osterweil ponders how, over the past two to four decades, video games have become a crucial part of mainstream American media consumption. Emblematic of the ''“digital age”'' , she aims to analyze the ways in which video games fit into the current economic model. By asking: ''<small><code style="background-color: Beige;">"What has the medium's (video games) material role been under capitalism?"</code></small>''(Osterweil, 2018)Opening a discussion on how video games may embody and therefore reinforce cultural and societal norms, political practices and ideology.		In her column, Osterweil ponders how, over the past two to four decades, video games have become a crucial part of mainstream American media consumption. Emblematic of the ''“digital age”'' , she aims to analyze the ways in which video games fit into the current economic model.

			=== Notes & Annotations ===
			By asking: ''<small><code style="background-color: Beige;">"What has the medium's (video games) material role been under capitalism?"</code></small>''(Osterweil, 2018)Opening a discussion on how video games may embody and therefore reinforce cultural and societal norms, political practices and ideology.

	With ''Fortnite'' as the main example, Osterweil argues that most popular video games often reproduce aspects of a Capitalist society (''<small><code style="background-color: Beige;">"socially, politically, economically"</code></small>'')(Osterweil, 2018) In other words, game-mechanics often simply simulate and gamify the mechanisms of everyday life within Capitalism. For example: engaging in continuous monotonous labor ("grinding") as a way to advance and engage in consumption within the game.		With ''Fortnite'' as the main example, Osterweil argues that most popular video games often reproduce aspects of a Capitalist society (''<small><code style="background-color: Beige;">"socially, politically, economically"</code></small>'')(Osterweil, 2018) In other words, game-mechanics often simply simulate and gamify the mechanisms of everyday life within Capitalism. For example: engaging in continuous monotonous labor ("grinding") as a way to advance and engage in consumption within the game.
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	'''Original language:''' French (translated and paraphrased by me)		'''Original language:''' French (translated and paraphrased by me)

			'''On the author:'''

	The article (original title: "Le mythe en politique, un instrument d'autorité") was published in the French magazine Le Monde/La Vie 2025 special edition ''L'histoire des mythes'' ("the history of myths"), written by Éric Cobast. Cobast largely works as a teacher on general culture, and as a frequent specialist adviser in media production on that same subject. He has written and contributed to many French educational publications on the subject of general culture, with a focus on history, mythology and politics.		The article (original title: "Le mythe en politique, un instrument d'autorité") was published in the French magazine Le Monde/La Vie 2025 special edition ''L'histoire des mythes'' ("the history of myths"), written by Éric Cobast. Cobast largely works as a teacher on general culture, and as a frequent specialist adviser in media production on that same subject. He has written and contributed to many French educational publications on the subject of general culture, with a focus on history, mythology and politics.
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	The article introduces the reader to mythology and myths as a political tool. It mostly focuses on a selection of examples from history in which political authorities of various cultures have employed mythological legends and narratives for political gain and legitimization.		The article introduces the reader to mythology and myths as a political tool. It mostly focuses on a selection of examples from history in which political authorities of various cultures have employed mythological legends and narratives for political gain and legitimization.

			=== Notes & Annotations ===
	The author states that myths provide an archaic attribute to political speech. '''''Archaic''''' in its dual meaning, from its Greek etymology ("''archein''"): "To commence/to begin" as well as, "to command". As such, they always constitute both a story of origin and a call-to-action.		The author states that myths provide an archaic attribute to political speech. '''''Archaic''''' in its dual meaning, from its Greek etymology ("''archein''"): "To commence/to begin" as well as, "to command". As such, they always constitute both a story of origin and a call-to-action.

Charlie: /* Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story */

2025-05-07T14:35:11Z

Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story

← Older revision		Revision as of 16:35, 7 May 2025
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	'''On the author:'''		'''On the author:'''

	George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.		George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.

