View allAll Photos Tagged synesthesia
An acid captcha creature wondering what is being seen huh ? Perhaps it laps (or will lapse?) synesthesia...
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“Synesthesia” is when the stimulation of one sensory system leads to an experience in another system. For example, you see colors when you hear music. Or a texture triggers a taste in your mouth. Reports of synesthesia are common when using psychedelic drugs, but it also occurs naturally in people known as “synesthetes.”
Although the phenomenon seems unusual, some researchers believe it reveals the potential of the mind to process any particular sensation in a variety of ways. In fact, researchers who study mental imagery don’t apply the term “image” to only visual experiences inside one’s mind, but also to sounds, smells, tastes, and body sensations within one’s imagination. Their research reveals how one type of mental image often can trigger another.
Many artists often talk about their work in a synesthetic way. My piano teacher, for example, mentioned the colors he associated with different notes and key signatures, sometimes colors with flavor qualities, like “coffee.” Visual artists also use words related to sounds, textures, and body sensations to describe their work.
Sometimes the influence of these sensations on the creative process is unconscious. There is the story of the photographer who noticed a pattern surfacing in his images: a visual repetition of three elements in a row, followed by a forth falling distinctly below the other three. After wondering why he was favoring such compositions, he suddenly realized that he had been listening to Beethoven’s Fifth Symphony. The four ominous notes of Fate knocking on one’s door had been shaping his visual experience, without his even realizing it.
Perhaps there’s a lesson to be learned from synesthesia. To improve our photography, we might think about the visual experience as more than what we see. If we develop the awareness of our ears, nose, tongue, and fingertips, it may enrich the awareness of our eyes. How might a sound, smell, taste, and body sensation translate into something visual? Maybe playing an instrument, sipping wine, and doing yoga are all opportunities to better understand photography.
So why not wiggle your fingers through a bowl of water, drop a handful of spoons into the sink, or roll a crumpled up ball of newspaper along your arm. If someone asks what you’re doing, say, “photography.”
* This image and essay also are part of a book on Photographic Psychology that I’m writing within Flickr.
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The one that I singled out amongst the many. Why this one? I was gently guided by my algorithmic hunt for a great abstract of this red oak mixed with a bit of serendipity. Here is a moment in time that only occurred once and will never occur again. The one that I singled out, forever about.
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Time is unfolding upon us relentlessly.
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The many shades of red inhabit a vast portion of the visible light spectrum, but none so alurringly autumnal as the many multiplicities meandering around maroon.
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Fly agarics resp. fly amanitas (Amanita muscaria) in a forest near the village of Mosbach, Franconia (Bavaria)
Some background information:
Amanita muscaria, commonly known as the fly agaric or fly amanita, is a mushroom and psychoactive basidiomycete fungus, one of many in the genus Amanita. Native throughout the temperate and boreal regions of the Northern Hemisphere, Amanita 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.
Arguably the most iconic toadstool species, the fly agaric is a large white-gilled, white-spotted, usually red mushroom, and is one of the most recognisable and widely encountered in popular culture. Several subspecies with differing cap colour have been recognised, including the brown regalis (often considered a separate species), the yellow-orange flavivolvata, guessowii, formosa, and the pinkish persicina. Genetic studies published in 2006 and 2008 show several sharply delineated clades that may represent separate species.
Although classified as poisonous, reports of human deaths resulting from its ingestion are extremely rare. After parboiling—which weakens its toxicity and breaks down the mushroom's psychoactive substances—it is eaten in parts of Europe, Asia, and North America. Amanita muscaria is noted for its hallucinogenic properties, with its main psychoactive constituent being the compound muscimol. The mushroom was used as an intoxicant and entheogen by the peoples of Siberia, and has a religious significance in these cultures. There has been much speculation on possible traditional use of this mushroom as an intoxicant in other places such as the Middle East, Eurasia, North America, and Scandinavia.
