View allAll Photos Tagged synesthesia
I'm almost at the end of my journey in folding Maarten van Gelder's caterpillar. This really seems to be the last transformation... so this is the first of the four configurations I got... Everything has an end sooner or later and I feel it's time to stop... this patterns comes from an idea of rythm I had while reading ruimfroda's profile, having at the same time the kids learning drums while preparing a lesson about Gestalt in visual perception. Actually I thought to give a rythm to folds by sinking caterpillar's spikes in a pattern... if we were in symmetry we would be talking of a frieze... this has actually an ABABAB rythm but obviously many more can be studied... I'm thinking about a model that could really express rythm meshing visual and brain music... we could call it sort of origami synesthesia... My brain is working but not yet getting to a real solution... that I'd like to be really minimal... let's say I'm looking for a drum, not for a marimba. Have a good rythmic week and a happy folding my friends :-)
Also, since I optimistically thought that somebody might be interested in the caterflower phenomenon itself I organized it into a set.
... and for those who asked (many many many thanks for having been interested!!!!)... in other pictures might have not been so clearly legible but this is basic kraft paper (post office store) and this is always the same sheet of paper as in the first revolution... maybe I should have done many different and save them for the future... you never know... but I'm afraid I'm quite whimsical in these affairs and I get bored quickly... so maybe... if I will ever feel that posterity can't do without...
Writing a book here: open.spotify.com/show/3mMrq70ofFvPputOjQIiGU?si=kwclM6f8Q...
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this is a top-down view of how i see the months of the year via my spatial-sequence syensthesia. the colored areas are the colors i hold for each month (which doesn't necessarily correspond to the color of the actual WORD for that month).
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What if you had a special little helper who could assist your own creativity into creating the most intricate layout of various curious and beautifully detailed objects and things. Who would be the real creator? What if you had actually made this special little helper yourself to begin with? Artists working with programming do just that, they create a very powerful creator and let them do the hard work. Through computer software algorithms written in various scripting languages more and more artists now use these powerful tools to have information generate mind blowing imagery. This "processing" of information happens in a combination of order and disorder, and although most behaviours are very much so controlled by the artists, the outcome is always somewhat of a surprise. For this event, this public outdoor exhibition, Maxalot will present a selection of todays finest generative artists and have their work light up part of the VROM building next to The Hague's Central Station using another powerful tool, Light.
Maxalot
Maxalot crosses digital arts with emerging pop surrealism, aiming to reach broad audiences with individuals and studios who break boundaries in art and design. Formerly based in Barcelona, the Maxalots have returned to their motherland, Holland and now curate exhibitions in a series of unconventional venues throughout the city of Amsterdam. Since their debut in 2003, Maxalot has set course to become an influential force in the global graphic and design community and now incorporates an online boutique offering unique objets d'art, limited edition giclée prints and graphic wallscapes.
ARTISTS:
Neil Banas
Neil Banas is a digital artist and computational oceanographer living, working, and teaching in Seattle. Inspiration for his work comes sometimes from pure math and geometry but more often from dynamics in nature. This piece is based on a simulation of millions of faint particles running down invisible hillsides, spreading and converging like water in a stream network or draining off mudflats at low tide.
Dextro
Dextro.org presents abstract graphic design experiments and algorithmic animations. In cooperation with Lia, Dextro initiated turux.org, a platform for interactive animations
Eno Henze
Eno Henze likes to employ computers to do his work. Hence, his work focuses on generative processes involving both human and machine intelligence. He graduated in Fine Arts at the Städelschule Frankfurt and recently moved to Berlin with his studio. He also works as designer and art director for digital media environments. Eno has created an artwork called "Party Collider" for this show.
Pedro Mari
Pedro Mari (born 1986 in Salerno, Italy), also known as Defetto, currently lives and works in London.
He's an audiovisual artist focused on generative systems. Most of his works deal with synesthesia and visual music, through the use of abstract shapes and a deep study of colour. Pedro will show a work titled ????? ??? (panta rei - everything flows) "Everything is subject to change. The harmony of things is contained in their perennial change. This change is not random or chaotic; it is governed by precise rhythms. ????? ??? is an eternal flow, constantly evolving, never equal to himself." Pedro Mari's work can be found online at flickr.com/defetto and vimeo.com/defetto.
Quayola
Quayola is a visual artist based in London. His work simultaneously focuses on multiple forms exploring the space between video, audio, photography, installation, live performance and print. Quayola creates worlds where real substance, such as natural or architectural matter, constantly mutates into ephemeral objects, enabling the real and the artificial to coexist harmoniously. Integrating computer-generated material with recorded sources, he explores the ambiguity of realism in the digital realm.
C.E.B REAS
C.E.B. REAS lives and works in Los Angeles. He focuses on defining processes and translating them into images. He is an associate professor and chair of the department of Design | Media Arts at the University of California, Los Angeles. With Ben Fry, REAS initiated Processing.org in 2001. Processing is an open source programming language and environment for creating images, animation, and interaction.
Karsten Smidt
"From the 1st moment I used a computer some 16 years ago, aged 13, I knew what I wanted to do later in life. Being an active part of the Demo scene back in the early '90s, I've been programming and experimenting with code, graphics and audio for all that time and still only feel like at the beginning of the real journey."
StrangeThingsHappen
Early pioneers of generative Director programming, Lia and Dextro quickly became influential both inside and outside the Director community. Their mix of crisp pixels, erratic animation and blurred surfaces was unique during the early and mid-1990's, presenting a perfect visual counterpoint to a musical scene experimenting with glitch and sound defects.
Together, they produced Turux, a seminal web site which featured Director "soundtoys" and generative visual sketches. Thanks to the site's intentionally cryptic interface design and the "anonymous author`' fad popular with the Vienna artists (many of which used pseudonyms or group names), the authorship of Turux was unclear to outsiders. Often, visitors had no idea if Lia, Dextro or Turux were actual people or just project names. Nevertheless, Turux became an important reference for the nascent scene, its fame only heightened by its obscure origin. When the collaboration ended some time later, Turux remained online practically unchanged. As a document of a specific time period (1997-2001), it became a time capsule of styles and strategies. Now Lia is running her company StrangeThingsHappen.
Jim Soliven
Jim Soliven is a programmer and computational artist based in New York City. Armed with his Apple II+, he started exploring the computational world of artistic visualization at an early age. Although driven for his love of computer-based art, his artistic journey came to a halt when he decided to go to a more stable path as a programmer. He now spends a significant amount of his free time re-discovering his love of generating nature-inspired images on his computer using the tools that he learned as a programmer. His works has made it to university press books and magazines.
Marius Watz
Marius Watz is an artist concerned with generative systems for creating visual form, still, animated or realtime. His signature is a brand of visual hedonism, marked by colourful organic shapes and a maximalist attitude. Most of his works deal with drawing machines implemented in software, live visuals for music or large-scale projections of plastic visual systems. In 2005 Watz started Generator.x, a platform for generative art and design which so far has resulted in a conference, a blog, a travelling exhibition and concert tour. In 2005 Watz received an honorary mention for his project Universal Digest Machine. Watz currently lives in Berlin. His tools of choice are Java, Processing, VVVV and Flash. He continues to edit the Generator.x blog and prepare future Generator.x events, as well as teach workshops in computational design and generative art.