	=== Synopsis ===		=== Synopsis ===
Line 50:		Line 50:

	=== Synopsis ===		=== Synopsis ===
	In her column, Osterweil ponders how, over the past two to four decades, video games have become a crucial part of mainstream American media consumption. Emblematic of the ''“digital age”'' , she aims to analyze the ways in which video games fit into the current economic model. By asking: ''<small><code style="background-color: Beige;">"What has the medium's (video games) material role been under capitalism?"</code></small>''Opening a discussion on how video games may embody and therefore reinforce cultural and societal norms, political practices and ideology.		In her column, Osterweil ponders how, over the past two to four decades, video games have become a crucial part of mainstream American media consumption. Emblematic of the ''“digital age”'' , she aims to analyze the ways in which video games fit into the current economic model. By asking: ''<small><code style="background-color: Beige;">"What has the medium's (video games) material role been under capitalism?"</code></small>''(Osterweil, 2018)Opening a discussion on how video games may embody and therefore reinforce cultural and societal norms, political practices and ideology.

	With ''Fortnite'' as the main example, Osterweil argues that most popular video games often reproduce aspects of a Capitalist society (''<small><code style="background-color: Beige;">"socially, politically, economically"</code></small>'')In other words, game-mechanics often simply simulate and gamify the mechanisms of everyday life within Capitalism. For example: engaging in continuous monotonous labor ("grinding") as a way to advance and engage in consumption within the game.		With ''Fortnite'' as the main example, Osterweil argues that most popular video games often reproduce aspects of a Capitalist society (''<small><code style="background-color: Beige;">"socially, politically, economically"</code></small>'')(Osterweil, 2018) In other words, game-mechanics often simply simulate and gamify the mechanisms of everyday life within Capitalism. For example: engaging in continuous monotonous labor ("grinding") as a way to advance and engage in consumption within the game.

	Making video games a reproductive medium to capitalist ideology: ''<small><code style="background-color: Beige;">"To perpetuate their own existence, mass media must succeed at representing the violent coercion of capitalist systems as natural laws: Of course you have to pay rent to live inside; of course you have to buy food to eat; of course you have to work if you want to survive."</code></small>'' (based on the ''Social reproduction theory''.)		Making video games a reproductive medium to capitalist ideology: ''<small><code style="background-color: Beige;">"To perpetuate their own existence, mass media must succeed at representing the violent coercion of capitalist systems as natural laws: Of course you have to pay rent to live inside; of course you have to buy food to eat; of course you have to work if you want to survive."</code></small>'' (Osterweil, 2018) (based on the ''Social reproduction theory''.)

	=== Research context ===		=== Research context ===
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	'''Published:''' 1998		'''Published:''' 1998

			'''On the author:'''

			Ursula Kroeger Le Guin...

	=== Synopsis ===		=== Synopsis ===
	...		''Steering The Craft'' was written as a workbook for new and practicing writers to learn and practice the basic skills required to write and improve ones prose. Divided into a variety of topics such as rhythm, pacing, punctuation, grammar, verbs and tenses; alongside useful literary examples, each chapter includes one or two exercises that focuses on a specific writing skill.

	=== Research Context ===		=== Research Context ===
	...		The book provides a resource for on how to write better prose. As I am interested in exploring story-telling as a key element of my work, and enjoy writing in general, I feel like I am in dire need of concrete and practical guidelines to improve my general writing skills. (Similar to ''Politics and the English Language by Orwell)''

	== Myth in politics, an instrument of authority ==		== Myth in politics, an instrument of authority ==
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	To political agendas, myths act as an abundant source for ready-made fiction; A direct link to the collective imagination and the sanctified narratives that constitute and bind the collective consciousness of a culture. Therefore, whoever wields power over the narratives of a culture, wields power over that culture. Myths embody political authority.		To political agendas, myths act as an abundant source for ready-made fiction; A direct link to the collective imagination and the sanctified narratives that constitute and bind the collective consciousness of a culture. Therefore, whoever wields power over the narratives of a culture, wields power over that culture. Myths embody political authority.

