User:Charlie/Protocols for Magic

✧ Protocols for Magic ✧

Description

Protocols for Magic aims to create introductory frameworks for the development of idiosyncratic Magic practices through artistic 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.

Current points of research

✧ Creative/artistic expression as a personal conduit to Magic ✧

✧ Active protocols - Learning through making ✧

✧ Doing Magic through artistic/design approach ✧

✧ Comparing different definitions and understandings of Magic ✧

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Workshop ✧ Prototyping class ✧ 03/11/25

Workshop Goals

The main goal of this workshop is to investigate how to introduce people to different Magic practices/concept through descriptions, examples, analogies and most importantly: Active protocols for individual and collective experimentation. This workshop therefore includes a variety of prototypes ideas for Magic protocols.

Introduction

Before proceeding, here's a question to the group:

What is Magic?

And how would you define it in your own terms?

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)

Part One ✧ Materials..

For every definition and theory on Magic exist even more ways in which different forms of Magic (practices) may be categorized.

A common yet maybe outdated perspective, is the use of terms such as white vs. black Magic, also referred to as benign vs. malign Magic (Gosden), which usually refers to the moral intent ascribed to certain forms of Magic (i.e. healing spells are seen as benevolent and good, whereas curses are often seen as harmful and bad). Propagated by religion (i.e. Christianity and Islam) and popularized through media, this binary categorization has been used and abused to target and persecute minority groups and cultural practices, throughout history.

Looking at other examples, ancient and contemporary societies that practice Magic (i.e. as an integral part of their culture and religion) may make the distinction between high and low Magic (in varying terms). This distinction usually denotes the forms of Magic and their practitioners' position and function within a societal structure. "High" forms of Magic may be practiced by priests/priestesses, shamans, oracles or others in elite positions. This may include ceremonial and ritual magic, complex divination methods and other more "scholarly"/learned forms of Magic. "Low" magic, also referred to as folk-magic or natural Magic, usually includes Magic employed by the commoners within a society. These "more accessible" forms of Magic can be simpler divination methods, charms and spells and/or other folkloric practices and traditions.

There exist many more ways with which to categorize Magic practices.

However, the categorization we will be using today will incorporate aspects of folk magic and elements of Sympathetic Magic, more specifically, the "Law of Similarity" within Sympathetic Magic.

Sympathetic Magic is an umbrella-term that is sometimes used to categorize magical believes (ranging from primitive, ancient to contemporary examples) which are based on the concept of "like produces like, or that an effect resembles its cause" — The Law of Similarity. In other words, the belief that one may effect Magic onto an object, person or state by invoking its resemblance through imitation (visual/aesthetic representation) or correspondence (symbolic representation/association).

Today's Protocols for Magic:

❶ Spells: Verbalizing an intention

❷ Sigils: Interpreting through abstraction

❸ Correspondences: Creating collective associations

❹ Talismans: Crafting with visual symbols

Spells

A spell is a set of words or formulaic sentence(s) believed to hold magical power and/or be used to verbalize an intent with which to enact Magic. It can either be expressed orally through speech, song or chant, or sometimes work in written form on a amulet, talisman or other magical objects.

"Abracadabra" (..)

Spells, also referred to as incantation or charm, can be an integral part of many different forms of Magic, such as rituals and prayers. The ways in which to compose/construct a spell can vary drastically. I.e. How concise or elaborate, simple or rhyming, direct or metaphorical a spell is and how it is performed may depend on context and purpose, or the preference of individual practitioners. In written form, spells may take on an additional visual aspect. The text may form a specific shape or compositional structure.

Example: One of the most well known magical spells is "Abracadabra". Although its exact origin is unknown and it is mostly known as a gibberish word spoken by stage magicians, today, archeological finds date it back to Roman times as an incantation written on amulets and talismans. Many different theories on its meaning exist, including that it was believed to have healing/medical powers if worn on the body.

The power of spells lay in the almost universal believe that language holds power itself (spoken, written and signed, magical or otherwise). Words carry meaning as the basis for connecting with each other, verbalize ideas, emotions and values.

Analogies..

The easiest analogy for spells and charms can be found in everyday language and forms of speech. Whose origins often lay in the folkloric traditions of wishing someone good fortune through common greetings, expression and song:

"Good morning"

"Good luck"

"Knock on wood"

"Happy Birthday to you, happy birthday to you.."

✧ Protocol for Spell-Writing ✧

① In one short sentence:

Write a spell reflecting an intention/wish/hope for this coming graduation year.