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 will reveal a characteristic yellowish layer of skin under the veil; this is helpful in 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 to 20 cm in diameter (3 to 8 in), 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 stipe is white too, 5 to 20 cm high (2.0 to 7.9 in) by 1 to 2 cm wide (0.5 to 1 in), 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.
Amanita muscaria is a cosmopolitan mushroom, native to conifer and deciduous woodlands throughout the temperate and boreal regions of the Northern Hemisphere,[26] including higher elevations of warmer latitudes in regions such as Hindu Kush, the Mediterranean and also Central America. Fruiting occurs in summer and autumn across Europe and most of North America. 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.
Amanita muscaria poisoning has occurred in young children and in people who ingested the mushrooms for a hallucinogenic experience. Amanita 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 approximately 10–20% 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.
A fatal dose has been calculated as 15 caps. Deaths from this fungus Amanita 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 older books list Amanita muscaria as "deadly", but this is an error that implies the mushroom is more toxic than it is. The vast majority (90% or more) of mushroom poisoning deaths are from eating the greenish to yellowish "death cap", or perhaps even one of the three white Amanita species which are known as destroying angels, Amanita virosa, Amanita bisporigera and Amanita ocreata.
Fly agarics are known for the unpredictability of their effects. Depending on habitat and the amount ingested per body weight, effects can range from 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.
In cases of serious poisoning the mushroom causes delirium, somewhat similar in effect to anticholinergic poisoning, 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. Retrograde amnesia and somnolence can result following recovery.
The wide range of psychoactive effects can be variously described as depressant, sedative-hypnotic, psychedelic, dissociative, and deliriant. Paradoxical effects such as stimulation may occur however. Perceptual phenomena such as synesthesia, macropsia, and micropsia may occur. Some users report lucid dreaming under the influence of its hypnotic effects. Unlike Psilocybe cubensis, Amanita muscaria cannot be commercially cultivated, due to its mycorrhizal relationship with the roots of pine trees.
One sun, but a thousand refracted images.
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“For a time, art was an escape, a way for her to express herself, but it could not carry her into a happy life." In 1909, occult scholar Arthur Edward Waite paid Colman Smith a flat fee to illustrate the seventy-eight cards of the tarot. An occult scholar, Waite had already published numerous books before embarking on a tarot project, volumes on alchemy and black magic as well as explorations of the work of famous mystics. The two knew each other from the Golden Dawn, a western mysticism order they both belonged to. The 15th century Sola Busca tarot—the only tarot to use pictorial images and not repetitive numbers—was used as a guide; the collaborators viewed the Italian deck when the Sola family gave a set of photographs of it to the British Museum in 1907. Some images, like the iconic, piercing Three of Swords, are clearly lifted from the older deck, while others are less obviously derivative. The style, however, is a huge departure: simpler, modern, less muscular, more romantic. Colman Smith finished the deck, a total of eighty cards, in just six months. In a letter to Stieglitz, she wrote, “I’ve just finished a big job for very little cash!”
enchantedlivingmagazine.com/divine-mystery-pamela-colman-...
She’s the world’s most famous occult artist but her name is almost unknown.
When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. Probably the most complete commentary regarding Pamela's unique type of synesthesia was published in the October 1912 issue of The Craftsman. In that issue appeared a 14 page, illustrated article by the American writer, M. Irwin MacDonald, entitled "The Fairy Faith and Pictured Music of Pamela Colman Smith." The article is available on the Internet here and I recommend that everyone interested in Miss Smith's art peruse it. MacDonald provides enthusiastic support for Pixie Smith's artistic style and work. Unfortunately, it is the last published reference to her work of which I am aware. The fundamental problem was that the Arts and Crafts Movement, of which Pamela was a member, was undergoing a rapid decline in popularity. World War I was only two years away. With the coming of that terrible war and the rise of that schizophrenic disease called Modernism in the post-war era, sweet little Pamela Colman Smith became obsolete!