	The myth as a narrative tool operates in the realms of imagination and emotion, and always contains space for double-meanings open to interpretation. <code style="background-color: Beige;"><small>"''<u>Il sacrilise, légitime, fédère, mobilise, préfigure, prophétise, justifie l'action politique</u>'''.'''''"</small></code>: The myth sanctifies, legitimizes, unites, mobilizes, prefigures, prophesies and justifies political action. As such, it comes as no surprise, that political agents continuously employ myths and the same mythological legends as a means to consolidate their power, all-throughout history.		The myth as a narrative tool operates in the realms of imagination and emotion, and always contains space for double-meanings open to interpretation. <code style="background-color: Beige;"><small>"''<u>Il sacrilise, légitime, fédère, mobilise, préfigure, prophétise, justifie l'action politique</u>'''.'''''"</small></code>(Cobast, 2025): The myth sanctifies, legitimizes, unites, mobilizes, prefigures, prophesies and justifies political action. As such, it comes as no surprise, that political agents continuously employ myths and the same mythological legends as a means to consolidate their power, all-throughout history.

	=== Research Context ===		=== Research Context ===

Charlie: /* References */

2025-05-07T13:36:44Z

References

← Older revision		Revision as of 15:36, 7 May 2025
Line 112:		Line 112:

	# Cobast, É. (2025) 'Le mythe en politique, un instrument d'autorité''', L'histoire des mythes ,'' Monde SA, La Vie/Le Monde, special edition 2025, pp. 48-51.		# Cobast, É. (2025) 'Le mythe en politique, un instrument d'autorité''', L'histoire des mythes ,'' Monde SA, La Vie/Le Monde, special edition 2025, pp. 48-51.
	# Le Guin, U.K. (1998) ''Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story'', First Mariner Books edition 2015, United States: Harper Collins.		# Le Guin, U.K. (1998) ''Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story''. First Mariner Books edition 2015, United States: Harper Collins.
	# Orwell, G. (1946) 'Politics and the English Language', ''Horizon,'' London. Available at: https://www.orwell.ru/library/essays/politics/english/e_polit/ (Accessed: 07/05/2025).		# Orwell, G. (1946) 'Politics and the English Language', ''Horizon,'' London. Available at: https://www.orwell.ru/library/essays/politics/english/e_polit/ (Accessed: 07/05/2025).
	# Osterweil, V. (2018) 'Well-Played', ''Real Life,'' United States. Available at: https://reallifemag.com/well-played/ (Accessed: 07/05/2025).		# Osterweil, V. (2018) 'Well-Played', ''Real Life,'' United States. Available at: https://reallifemag.com/well-played/ (Accessed: 07/05/2025).
	# Pater, R. (2023) ''The Politics of Design.'' 9th edition, Amsterdam, The Netherlands: BIS Publishers		# Pater, R. (2023) ''The Politics of Design.'' 9th edition, Amsterdam, The Netherlands: BIS Publishers

Charlie: /* Sources */

2025-05-07T13:36:01Z

Sources

← Older revision		Revision as of 15:36, 7 May 2025
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	...		...

	= ~~Sources~~ =		= References =
			(Harvard Style of Referencing)

