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 (working title) looks at the intersection of Art and Magic as a means to facilitate the development of idiosyncratic Magic practices through artistic expression and creation.

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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 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.

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Key questions

1. How can artistic/creative expression form a personal conduit to engaging with Magic?
2. What lays at the intersection of Art and Magic and how does it inform magic practices outside of existing pre-established systems?
3. How may one facilitate this connection between Art and Magic through practice protocols?

✧ Chapter #1 ✧

Key components

• Art and Magic as interconnected practices throughout history
• Different understandings and theories on Magic (practices)
• Define my personal position and motivation within the thesis

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.

Magical art has existed as a form of human expression since the dawn of time.

This chapter may give a brief overview on:

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

Much of our modern views and understanding on Magic is heavily influenced by the Western esoteric and occult movements of the 19th and early 20th century. These movements directly influenced the conception of the more systematized modern Magic practices that exist today. Such as New Age spiritualism, Wicca, Neo-Paganism, Satanism, etc. ❎

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).

Most general definitions describe Magic (noun) as a force, or the employing of a force outside of the bounds of Science or measurable natural laws, able to affect reality, attributes of reality or someone's perception there of. With the specific interpretation of the "force", in other words, the "source of magic" depending on cultural and historical contexts. ❎
Other sources may frame Magic as a “mode-of-thinking”, the lens through which one may perceive and engage with the world. Through this view, Magic isn’t necessarily described as the conceptual manifestation of “invisible forces” but rather a observable psychological phenomena. Often as a means to distance Magic from supernatural implications. ❎

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

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.

In his essay Art and Magick in the 21st Century; Reflections of a Neophyte, P.E. Moore discusses the ways in which occult and esoteric contemporary art that tends to fall into four categories, himself quoting from Dr. Marco Pasi's book Coming Fourth By Night: "(...) The first is the representation of esoteric symbols or images associated with esotericism. (...) The second is the production of artistic objects (picture, sculpture, installation, etc.) that can be interpreted as talismans or fetishes or in manipulating matter that can be associated with occult sciences such as alchemy or magic. The third way is when the artistic work becomes a means to induce extraordinary experiences, which can be interpreted as having spiritual / mystical / initiatory / shamanic / magical / qualities. (...) Finally, the fourth way is when the artistic work is the result of a direct inspiration / communication from spirit entities or of a visionary / mystical experience."

The subjects discussed in chapter one will help give context and elaborate on the influences that shaped 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.

Earlier in his essay, Moore names the emergence of Chaos Magick during the 1970's as a stark influence to the ways in which contemporary art and magic converge today. A key component to the philosophy of Chaos Magick is its DIY approach to practicing Magic and the refusal to codify its principles. Instead, it strictly advocates for an individualized approach to practicing Magic(k) which has continued to resonate with artists since. He also later mentions the undeniable yet more recently noticeable influence of Wicca on artists and their practices, saying: "(...) the nonhierarchical and non-centralised structures of these paths ensures that they continue to flourish in our internet age, having been adopted by legions of artists who wish to subvert dominant forms of knowledge." (Moore, 2019)

❎ idiosyncratic framework for magic

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

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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

References ✼ Bibliography

Magic History - Forms of Magic

Source	Synopsis	Source Form
C. Gosden, “Magic: A History: From Alchemy to Witchcraft, from the Ice Age to the Present”		📌👀
DK, “A History of Magic, Witchcraft and the Occult”	Illustrated compendium on the history of magic practices through the ages	📚
L. Williams, "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, “Magic in the Modern World: Strategies of Repression and Legitimization”	Contemporary analysis of modern magic practices and its function in society	📚⏳(ordered)
P. Stevens Jr., “Rethinking the Anthropology of Magic and Witchcraft: Inherently Human”	Anthropological theory on Magic's function in the human mind and society throughout history	📚⏳ (ordered)
J. Sorensen, “A Cognitive Theory of Magic”		📌👀
M. Mauss, “A General Theory On Magic”		💾
R. Dukes, “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, “Magic”	On magic's generative relationship with contemporary art practice	📚⏳(ordered)
S. Bellisario, “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, “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, “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, “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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✼ 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

• Be more precise in the aspect of magic I want to investigate -> Narrow down
• What is the intervention/goal of the project
• Magic>Art -> Art>Magic = Shift the focus
• -> own perspective on the link between magic and art -> elaborate my intentions
• Make the abstract connection in my mind more explicit to the outside/reader
• Through narrowing down the subject -> Key points will fall naturally into a hierarchy -> Which will help pin-point the core of the project
• Expand on the wider context

✼ Plans & Next steps ✼

• Define my perspective on how art connects to magic
• Shift focus to the core of what I want to investigate
• Elaborate on link between magic and art + examples
• Add concrete examples and partial segments of the final outline + sources (all chapters)
• Elaborate on the link between thesis and proposal, especially in chapter 3 on protocols
• Add an updated reference list (references for each chapter) + synopsis
• Art and aesthetic component to magic -> Proposal

In-text citations