User:Charlie/Thesis Outline

Thesis Outline

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✧ Draft # 1✧

✼ Outline content ✼

• Introduction
• Key Issue/chapter 1

• Key Issue/chapter 2
• Key Issue/chapter 3
• Conclusion

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Introduction

Protocols for Magic aims to create introductory frameworks for the development of idiosyncratic Magic practices through artistic expression, and creative tools and exercises.

Current research question

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It positions Magic and Art as concepts in flux, inherently personal, yet always shaped by the larger systems they exist in. Whether implicit or explicit. As such, Art as the conduit to Magic, "magical Art", is always subjective but never neutral. In other words, my thesis does not aim to find a pseudo-universal framework for the interpretation of Magic, but rather, investigate varying possibilities for practicing art-based Magic through personal creative expression. Leaving the necessary space to incorporate personal belief and symbolic systems when engaging with Magic.

(...)

❎ The outline a statement of intention (what, why and how do I want to write about)❎

Art -> Magic not Magic -> Art...

(...)

The subject for this thesis originated from a personal fascination with magic-themed art and ongoing interest in forming frameworks for my own personal practice of Magic. It also stems from a perceived lack in resources, especially publications, that cover more eclectic forms and frameworks of Magic which are separate from existing systems of belief and/or religion.

While it is important to acknowledge and reference existing magic practices and reflect on how they may influence our modern conceptualization of Magic and the public discourse around it, my aim for the thesis and project is to intentionally avoid utilizing or replicating too much of a single existing practice. Partly because one of my main motivations for this project is my perceived lack of resources and publications on practicing Magic (whether through art or otherwise) that are separate from or not directly reflecting established religions/esoteric belief systems (most notably Wicca and New Age esotericism).

✧ Chapter #1 ✧

Key components

• Outline different definitions and understandings of Magic (~3 positions)
• Establish the intersection of Art and Magic through examples
• Define my personal position and motivation within the thesis

The first chapter introduces varying understandings and positions to Magic via three working definitions:

Existing definitions...

① Dictionary definitions usually describe Magic as a force, or the employing of a force outside of the bounds of current scientific understanding or measurable natural laws, able to affect reality, attributes of reality or someone's perception there of. With the "force", i.e. the (supernatural) source of magic depending on cultural, historical and religious context and believes. (position: neutral to skeptic)

② The academic approach to defining Magic tends to frame Magic as a “mode-of-thinking”, the lens through which one may perceive, makes sense of and engage with the world. Through this view, the idea of Magic (as described in ❶) becomes an analytical framework, a human phenomenon based in Magical Thinking. (position: skeptic)

③ A third but less common approach (including academic sources) may attempt to form a synthesis of the two former perspectives. Magic both as a mode-of-thinking and a force. In this view, the force is conceptualized as the relational connection of the human and the material world/the universe/reality. In this view, Magic lays in the understanding that the human (in body and consciousness) is part of a greater system. And can therefore be influenced by and effect influence on "it". Magic is enacted through the seeking of knowledge, observation and engaging with the world with intention and purpose. (position: agnostic)

The first chapter introduces the concept of Magic through exploring varying working definitions and establishes Art and Magic as interconnected practices, from a historical and societal perspective. The references used will also create the bounds and scope of my position and motivation in regards to the thesis subjects.

This chapter may give a brief overview on:

• ancient magic practices
• art and magic throughout history
• the history of contemporary magic practices

While it is important to acknowledge and reference existing magic practices and reflect on how they may influence our modern conceptualization of Magic and the public discourse around it, my aim for the thesis and project is to intentionally avoid utilizing or replicating too much of a single existing practice. Partly because one of my main motivations for this project is my perceived lack of resources and publications on practicing Magic (whether through art or otherwise) that are separate from or not directly reflecting established religions/esoteric belief systems (most notably Wicca and New Age esotericism).

(..) Although these approaches to defining Magic are not necessarily in opposition to each other, I may use them as a framework for categorization when analyzing different understandings of Magic. Distinguishing between "force-based" Magic and "mind-based" Magic or in-between forms of Magic theories and methodologies.