Mike Young
Originally born and raised in Tennessee, Michael Young currently calls Bangkok, Thailand home. Michael started his career as one of the directors for progressive firm Vir2l and its world renowned rethinking of web design from 1998-2000. In 2000 he left Vir2l to start the prestigious design firm WeWorkForThem that has worked with the likes of Coca-Cola, Pepsi, HP, Apple and Microsoft. While not working in the commercial industry of graphic design, Michael's online project Designgraphik has been at the forefront of online-interactive art since 1998. In 2001, at only age 23 he was nominated for the highly prestigious Chrysler Design Award, typically reserved for architects. Although not winning the Chrysler, Michael's innovative work online and in video have gone on to be exhibited around the world from America to Asia and Australia to Europe. Michael continues to work daily as a artist, designer, photographer, director, producer and hack programmer.
Vroeger dacht ik dat voor alle mensen maandagen rood waren, dinsdagen beige en woendsdagen grijsblauw.
Voor mij hebben alle cijfers, maanden van het jaar en de meeste woorden een kleur, vaak ook een geur.
Pas in 2002 ontdekt ik dat het niet gewoon is en dat bovendien andere mensen met deze "conditie" andere geuren, kleuren en klanken bij cijfers, dagen en maanden beleven.
Synesthesie is een vermenging van de zintuigen. Hoewel het niet ongewoon is dat zintuigelijke waarnemingen onderlinge invloed hebben, is dit bij synesthesie dusdanig sterk dat bijvoorbeeld kleuren geproefd worden of geluiden gezien. Deze eigenschap van de hersenen komt bij relatief weinig mensen voor. Deze nemen meerdere soorten impulsen tegelijk waar, ook als die in feite in het algemeen door andere zintuigen worden gegenereerd.
nl.wikipedia.org/wiki/Synesthesie_
------------------------------------------------------------------------------------------------------------------------
SYNAESTHESIA
This I have always known;
water is wet and sugar is sweet,
the sky is blue and so is 2.
Monday smells like strawberries, for me that is true.
And Tuesday tastes like mustard, all this might be different for you.
It is totally useless, but it does not hurt.
And it is fun, somthing to explore, like why is YES grey,
while "JA" is bright red?
This might be different for you, as I said.
Synesthesia (also spelled synæsthesia or synaesthesia, plural synesthesiae or synaesthesiae), from the ancient Greek σύν (syn), "together," and αἴσθησις (aisthēsis), "sensation," is a neurologically based condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. People who report such experiences are known as synesthetes.
en.wikipedia.org/wiki/Synesthesia
-------------------------------------------------------------------------------------------------------------------------------
What if you had a special little helper who could assist your own creativity into creating the most intricate layout of various curious and beautifully detailed objects and things. Who would be the real creator? What if you had actually made this special little helper yourself to begin with? Artists working with programming do just that, they create a very powerful creator and let them do the hard work. Through computer software algorithms written in various scripting languages more and more artists now use these powerful tools to have information generate mind blowing imagery. This "processing" of information happens in a combination of order and disorder, and although most behaviours are very much so controlled by the artists, the outcome is always somewhat of a surprise. For this event, this public outdoor exhibition, Maxalot will present a selection of todays finest generative artists and have their work light up part of the VROM building next to The Hague's Central Station using another powerful tool, Light.
Maxalot
Maxalot crosses digital arts with emerging pop surrealism, aiming to reach broad audiences with individuals and studios who break boundaries in art and design. Formerly based in Barcelona, the Maxalots have returned to their motherland, Holland and now curate exhibitions in a series of unconventional venues throughout the city of Amsterdam. Since their debut in 2003, Maxalot has set course to become an influential force in the global graphic and design community and now incorporates an online boutique offering unique objets d'art, limited edition giclée prints and graphic wallscapes.
ARTISTS:
Neil Banas
Neil Banas is a digital artist and computational oceanographer living, working, and teaching in Seattle. Inspiration for his work comes sometimes from pure math and geometry but more often from dynamics in nature. This piece is based on a simulation of millions of faint particles running down invisible hillsides, spreading and converging like water in a stream network or draining off mudflats at low tide.
Dextro
Dextro.org presents abstract graphic design experiments and algorithmic animations. In cooperation with Lia, Dextro initiated turux.org, a platform for interactive animations
Eno Henze
Eno Henze likes to employ computers to do his work. Hence, his work focuses on generative processes involving both human and machine intelligence. He graduated in Fine Arts at the Städelschule Frankfurt and recently moved to Berlin with his studio. He also works as designer and art director for digital media environments. Eno has created an artwork called "Party Collider" for this show.
Pedro Mari
Pedro Mari (born 1986 in Salerno, Italy), also known as Defetto, currently lives and works in London.
He's an audiovisual artist focused on generative systems. Most of his works deal with synesthesia and visual music, through the use of abstract shapes and a deep study of colour. Pedro will show a work titled ????? ??? (panta rei - everything flows) "Everything is subject to change. The harmony of things is contained in their perennial change. This change is not random or chaotic; it is governed by precise rhythms. ????? ??? is an eternal flow, constantly evolving, never equal to himself." Pedro Mari's work can be found online at flickr.com/defetto and vimeo.com/defetto.
Quayola
Quayola is a visual artist based in London. His work simultaneously focuses on multiple forms exploring the space between video, audio, photography, installation, live performance and print. Quayola creates worlds where real substance, such as natural or architectural matter, constantly mutates into ephemeral objects, enabling the real and the artificial to coexist harmoniously. Integrating computer-generated material with recorded sources, he explores the ambiguity of realism in the digital realm.
C.E.B REAS
C.E.B. REAS lives and works in Los Angeles. He focuses on defining processes and translating them into images. He is an associate professor and chair of the department of Design | Media Arts at the University of California, Los Angeles. With Ben Fry, REAS initiated Processing.org in 2001. Processing is an open source programming language and environment for creating images, animation, and interaction.
Karsten Smidt
"From the 1st moment I used a computer some 16 years ago, aged 13, I knew what I wanted to do later in life. Being an active part of the Demo scene back in the early '90s, I've been programming and experimenting with code, graphics and audio for all that time and still only feel like at the beginning of the real journey."
StrangeThingsHappen
Early pioneers of generative Director programming, Lia and Dextro quickly became influential both inside and outside the Director community. Their mix of crisp pixels, erratic animation and blurred surfaces was unique during the early and mid-1990's, presenting a perfect visual counterpoint to a musical scene experimenting with glitch and sound defects.
Together, they produced Turux, a seminal web site which featured Director "soundtoys" and generative visual sketches. Thanks to the site's intentionally cryptic interface design and the "anonymous author`' fad popular with the Vienna artists (many of which used pseudonyms or group names), the authorship of Turux was unclear to outsiders. Often, visitors had no idea if Lia, Dextro or Turux were actual people or just project names. Nevertheless, Turux became an important reference for the nascent scene, its fame only heightened by its obscure origin. When the collaboration ended some time later, Turux remained online practically unchanged. As a document of a specific time period (1997-2001), it became a time capsule of styles and strategies. Now Lia is running her company StrangeThingsHappen.
