User:Charlie/Graduate Proposal: Difference between revisions

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Project Proposal ~ DRAFT

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✧ Draft #1 ✧

✼ What do you want to make? ✼

First prototypes for a worksheet on Magic circles.

This project is an experimental exploration into art making for the purpose of engaging with Magic. Informed by varying definitions and understandings of Magic, it aims to merge different approaches and conceptualizations as the basis for forming ritualistic protocols for artistic magical practices.  

 These Protocols for Magic would take the shape of a multi-part illustrated publication, separated into different “types” of magic (f.ex.: Artefact magic, textual magic, ritual magic, etc) which would each include the necessary information on the forms of magic presented, as well as applied protocols, worksheets, tutorials or guides.   ❎explain examples via prototype

✼ How do you plan to make it? ✼

This project requires a sufficient understanding of Magic as a concept, past and existing practices and its connection to art, i.e. magical art. Both through historic and contemporary examples. Therefore, I shall begin with researching, compiling and documenting theoretical and artistic references (See bibliography for my current reading list) and use these as the basis for creating the protocols.   

The protocols themselves will require thorough prototyping and testing, since my main goal is to publish a series of applicable material. This means, throughout the process I plan to regularly seek test groups (i.e. classmates, friends, strangers, etc) to engage with my project and give me feedback on their experiences and perceptions. I would like these tests to both take-place in workshop settings, as well as autonomous testing by individuals. Audience participation and feedback of the prototypes will give me the necessary insight to refine and finalise my project. It will also be valuable information to write about and reflect on in my thesis, which partly investigates Magic as a “mode-of-thinking” and how personal artistic expression may shape someone’s perception and relation to magic.  

❎elaborate on steps for worksheet and protocols (research, elements, components) -> example prototype

Another important part of this project will be the visual presentation of the publication(s). Though I have not entirely figured out my plan for it yet, prototyping will also help to experiment with different designs, illustrations and material elements. Until I develop the final visual form. All parts of the final project should have an overarching visual identity. (Some images of current inspiration below)

✼ What is your timetable? ✼


Task	Description	Time
Research:		~ 1 month - preliminary research 2-3 months - back-and-forth with prototypes
Prototyping:		2-4 months - Cyclical testing-reflecting-making
Design:		1-2 months - throughout prototyping
Finalization:		1 month

✼ Why do you want to make it? ✼

❎

✼ Who can help you and how? ✼

Dr. Justin Sledge - Esoterica (YouTube channel) = I would really like to contact him and ask many questions in regards to Magic practices of the past and his philosophical views on the matter. (maybe maybe)

✼ Relation to previous practice ✼

BA Project (expand..)
Ornamenta

Sneaking-in occult symbolism in all my work
Publications based on supernatural or superstitious themes
...

✼ Relation to a larger context ✼ in progress..

Art and magic have always been intertwined, since the beginning of time. From cave paintings, carved figurines and ornate ritual tools, decorated shrines and temples, all the way to our modern times. Wood, clay, stone, metal, cloth, bone, glass…plastic..digital screens — Where there is a surface to adorn, magic may be found.

Magic represents something inherently human. Most general definitions describe Magic as the tapping into an “invisible force”. Whether this force is of supernatural origin or the “simplified” accessing of the human unconscious, I think all views on what Magic is reflect the same human urge of seeking agency and purpose in life. The wish to access, connect and be in control of something outside (or inside) of ourselves in hopes of transforming and overcoming the material condition that bind us to our current state. As such, magical art is its conduit. It exists in the in-between of the tangible and ephemeral state of being. It can be the tool to, the key for, the material representation of magical intention and transformation. Or it can be the ritual, the performance, the experience that connects us to Magic itself.   ❎Art as a component in magic, religion, occult and cultural, political expression. Art as the medium for the expression of beliefs, ideas, intention etc. A carrier of meaning and connection. Visual force. Material culture and symbols. Aesthetic. etc