As a final comment re Pixie Smith's plight, I'd like to quote some remarks of Stuart R. Kaplan given during a recent interview with Malcolm Muckle:
Malcolm Muckle: "In reviewing what I know and have read about Pixie, I can't help but be struck by a sense of sadness at her life; she seemed to have such extraordinary gifts, and yet her life seemed to have gone into reverse after about 1908/9 with her art undergoing enhanced inappreciation, if I can put it that way, despite the superb artistic reviews she had received earlier in New York. There was almost a long, slow retreat from the world and from people. Why do you think that was?"
Stuart Kaplan: "I believe that after her exciting life with Ellen Terry, Pamela was very lonely. Her poem, Alone, is a sad commentary to her feelings of inadequacy and lack of recognition. In 1914 she gave away her personal Visitors Book with the sad inscription inside the back cover stating that she didn’t like people any more. She withdrew because people did not appreciate her. She didn’t really fit into the British life as we imagine it. She would sit on the floor before a group of her friends and tell Jamaican stories. She was very esoteric in her life style."
Malcolm Muckle: "In common with many people who have had a childhood in more than one country, PCS seems to have experienced a sense of dislocation from ordinary life. Was art a way of assuaging this?"
Stuart Kaplan: "Actually, I think for a while Pamela thrived in her unusual life style. She would hold soirees with intimate friends, sitting on the floor and was, for a short period of time, the center of attraction for a small group who found her different, childlike, amusing, talented, but it all eventually faded. For a time, art was an escape, a way for her to express herself, but it could not carry her into a happy life."
pcs2051.tripod.com/synesthesia.htm
Such is the enigma of Pamela Colman Smith (1878–1951), an early 20th-century artist, writer, and mystic. Smith created dreamy, Symbolist-inspired watercolors that won her acclaim in her youth, including three successful exhibitions at Alfred Stieglitz’s famed New York gallery, 291, where she was the first non-photographic artist to have a show. She was also an intimate friend of Dracula writer Bram Stoker, poet William Butler Yeats, and the actress and artistic muse Ellen Terry, for whom Smith designed illustrations and stage sets. However, Smith’s most lasting artistic contribution was undoubtedly her designs for the Rider-Waite tarot deck. Made in collaboration with mystic and scholar A.E. Waite, Smith created the Art-Nouveau-inspired imagery of mythical archetypes set against luminous monochromatic backgrounds. Released in 1909, the deck is now regarded as the standard set, with more than 100 million copies in circulation. Smith’s imagery has become synonymous with tarot itself.
And yet, for more than a century, Smith went wholly uncredited for her contribution. Her claim to the deck was only cemented by her iconic serpentine signature, a monogram she created while studying Japanese design, and which she embedded into the decoration for every Tarot card.
news.artnet.com/art-world/pamela-colman-smith-rider-waite...
The Latin motto TRAHOR FATIS (I am drawn by Fate) appears but four times in the Tarot masterpiece of the Italian Renaissance, the Sola Busca deck, and yet it hangs unmistakably over the cards’ entire colorful procession of ancient Greek and Roman heroes. Armored in the style of late-fifteenth century northern Italy, they bear bagpipes, shields, lyres, pennants, staffs, and torches, while accompanied by basilisks, crows, falcons, doves, and eagles. Every single card is a miniature drama — the expressions of the highly individualized figures inviting us to speculate, like the Tarot itself, on the past and future of this cryptic world. When the Italian Ministry of Cultural Heritage in Milan purchased the Sola Busca tarot deck in 2009, it had existed for five hundred years, and yet had barely ever been seen — a very strange thing for a deck of playing cards. Before a spate of studies appeared in Italian after 1990, it had only been written about three times: by Count Leopold Cicognara in Memoirs to Serve the History of Intaglio Printing (1831); by William Hughes Willshire in A Description of Playing and Other Cards (1876); and in 1935, when British Museum art historian Arthur Mayger Hind’s Early Italian Engravings advanced the first hypothesis about the origin of the deck and its author. Although still hotly debated, the contemporary scholarly consensus is that the Sola Busca deck — now housed at the Pinacoteca de Brera — was engraved in 1491, most likely in Ferrara, and was colored by hand about a decade later, in Venice. (Other versions of this deck exist in fragmented, unpainted form, preserved by the Albertina in Vienna, the British Museum, and elsewhere.)