Jim Soliven
Jim Soliven is a programmer and computational artist based in New York City. Armed with his Apple II+, he started exploring the computational world of artistic visualization at an early age. Although driven for his love of computer-based art, his artistic journey came to a halt when he decided to go to a more stable path as a programmer. He now spends a significant amount of his free time re-discovering his love of generating nature-inspired images on his computer using the tools that he learned as a programmer. His works has made it to university press books and magazines.
Marius Watz
Marius Watz is an artist concerned with generative systems for creating visual form, still, animated or realtime. His signature is a brand of visual hedonism, marked by colourful organic shapes and a maximalist attitude. Most of his works deal with drawing machines implemented in software, live visuals for music or large-scale projections of plastic visual systems. In 2005 Watz started Generator.x, a platform for generative art and design which so far has resulted in a conference, a blog, a travelling exhibition and concert tour. In 2005 Watz received an honorary mention for his project Universal Digest Machine. Watz currently lives in Berlin. His tools of choice are Java, Processing, VVVV and Flash. He continues to edit the Generator.x blog and prepare future Generator.x events, as well as teach workshops in computational design and generative art.
Mike Young
Originally born and raised in Tennessee, Michael Young currently calls Bangkok, Thailand home. Michael started his career as one of the directors for progressive firm Vir2l and its world renowned rethinking of web design from 1998-2000. In 2000 he left Vir2l to start the prestigious design firm WeWorkForThem that has worked with the likes of Coca-Cola, Pepsi, HP, Apple and Microsoft. While not working in the commercial industry of graphic design, Michael's online project Designgraphik has been at the forefront of online-interactive art since 1998. In 2001, at only age 23 he was nominated for the highly prestigious Chrysler Design Award, typically reserved for architects. Although not winning the Chrysler, Michael's innovative work online and in video have gone on to be exhibited around the world from America to Asia and Australia to Europe. Michael continues to work daily as a artist, designer, photographer, director, producer and hack programmer.
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(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
I figured out less than a year ago that I have synesthesia, a neurological condition that causes me to see colors when I look at letters or numbers or listen to music. I also see colors for personalities, days of the week, months of the year, and for certain smells (though certainly not all). I dream in color, and see sequences of time in a three-dimensional space around me (for example, months of the year 'encircle' me at about chest level, with winter months behind and summer months directly ahead. Spring is to my left, while fall is to my right).
This watercolor painting is a partial representation of what I see when I listen to Rise Against's "Whereabouts Unknown." Unfortunately, watercolor was not the best idea for a medium, since they don't show my colors as well as the acrylic works I did earlier in the year.
There is no pink in this song; that's just a wash from the red. The black and orange are from the singer throwing his voice, and the red zig-zag streaks to the left are from the jagged guitar. I see most deeper guitar parts as red, as illustrated earlier in this piece to the sound of Anti-Flag's "No Paradise."
If you are interested in commissioning a piece from me, feel free to contact me at lionheart09@comcast.net
I can do any song you request, be it The Beatles or Dead Kenedys. Just don't ask me to do cute boy-bands or obnoxious rap.
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Any unauthorized use of this image is illegal and strictly prohibited.
Painted with my new rainbow LED toy.
Straight out of the camera. Only resized to 33% of the original size, no changes to the colours.
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Tony's second collection is called: The Midlands, he lived for the early part of his life in Matlock and a few of the poems refer to local places and features like Masson Hill, Wild Cat Tor (one of my favourite rock-climbing venues in Derbyshire), Scarthin Nick etc. His poetry comprises much wordplay and mixing juxtapositions of emotion and facts all out of kilter and in the wrong place - a sort of verbal synesthesia - and has more than an air of fantasy about it. Here is the opening verse from his poem about Laura, who fell in love with a mole:
LAURA, A SEAMSTRESS (Part)
I've fallen in love with a mole.
The way they was talking, stood round,
me in my dress. So I ran,
pushing the teasel suitors back
till I found the place
the man was shoveling daylight down,
slid down myself, and there:
my little man.
TONY WILLIAMS
I rather like the notion of digging as "shoveling daylight down"
Long story short: I got an email from a guy named Justin Colon, asking me if I'd be interested in answering a few questions about synesthesia for a project he was working on. I didn't think much of it at the time, because I often get emails from medical and psychology students who are writing thesis papers on the condition, or who are simply curious as to what it's like to have synesthesia. But Justin explained to me that he was actually an actor, and that he was going to be playing one of the lead rolls in a film about synesthesia.
After reading the script, I chose to get even more involved in the film than previously intended, and am now planning to share some of my paintings to raise money for the project. I'll also be doing all the paintings for the set, while my boyfriend will be working on the score.
Today, Justin sent me the kickstarter video, which features a segment in which Jake and I work co-operatively to create this painting. The painting is what I 'see' in my head while Jake plays an original song he wrote for me almost a year ago, which plays in the background as the video goes on. There is also a slideshow segment featuring my other paintings and several of my photographs as well.
Having never been involved in anything quite like this before, I'm VERY stoked.
PLEASE check out the video and spread the word! We need all the support we can get to make this work!
The video can be found here: www.kickstarter.com/projects/620621130/the-colour-of-her-...
CHECK IT OUT!!!!
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Any unauthorized use of this image is illegal and strictly prohibited.
If you wish to use this image, you are required by law to contact me for permission first:
lionheart09@comcast.net
From Wikipedia, of course: "Johann Mattheson, in 1713, wrote 'F# minor, although it leads to great distress, nevertheless is more languid and love-sick than lethal. Moreover, it has something abandoned, singular, and misanthropic about it.' On a similar theme, Harry Farjeon wrote that it is the key that Mendelssohn uses when being passionate."
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(A crowdsourced method of identifying unknown species of any organism through discussion with up or down votes and comments from tons of people including a bunch of biologists.)
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(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
The universe in glass beads trending on Artstation hyperdetailed intricately detailed 8k resolution concept art WLOP deep color 8K resolution depth of field sharp focus subtractive lighting HDR shadow depth Unreal Engine 5 beautiful astral cosmic detailed complex elegant magnificent mysterious noctilucent ominous meticulous intricate radiant space serene synesthesia horror fantasy
This color is as close to the one I as a synesthete associate with the letter U as I could come. Yellowish. Dull. Sketchy.
I see Q as a bright shiny silver, like aluminum foil. In words starting with QU, the bright shiny aluminum foil is followed
by dull, sketchy yellow! Oh, and ICU is White, Sand, and Yellowish!
Taken at The Regency, Laguna Woods, California. © 2014 All Rights Reserved.
My images are not to be used, copied, edited, or blogged without my explicit permission.
Please!! NO Glittery Awards or Large Graphics...Buddy Icons are OK. Thank You!
