User:Charlie/Thesis Outline

Thesis Outline

✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧ ✧

✧ Draft # 1✧

✼ Outline content ✼

• Introduction
• Key Issue/chapter 1

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

✧ ✧ ✧

Introduction

Current research question

(..)

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

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.

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

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).

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

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.

✧ 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 is an introduction into different understandings and perspectives on Magic through three working definitions that I compiled from references. Each definition offers a different perspective, illustrated through examples to give insight into the evolution and function of Magic, and establishes its complex and dynamic relation to Art throughout human history. Additionally, with each perspective as a framework, I may introduce and explain distinct categories and practices within Magic, which will directly inform my analysis of artists, works and art-based magic in chapter two. As well as, form the basis for my Protocols for Magic prototypes within the graduation project.

The first section looks at the idea of Magic as a force. As is most frequently found within general definitions of Magic.

From this perspective, I offer a brief overview of the ancient history of Magic. Using well-known examples from prehistory and past civilizations, as a way to establish the (often disregarded yet ongoing) prevalence of Magic throughout human history and its significant and long-standing relation to human creative expression and art.

The second section discusses Magic as a mode-of-thinking. A framework for Magic most represented in academic and scientific positions.

This definition is exemplified by looking at the origin of our modern (and rationalized) concept of Magic through the distinction and separation of Magic from other modes of knowledge — Science and Religion. And how all three modes have evolved, interacted and interconnected in various degrees of reciprocity towards each other, and most crucially, towards art. Positing art as its own mode-of-knowing. Formulating the relation between Magic, Science, Religion and Art, as socio-cultural and political construct, is crucial to understanding where and how contemporary Magic practices originated and function today.

The third section posits Magic as a connection. A perspective that, in some ways, attempts to synthesize the previous two by defining Magic through the inherently complex and idiosyncratic nature of the human experience, and its participatory relation to the universe.

Through this lens, the force of Magic lays in relational connections and the understanding that the human, body and consciousness, is itself part of greater systems. And can therefore be influenced by and effect influence on "it". Magic is accessed and enacted through engaging with the world around us. Magic is not a way to seek and assign meaning, but instead becomes a way to actively create meaning through connection and participation. Impression and expression. Intention and purpose.

It is within this definition of Magic that I will "anchor" my personal approach to Art and Magic, thesis and project. As I believe this perspective can equally lend itself to Art, as a way to process, interact and create meaning for the complexities of life and the greater systems that make up our world(s).

✧ 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.

(...)

✧ 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. 


(...)

Conclusion

✧ ✧ ✧

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.)

✧ ✧ ✧

Process Log ✼ ➭

In-text citations