② Time: < 5min

Sigils

Sigils are pictorial images/drawings used to visually represent ideas and intentions for magical use. Sigils range from simple symbols to elaborately composed signs. They may be constructed following strict codes and logic (formulas) or be drawn intuitively, depending on the Magical practice. Sigils are used in ritual magic to invoke spirits or entities, are put on all kinds of objects as symbols of protection or enchantment, or can follow other uses. Sigils can also be used as the pictorial/visual representation of a spell or used as the symbolic representation of magical components/materials/ideas.

"Housing crisis sigil" by Laura Tempest Zakroff

The Magic of sigils as a (creative) tool lays in its abstraction, and subsequent obstruction of the magical intent. The process of abstraction can force the maker/practitioner to deconstruct and reinterpret an idea through a simplified visual code. Breaking down ideas into its most crucial components. The element of obstruction sigils add can be two-fold. Working with secret/abstract symbols may enable someone to hide meaning/intention/magic from an onlooker, which can have its advantages. It can also be an exercise in visual communication. How can I formulate a specific idea through symbolic composition? The intention may dictate someone's personal approach to sigil Magic.

Examples..

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  Goetia, sigils of demons and angels

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  Sigils for love magic talismans

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  "Snake of the East" by Gemma Gary

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  Sigils representing wiccan/neo-pagan holidays

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  Are there demons trapped beneath the hull?

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  Alchemical symbols/sigils

Analogies..

At its core, sigils can be compared to the concept of semiotics in design theory. Signified + Signifier = Sign

We interact and use simplified signs and symbols to convey and invoke ideas, emotions and underlying messages, everyday.

Punctuation in the alphabet

! -> exclamation mark -> draw attention, mark importance, covey concern, etc

? -> question mark -> state uncertainty, confusion, etc

... -> triple dots -> unstated information, something is left unsaid, etc

❤️‍🔥🍀✨🌀💯👀🙏💀🎯✊💦⛓️‍💥💸 ->Some modern Magic practitioners may use emojis

as a digital equivalent to sigil-magic.

Graphs and charts

Sigils (in its more elaborate forms) could also be compared as the magical equivalent to graphs and charts. A compact visual aid to conveying information, structures, connections etc.

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✧ Protocol for Pictorial Interpretation ✧

① Through intuitive interpretation, transform your spell into 3-6 symbols.Using the table of symbols below.

⚠ Feel free to use the given symbols as a template, as well as incorporate your own symbols, merge symbols, elaborate on them or create compositions, etc. Just make sure to choose at least 3 to 6 "symbolic terms" to interpret your spell, as they will become relevant later.

② Time: < 5min

Correspondences

The Decan Wheel. A visual tool to learn the correspondences of tarot cards, including their dates, planetary and elemental associations.

In magical terms, correspondences is used to mean the symbolic associations we give to particular objects or ideas. Magic that aims to target, speak or invoke aspects of a certain object, person or state may use the given correspondences of a target, when constructing a Magic ritual, spell or artifact. It's concept lays in the basic idea of "like-is-like", creating a "magical link" with an object by employing its representative form (like in the Law of Similarity of Sympathetic Magic). This can be done through the more direct visual representation, or attributes of a thing (likeness, shape, color, material, etc). Or more abstract representations (i.e. ideas, symbols and metaphors, like emotions, plants, animals, etc).

Example: The sun may be visually represented through the color yellow or white, a round shape or a visual depiction of sun rays. It may also be associated with more abstract symbolic interpretations, such as the passing of time, giver of life, the lion or gods/God.

The concept of correspondences has its origins in many ancient cultures and practices. Some archeologist believe ancient cave paintings may depict primitive forms of correspondence magic. Invoking animal spirits for a successful hunt by painting them.

One of the most well-known and popular forms of correspondence magic may be found in Astrology, where each zodiac sign has its associated planet, color, number, stone and more. Similarly, tarot cards (and other forms of divination) also use correspondences. (See picture)

Its important to keep in mind that correspondences/symbolic associations are not universal, but are ever-evolving signifiers that reflect the cultural, religious, material and historical contexts in which they emerge and exist in.
 Many belief systems and practices may incorporate and work with a defined set of symbolic associations. However, correspondences can also be personal and informed by an individuals, or group’s lived experiences, believes and own symbolic associations.

Analogies..

To make a simple contemporary analogy for correspondences as symbolic associations;

In marketing and design, certain colors may be used to signify and convey underlying ideas based on people's/society's preconceived associations:

Red -> passionate, sensual, aggressive..