So far in this album these letters ~ scarlet A, blue B, purple D, yellow E, green F, chartreuse K, coffee with cream L, dark chocolate brown M, and dull yellowish U ~ sport the colors that I, as a synesthete, have associated with them ever since I learned the alphabet.
Basic proof of concept for a class in interaction design. It plays light and sound, so there's the potential for the hearing impaired to 'experience' (not hear) music through induced synesthesia.
Video: vimeo.com/47831480
Trust in the Lord with all thine heart; and lean not unto thine own understanding.
In all thy ways acknowledge him, and he shall direct thy paths.
Be not wise in thine own eyes: fear the Lord, and depart from evil.
Proverbs 3:5-7 King James Version
"One day," I said to my father, "I realized that to make an 'R' all I had to do was first write a 'P' and then draw a line down from its loop. And I was so surprised that I could turn a yellow letter into an orange letter just by adding a line."
- Patricia Lynne Duffy, on experiencing grapheme-colour synesthesia at an early age.
Crystal clarity in a bottle.
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Amanita muscaria, commonly known as the fly agaric or fly amanita, is a basidiomycete of the genus Amanita. It is a large white-gilled, white-spotted, and usually red mushroom.
Despite its easily distinguishable features, A. muscaria is a fungus with several known variations, or subspecies. These subspecies are slightly different, some having yellow or white caps, but are all usually called fly agarics, most often recognizable by their notable white spots. Recent DNA fungi research, however, has shown that some mushrooms called 'fly agaric' are in fact unique species, such as A. persicina (the peach-colored fly agaric).
Native throughout the temperate and boreal regions of the Northern Hemisphere, A. muscaria has been unintentionally introduced to many countries in the Southern Hemisphere, generally as a symbiont with pine and birch plantations, and is now a true cosmopolitan species. It associates with various deciduous and coniferous trees.
Although poisonous, death due to poisoning from A. muscaria ingestion is quite rare. Parboiling twice with water draining weakens its toxicity and breaks down the mushroom's psychoactive substances; it is eaten in parts of Europe, Asia, and North America. All A. muscaria varieties, but in particular A. muscaria var. muscaria, are noted for their hallucinogenic properties, with the main psychoactive constituents being muscimol and its neurotoxic precursor ibotenic acid. A local variety of the mushroom was used as an intoxicant and entheogen by the indigenous peoples of Siberia.
Arguably the most iconic toadstool species, the fly agaric is one of the most recognizable and widely encountered in popular culture, including in video games—for example, the frequent use of a recognizable A. muscaria in the Mario franchise (e.g. its Super Mushroom power-up)—and television—for example, the houses in The Smurfs franchise. There have been cases of children admitted to hospitals after consuming this poisonous mushroom; the children may have been attracted to it because of its pop-culture associations.
Taxonomy
The name of the mushroom in many European languages is thought to derive from its use as an insecticide when sprinkled in milk. This practice has been recorded from Germanic- and Slavic-speaking parts of Europe, as well as the Vosges region and pockets elsewhere in France, and Romania. Albertus Magnus was the first to record it in his work De vegetabilibus some time before 1256, commenting vocatur fungus muscarum, eo quod in lacte pulverizatus interficit muscas, "it is called the fly mushroom because it is powdered in milk to kill flies."
The 16th-century Flemish botanist Carolus Clusius traced the practice of sprinkling it into milk to Frankfurt in Germany, while Carl Linnaeus, the "father of taxonomy", reported it from Småland in southern Sweden, where he had lived as a child. He described it in volume two of his Species Plantarum in 1753, giving it the name Agaricus muscarius, the specific epithet deriving from Latin musca meaning "fly". It gained its current name in 1783, when placed in the genus Amanita by Jean-Baptiste Lamarck, a name sanctioned in 1821 by the "father of mycology", Swedish naturalist Elias Magnus Fries. The starting date for all the mycota had been set by general agreement as January 1, 1821, the date of Fries's work, and so the full name was then Amanita muscaria (L.:Fr.) Hook. The 1987 edition of the International Code of Botanical Nomenclature changed the rules on the starting date and primary work for names of fungi, and names can now be considered valid as far back as May 1, 1753, the date of publication of Linnaeus's work. Hence, Linnaeus and Lamarck are now taken as the namers of Amanita muscaria (L.) Lam..
The English mycologist John Ramsbottom reported that Amanita muscaria was used for getting rid of bugs in England and Sweden, and bug agaric was an old alternative name for the species. French mycologist Pierre Bulliard reported having tried without success to replicate its fly-killing properties in his work Histoire des plantes vénéneuses et suspectes de la France (1784), and proposed a new binomial name Agaricus pseudo-aurantiacus because of this. One compound isolated from the fungus is 1,3-diolein (1,3-di(cis-9-octadecenoyl)glycerol), which attracts insects. It has been hypothesised that the flies intentionally seek out the fly agaric for its intoxicating properties. An alternative derivation proposes that the term fly- refers not to insects as such but rather the delirium resulting from consumption of the fungus. This is based on the medieval belief that flies could enter a person's head and cause mental illness. Several regional names appear to be linked with this connotation, meaning the "mad" or "fool's" version of the highly regarded edible mushroom Amanita caesarea. Hence there is oriol foll "mad oriol" in Catalan, mujolo folo from Toulouse, concourlo fouolo from the Aveyron department in Southern France, ovolo matto from Trentino in Italy. A local dialect name in Fribourg in Switzerland is tsapi de diablhou, which translates as "Devil's hat".
Classification
Amanita muscaria is the type species of the genus. By extension, it is also the type species of Amanita subgenus Amanita, as well as section Amanita within this subgenus. Amanita subgenus Amanita includes all Amanita with inamyloid spores. Amanita section Amanita includes the species with patchy universal veil remnants, including a volva that is reduced to a series of concentric rings, and the veil remnants on the cap to a series of patches or warts. Most species in this group also have a bulbous base. Amanita section Amanita consists of A. muscaria and its close relatives, including A. pantherina (the panther cap), A. gemmata, A. farinosa, and A. xanthocephala. Modern fungal taxonomists have classified Amanita muscaria and its allies this way based on gross morphology and spore inamyloidy. Two recent molecular phylogenetic studies have confirmed this classification as natural.
Description
A large, conspicuous mushroom, Amanita muscaria is generally common and numerous where it grows, and is often found in groups with basidiocarps in all stages of development. Fly agaric fruiting bodies emerge from the soil looking like white eggs. After emerging from the ground, the cap is covered with numerous small white to yellow pyramid-shaped warts. These are remnants of the universal veil, a membrane that encloses the entire mushroom when it is still very young. Dissecting the mushroom at this stage reveals a characteristic yellowish layer of skin under the veil, which helps identification. As the fungus grows, the red colour appears through the broken veil and the warts become less prominent; they do not change in size, but are reduced relative to the expanding skin area. The cap changes from globose to hemispherical, and finally to plate-like and flat in mature specimens. Fully grown, the bright red cap is usually around 8–20 centimetres (3–8 inches) in diameter, although larger specimens have been found. The red colour may fade after rain and in older mushrooms.