Considered the oldest complete seventy-eight card tarot deck in existence, the Sola Busca — named for the family of Milanese nobles who owned it for some five generations — was the first to be produced using copperplate engraving. It is also the earliest known tarot deck that illustrates the Major and Minor Trumps in the way that has become the standard, with characters and objects depicting allegorical scenes. In the Renaissance era this would have been revolutionary, while, today, some of these cards may seem familiar. In 1909, when Arthur Edward Waite commissioned artist Pamela Colman–Smith to illustrate his The Pictorial Key to the Tarot (1910), she drew inspiration — and for nearly a dozen cards, the exact imagery — from the Sola Busca deck, black-and-white photographs of which were exhibited at the British Museum in 1908.The genius of the Tarot is its multivocality, its ability to convey manifold meanings independent of the interrogator. Shorn from the historical, mythological, and pictorial associations that would have been available to its users in fifteenth-century Venice or Ferrara, the Sola Busca deck is limited in its use for divinatory purposes today, and yet, since its enigmatic imagery irresistibly invites decoding, the deck nonetheless beckons twenty-first century cartomancers into a game of high imagination. Online Tarot forums host the most ingeniously freewheeling speculation about the Sola Busca’s sources and meanings, while the scholarly interpretations continue to be tentative and provisional, offering space for amateurs to make their own discoveries. In talismanic publisher Scarlet Imprint’s The Game of Saturn: Decoding the Sola-Busca Tarocchi (2017), Peter Mark Adams proposes a baroque hypothesis that the Sola Busca deck was a dark grimoire to aid the black magical operations of a secret Venetian elite cabal.
Some believe that Nicola di Maestro Antonio d'Ancona, “one of the most eccentric painters of the Renaissance”, may have been the artist behind the Sola Busca deck, although “the arguments are not entirely convincing”. Beyond the mystery of their creator lie the many puzzles embedded in these cards. Why does Alexander the Great (King of Swords) figure so largely in this deck? Is the “M.S.” on the Aces referring to Marin Sanudo, consigliere to the aristocratic Ferrrara D’Este family? Is Catone (XIII) a reference to Cato the Younger, who conquered Cyprus in 58 BCE, and thus an allusion to Venice’s annexation of Cyprus in 1489, two years before the deck’s creation? Whenever the TRAHOR FATIS inscription appears, it is accompanied by a seven–pointed “bearded” star (pogonius), raining influence toward Earth and its denizens. Is this the malefic Caput Algol in the head of the Medusa? Or the Great Comet of 1472? The fatis of the Tarot, and particularly of this magnificent work of Renaissance art, truly remains “in the stars”, pulling us fatefully toward its endless riddles.