	# ~~ORWELL~~, ~~George~~. "Politics and the English Language." ''Horizon,'' April 1946, London, UK. The Orwell Foundation, www.orwellfoundation.com/the-orwell-foundation/orwell/essays-and-other-works/politics-and-the-english-language/, (~~last accessed: April~~ 2025).		# Cobast, É. (2025) 'Le mythe en politique, un instrument d'autorité''', L'histoire des mythes ,'' Monde SA, La Vie/Le Monde, special edition 2025, pp. 48-51.
	~~# OSTERWEIL~~, ~~Vicky. "Well-Played".~~ ''~~Real Life~~'' ~~Magazine~~, ~~October 22~~, ~~2018. Real Life~~, ~~reallifemag.com/well-played~~/, ~~(last accessed: April~~ 2025).		# Le Guin, U.K. (1998) ''Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story'', First Mariner Books edition 2015, United States: Harper Collins.
	# ~~LE GUIN~~, ~~Ursula~~ K. "Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story." First Mariner Books edition 2015, Harper Collins ~~Publishers~~, ~~1998~~, ~~United States of America~~. (~~ISBN~~: ~~978-0-544-61161-0~~)		# Orwell, G. (1946) 'Politics and the English Language', ''Horizon,'' London. Available at: https://www.orwell.ru/library/essays/politics/english/e_polit/ (Accessed: 07/05/2025).
	# ~~COBAST~~, ~~Éric~~. ~~"Le mythe en politique~~, ~~un instrument d~~'~~autorité~~.~~" La Vie~~/~~Le Monde, special edition 2025, Monde SA, France~~. (~~ISBN~~: ~~978 2 36804 172 7~~)		# Osterweil, V. (2018) 'Well-Played', ''Real Life,'' United States. Available at: https://reallifemag.com/well-played/ (Accessed: 07/05/2025).
	# ~~PATER~~, ~~Ruben~~. "The ~~politics~~ of Design." 9th edition ~~2023, BIS Publishers, 2016~~, Amsterdam, The Netherlands~~. (ISBN~~: ~~978-90-636-9422-7)~~		# Pater, R. (2023) ''The Politics of Design.'' 9th edition, Amsterdam, The Netherlands: BIS Publishers

Charlie: /* Reader */

2025-04-24T07:38:13Z

Reader

← Older revision		Revision as of 09:38, 24 April 2025
Line 29:		Line 29:

	'''On the author:'''		'''On the author:'''

	(A not-so-brief summary of the George Orwell [https://en.wikipedia.org/wiki/George_Orwell Wikipedia article]. Which I found fascinating and at parts, hilarious. Both, because of the content and the not always neutral tone of the article's author(s))

	George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.		George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.

	George Orwell (pen-name, born Eric Arthur Blair) was born in 1903 in the British-colonial Burma, India, to a well-off family. In his early childhood, Orwell moved to England with his mother and sister. Years later, after dropping out of college at eighteen, he returned to Burma British India to join the Imperial Indian Police. His later accounts of this period seem to focus on his feelings of boredom and annoyance at the job. Periodically sprinkled with racist remarks and antagonizing impressions of the local natives he encountered. He resigned from the Imperial Police and returned to England in 1927, to pursue writing. A year later, he moved to Paris and contributed to two French political and left-wing journals. Before returning to England once-again.

	What I found interesting in his [https://en.wikipedia.org/wiki/George_Orwell Wikipedia article], was that Orwell seemed to have had a peculiar obsession with the lives of the poor in the early days of his career as a writer. Time and again, he would purposefully seek out environments within local lower-class populations and attempt to immerse himself in the life of the impoverished. Going as far as, dressing himself like a "tramp" (old term for a vagabond homeless person) and roaming around poor neighborhoods. Or engaging in disorderly behavior in hopes of being caught and put in jail during Christmas. A failed experiment. Dubious ventures for the sake of "experiencing life in poverty" and using these insights as reference points in his writing and journalistic articles. Like his 1946 essay "How The Poor die", about his experience of being treated for illness in a small local hospital.

	In the late 30s, Orwell's writing mostly focused on documenting the precarity of the English lower working class, through methods of investigative journalism. Additionally, he grew more or less concerned with the activities of the national left-wing political parties, such as the Communist Party (CP) and Independent Labour Party (ILP). An interest which probably prompted him to include "a long essay on his upbringing and the development of his political conscience, which includes an argument for socialism"[https://en.wikipedia.org/wiki/George_Orwell] in the latter part of his 1937 book ''The Road to Wigan Pier''; A part of his book which was largely censored by the publisher.