Orange -> warm, fun, utilitarian..

Yellow -> soft, light, friendly..

Green -> natural, organic, healthy..

Blue -> medical, clean, official..

Purple -> mystical, luxurious, emotional..

Pink -> bodily, feminine, playful..

✧ Protocol for Collective Correspondences ✧

① Together create an archive of collective color correspondences.

By assigning each symbol on the table to a spot on the color spectrum:

② Time: < 10min

Part Two ✧ Crafting with Magic!

After having looked at different Magic concepts and practices, we will be incorporating all these components into the crafting of a Magic Artifact — A Talisman.

Talismans

Talismans are one of the most ancient and cross-cultural example of magical artifacts. Either worn on the body as jewelry, a brooch or pendant, or placed in a space as an object, statue or wall-hanging, for example — Talismans are usually characterized as small(ish) material objects made for the purpose of casting Magic on a person or surrounding. Although talismans are sometimes referred to as amulets or charms (object) interchangeably, the latter two are usually objects used for the purpose of general protection or good luck magic. Talismans may incorporate more specific/elaborate magical purposes (including protection and luck). Like the protection from specific influences, good fortune in a specific field or as the surface material to inscribe specific spells and incantations.

Talismans can be made of all kinds of materials: Stone, clay, paper, wood, glass, metal, plastic, textile and more. Or a combination there of. And they usually represent or bear their magical intention/purpose through visual and material symbols, text (spells, prayers, sigils..) or other forms of magical and folkloric associations.

Examples..

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  Ancient Byzantin talisman

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  Freiskette: " (..) or convulsion chain combining amuletic beads and other items of religious and folk medicine origin, a tradition dating from the 18th and 19th century." [1] (Origin: Austria-Bavaria)

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  Cimaruta: "(..) Worn around the neck or hung above an infant's bed to ward off the evil eye. (..) supposed to represent a branch of rue—the flowering medicinal herb."[2] From Italian cima di ruta meaning "sprig of rue". (Origin: Southern Italy, neo-pagan practice)

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  Fulu: "(..)asemic Taoist magic symbols and incantations, translatable into English as 'talismanic script', which are written or painted on talismans by Taoist practitioners."[3] (Origin: China, Taoism)

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  Kurdish Jewish talisman/amulet

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  Hamsa: "(..)used as a sign of protection in many times throughout history, the hamsa is believed to provide defense against the evil eye." [4] (Origin: North-Africa, Middle East, Mediterranean, Mespotemia. Islam, Judaism and other religions)

✧ Protocol for Talismans ✧

① Create a talisman Using the previously crafted sigil(s) and correspondences, and by incorporating your found materials.

As you craft, you may think of each component as representing a different aspect to your Magic:

• Found object -> Past/Offering
• Correspondences -> Present/Collective
• Spell/Sigil -> Future/Intention

③ Present it to the group & hang it on the talisman tree

② Time: < 30min

✧ Post-Workshop ✧

✧ The Talismans! ✧

The Talisman Tree

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  Zuhui

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  Martina

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  Feline

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  Kim

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  Sevgi

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  Eleni

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  Kiara

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  Fred

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  Chrissy

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  Imre

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  Claudio

Feedback & Reflection

See: GRS Process Log & Feedback PAD

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Prototypes ✧ Try-Out Night ✧ 01/12/25

Goals

My primary goal for the Try-Out Night was to present and test an updated version of my first Protocol for Magic Circles, by combining it with the Sigil protocol of the prototyping workshop. I also wanted to create a variety of new Protocols for Magic that people could engage with individually and as a small group. Unfortunately, I was only able to present one more protocol, due to time constraints.

However, it was a good opportunity to experiment with the printed design and visual presentation of the protocols!

Protocols for Magic Circles 2.0.

Magic Circles

Seal of Paimon from the Lesser Key of Solomon manuscript (17th cenutry). [5]

The term Magic Circle may mean different things depending on context. At its most basic, it denotes a circle (or other shape) in which Magic is enacted.

In its first meaning, a Magic Circle may refer to a demarcated physical space in which one performs a ritual or casts some form of Magic. This may be a visual boundary created by either drawing a circle on the ground (popularly with chalk, salt or other material) or the physical forming of a circle of people. It may also be a symbolic space formed through an imagined boundary or ritual. This form of Magic circle can also be performed in combination with the latter form.