publicdomainreview.org/collection/sola-busca/
Pamela Colman Smith (16 February 1878 – 18 September 1951), nicknamed "Pixie", was a British artist, illustrator, writer, publisher, and occultist. She is best-known for illustrating the Rider–Waite tarot deck (also called the Rider–Waite–Smith or Waite–Smith deck) for Arthur Edward Waite. This tarot deck became the standard among tarot card readers, and remains the most widely used today. Die meisten von Smith also illustrated over 20 books, wrote two collections of Jamaican folklore, edited two magazines, and ran the Green Sheaf Press, a small press focused on women writers. Smith was born at 28 Belgrave Road in Pimlico, part of central London.[5] She was the only child of a merchant from Brooklyn, New York (before it was part of New York City), Charles Edward Smith (son of Brooklyn mayor Cyrus Porter Smith), and his wife Corinne Colman (sister of the painter Samuel Colman). The family was based in Manchester for the first decade of Smith's life, but they moved to Jamaica when Charles Smith took a job in 1889 with the West India Improvement Company (a financial syndicate involved in extending the Jamaican railroad system). The Smiths lived in the capital, Kingston, for several years, traveling to London and New York.. By 1893, Smith had moved to Brooklyn, where, at the age of 15, she enrolled at the Pratt Institute, which had been founded six years earlier. There she studied art under Arthur Wesley Dow, painter, print maker, photographer, and influential arts educator.[6] Her mature drawing style shows clear traces of the visionary qualities of fin-de-siècle Symbolism and the Romanticism of the preceding Arts and Crafts movement. While Smith was in art school, her mother died in Jamaica, in 1896. Smith herself was ill on and off during these years and in the end left Pratt in 1897 without a degree. She became an illustrator; some of her first projects included The Illustrated Verses of William Butler Yeats, a book on actress Dame Ellen Terry by Bram Stoker, and two of her own books, Widdicombe Fair and Fair Vanity (a reference to Vanity Fair).. In 1899 her father died, leaving Smith at the age of 21 without either parent. She returned to England that year, continuing to work as an illustrator, and branching out into theatrical design for a miniature theatre. In London, she was taken under the wing of the Lyceum Theatre group led by Terry (who is said to have given her the nickname 'Pixie'), Henry Irving, and Bram Stoker and traveled with them around the country, working on costumes and stage design. In 1901, she established a studio in London and held a weekly open house for artists, authors, actors, and others involved with the arts. Arthur Ransome, then in his early 20s, describes one of these "at home" evenings, and the curious artistic circle around Smith, in his 1907 Bohemia in London.Folk Stories from Jamaica (1905). These books included Jamaican versions of tales involving the traditional African folk figure Anansi the Spider.[7] She also continued her illustration work, taking on projects for William Butler Yeats and his brother, the painter Jack Yeats. She illustrated Bram Stoker's last novel, The Lair of the White Worm in 1911, and Ellen Terry's book on Diaghilev's Ballets Russes, The Russian Ballet in 1913. Smith supported the struggle for the right to vote, and through the Suffrage Atelier, a collective of professional illustrators, she contributed artwork to further the cause of women's suffrage in Great Britain. Additionally, Smith donated her services for more poster designs and toys to the Red Cross during World War. In 1903, Smith launched her own magazine under the title The Green Sheaf, with contributions by Yeats, Christopher St John (Christabel Marshall), Cecil French, A. E. (George William Russell), Gordon Craig (Ellen Terry's son), Dorothy Ward, John Todhunter, and others. The Green Sheaf survived for a little over a year, a total of 13 issues. Discouraged by The Green Sheaf's lack of financial success, Smith shifted her efforts towards setting up a small press in London. In 1904, she established The Green Sheaf Press which published a variety of novels, poems, fairy tales, and folktales until at least 1906, mostly by women writers. In 1907, Alfred Stieglitz gave an exhibition of Smith's paintings in New York at his Little Galleries of the Photo-Secession (also known as gallery , making Smith the first painter to have a show at what had been until then a gallery devoted exclusively to the photographic avant-garde. Stieglitz was intrigued by Smith's synaesthetic sensibility; in this period, Smith would paint visions that came to her while listening to music. The show was successful enough that Stieglitz issued a platinum print portfolio of 22 of her paintings and showed her work twice more, in 1908 and 1909. Some Smith works that did not sell remained with Stieglitz and ended up in the Stieglitz/Georgia O'Keeffe Archive at Yale University. Yeats introduced Smith to the Hermetic Order of the Golden Dawn, which she joined in 1901 and in the process met Waite. When the Golden Dawn splintered due to personality conflicts, Smith moved with Waite to the Independent and Rectified Rite of the Golden Dawn (or Holy Order of the Golden Dawn). In 1909, Waite commissioned Smith to produce a tarot deck with appeal to the world of art, and the result was the unique Waite–Smith tarot deck. Published by William Rider & Son of London, it has endured as the world's most popular 78-card tarot deck. The innovative cards depict full scenes with figures and symbols on all of the cards including the pips, and Smith's distinctive drawings have become the basis for the design of many subsequent packs. Apart from book illustration projects and the tarot deck, her art found little in the way of commercial outlets after her early success with Stieglitz in New York. Several examples of her works done in gouache were collected by her cousin, the American Sherlock Holmes actor William Gillette, and may be found today prominently displayed in his castle in Connecticut. In 1911, Smith converted to Roman Catholicism. After the end of the First World War, Smith received an inheritance from an uncle that enabled her to lease a house on the Lizard Peninsula in Cornwall, an area popular with artists. For income, she established a vacation home for Catholic priests in a neighboring house. Her longtime friend, Nora Lake, joined her in Cornwall and helped to run the vacation home. After several years of financial difficulty, Smith left the Lizard and relocated first to Exeter in 1939, and then to Bude in the early 1940s. Although she continued writing and illustrating, she was unable to find publishers for her work, probably due to changes in public taste following the First World War. Smith died in her apartment at the Bencoolen House in Bude on 18 September 1951. Her possessions were auctioned off to pay her debts. The location of her gravesite is unknown, but it is likely that she was buried in an unmarked grave in St. Michael's Cemetery in Bude.