The free gills are white, as is the spore print. The oval spores measure 9–13 by 6.5–9 μm; they do not turn blue with the application of iodine. The stipe is white, 5–20 cm (2–8 in) high by 1–2 cm (1⁄2–1 in) wide, and has the slightly brittle, fibrous texture typical of many large mushrooms. At the base is a bulb that bears universal veil remnants in the form of two to four distinct rings or ruffs. Between the basal universal veil remnants and gills are remnants of the partial veil (which covers the gills during development) in the form of a white ring. It can be quite wide and flaccid with age. There is generally no associated smell other than a mild earthiness.
Although very distinctive in appearance, the fly agaric has been mistaken for other yellow to red mushroom species in the Americas, such as Armillaria cf. mellea and the edible A. basii—a Mexican species similar to A. caesarea of Europe. Poison control centres in the U.S. and Canada have become aware that amarill (Spanish for 'yellow') is a common name for the A. caesarea-like species in Mexico. A. caesarea is distinguished by its entirely orange to red cap, which lacks the numerous white warty spots of the fly agaric (though these sometimes wash away during heavy rain). Furthermore, the stem, gills and ring of A. caesarea are bright yellow, not white. The volva is a distinct white bag, not broken into scales. In Australia, the introduced fly agaric may be confused with the native vermilion grisette (Amanita xanthocephala), which grows in association with eucalypts. The latter species generally lacks the white warts of A. muscaria and bears no ring. Additionally, immature button forms resemble puffballs.
Controversy
Amanita muscaria var. formosa is now a synonym for Amanita muscaria var. guessowii.
Amanita muscaria varies considerably in its morphology, and many authorities recognize several subspecies or varieties within the species. In The Agaricales in Modern Taxonomy, German mycologist Rolf Singer listed three subspecies, though without description: A. muscaria ssp. muscaria, A. muscaria ssp. americana, and A. muscaria ssp. flavivolvata.
However, a 2006 molecular phylogenetic study of different regional populations of A. muscaria by mycologist József Geml and colleagues found three distinct clades within this species representing, roughly, Eurasian, Eurasian "subalpine", and North American populations. Specimens belonging to all three clades have been found in Alaska; this has led to the hypothesis that this was the centre of diversification for this species. The study also looked at four named varieties of the species: var. alba, var. flavivolvata, var. formosa (including var. guessowii), and var. regalis from both areas. All four varieties were found within both the Eurasian and North American clades, evidence that these morphological forms are polymorphisms rather than distinct subspecies or varieties. Further molecular study by Geml and colleagues published in 2008 show that these three genetic groups, plus a fourth associated with oak–hickory–pine forest in the southeastern United States and two more on Santa Cruz Island in California, are delineated from each other enough genetically to be considered separate species. Thus A. muscaria as it stands currently is, evidently, a species complex. The complex also includes at least three other closely related taxa that are currently regarded as species: A. breckonii is a buff-capped mushroom associated with conifers from the Pacific Northwest, and the brown-capped A. gioiosa and A. heterochroma from the Mediterranean Basin and from Sardinia respectively. Both of these last two are found with Eucalyptus and Cistus trees, and it is unclear whether they are native or introduced from Australia.
Distribution and habitat
A. muscaria is a cosmopolitan mushroom, native to conifer and deciduous woodlands throughout the temperate and boreal regions of the Northern Hemisphere, including higher elevations of warmer latitudes in regions such as Hindu Kush, the Mediterranean and also Central America. A recent molecular study proposes that it had an ancestral origin in the Siberian–Beringian region in the Tertiary period, before radiating outwards across Asia, Europe and North America. The season for fruiting varies in different climates: fruiting occurs in summer and autumn across most of North America, but later in autumn and early winter on the Pacific coast. This species is often found in similar locations to Boletus edulis, and may appear in fairy rings. Conveyed with pine seedlings, it has been widely transported into the southern hemisphere, including Australia, New Zealand, South Africa and South America, where it can be found in the Brazilian states of Paraná, São Paulo, Minas Gerais, Rio Grande do Sul.
Ectomycorrhizal, A. muscaria forms symbiotic relationships with many trees, including pine, oak, spruce, fir, birch, and cedar. Commonly seen under introduced trees, A. muscaria is the fungal equivalent of a weed in New Zealand, Tasmania and Victoria, forming new associations with southern beech (Nothofagus). The species is also invading a rainforest in Australia, where it may be displacing the native species. It appears to be spreading northwards, with recent reports placing it near Port Macquarie on the New South Wales north coast. It was recorded under silver birch (Betula pendula) in Manjimup, Western Australia in 2010. Although it has apparently not spread to eucalypts in Australia, it has been recorded associating with them in Portugal. Commonly found throughout the great Southern region of western Australia, it is regularly found growing on Pinus radiata.
Toxicity
a tall red mushroom with a few white spots on the cap
Mature. The white spots may wash off with heavy rainfall.
A. muscaria poisoning has occurred in young children and in people who ingested the mushrooms for a hallucinogenic experience, or who confused it with an edible species.
A. muscaria contains several biologically active agents, at least one of which, muscimol, is known to be psychoactive. Ibotenic acid, a neurotoxin, serves as a prodrug to muscimol, with a small amount likely converting to muscimol after ingestion. An active dose in adults is approximately 6 mg muscimol or 30 to 60 mg ibotenic acid; this is typically about the amount found in one cap of Amanita muscaria. The amount and ratio of chemical compounds per mushroom varies widely from region to region and season to season, which can further confuse the issue. Spring and summer mushrooms have been reported to contain up to 10 times more ibotenic acid and muscimol than autumn fruitings.
Deaths from A. muscaria have been reported in historical journal articles and newspaper reports, but with modern medical treatment, fatal poisoning from ingesting this mushroom is extremely rare. Many books list A. muscaria as deadly, but according to David Arora, this is an error that implies the mushroom is far more toxic than it is. Furthermore, The North American Mycological Association has stated that there were "no reliably documented cases of death from toxins in these mushrooms in the past 100 years".
The active constituents of this species are water-soluble, and boiling and then discarding the cooking water at least partly detoxifies A. muscaria. Drying may increase potency, as the process facilitates the conversion of ibotenic acid to the more potent muscimol. According to some sources, once detoxified, the mushroom becomes edible. Patrick Harding describes the Sami custom of processing the fly agaric through reindeer.
Pharmacology
Ibotenic acid, a prodrug to muscimol found in A. muscaria
Muscarine, discovered in 1869, was long thought to be the active hallucinogenic agent in A. muscaria. Muscarine binds with muscarinic acetylcholine receptors leading to the excitation of neurons bearing these receptors. The levels of muscarine in Amanita muscaria are minute when compared with other poisonous fungi such as Inosperma erubescens, the small white Clitocybe species C. dealbata and C. rivulosa. The level of muscarine in A. muscaria is too low to play a role in the symptoms of poisoning.