A second meaning may refer to Magic Circles as a pictorial form of Magic. Meaning, a drawn or crafted composition/image that is used to cast a spell, invoke an entity, or visually represent some other form of magical intent and purpose. In this context, Magic Circles work alike, or similarly to sigils. They are a form of magical pictograph or visual spell, a method of "casting" Magic through symbolic abstraction and forms.

✧ Protocol ✧

Individually:

① Draw one of the Spell cards to see which spell you will work with.

② Transcribe your spell by interpreting it through the terms represented in the Table of Symbols.

③ Create a Magic Circle/ sigilic composition based on your previous symbolic interpretation.

Components

Table of Symbols

Spells

~ derived from song lyrics ~

✧ Born of one emotion, our devotion's deepest ocean ✧ Dream Sweet in Sea Major - Miracle Musical

✧ Disguised hides the face of the snake awaiting your disgrace ✧ Black Hole Sun - Soundgarden

✧ Going in the wind is a piece of the truth and it is naked ✧ Verbatim - Mother Mother

✧ A room full of witnesses yet no one ever sees nothing ✧ Sinking Boat - Infinity Song

✧ Who will mend this broken star is whom's strength I will sleep on ✧ Ritual Spirit- Massive Attack

✧ Across the world and the seven seas, the sweet pursuit never ceases ✧ Sweet Dreams - Eurythmics

✧ Spinning and weaving around each new experience, my body feels eternal ✧ Parabola - TOOL

✧Break the silence to damn the dark and damn the light ✧ The Chain - Fleetwood Mac

✧ All we know shall grow from the dirt until it punctures the sky ✧ Tree of Life - Little Fools

✧ For the love of your ghost, I reanimate your bones with my belief ✧ True Believer -Hailey Williams

Protocols for Altarcation

A common Wiccan altar arrangement. [6]

Altars

An altar is a centralized space in which one places items of worship and offerings, and/or performs prayers, spells or other ritual actions. It most often exists in the form of a raised platform, table or flat surface of many kinds.

An altar can be a permanent or temporary structure, it may be a shared or one's individual space of worship, and it can serve one specific or many versatile functions.

How exactly an altar is used, crafted and arranged varies across religions, belief systems and traditions. It most commonly functions as a space to honor and connect with a god/gods, deities, ancestors, spirits, other entities, or symbolic figuration.

In any case, each object placed upon, or action performed on an altar serve a specific purpose, reflecting the intention and symbolic values connected to an altar's function.

✧ Protocol ✧

In a group of two to three:

① Each person take a devotion card and read your prompt without revealing it to each other!

② Together, choose a blank paper altar

③ Together, create one altar that (secretly) fulfills both your prompts, by cutting-out, arranging, drawing, collaging with the available material.

④ Once done, reveal your secret prompts to each other and give your collective altar a new title!

✧ Post-Event ✧

(...)

☆✎ Results ✄⚘

Protocol for Magic Circles 2.0.
Key observations:

• People needed/wanted visual examples in addition to the written protocol
• People looked quite focused on the task and all took longer than expected
• Half of the people thought the spell printed paper strips were stickers and were trying to remove a foil. (Design issue)

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Feedback summary:

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Reflection & future plans:

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Protocol for Altarcation
Key observations:

• Everyone appreciated the collage material
• Each group seemed to automatically divide the altars into separate sides, instead of creating a merged composition
• At the end, each group spend a long time trying to guess each others prompt cards, as if that was part of the procotol -> May be an issue of phrasing -> Or, a fun part to incorporate into a second version

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Feedback summary:

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Reflection & future plans:

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Feedback Form Questions ✍

① Did you find the explanation of the topics/concepts sufficient and understandable?

② Did the given information help you engage with the protocol(s)?

③ How did you feel the protocol(s) related to the presented topic/concept?

④ Have you engaged with any of the concepts prior? (Y/N)

⑤ How did the protocol(s) relate to your personal opinion/experience of the topic?

⑥ Did the protocols offer you a creative method of engaging with the topic? How or how not?

⑦ Other feedback you may want to give? Share your opinions, suggestions, etc..

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Workshop ✧ Zine Fair ✧ 31/01/26

Protocols for Spells'n'Crafts - hosted by Charlie

Workshop Structure & Goals

1. Welcome & Introduction
2. Quick question to the group
3. The Protocol
4. Crafting time!
5. (..)

This workshop is part of Protocols for Magic — A graduation project placed at the intersection of Magic and Art, wondering how exercises, tools and games inspired by methodologies and mediums in the field of art, crafts and design can encourage the development of novel and idiosyncratic modes for the practicing of Magic, through creative expression..