In recent years there has been a growing, or one may say a revived interest in Magic, magical and occult practices and eclectic spiritual movements (❎source + statistics). I believe this has many intersecting reasons. ❎Alienation. Capitalism. Religious extremism. Urbanism. Loss of nature. Community oriented cultural practices.❎

It positions Magic as a concept in flux shaped by the idiosyncratic nature of perception and creative expression. In other words, protocols for Magic does not aim to create a pseudo-universal framework for the interpretation of Magic, but rather form a set of guided exercises for practicing Magic through art which leaves space to both incorporate and critically engage with personal bias, pre-established belief- and symbolic systems.  In a similar manner, art may be defined as mode of personal expression, inherently subjective but never neutral.   ❎Reason and benefit

✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧

✼ Bibliography ✼

Dukes, R., Snell, L. (2000). 'SSOTBME Revised - an essay on magic.', The Mouse That Spins, England. (ISBN: 1-903548-00-4)
Dk (2020). 'History of Magic, Witchcraft, and the Occult.' Dorling Kindersley Publishing, Incorporated. (ISBN: 978-0-2413-8611-8)
Nataf, A. (1990). 'Les Maîtres de l’occultisme.' , France Loisirs, (ISBN: 978-2724250015) ‌ ‌

Haute, L. O., (2023) ' talismans pour celles qui ne savent pas de quoi ils parlent' (translation: Talismans for the ones who don't know what they talk about)
Per Faxneld (2017). ' Satanic feminism: Lucifer as the liberator of woman in nineteenth-century culture ', New York, Ny: Oxford University Press. ‌

✼ Feedback & Reflections ✼

Feedback session - 16th October w/ Lexie & Wyn

Clear and concise plan

Picture of prototype helped -> Visual examples may be important

Link between Thesis and Project is very clear but a clearer description of the project could be included in the protocols chapter

Timetable seems chaotic/ like it needs revision

Wider context could benefit from contemporary examples of Magic practices, and comparisons to past practices

To think about: How do aesthetic components come into the idea of magic and the occult?

Feedback session - 16th October w/ Lidia

* Add more references on wider context * Whats the perspective on magic I want to investigate * whats my intervention, goal of the project should be more concrete -> pin-pointing * magic is bigger than artistic practice, depending on intention of thesis/project, should that be? being more * precise will help reformulating these ideas * update timetable! * start taking steps towards pinpointing and narrowing down the focus of the project and thesis * write down my connection of art and magic -> make the abstract connection in my head more explicit (to the reader) * as I narrow down, the key points will become more hierarchical -> importance will stand out * also pinpoint for whom I am trying to make it and why

✼ Plans & Next steps ✼

Add prototypes -> description, process/pictures, trial-runs and feedback reflections
Update section on wider context -> add references/source list and contemporary examples/context
Update time table to current proposal
Think about aesthetic components