	The very summarized context in the following parts of the article offers some intriguing information on Orwell's ideas and "political conscience". From his actions and decisions, Orwell's political affiliations seemed to have been vaguely left-leaning. "Vaguely", as in non-denominational to any particular political party ("non-partisan", yes). Though he didn't shy away from using his party-connections as a gateway to source material for his writing. Orwell used his ties to the ILP to travel to Spain during its Civil War in 1936, after being rejected by the CP due to "lack of commitment to their cause". His first impression of the multi-faction political collaboration in the socialist revolutionary movement in Catalonia, is described as "kaleidoscopic". Party alliances which Orwell pejoratively describes as a clashing of ideologies and with misaligned political aims. In Spain, Orwell soon joins the POUM (the Spanish Workers' Party of Marxist Unification) which allows him to be sent to the front-lines. Despite Orwell's many proclamations on his own ideological clashes with the Communist movement. At the end of the Civil War, his shaky affiliation with the POUM and other active Communists lead him to both be stamped as a co-conspirator and secret fascist by accusations against the POUM. As well as, Orwell to be tried for treason against the state of England for aiding the socialist communist movement in Spain.

	~~[..]~~

	=== Synopsis ===		=== Synopsis ===

Charlie: /* Extracts */

2025-04-24T06:30:13Z

Extracts

← Older revision		Revision as of 08:30, 24 April 2025
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	The article introduces the reader to mythology and myths as a political tool. It mostly focuses on a selection of examples from history in which political authorities of various cultures have employed mythological legends and narratives for political gain and legitimization.		The article introduces the reader to mythology and myths as a political tool. It mostly focuses on a selection of examples from history in which political authorities of various cultures have employed mythological legends and narratives for political gain and legitimization.

	~~=== Extracts ===~~
	The author states that myths provide an archaic attribute to political speech. '''''Archaic''''' in its dual meaning, from its Greek etymology ("''archein''"): "To commence/to begin" as well as, "to command". As such, they always constitute both a story of origin and a call-to-action.		The author states that myths provide an archaic attribute to political speech. '''''Archaic''''' in its dual meaning, from its Greek etymology ("''archein''"): "To commence/to begin" as well as, "to command". As such, they always constitute both a story of origin and a call-to-action.

Charlie: /* Paracosmos */

2025-04-23T18:26:04Z

Paracosmos

← Older revision		Revision as of 20:26, 23 April 2025
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	In my previous studies (Illustration BA) , ''Paracosmos'' was the title of my thesis and project (February 2024). Which broadly investigated the intersection between the concept of paracosms and art-making. A "paracosm", which can be translated to parallel cosmos/universe, is a specific term used to designed complex imaginary worlds, most often created by children as a form of escapism through fictional world-building. In my project, I appropriated the concept of paracosms to create a framework for artistic world-building and visual language development within an artistic practice. As references, I analyzed a set of contemporary artists whose artistic practice and aesthetics primarily revolve around personal childhood nostalgia and the distinct symbolism that emerged within their visual language. The project also partly looked at the reemergence of western medieval fantasy and folklore as a popular visual style and narrative carrier within pop culture and the visual arts, at the time.		In my previous studies (Illustration BA) , ''Paracosmos'' was the title of my thesis and project (February 2024). Which broadly investigated the intersection between the concept of paracosms and art-making. A "paracosm", which can be translated to parallel cosmos/universe, is a specific term used to designed complex imaginary worlds, most often created by children as a form of escapism through fictional world-building. In my project, I appropriated the concept of paracosms to create a framework for artistic world-building and visual language development within an artistic practice. As references, I analyzed a set of contemporary artists whose artistic practice and aesthetics primarily revolve around personal childhood nostalgia and the distinct symbolism that emerged within their visual language. The project also partly looked at the reemergence of western medieval fantasy and folklore as a popular visual style and narrative carrier within pop culture and the visual arts, at the time.