This workshops explores a new prototype within my project research, two fun and experimental decks of cards that encourages a more personal and creative approach to spell casting crafting.

Project introduction

Protocols for Magic aims to explore novel and idiosyncratic modes of practicing Magic through Art. It bases itself on the definition that Magic exists through connection..

The project prototypes, in the form of protocols, are applied as frameworks to engage with a multitude of preexisting Magical concepts through creative play and arts-and-crafts based mediums.

While each protocol tries to offer concise and useful insight on the Magic practices the project takes from, the protocols are designed to encourage a more intuitive and personal exploration of Magic. (...)

The project encompasses the understanding that intuition is both innate and actively shaped by our experiences and biases. Therefore, it may itself act as a device to..

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Interlude question:

Have you ever practiced Magic before? Tell us about it..

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Protocol for 𝓢𝚙𝕖𝕝𝑙𝘴﹛𝑛﹜𝑪r𝚊𝕗𝘵𝓈

The following protocol introduces Animism, applied as an alternative mode to practicing a more embodied and relational form of Magic through arts, crafts and material.

Animism can be described as the perception of all things, animate or in-animate, to  embody a living soul. From animals to plants, to rocks, to the wind, fire, water, and all things of the Earth.

Thoughts on animism..

We tend to think of animism as being primitive. Some archaic world view reserved for indigenous cultures at the outskirts of "the modern world". But humans naturally engage in animistic behavior, all the time.

We have a habit of relating our experiences in animistic terms. To momentarily assign agency to the seemingly soulless things we experience.

⚘ The wind howls at us. Our scarf refuses to stay tucked. The grey clouds loom on the horizon. ⚘

What we perceive animates our senses and emotions, and in turn, we animate the world around us. Allowing us to form reciprocal relations with the entities we engage with.

⚘ We feel grateful for the sun as it warms our skin on a cold and cloudy day. ⚘

⚘ We curse the cracks in the pavement as we nearly trip rushing down the street. ⚘

⚘ We mourn the umbrella we must have forgotten on the bus this morning. ⚘

As you read this, it may be easy to feel the urge to think of these examples in a metaphoric sense.

Especially when it comes to the idea of a soul — A thing which, even if metaphorically, we tend to reserve for humans, or at most, fellow living things — Although often reduced to the ones we can easily anthropomorphize without too many metaphoric hurdles.

Try to resist that urge!

Metaphors offer a layer of abstraction that keeps truth at an arm's length. Just as our perception offers us an approximation of reality.

⚘ We perceive the mouse in our kitchen for what it symbolizes; A pest. ⚘

⚘ But the fearful mouse perceives us for what we truly are; Human. ⚘

To surrender the metaphor is to accept that the crack in the pavement perceives you, too. It rejoices, as the tip of your shoe hits the fissure in the side-walk. Its body growing as tiny bits of stones are loosened by the impact, spreading across the road and getting stuck in your sole. It sees you angrily step away, as it sends its dust after you and into your lungs. You cough. It breathes back in. You continue on. Forgetting about it shortly after. What's one crack in a life full of smooth steps? But the crack remembers. Such is its nature. Forever holding the memories of all its encounters.

⚘ Perception is not a one-way street, it is a cross-road full of cracks. ⚘

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The practice of Animism

In Reclaiming Animism, Isabelle Stengers discusses how writing may be viewed and practiced as a form of animism. More specifically, she means: The process of writing. She suggests that the act of writing goes beyond the mere expression of thought. Rather, that writing itself may be the embodied and transformative act through which thoughts were initially given a "new mode-of-existence" — Ideas.

She also maintains: Once the act of writing concludes, to reveal static words on paper, its animistic essence is lost. By "severing the experience of reading from that of writing", what animates the spirit of writing is negated by our compulsion to assign a definite meaning to the written word. Confounding understanding, meaning the relating of text to what one already knows, with the embodied experience of forming new ideas.

I agree with Stengers, in so far that animism (no matter the form) should be viewed as a practice, rather than a belief. It is something experienced, not projected. As David Abram writes in Animism, Perception, and Earthly Craft of the Magician: "Perception itself is an inherently relational, participatory event"; Implying that it is an active process, not a passive contemplation. It also means that perception is based in a mutual exchange. One is both the perceiver and the perceived. We do not exist apart and untouched by the world around us. And, we do not merely live within it, we are active participants of the big collaborative effort that makes up the "it".