Waite–Smith Tarot
"The Fool" card from the Waite–Smith tarot deck
The 78 illustrations that make up the Waite–Smith tarot deck "represent archetypal subjects that each become a portal to an invisible realm of signs and symbols, believed to be channeled through processes of divination." They are original works of art and unique in terms of the cards' stylization, draftsmanship, and composition, which is a significant aesthetic achievement. They are one of the best examples of Smith's imagination for fantasy, folly, ecstasy, death, and the macabre. When Smith's tarot was first published by Rider, in England, in December 1909, it was simply called Tarot Cards and it was accompanied by Arthur Edward Waite's guide entitled The Key to the Tarot. The following year Waite added Smith's black-and-white drawings to the book and published it as The Pictorial Key to the Tarot. In 1971, U.S. Games bought the right to publish the deck and published it under the title The Rider Tarot Deck (because of differences in U.S. and U.K. copyright law, the extent of their copyright in the Waite–Smith deck is disputed). In later editions they changed the name to Rider Tarot and then Rider Waite Tarot. Today most scholars, in order to recognize the importance of Smith's contribution, refer to the deck as the Waite–Smith Tarot.[16] Tarot writers often refer to the deck with the simple abbreviation of RWS, for Rider–Waite–Smith. In the century since the deck's first printing, there have been dozens of editions put out by various publishers; for some of these the Smith drawings were redrawn by other artists, and for others the cards were rephotographed to create new printing plates. Many versions have been recolored as the coloration is rather harsh in the original deck, due to the limitations of color printing at the time. One example is the 1968 Albano-Waite tarot, which has brighter colors overlaid on the same pen-and-ink drawings. Some recent U.S. Games editions have removed Smith's hand-drawn titles for each card, substituting text in a standard typeface. Altogether, these decks encompass the full range from editions very closely based on the original printings to decks that can at most be termed 'inspired' by the Waite–Smith deck. Waite is often cited as the designer of the Waite–Smith Tarot, but it would be more accurate to consider him as half of a design team, with responsibility for the major concepts, the structure of individual cards, and the overall symbolic system. Because Waite was not an artist himself, he commissioned Smith to create the actual deck. It is likely that Smith worked from Waite's written and verbal instructions rather than from sketches; that is, from detailed descriptions of the desired designs. This is how illustrators often work, and as a commercial illustrator, Smith would probably have been comfortable with such a working process. It appears that Waite provided detailed instructions mainly or exclusively for the Major Arcana, and simple lists of meanings for the Minor Arcana or 'pip' cards. Thus the memorable scenes of the Minor Arcana owe largely to Smith's own invention. The Minor Arcana are indeed one of the notable achievements of this deck, as most earlier tarot decks (especially those of the Marseilles type) have extremely simple pip cards. Smith's innovative illustrations for the Minor Arcana, with their rich symbolism, made the Waite–Smith deck a widely imitated model for other tarot decks.