	In a second iteration of ''Paracosmos'', I would like to revisit this concept, yet shift the focus by which I appropriate the concept of paracosms; From artistic world-building to a concept of personal para-reality through conspiratorial thinking, political fiction and myth-making. At the same time, I would like to further interrogate escapism through fantasy. Especially, look at ~~the~~ western fantasy-media and its potential to embody dominant socio-cultural norms and political ideologies. [..]		In a second iteration of ''Paracosmos'', I would like to revisit this concept, yet shift the focus by which I appropriate the concept of paracosms; From artistic world-building to a concept of personal para-reality through conspiratorial thinking, political fiction and myth-making. At the same time, I would like to further interrogate escapism through fantasy. Especially, look at western fantasy-media and its potential to embody dominant socio-cultural norms and political ideologies. [..]

	= Reader =		= Reader =
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	'''Format:''' Essay		'''Format:''' Essay

	'''On the author (~~quite long, but found it too interesting to be~~ brief):'''		'''On the author:'''

			(A not-so-brief summary of the George Orwell [https://en.wikipedia.org/wiki/George_Orwell Wikipedia article]. Which I found fascinating and at parts, hilarious. Both, because of the content and the not always neutral tone of the article's author(s))

	George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.		George Orwell is best known for his two fiction novels ''Animal Farm'' and ''Nineteen-Eighty-Four,'' but his writing also includes many other genre such as e.g: essays, journalism and poetry.

	George Orwell (pen-name, born Eric Arthur Blair) was born in the British-colonial Burma, to a well-off family ~~in 1903~~. ~~After~~ dropping out of ~~Eton College~~ at eighteen, he returned to Burma British India to join the Imperial Indian Police. His later accounts of this period seem to focus on his feelings of boredom and annoyance at the job. Periodically sprinkled with racist remarks and antagonizing impressions of the local natives he encountered. He resigned from the Imperial Police and returned to England in 1927, to pursue writing. A year later, he moved to Paris and contributed to two French political and left-wing journals. Before returning to England once-again.		George Orwell (pen-name, born Eric Arthur Blair) was born in 1903 in the British-colonial Burma, India, to a well-off family. In his early childhood, Orwell moved to England with his mother and sister. Years later, after dropping out of college at eighteen, he returned to Burma British India to join the Imperial Indian Police. His later accounts of this period seem to focus on his feelings of boredom and annoyance at the job. Periodically sprinkled with racist remarks and antagonizing impressions of the local natives he encountered. He resigned from the Imperial Police and returned to England in 1927, to pursue writing. A year later, he moved to Paris and contributed to two French political and left-wing journals. Before returning to England once-again.

	What I found interesting in his [https://en.wikipedia.org/wiki/George_Orwell Wikipedia article], was that Orwell seemed to have had a peculiar obsession with the lives of the poor in the early days of his career as a writer. Time and again, he would purposefully seek out environments within local lower-class populations and attempt to immerse himself in the life of the impoverished. Going as far as, dressing himself like a "tramp" (old term for a vagabond homeless person) and roaming around poor neighborhoods. Or engaging in disorderly behavior in hopes of being caught and put in jail during Christmas. A failed experiment. Dubious ventures for the sake of "experiencing life in poverty" and using these insights as reference points in his writing and journalistic articles. Like his 1946 essay "How The Poor die", about his experience of being treated for illness in a small local hospital.		What I found interesting in his [https://en.wikipedia.org/wiki/George_Orwell Wikipedia article], was that Orwell seemed to have had a peculiar obsession with the lives of the poor in the early days of his career as a writer. Time and again, he would purposefully seek out environments within local lower-class populations and attempt to immerse himself in the life of the impoverished. Going as far as, dressing himself like a "tramp" (old term for a vagabond homeless person) and roaming around poor neighborhoods. Or engaging in disorderly behavior in hopes of being caught and put in jail during Christmas. A failed experiment. Dubious ventures for the sake of "experiencing life in poverty" and using these insights as reference points in his writing and journalistic articles. Like his 1946 essay "How The Poor die", about his experience of being treated for illness in a small local hospital.
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	In the late 30s, Orwell's writing mostly focused on documenting the precarity of the English lower working class, through methods of investigative journalism. Additionally, he grew more or less concerned with the activities of the national left-wing political parties, such as the Communist Party (CP) and Independent Labour Party (ILP). An interest which probably prompted him to include "a long essay on his upbringing and the development of his political conscience, which includes an argument for socialism"[https://en.wikipedia.org/wiki/George_Orwell] in the latter part of his 1937 book ''The Road to Wigan Pier''; A part of his book which was largely censored by the publisher.		In the late 30s, Orwell's writing mostly focused on documenting the precarity of the English lower working class, through methods of investigative journalism. Additionally, he grew more or less concerned with the activities of the national left-wing political parties, such as the Communist Party (CP) and Independent Labour Party (ILP). An interest which probably prompted him to include "a long essay on his upbringing and the development of his political conscience, which includes an argument for socialism"[https://en.wikipedia.org/wiki/George_Orwell] in the latter part of his 1937 book ''The Road to Wigan Pier''; A part of his book which was largely censored by the publisher.