Within the context Stengers provides, the relation we join in, whilst writing, is one with words. Or, "in other words", language. Just as we shape our language(s), language shapes us. And, just like our perception approximates but just one piece of the bigger picture (that is, existence), we approximate thought (that is, perception) through language. Creating from it, ideas. Reciprocally perceiving and reshaping a world full of ideas — One approximation at a time.

Where my approach to Animism differs from that of Stengers, is in the premise that writing is what "gave birth" to ideas. Animism, as an umbrella term, is considered the world's oldest form of religion, and has existed long before any system of writing. Certainly, the spoken word may equally fit the text's proposition. Then, without negating oral cultures' ability to produce ideas, "writing" may be expanded to mean language as a whole.

Yet even so, I would argue that confining the idea of ideas to the exclusive realm of language, ignores the possibility for other kinds of formulation. Different modes with which to transform and express thought. Methods that do not require words all-together. And may even offer a whole other kind of ideas, based on other forms of perception..

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The protocol's intent

Animate the spirit of ideas, approximated as written spells, through the process of creation. Engage in Craft Animism, without using text-based (re)formulation or interpretation. Instead, try to construct and express the spell as a participatory relation, a reciprocal task, you are entering with your given material (craft).

✧ Protocol ✧

Individually:

① Pick one card from the spell deck.

② Spend some time contemplating the ideas the given spell conjures within you. - Without writing it down or taking notes! -

③ Pick one card from the craft deck.

④ Formulate your spell through your given craft. - Negotiating the shape of its spirit with the material! -

⑤ Do not be afraid of making multiple attempts.
⚘ It takes time, effort and dedication to get to know a craft. ⚘

☆✎ Results ✄⚘ w/ XPUB2

Workshop Try-Out ⚘ with XPUB2

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⚘ Feedback Pad ⚘

☆✎ Results ✄⚘ at ZineFair

Workshop ⚘ at the ZineFair

✧ Reflections & Observation ✧

(...)

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Lost & Found at a Research Impasse

Despite the numerous "Protocols for Magic" (tested on various occasions and settings with participants/test subjects), and the numerous different topics and methods they have included ( not entirely as many as I'd hoped at this point), I have yet to feel like this research has been leading to much needed insights.

What I mean is that I have not yet found the "spark" (the moment of Magic) that I am used to come across during a project, that indicates I have been on the right path; A moment of realization able to break some of the tension that usually comes along with a multi-layered project development. More specifically, artistic projects. Especially the kind that takes a lot of menial decision-making and an even larger amount of unknown results.

After reevaluating my process and reflecting on the core objectives and motivation for this project, I came to a grueling realization; A anti-spark.

I have been ignoring a large discrepancy in the ways in which I have conducted and structured my research methods and the key aims stated in my project proposal and research question:

"...for forming Magic practices...".

All of my protocols so far have been focused on offering quick and simple one-topic-and-one-task sort of exercises for participants to try-out, in brief workshop setting, or the like.

While this structure has enable me to host initial test rounds for the protocols, they have ignored a crucial component to my research goal and overall motivation for this project. And that is; The development of a Magic practice. Not merely creating fun diversions that lets one dabble into some vague magical concept, but methods and tools that can aid a sustained and evolving exploration of Magic as a personal practice.

Not only have the protocols ignored this objective, but also, the sort of feedback questions I asked the participants afterwards.

This all feels like a major blind-sight throughout my research, that I wonder if I can come back from at this point in the process, with the thesis deadline approaching. Especially since it feels like it could have somehow been avoided, or realized sooner, if I had kept the initial aim and focus of the project in mind.

In any case, I don't believe my work and experiments so far have been in vain, at all. As mentioned, they have been useful as preliminary test rounds for ideas. But I will have to change and redirect my methodology, as fast as possible, in order to avoid having to retroactively restructure my project goals and research question, instead.

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Prototypes ✧ Crafting Magic ✧

The following section includes personal projects, experiments and research into arts-and-crafts-based Magic.

✣ Protective Keys ✣

As holiday gifts to the women in my family, I crafted salt-dough talismans, protective keys of salt & stone, with each person's corresponding birthstones. These key shaped ornaments are meant to act as protective charms to place in the home.

Material Symbolism
I decided on using salt dough for this craft as it is a very simple material, and because it incorporates a few symbolically meaningful ingredients.