The major toxins involved in A. muscaria poisoning are muscimol (3-hydroxy-5-aminomethyl-1-isoxazole, an unsaturated cyclic hydroxamic acid) and the related amino acid ibotenic acid. Muscimol is the product of the decarboxylation (usually by drying) of ibotenic acid. Muscimol and ibotenic acid were discovered in the mid-20th century. Researchers in England, Japan, and Switzerland showed that the effects produced were due mainly to ibotenic acid and muscimol, not muscarine. These toxins are not distributed uniformly in the mushroom. Most are detected in the cap of the fruit, a moderate amount in the base, with the smallest amount in the stalk. Quite rapidly, between 20 and 90 minutes after ingestion, a substantial fraction of ibotenic acid is excreted unmetabolised in the urine of the consumer. Almost no muscimol is excreted when pure ibotenic acid is eaten, but muscimol is detectable in the urine after eating A. muscaria, which contains both ibotenic acid and muscimol.
Ibotenic acid and muscimol are structurally related to each other and to two major neurotransmitters of the central nervous system: glutamic acid and GABA respectively. Ibotenic acid and muscimol act like these neurotransmitters, muscimol being a potent GABAA agonist, while ibotenic acid is an agonist of NMDA glutamate receptors and certain metabotropic glutamate receptors which are involved in the control of neuronal activity. It is these interactions which are thought to cause the psychoactive effects found in intoxication.
Muscazone is another compound that has more recently been isolated from European specimens of the fly agaric. It is a product of the breakdown of ibotenic acid by ultra-violet radiation. Muscazone is of minor pharmacological activity compared with the other agents. Amanita muscaria and related species are known as effective bioaccumulators of vanadium; some species concentrate vanadium to levels of up to 400 times those typically found in plants. Vanadium is present in fruit-bodies as an organometallic compound called amavadine. The biological importance of the accumulation process is unknown.
Symptoms
Fly agarics are best known for the unpredictability of their effects. Depending on habitat and the amount ingested per body weight, effects can range from mild nausea and twitching to drowsiness, cholinergic crisis-like effects (low blood pressure, sweating and salivation), auditory and visual distortions, mood changes, euphoria, relaxation, ataxia, and loss of equilibrium (like with tetanus.)
In cases of serious poisoning the mushroom causes delirium, somewhat similar in effect to anticholinergic poisoning (such as that caused by Datura stramonium), characterised by bouts of marked agitation with confusion, hallucinations, and irritability followed by periods of central nervous system depression. Seizures and coma may also occur in severe poisonings. Symptoms typically appear after around 30 to 90 minutes and peak within three hours, but certain effects can last for several days. In the majority of cases recovery is complete within 12 to 24 hours. The effect is highly variable between individuals, with similar doses potentially causing quite different reactions. Some people suffering intoxication have exhibited headaches up to ten hours afterwards.[56] Retrograde amnesia and somnolence can result following recovery.
Treatment
Medical attention should be sought in cases of suspected poisoning. If the delay between ingestion and treatment is less than four hours, activated charcoal is given. Gastric lavage can be considered if the patient presents within one hour of ingestion. Inducing vomiting with syrup of ipecac is no longer recommended in any poisoning situation.
There is no antidote, and supportive care is the mainstay of further treatment for intoxication. Though sometimes referred to as a deliriant and while muscarine was first isolated from A. muscaria and as such is its namesake, muscimol does not have action, either as an agonist or antagonist, at the muscarinic acetylcholine receptor site, and therefore atropine or physostigmine as an antidote is not recommended. If a patient is delirious or agitated, this can usually be treated by reassurance and, if necessary, physical restraints. A benzodiazepine such as diazepam or lorazepam can be used to control combativeness, agitation, muscular overactivity, and seizures. Only small doses should be used, as they may worsen the respiratory depressant effects of muscimol. Recurrent vomiting is rare, but if present may lead to fluid and electrolyte imbalances; intravenous rehydration or electrolyte replacement may be required. Serious cases may develop loss of consciousness or coma, and may need intubation and artificial ventilation. Hemodialysis can remove the toxins, although this intervention is generally considered unnecessary. With modern medical treatment the prognosis is typically good following supportive treatment.
Uses
The wide range of psychoactive effects have been variously described as depressant, sedative-hypnotic, psychedelic, dissociative, or deliriant; paradoxical effects such as stimulation may occur however. Perceptual phenomena such as synesthesia, macropsia, and micropsia may occur; the latter two effects may occur either simultaneously or alternatingly, as part of Alice in Wonderland syndrome, collectively known as dysmetropsia, along with related distortions pelopsia and teleopsia. Some users report lucid dreaming under the influence of its hypnotic effects. Unlike Psilocybe cubensis, A. muscaria cannot be commercially cultivated, due to its mycorrhizal relationship with the roots of pine trees. However, following the outlawing of psilocybin mushrooms in the United Kingdom in 2006, the sale of the still legal A. muscaria began increasing.
Marija Gimbutas reported to R. Gordon Wasson that in remote areas of Lithuania, A. muscaria has been consumed at wedding feasts, in which mushrooms were mixed with vodka. She also reported that the Lithuanians used to export A. muscaria to the Sami in the Far North for use in shamanic rituals. The Lithuanian festivities are the only report that Wasson received of ingestion of fly agaric for religious use in Eastern Europe.
Siberia
A. muscaria was widely used as an entheogen by many of the indigenous peoples of Siberia. Its use was known among almost all of the Uralic-speaking peoples of western Siberia and the Paleosiberian-speaking peoples of the Russian Far East. There are only isolated reports of A. muscaria use among the Tungusic and Turkic peoples of central Siberia and it is believed that on the whole entheogenic use of A. muscaria was not practised by these peoples. In western Siberia, the use of A. muscaria was restricted to shamans, who used it as an alternative method of achieving a trance state. (Normally, Siberian shamans achieve trance by prolonged drumming and dancing.) In eastern Siberia, A. muscaria was used by both shamans and laypeople alike, and was used recreationally as well as religiously. In eastern Siberia, the shaman would take the mushrooms, and others would drink his urine. This urine, still containing psychoactive elements, may be more potent than the A. muscaria mushrooms with fewer negative effects such as sweating and twitching, suggesting that the initial user may act as a screening filter for other components in the mushroom.
The Koryak of eastern Siberia have a story about the fly agaric (wapaq) which enabled Big Raven to carry a whale to its home. In the story, the deity Vahiyinin ("Existence") spat onto earth, and his spittle became the wapaq, and his saliva becomes the warts. After experiencing the power of the wapaq, Raven was so exhilarated that he told it to grow forever on earth so his children, the people, could learn from it. Among the Koryaks, one report said that the poor would consume the urine of the wealthy, who could afford to buy the mushrooms. It was reported that the local reindeer would often follow an individual intoxicated by the muscimol mushroom, and if said individual were to urinate in snow the reindeer would become similarly intoxicated and the Koryak people's would use the drunken state of the reindeer to more easily rope and hunt them.