	The very summarized context in the following parts of the article offers some intriguing information on Orwell's ideas and "political conscience". From his actions and decisions, Orwell's political affiliations seemed to have been vaguely left-leaning. "Vaguely", as in non-denominational to any particular political party. Though he didn't shy away from using his party-connections as a gateway to source material for his writing. Orwell used his ties to the ILP to travel to Spain during its Civil War in 1936, after being rejected by the CP due to "lack of commitment to their cause". His first impression of the multi-faction political collaboration in the socialist revolutionary movement in Catalonia, is described as "kaleidoscopic". Party alliances which Orwell pejoratively describes as a clashing of ideologies and with misaligned political aims. In Spain, Orwell soon joins the POUM (the Spanish Workers' Party of Marxist Unification) which allows him to be sent to the front-lines. Despite Orwell's many proclamations on his own ideological clashes with the Communist movement. At the end of the Civil War, his shaky affiliation with the POUM and other active Communists lead him to both be stamped as a co-conspirator and secret fascist by accusations against the POUM. As well as, Orwell to be tried for treason against the state in England for aiding the socialist communist movement in Spain.		The very summarized context in the following parts of the article offers some intriguing information on Orwell's ideas and "political conscience". From his actions and decisions, Orwell's political affiliations seemed to have been vaguely left-leaning. "Vaguely", as in non-denominational to any particular political party ("non-partisan", yes). Though he didn't shy away from using his party-connections as a gateway to source material for his writing. Orwell used his ties to the ILP to travel to Spain during its Civil War in 1936, after being rejected by the CP due to "lack of commitment to their cause". His first impression of the multi-faction political collaboration in the socialist revolutionary movement in Catalonia, is described as "kaleidoscopic". Party alliances which Orwell pejoratively describes as a clashing of ideologies and with misaligned political aims. In Spain, Orwell soon joins the POUM (the Spanish Workers' Party of Marxist Unification) which allows him to be sent to the front-lines. Despite Orwell's many proclamations on his own ideological clashes with the Communist movement. At the end of the Civil War, his shaky affiliation with the POUM and other active Communists lead him to both be stamped as a co-conspirator and secret fascist by accusations against the POUM. As well as, Orwell to be tried for treason against the state of England for aiding the socialist communist movement in Spain.

	[..]		[..]

Charlie: /* Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story */

2025-04-23T14:49:13Z

Steering The Craft: A Twenty-First-Century Guide to Sailing the Sea of Story

← Older revision		Revision as of 16:49, 23 April 2025
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	'''Format:''' Book		'''Format:''' Book

	'''Published:'''		'''Published:''' 1998

	=== Synopsis ===		=== Synopsis ===