It only uses four ingredients; Salt, flour, water and a bit of vegetable oil. All of these can be considered essential/staple foods in any kitchen pantry. I therefore found it fitting to create home-protecting talismans from them. Additionally, these materials have symbolic value, and are commonly believed to have magical properties.

In many belief systems, salt is used for protection and cleansing purposes. This association could be attributed to salt's anti-bacterial properties, as it is often used to preserve foods (through brine). Equally, water often symbolizes purification, as well as a source of life. Oils of all sorts are also commonly used for purification and the cleansing of the home. And sunflower specifically, is believed to bring good luck and banish negative energies. Wheat, on the other hand, can symbolize abundance and prosperity. It is an agricultural staple in many parts of the world. And, the making of bread or baked goods is common in many folk-magical traditions.

(+ key meaning)

Another component of the talismans are the birthstones. In Astrology, each zodiac sign corresponds to specific gemstones believed to bring good fortune and protection to a person of a particular sign (sun sign). To personalize the talismans for each receiver, I included a selection of two to three of their corresponding birthstones.

✧ Crafting Protocol ✧

To make keys of salt & stone:

① First, make the salt dough.

A recipe for salt dough (source)

• 200g Salt 🜔
• 220 g Wheat flour 🝋
• 150ml Water 🜄
• 1TS Sunflower oil 🝆

Mix your salt flour in a big bowl. Then gradually mix in the water and oil. If it is too sticky, add 1 tablespoon of starch.

✦ your dough is ready to use ✦

② Shape your dough into ornamental keys, or any shape you like. Once you're satisfied, place your gem stones by pressing them into your ornament. If the dough cracks, rework the talisman by adding smoothing the surface with a tiny bit of water or additional dough.

③ To dry: You can either let your salt dough creations air-dry (min. 48hrs) or slowly bake them in the oven (100°C top-bottom heat, or 80°C convection oven, for about 2 hours. Always keep an eye on the baking!) Disclaimer: Do not put the stones in the oven! Remove the stones before baking the talismans, or simply let them air-dry with the stones in them.

④ Once fully dry: Gently remove the stones from the talisman with a flat/pointy object. Then, add some transparent all-purpose glue followed by a few drops of heavy-duty superglue where the stone should go, then press the stone back in place. Leave the glue to fully dry for at least 10-20 minutes!
If any of your dry salt dough creations break, you can use the same glue mixture to fix them.

⑤ Optional: Seal your talisman with some liquid crafting varnish.

Reflection

I think this project (which was very much experimental) was particularly interesting as material research, because it included a variety of components important to the overall attitude of this project.

Material

First of all, it primarily utilized very accessible, yet relevant ingredients. A key element of my practice as an artist, and concurrently this project, is to work with and try to "elevate" seemingly simple base materials. I find that exploring these sorts of materials, tools and methods (often associated with children's crafts, like salt-dough, paper ornaments or collages) can create interesting juxtapositions to other materials and crafts more commonly considered "noble" or "fine" mediums, such as ceramic, stone or glass. Of course, the latter examples are well-established art forms that require complex material knowledge and therefore, undeniably deserve to be classified as such. However, I often find that exploring "lesser" crafts can be challenging in its own right. While they arguably present as less intricate and approachable in practice, to master them, and make from them genuine works of art, is terribly difficult. One of the biggest hurdles of using cheap and faulty materials is trying to avoid an end result that looks cheap and faulty.

Salt dough, for example, is extremely flimsy! In its wet state, it is simultaneously sticky and and slippery, easily ripping apart when manipulated, making it hard to form any shapes. When drying, it becomes super light, which also makes it prone to breaking, especially on thin points. And as I had feared, most of the inserted stones turned out to be far too heavy for the fragile salt dough. And each key ended up breaking into two, at least once, during the drying process. With any other clay-like material (like paper-based air-dry clay), this could have been easily fixed by either re-wetting the clay or simply gluing the broken pieces back together. Unfortunately, salt dough does not like being re-hydrated, nor does it like glue. I tried several types of glue (that I have accumulated in my crafting journey), in vain. The high salt concentration and porosity of the dough made the glues utterly useless. They would either dry and simply peel-off in one piece, or "vanish" by seeping into the clay, without sticking at all. As each attempt to safe the ornaments failed, I was about to give up, when I accidentally made a fascinating discovery; When pouring a generous amount of all-purpose glue onto the broken-off section, followed by a few droplets of heavy-duty superglue, and then pressing the two salt-dough parts back together, a miraculous thing happens. Neither of the glues had worked on their own. Out of frustration, I began to recklessly layer and scrape-off one glue after the other. But suddenly, through what felt like a mysterious (al)chemical reaction, the concoction of these two glues, and the salt dough, instantly melted together and became (almost) rock solid. Much sturdier then the ornament had been, previously.

