Designed Magic

The Strategy of Marks, Meaning, and
the Transportation of Magic:
Intentional Transformation

In my history, and a string of blogs, I’ve commented on the notion of design, magic and their intertwinement. It’s been pointed out by some that
such a discussion is infertile and pretentious.
I disagree.
Designed Magic
I think that it, along with anything else,
is predicated on the positioning of belief.

And the casting line would have to come to [and from] you, and what you believe, in what do you hold your premise of action?
As a designer,
a strategist,
a writer,
an illustrator,
a painter,
a photographer —
to each, their own.

So what one might think, to the craft of their being, is a suggestion of their thinking layers to consciousness in craft, what you do, what others do —
what is made?
And how,
and why?

Designed Magic

Each, a story to their own legacy of interpretation:
that they are doing the work of transiting electrons from light fields to pixelated fields.

but soul, emotion, meaning, and content?
Being human, these are words with gravitas.
When you look, what do you see?

Designed Magic

What comes out — as I listen to people telling the story of their work is:

What’s the work,
the meaning of your work,
and the why?

Or they might contemplate the nature of writing as an inventive use of vocabulary and newly positioning ideals, freshly interpreted — nice, but who cares?
What depth,
to engagement?
Designed Magic
I’m looking for that — the dreamer in the whole dream:
magical interpretation —
translation of being,
from one place of experience,
to another tier of contact for the experiencer

In the work,
the worker changes.

From one plane of knowing, to another plane of being.
Or an illustrator might proffer seeing and drafting what is seen, in scene. Each might interpret their journey in their own way. I interpret mine differently — and have, since I was a child.

In drawing something, a mark makes meaning. It is a word to be read, a mark that draws one in, or protects the journey.


Designed Magic
When I was younger, I drew talismans for friends and travelers, that came from
my studies of Rudolf Koch‘s work,
noted elsewhere.
The point might be that the power of the work will be layered to commitment
what, in your work, do you commit to?
What, in your work, do you believe in?

Commitment and more importantly, belief, figure powerfully in the psychical space of the meditation on work and how that intertwines in the practice of being
what you are.
Designed Magic
That might be confirmed, in a manner, by this study:
which, to quote the HBR notation:

“Research participants with intuitive thinking styles demonstrated higher creativity after handling papers supposedly touched by creative people and lower creativity after handling papers said to have been touched by less-creative people, say Thomas Kramer of the University of South Carolina and Lauren G. Block of the City University of New York. Those who believed the papers had been touched by creative people came up with about 67% more ways to use a paperclip than those who thought the papers had been touched by people with low creativity (there was no such effect among participants with highly rational thinking styles). The findings suggest that intuitive-minded employees may perform better on assigned tasks when using pens or computers previously used by creative or intelligent people, the researchers say.”
What that comes down to
is what you believe.
And if, for example, you believe that making a line suggests, by its very naming, is a plane-shifting, psychical transposition — it moves perception from one place to another plane. The experiencer sees things differently — they are transported.
And that is magic.
Which is at the heart of creative impetus — making things that change points of view, literally, from one plane to another plane of understanding. And, as we all know, “understanding” is “inner standing” —
the idea of standing in-between
points of knowing in
a newer, deeper level of embracement.
And in the storytelling of brand, embracement and “holding” are what it’s all about. How do you tell a story that is spoken in a way, and visually lustrated in a manner, that people get it, hold it as their own, and share it with others.
That is tran-slation/position/formation.
Even Apple thought of its products as magical.

You can go there.
You might be there,
all ready.

What is this?
A circle and a cross?
What does it mean?

Up to you, and what
you believe in.

Tim | GIRVIN Decatur Island Studios