Other reports and theories
The Finnish historian T. I. Itkonen mentions that A. muscaria was once used among the Sámi peoples. Sorcerers in Inari would consume fly agarics with seven spots. In 1979, Said Gholam Mochtar and Hartmut Geerken published an article in which they claimed to have discovered a tradition of medicinal and recreational use of this mushroom among a Parachi-speaking group in Afghanistan. There are also unconfirmed reports of religious use of A. muscaria among two Subarctic Native American tribes. Ojibwa ethnobotanist Keewaydinoquay Peschel reported its use among her people, where it was known as miskwedo (an abbreviation of the name oshtimisk wajashkwedo (= "red-top mushroom"). This information was enthusiastically received by Wasson, although evidence from other sources was lacking. There is also one account of a Euro-American who claims to have been initiated into traditional Tlicho use of Amanita muscaria. The flying reindeer of Santa Claus, who is called Joulupukki in Finland, could symbolize the use of A. muscaria by Sámi shamans. However, Sámi scholars and the Sámi peoples themselves refute any connection between Santa Claus and Sámi history or culture.
"The story of Santa emerging from a Sámi shamanic tradition has a critical number of flaws," asserts Tim Frandy, assistant professor of Nordic Studies at the University of British Columbia and a member of the Sámi descendent community in North America. "The theory has been widely criticized by Sámi people as a stereotypical and problematic romanticized misreading of actual Sámi culture."
Vikings
The notion that Vikings used A. muscaria to produce their berserker rages was first suggested by the Swedish professor Samuel Ödmann in 1784. Ödmann based his theories on reports about the use of fly agaric among Siberian shamans. The notion has become widespread since the 19th century, but no contemporary sources mention this use or anything similar in their description of berserkers. Muscimol is generally a mild relaxant, but it can create a range of different reactions within a group of people. It is possible that it could make a person angry, or cause them to be "very jolly or sad, jump about, dance, sing or give way to great fright". Comparative analysis of symptoms have, however, since shown Hyoscyamus niger to be a better fit to the state that characterises the berserker rage.
Soma
See also: Botanical identity of Soma-Haoma
In 1968, R. Gordon Wasson proposed that A. muscaria was the soma talked about in the Rigveda of India, a claim which received widespread publicity and popular support at the time. He noted that descriptions of Soma omitted any description of roots, stems or seeds, which suggested a mushroom, and used the adjective hári "dazzling" or "flaming" which the author interprets as meaning red. One line described men urinating Soma; this recalled the practice of recycling urine in Siberia. Soma is mentioned as coming "from the mountains", which Wasson interpreted as the mushroom having been brought in with the Aryan migrants from the north. Indian scholars Santosh Kumar Dash and Sachinanda Padhy pointed out that both eating of mushrooms and drinking of urine were proscribed, using as a source the Manusmṛti. In 1971, Vedic scholar John Brough from Cambridge University rejected Wasson's theory and noted that the language was too vague to determine a description of Soma. In his 1976 survey, Hallucinogens and Culture, anthropologist Peter T. Furst evaluated the evidence for and against the identification of the fly agaric mushroom as the Vedic Soma, concluding cautiously in its favour. Kevin Feeney and Trent Austin compared the references in the Vedas with the filtering mechanisms in the preparation of Amanita muscaria and published findings supporting the proposal that fly-agaric mushrooms could be a likely candidate for the sacrament. Other proposed candidates include Psilocybe cubensis, Peganum harmala, and Ephedra.
Christianity
Philologist, archaeologist, and Dead Sea Scrolls scholar John Marco Allegro postulated that early Christian theology was derived from a fertility cult revolving around the entheogenic consumption of A. muscaria in his 1970 book The Sacred Mushroom and the Cross. This theory has found little support by scholars outside the field of ethnomycology. The book was widely criticized by academics and theologians, including Sir Godfrey Driver, emeritus Professor of Semitic Philology at Oxford University and Henry Chadwick, the Dean of Christ Church, Oxford. Christian author John C. King wrote a detailed rebuttal of Allegro's theory in the 1970 book A Christian View of the Mushroom Myth; he notes that neither fly agarics nor their host trees are found in the Middle East, even though cedars and pines are found there, and highlights the tenuous nature of the links between biblical and Sumerian names coined by Allegro. He concludes that if the theory were true, the use of the mushroom must have been "the best kept secret in the world" as it was so well concealed for two thousand years.
Fly trap
Amanita muscaria is traditionally used for catching flies possibly due to its content of ibotenic acid and muscimol, which lead to its common name "fly agaric". Recently, an analysis of nine different methods for preparing A. muscaria for catching flies in Slovenia have shown that the release of ibotenic acid and muscimol did not depend on the solvent (milk or water) and that thermal and mechanical processing led to faster extraction of ibotenic acid and muscimol.
Culinary
The toxins in A. muscaria are water-soluble: parboiling A. muscaria fruit bodies can detoxify them and render them edible, although consumption of the mushroom as a food has never been widespread. The consumption of detoxified A. muscaria has been practiced in some parts of Europe (notably by Russian settlers in Siberia) since at least the 19th century, and likely earlier. The German physician and naturalist Georg Heinrich von Langsdorff wrote the earliest published account on how to detoxify this mushroom in 1823. In the late 19th century, the French physician Félix Archimède Pouchet was a populariser and advocate of A. muscaria consumption, comparing it to manioc, an important food source in tropical South America that must also be detoxified before consumption.
Use of this mushroom as a food source also seems to have existed in North America. A classic description of this use of A. muscaria by an African-American mushroom seller in Washington, D.C., in the late 19th century is described by American botanist Frederick Vernon Coville. In this case, the mushroom, after parboiling, and soaking in vinegar, is made into a mushroom sauce for steak. It is also consumed as a food in parts of Japan. The most well-known current use as an edible mushroom is in Nagano Prefecture, Japan. There, it is primarily salted and pickled.
A 2008 paper by food historian William Rubel and mycologist David Arora gives a history of consumption of A. muscaria as a food and describes detoxification methods. They advocate that Amanita muscaria be described in field guides as an edible mushroom, though accompanied by a description on how to detoxify it. The authors state that the widespread descriptions in field guides of this mushroom as poisonous is a reflection of cultural bias, as several other popular edible species, notably morels, are also toxic unless properly cooked.
In culture
The red-and-white spotted toadstool is a common image in many aspects of popular culture. Garden ornaments and children's picture books depicting gnomes and fairies, such as the Smurfs, often show fly agarics used as seats, or homes. Fly agarics have been featured in paintings since the Renaissance, albeit in a subtle manner. For instance, in Hieronymus Bosch's painting, The Garden of Earthly Delights, the mushroom can be seen on the left-hand panel of the work. In the Victorian era they became more visible, becoming the main topic of some fairy paintings. Two of the most famous uses of the mushroom are in the Mario franchise (specifically two of the Super Mushroom power-up items and the platforms in several stages which are based on a fly agaric), and the dancing mushroom sequence in the 1940 Disney film Fantasia.