@@ Line 6: / Line 6: @@
 == <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;"><big>✧ <u>Draft #1</u> ✧</big></span> ==
 <div style="font-family: cursive; padding-top: 5px;">
-<div style="background-color:lavender-blush; padding:3px;">[https://pad.xpub.nl/p/GradProposal_Draft_01 <big>'''Draft Pad'''</big>]</div>
 === <u>'''✼ What do you want to make? ✼'''</u> ===
-[[File:Proto pic 01.png|thumb|424x424px|First prototypes for a worksheet on Magic circles.]]An illustrated publication on "Protocols for Magic", texts that reflect different aspects of my research alongside a variety of  games, templates and exercises to practice Magic.
+[[File:Proto pic 01.png|thumb|424x424px|First prototypes for a worksheet on Magic circles.]]This project is an experimental exploration into art making for the purpose of engaging with Magic. Informed by varying definitions and understandings of Magic, it aims to merge different approaches and conceptualizations as the basis for forming ritualistic protocols for artistic magical practices.
-Informed by my thesis on Magic as a system-of-thought within different contexts, this publication will include experimental frameworks based on Magic systems and existing Magic practices focused on art and creative expression.
+ These Protocols for Magic would take the shape of a multi-part illustrated publication, separated into different “types” of magic (f.ex.: Artefact magic, textual magic, ritual magic, etc) which would each include the necessary information on the forms of magic presented, as well as applied protocols, worksheets, tutorials or guides.
+  ❎explain examples via prototype
 === <u>'''✼ How do you plan to make it? ✼'''</u> ===
-# Thesis - Literature review and references analysis
+This project requires a sufficient understanding of Magic as a concept, past and existing practices and its connection to art, i.e. magical art. Both through historic and contemporary examples. Therefore, I shall begin with researching, compiling and documenting theoretical and artistic references (See bibliography for my current reading list) and use these as the basis for creating the protocols.
-# Prototyping systems - Templates/Exercises/Games/Riddles/Texts
-# Testing - Workshops/Feedback Sessions/Other
+The protocols themselves will require thorough prototyping and testing, since my main goal is to publish a series of applicable material. This means, throughout the process I plan to regularly seek test groups (i.e. classmates, friends, strangers, etc) to engage with my project and give me feedback on their experiences and perceptions. I would like these tests to both take-place in workshop settings, as well as autonomous testing by individuals. Audience participation and feedback of the prototypes will give me the necessary insight to refine and finalise my project. It will also be valuable information to write about and reflect on in my thesis, which partly investigates Magic as a “mode-of-thinking” and how personal artistic expression may shape someone’s perception and relation to magic.
-# Presenting - Textual + Visual
-# ...
+❎elaborate on steps for worksheet and protocols (research, elements, components) -> example prototype
+Another important part of this project will be the visual presentation of the publication(s). Though I have not entirely figured out my plan for it yet, prototyping will also help to experiment with different designs, illustrations and material elements. Until I develop the final visual form. All parts of the final project should have an overarching visual identity. (Some images of current inspiration below)
 === <u>'''✼ What is your timetable? ✼'''</u> ===
-* Initial Research (overlapping)
+{| class="wikitable"
-** Thesis Reference and Literature: ~ 2 months
+|+
-** Prototyping + Test sessions: 2-3 months
+!Task
-* Reflections and Refinements: 1-2months
+!Description
-* Publication: 1<2 months
+!Time
-=== <u>'''✼ Why do you want to make it? ✼'''</u> ===
+|-
-When I was tasked to imagine what I really truly wanted to make, above all else, this project beat all other more "reasonable ideas".
+|Research:
+|
+|'''~ 1 month''' - preliminary research
-Maybe because, despite being a so-called skeptic, I have always been deeply fascinated by all types of esotericism, the occult and most of all, anything adjacent to '''Magic.''' Over time, I have tried to develop my own personal view of Magic and "how it works". And in this eternal attempt to reconcile rationality with wonder in pursuit of real life magic, I have come to find that art, in both admiration and creation, is the closest I may get to "it".
+'''2-3 months''' - back-and-forth with prototypes
-Or maybe because, I like to imagine that in another life I took a slightly more academic route and pursuit studies in art history with a minor in occult art, or religious studies and gone on to do a Master in Western Esotericism (they offer that in Amsterdam).  Alas, I chose Illustration, because I wasn't a very good student in high-school and loved drawing more than reading. And now I'm doing a Masters in Experimental Publishing.