Outlining the historical context of Magic and Art, and establishing frameworks for working definitions will inform my approach to analyzing examples of art-based magic practices in chapter two. Equally create the grounds for my personal position and methods used in the chapters following, including my graduation project.

✧ Chapter #2 ✧

Key components

• Artistic practice for magical purposes - Analysis of references
• Medium and form - How art and magic inform each other
• Reference take-aways

❎ make my aim more clear throughout outline and proposal -> art for the purpose of magic (not other way around) ❎

The second chapter will discuss "art in practice for magical purposes" and look at a selection of art-based magical practices, as well as artists who engage with Magic through their work.

From each artistic reference I will discuss, I may extrapolate elements to be adapted into the material research of my project. As such, chapter two will connect thesis and project more concretely.

Understanding the key motivation and influences will help give context and gain a deeper insight on each magic practice's, artist's and/or project's influences and methodology. Each reference should offer a distinct insight and approach to magic art and explore how different artistic mediums may intersect with different forms of magic. Categorizing magic artistic practices as cited above could be a helpful indicator.

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✧ Chapter #3 ✧

Key components

• Applied insights
• Prototyping and reflecting
• Additional references

The third chapter will first reflect on the main take-away-s of the previous two chapters and summarize how it informed my project up to this point.

Following this, chapter three will take on a more back-and-forth approach to project and thesis, as a documentation and critical reflection of my prototyping process towards a final project. 


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Conclusion

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References ✼ Bibliography

Magic History - Forms of Magic

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”	Illustrated compendium on the history of magic practices through the ages	📚
L. Williams (2025), "Compendium Of The Occult - Arcane Artefacts, Magic Rituals and Sacred Symbolism"	Illustrated compendium on the history of occult practices through the ages	📚

Magic in theory and function

Source	Synopsis	Source Form
E. Bever, R. Styers (2017), “Magic in the Modern World: Strategies of Repression and Legitimization”	Contemporary analysis of modern magic practices and its function in society	📚
P. Stevens Jr. (2023), “Rethinking the Anthropology of Magic and Witchcraft: Inherently Human”	Anthropological theory on Magic's function in the human mind and society throughout history	📌👀
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”	Theoretical concept of Magic as way of thinking, in comparison to scientific, religious or artistic thinking	💾

The Intersection of Magic & Art

Source	Synopsis	Source Form
J. Sutcliffe ( 2021), “Magic”	On magic's generative relationship with contemporary art practice	📚
S. Bellisario (2025), “Contemporary Visions: Refiguring The Esoteric; The Transformational Act of “Making” Magic”	Intersection of art and magic, symbolic value of artistic practice with the purpose of magic	💾
A. Davies (2023), “Art is Magic”	Intersection of art and magic, experience in a museum setting, contemporary art	💾
P. E. Moore (2019), "Art and Magick in the 21st Century; Reflections of a Neophyte", TULCA Festival Of Visual Arts, TULCA, Galway, IE.		🌐
J. Gilhooly (2010), “Enchanted Objects: Agency in the Magic and Contemporary Art Practice”	Secular” Magic and the agency of art and magic in “Technologies of Enchantment”	💾
H. Cornish (2022), “Sensing materiality in the Museum of Witchcraft and Magic”	Multi-modal experience/perception of magic practitioners in a Museum space	💾

Art & Artists

Source	Synopsis	Source Form

📚 = physical copy  💾 = .pdf  🌐 = online  📌👀 = still need a copy  ⏳ = waiting for copy

‌(Some books are impossible to find as free pdfs, only exist in physical form or ebook versions (which often cost the same price or close to a printed copy).

Since I read and collect a lot of books on magic, folklore an occult topics anyway, I don't mind spending a bit on physical books, and adding to my collection.

But I'll do my best to upload pdfs to the bootleg library, make my physical copies available as digital scans or store them at the studio for easy access at some point during the process.)

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Process Log ✼ ➭

In-text citations