An account of the journeys of Philip von Strahlenberg to Siberia and his descriptions of the use of the mukhomor there was published in English in 1736. The drinking of urine of those who had consumed the mushroom was commented on by Anglo-Irish writer Oliver Goldsmith in his widely read 1762 novel, Citizen of the World. The mushroom had been identified as the fly agaric by this time. Other authors recorded the distortions of the size of perceived objects while intoxicated by the fungus, including naturalist Mordecai Cubitt Cooke in his books The Seven Sisters of Sleep and A Plain and Easy Account of British Fungi. This observation is thought to have formed the basis of the effects of eating the mushroom in the 1865 popular story Alice's Adventures in Wonderland. A hallucinogenic "scarlet toadstool" from Lappland is featured as a plot element in Charles Kingsley's 1866 novel Hereward the Wake based on the medieval figure of the same name. Thomas Pynchon's 1973 novel Gravity's Rainbow describes the fungus as a "relative of the poisonous Destroying angel" and presents a detailed description of a character preparing a cookie bake mixture from harvested Amanita muscaria. Fly agaric shamanism is also explored in the 2003 novel Thursbitch by Alan Garner.
Trying to describe music in a spoonfull of flavor
Tratando de definir la música en un bocado
An exercise related to synesthesia
Un ejercicio relacionado con la sintestesia
Workshop of 1st semester gastronomy students in Sabana U.
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AND I CAN BE YOUR CLOWN
BUT YOU AIN’T GOT MY NUMBER
YEAH, YOU CAN’T PIN ME DOWN
YEAH, YOU CAN’T PIN ME DOWN
YEAH, YOU CAN’T PIN ME DOWN~
Originally meant to be based on the incredible live version of Happy (www.youtube.com/watch?v=s6AHxF0s764), but ended up being more rainbowy/Frooty :D
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Punk rock band from Guadalajara, Méx.
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The radiating circles of light correspond to musical notes from Erik Satie's Gymnopedie no. 1, a favorite of mine since I first started to get into music. The piano and lamp are pencil, pen and ink colored in photoshop.
Writing a book here: open.spotify.com/show/3mMrq70ofFvPputOjQIiGU?si=kwclM6f8Q...
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In parapsychology and many forms of spiritual practice, an aura is a field of subtle, luminous radiation surrounding a person or object (like the halo or aureola in religious art). The depiction of such an aura often connotes a person of particular power or holiness. It is said that all living things (including humans) and all objects manifest such an aura. Often it is held to be perceptible, whether spontaneously or with practice: such perception is at times linked with the third eye of Indian spirituality. Various writers associate various personality traits with the colors of different layers of the aura. It has also been described as a map of the thoughts and feelings surrounding a person.Skeptics such as Robert Todd Carroll contend that people may perceive auras because of effects within the brain: synesthesia,[8] epilepsy, migraines, or the influence of psychedelic drugs such as LSD.[9][10] Other causes may include disorders within the visual system provoking optical effects. Eye fatigue can also produce an aura, sometimes referred to as eye burn.In Iran the aura is known as farr or "glory": it is depicted in association with Zoroastrian kings.Ideas of the aura are well represented in Indian religions. The Buddhist flag represents the colours seen around the enlightened Buddha. In Jainism the concept of Lesya relates colours to mental and emotional dispositions. To the Indian teacher Meher Baba the aura is of seven colours, associated with the subtle body and its store of mental and emotional impressions. Spiritual practice gradually transforms this aura into a spiritual halo. Hindu and Buddhist sources often link these colours to Kundalini energy and the chakras.In the classical western mysticism of neoplatonism and Kabbalah the aura is associated with the lustre of the astral body, a subtle body identified with the planetary heavens, which were in turn associated with various mental faculties in an elaborate system of correspondences with colours, shapes, sounds, perfumes etc.The symbolism of light found in the Bible is at times associated with the idea of the aura or "body of light":[16] similar interpretations are found in Islamic traditions.According to the literature of Theosophy, Anthroposophy, and Archeosophy also, each colour of the aura has a meaning, indicating a precise emotional state. A complete description of the aura and its colours was provided by Charles Leadbeater, a theosophist of the 19th century.[18] The works of Leadbeater were later developed by Palamidessi[19] and others.The British occultist W.E. Butler connected auras with clairvoyance and etheric, mental and emotional emanations. He classified the aura into two main types: etheric and spiritual. Auras are thought to serve as a visual measure of the state of the health of the physical body.[20] Robert Bruce classifies auras into three types: etheric, main, and spiritual. According to Bruce auras are not actual light but a translation of other unknown sensory readings that is added to our visual processing. They are not seen in complete darkness and cannot be seen unless some portion of the person or object emitting the aura can also be seen. The British Healer, clairvoyant and author Paul Lambillion in his book "Auras and Colours" writes of three visible bodies or layers in the auric field that can be observed whether or not in the physical presence of the individual subject since the aura is not a three dimensional phenomenon and limited to such parameters. (see also Sunday Times May 2011 and Transformations Channel 4 TV 1990)Glenn Morris, grandmaster of the Hoshin Roshi Ryu lineage, included perception of the aura in his training of advanced martial artists. His experience was that it consisted of multiple layers. He described the most easily visible of these as being "light and denser than the air in which the body is immersed", typically half to quarter of an inch thick and correlating with the etheric body of an individual. Around this he described a yard thick egg-shaped layer reflecting hormonal state that he linked to the emotional body, and outside this, other barely perceptible layers corresponding to the mental body and beyond.[23] Recalling the aura of another sōke, he wrote, "The first time I saw Hatsumi, he was running continuous bright, lime, neon green a foot wide and was so easy to see he would flash in bright sunlight".For holistic healers, aura reading is the art of investigating the human energy field, or the energy fields of other sentient beings. It is a basis for using techniques of holistic healing, and includes such practices as bioenergetics, Athena Systems develops and supports the Aura platform for hedge-funds. Aura is the only system on the market to provide unified: - Portfolio Management - Trading - Performance Calculation...energy medicine, energy spirituality, and energy psychology.
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While boiling some teeth out of a black bear jaw fragment, I was forced to resort to prying some of the bone apart with a knife to loosen the roots.
The knife slipped and stabbed right into my thumb, which instantly started bleeding all over the counter. I saw the colors from the pain, but didn't register the severity of the injury until I saw blood on the skull itself.
I remember thinking 'Oh, hey, I thought all the brains had been cleaned out already!'
It didn't take long to draw the conclusion that I'd actually just stabbed myself. I felt stupid, of course, but after I cleaned and bandaged the wound, I committed the exact colors and pattern to memory so I could paint it the next day. This is the result.
The yellow in the lower-right corner is from the exact moment the knife broke the skin, followed by the bright stinging red which (like elements from many of other paintings) are angled at about 45-degrees.
The darker browns, purples, and blues are the aching and throbbing which continued on for several days. This was actually the most inspiring part of the injury because of the way it moved--somewhat like still water being disturbed by a very slight breeze.
Pain can be beautiful for a synesthete.
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For assignment52-302014 ~ August 10, 2014 ~ Positive to Negative. Best viewed large (L)
This K is a gorgeous Royal Purple! But as a synesthete, I associate K with Chartreuse green! Purple is the color of my D!
Taken at The Regency, Laguna Woods, California. © 2014 All Rights Reserved.
My images are not to be used, copied, edited, or blogged without my explicit permission.
Please!! NO Glittery Awards or Large Graphics...Buddy Icons are OK. Thank You!