-Or maybe, after all considerations, all theories on magic, new age believes and esoteric practices I have read about, art is still the closest substitute to magic I have found so far. And like a bastardized version of Alchemy in which I merge my love for art, science and heresy, this may be a final attempt at distilling the very substance of Magic to a digestible goo in hopes of transmuting it into a shiny goblet that can hold my specific world view.
+|-
+|Prototyping:
+|
+|'''2-4 months''' - Cyclical testing-reflecting-making
+|-
+|Design:
+|
+|'''1-2 months''' - throughout prototyping
+|-
+|Finalization:
+|
+|'''1 month'''
+|}
-(Please excuse me.. I wrote this too late in the evening and was pondering my choices)
+=== <u>'''✼ Why do you want to make it? ✼'''</u> ===
+❎
 === <u>'''✼ Who can help you and how? ✼'''</u> ===
@@ Line 46: / Line 62: @@
 === <u>'''✼ Relation to a larger context ✼ in progress..'''</u> ===
-Despite the exponential rise in scientific rationalism since the Age of Enlightenment, Magic has remained ever-present in some way, shape or form. Its prevalence within public life and mainstream fluctuating throughout human history. In certain ways, I would argue that the societal push for purely scientific reasoning may have directly contributed to the emergence of contemporary magic practices, esoteric believes and new age spiritual movements.
+Art and magic have always been intertwined, since the beginning of time. From cave paintings, carved figurines and ornate ritual tools, decorated shrines and temples, all the way to our modern times. Wood, clay, stone, metal, cloth, bone, glass…plastic..digital screens — Where there is a surface to adorn, magic may be found.
-Especially, the historically persistent conflict between scientific and religious thought may have lead to an exponential increase in people identifying as atheists/agnostics during the last centuries, it may also have pushed some to seek more eclectic modes of worship and spiritual practices. Away from hierarchical dogma. More interestingly, many of these recent forms of Magic, which developed in the last two centuries, are often characterized by their proclivity for employing scientific language to gain credibility and fortify their believes against skeptic scrutiny. (..)
+Magic represents something inherently human. Most general definitions describe Magic as the tapping into an “invisible force”. Whether this force is of supernatural origin or the “simplified” accessing of the human unconscious, I think all views on what Magic is reflect the same human urge of seeking agency and purpose in life. The wish to access, connect and be in control of something outside (or inside) of ourselves in hopes of transforming and overcoming the material condition that bind us to our current state. As such, magical art is its conduit. It exists in the in-between of the tangible and ephemeral state of being. It can be the tool to, the key for, the material representation of magical intention and transformation. Or it can be the ritual, the performance, the experience that connects us to Magic itself.   ❎Art as a component in magic, religion, occult and cultural, political expression. Art as the medium for the expression of beliefs, ideas, intention etc. A carrier of meaning and connection. Visual force. Material culture and symbols. Aesthetic. etc
-In ''SSOTBME Revised - an essay on magic'' by (Dukes, 2000), Ramsey Dukes shares his perspective on the relationships between scientific, artistic, religious and magical thought within Western society. He believes that the driving forces of these four modes of thought interact with each other in a cyclical manner. In short: As new scientific advancements are integrated into everyday life, they gradually lose their novelty-status. Bored by technological stagnation and the supposed societal fixation on scientific order, Dukes believes people then become more inclined to seek excitement elsewhere, even in its opposites. The mysteries of the undefinable — Magic. A renewed surge of interest in the magical and occult occurs. (Dukes gives examples of time periods in which many still existing Magic-related belief systems developed, though he doesn't mention them.) Magic in all its aspects regains prominence in public discourse, media and most notably, art. Yet after a while, so Dukes says, humanity's "lust for Magic" reaches a high point, excess, which results in a surge of religious modes of thinking that aim to oppose magic as whole. Religious thought then, in turn, takes the prominent role in the public sphere, before Science ultimately regains faith and begins the cycle anew.
+In recent years there has been a growing, or one may say a revived interest in Magic, magical and occult practices and eclectic spiritual movements (❎source + statistics). I believe this has many intersecting reasons. ❎Alienation. Capitalism. Religious extremism. Urbanism. Loss of nature. Community oriented cultural practices.❎