Symbolism

Secondly, in line with the Protocols for Magic, the salt-dough talismans enabled me to apply previous elements of the project in a new and more focused manner. I included the concept of correspondences, which I had previously explored and incorporated in the first prototyping workshop, in the form of collective color correspondences and talisman-making. Although I didn't create my own set of correspondences, I combined a variety of magical symbolic associations, through materials, to create a novel approach to making a talisman/charm. A key aim of my project is not to "reinvent the wheel" when it comes to practicing Magic through Art, but rather, offering new ideas and creative methods with which to apply and/or repurpose a variety of existing concepts in Magic.

(+ reflect on "focus")

◆ Ward Magic ◆

I have long wanted to make "Magic stickers", i.e. stickers with a magical function.

For a first experiment, I created these warding stickers, that are supposed to act as "wards" (protection magic).
When stuck in and around an area, they are meant to act as protection against harmful energies.
In this case, I chose hate as the target to be banished, and in its stead, for love to replace it.

• 
• 
• 

Design & Function
The sticker is in the shape of a hexagon. Which is a popular shape in religious imagery (often symbolizing balance, harmony and sacred geometry). However, I find it is also a practical shape. When placing multiple hexagons next to each other, they interlock, forming a beehive pattern. Within the context of this warding sticker, to counter hate and division, and promote love and unity, the beehive symbolically fits quite well.

On the sticker, I placed a sigil, surrounded by the magic spell:

Here Love Roots, Here Hate Withers

Which can also be read as 'love roots, here. hate wither, here'. The spell is awfully generic, but fits the purpose if a first prototype.The overall design is kept quite minimalist, with white elements placed on a black background.

bla bla bla

bla bla bla

bla bla bla

✧ Crafting Protocol ✧

① Design a sticker with a spell and/or sigil.

② Print and cut-them out.

③ Spread them around the city to grow their Magic.

Reflection

The idea for a magic sticker, to explicitly use stickers as the support to cast a spell, isn't something I have seen before (I'm surely not the first to come up with this idea), but it seemed like a fun and simple method to combine a very common and popular design practice with Magic.

There is much to be said about stickers as a medium. But what I find particularly enticing is its association with the urban landscape. In big and small cities, you can find stickers everywhere! Stickers of all possible sorts. From silly stickers with illustrations, one-line jokes or memes, to serious political messages, calls-to-action or boycott slogans, making stickers a popular tool for activism. But most often, stickers are used for advertisement purposes. From big corporations, to local businesses, to small independent workers. Stickers are sometimes considered a from of 'guerilla advertising', since they can spread any sort of messaging fast, cheap and on any flat surface. Despite it being criminalized to place stickers in many places, private and public.

In the context of Magic, I find this aspect of large-scale public dissemination interesting. Just imagine unknowingly walking past, not just wards, but evil spells and curses, stuck all-around the city, hiding in plain sight in-between hundreds of other unseeming stickers. The more stickers spread, the stronger the Magic becomes!

Magical or not, whoever stumbles upon the ward-stickers is reminded of a simple but meaningful message: "Hate isn't welcome around here!"

I hope to get the time to make some more sticker variations with other spells and messages, soon.

✧ ✧ ✧

Prototypes ✧ Try-Out Night #2 ✧ 23/03/25

Goals

On this second Try-Out Night, the focus will be to create a sort of publication, or collection of printed material, that can be shared and circulated amongst people with an interest in Magic.

The main aim is to create a network and get in contact with new people who share similar interests in Magic and Art based practices, by spreading my project. Either through handing out material directly, or, encouraging people to take the print-outs and pass them to other people they know.

Ideas & Plans

Publication

• Workbook Zine OR
• Envelope with printed matter

Other

• Update my personal Wiki -> Wiki.Paracosmos.Press

✧ ✧ ✧

✧ ✧ ✧

License for a Magi🄯 Commons

Under the spell of this license,

All work becomes occult knowledge,

All author becomes a witch in the shape of a bird,

All spectator a worm awaiting transformation.
★

Under the spell of the Magic Commons,

All knowledge becomes revealed,

All revelation a bird song at dawn,

And every bird, once worm, a spell-casting witch.