-Overall, Dukes' proposed cycle of opposing modes of thought is disappointingly generalizing at times. It even takes on a prophetic aspect at the end (more on that another time). Even when giving more concise historical examples to illustrate his theory, he barely manages to throw art into this supposed cycle, and fails to include or mention wider political contexts that may or may not have contributed to his theory. Still, I find some value in his observation on the interplay of all these factors/systems of thought.
+It positions Magic as a concept in flux shaped by the idiosyncratic nature of perception and creative expression. In other words, protocols for Magic does not aim to create a pseudo-universal framework for the interpretation of Magic, but rather form a set of guided exercises for practicing Magic through art which leaves space to both incorporate and critically engage with personal bias, pre-established belief- and symbolic systems.  In a similar manner, art may be defined as mode of personal expression, inherently subjective but never neutral.   ❎Reason and benefit<div style="color: maroon; text-align:justify;width:100%;">✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧</div><div style="font-family: cursive; text-align: justify;">
+== <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;">✼ Bibliography ✼</span> ==
+*Dukes, R., Snell, L. (2000). '''SSOTBME Revised - an essay on magic''.', The Mouse That Spins, England. (ISBN: 1-903548-00-4)
+* Dk (2020). ''<nowiki/>'History of Magic, Witchcraft, and the Occult.''' Dorling Kindersley Publishing, Incorporated. (ISBN: 978-0-2413-8611-8)
+* Nataf, A. (1990). ''<nowiki/>'Les Maîtres de l’occultisme''.' , France Loisirs, (ISBN: 978-2724250015) ‌  ‌
-Especially as we are currently experiencing an era of renewed religious conservatism bordering on extremism and the dogmatic reverence of (digital and surveillance) technology, whilst many other fields of science are being systematically defunded (as does the art sector). All the while, the boundaries between corrupt  politicians in positions of power, tech-feudal lords and right-wing fascist groups continues to blur. I wonder where Magic would fit into this scheme.
+* Haute, L. O., (2023) ' talismans pour celles qui ne savent pas de quoi ils parlent' (translation: Talismans for the ones who don't know what they talk about)
+* Per Faxneld (2017). ''<nowiki/>'<nowiki/>'' Satanic feminism: Lucifer as the liberator of woman in nineteenth-century culture ', New York, Ny: Oxford University Press. ‌<div style="font-family: cursive;">
-<div style="color: maroon; text-align:justify;width:100%;">✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧</div><div style="font-family: cursive; text-align: justify;"><div style="font-family: cursive;">
 == <span style="font-family: cursive; font-size: 30px; color:white;-webkit-text-stroke-width: 1px;-webkit-text-stroke-color: maroon;">✼ Feedback & Reflections ✼</span> ==
 <blockquote>
@@ Line 69: / Line 88: @@
 </blockquote><blockquote>
 ====== <span style="font-family: cursive;"> Feedback session - 16th October w/ Lidia </span> ======
-* ...
+* * Add more references on wider context * Whats the perspective on magic I want to investigate  * whats my intervention, goal of the project should be more concrete -> pin-pointing  * magic is bigger than artistic practice, depending on intention of thesis/project, should that be? being more  * precise will help reformulating these ideas  * update timetable!  * start taking steps towards pinpointing and narrowing down the focus of the project and thesis  * write down my connection of art and magic -> make the abstract connection  in my head more explicit (to the reader)  * as I narrow down, the key points will become more hierarchical -> importance will stand out  * also pinpoint for whom I am trying to make it and why
 </blockquote>
@@ Line 77: / Line 96: @@
 * Update section on wider context -> add references/source list and contemporary examples/context
 * Update time table to current proposal
-* Think about aesthetic component
+* Think about aesthetic components
-</div>
+</div></div>
-=== <u>'''✼ References ✼'''</u> ===
+</div></div>
-* Dukes, R., Snell, L. (2000). '''SSOTBME Revised - an essay on magic''.', The Mouse That Spins, England. (ISBN: 1-903548-00-4)
-* Dk (2020). ''<nowiki/>'History of Magic, Witchcraft, and the Occult.''' Dorling Kindersley Publishing, Incorporated. (ISBN: 978-0-2413-8611-8)
-* Nataf, A. (1990). ''<nowiki/>'Les Maîtres de l’occultisme''.' , France Loisirs, (ISBN: 978-2724250015) ‌  ‌
-* Haute, L. O., (2023) ' talismans pour celles qui ne savent pas de quoi ils parlent' (translation: Talismans for the ones who don't know what they talk about)
-* Per Faxneld (2017). ''<nowiki/>'<nowiki/>'' Satanic feminism: Lucifer as the liberator of woman in nineteenth-century culture ', New York, Ny: Oxford University Press. ‌</div>
-</div>
-#
-</div>