Smith and Waite drew on a number of sources as inspirations for the deck's designs. In particular, it appears that Waite took his inspiration for the trumps mainly from the French Tarot of Marseilles (although the oldest date from the 16th century, his model was possibly a Marseilles deck from the 18th century). It is not unlikely that other Marseilles-type Italian tarot decks from the 18th or 19th century were used as additional models. For the pips, it appears that Smith drew mainly on the 15th century Italian Sola Busca tarot;[19] the 3 of Swords, for example, clearly shows the congruity between the two decks. In addition, there is evidence that some figures in the deck are portraits of Smith's friends, notably actresses Ellen Terry (the Queen of Wands) and Florence Farr (the World).
Smith completed the art for the deck in the six months between April and October 1909. This is a short period of time for an artist to complete some 80 pictures (the number claimed by Smith in a letter to Stieglitz in 1909 and corresponding almost exactly to the standard 78-card tarot deck). The illustrations were most likely done in pen and ink, possibly over a pencil underdrawing; the original drawings are lost so this cannot be determined with certainty at present. They were either colored with watercolor by Smith or colored by someone else after the fact.
en.wikipedia.org/wiki/Pamela_Colman_Smith
The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.
Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.
However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.
culture.org/the-unseen-mothers-of-the-occult-pamela-colma...
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After having a few interesting conversations about musical theory, especially 12 tone composition, I painted this. It's a synesthetic scale starting with C, ending on B.
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A while back, I suffered from an inner-ear infection which resulted in a week-long never-ending headache. I felt like the stuffing inside my skull was spinning clockwise every time I sat up or moved my head. Several months later, I still remember exactly what it looked like to me; perhaps because it was practically imprinted into my mind. Or perhaps because while painting this, I had a sinus infection which likewise lead to a migraine, and which inevitably reminded me of the past one.
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Far away, far away in the land where the sun will never rise
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“I don’t want to use the word ‘mind-blowing’, but, as a scientific phenomenon, if you can create conditions in which seventy per cent of people will say they have had one of the five most meaningful experiences of their lives? To a scientist, that’s just incredible.”
"The developmental psychologist Alison Gopnik has speculated that the way young children perceive the world has much in common with the psychedelic experience. As she puts it, 'They’re basically tripping all the time.'”
Here are some more interesting excerpts from the new wave of clinical trials, covered in Michael Pollan's new article in New Yorker:
“I felt a little like an archeologist unearthing a completely buried body of knowledge,” he said. Beginning in the nineteen-fifties, psychedelics had been used to treat a wide variety of conditions, including alcoholism and end-of-life anxiety. The American Psychiatric Association held meetings centered on LSD. “Some of the best minds in psychiatry had seriously studied these compounds in therapeutic models, with government funding,” Ross said.
Between 1953 and 1973, the federal government spent four million dollars to fund a hundred and sixteen studies of LSD, involving more than seventeen hundred subjects. (These figures don’t include classified research.) Through the mid-nineteen-sixties, psilocybin and LSD were legal and remarkably easy to obtain. Sandoz, the Swiss chemical company where, in 1938, Albert Hofmann first synthesized LSD, gave away large quantities of Delysid—LSD—to any researcher who requested it, in the hope that someone would discover a marketable application. Psychedelics were tested on alcoholics, people struggling with obsessive-compulsive disorder, depressives, autistic children, schizophrenics, terminal cancer patients, and convicts, as well as on perfectly healthy artists and scientists (to study creativity) and divinity students (to study spirituality). The results reported were frequently positive.
Researchers are using or planning to use psilocybin not only to treat anxiety, addiction (to smoking and alcohol), and depression but also to study the neurobiology of mystical experience, which the drug, at high doses, can reliably occasion. Forty years after the Nixon Administration effectively shut down most psychedelic research, the government is gingerly allowing a small number of scientists to resume working with these powerful and still somewhat mysterious molecules.
their excitement about the results was evident. According to Ross, cancer patients receiving just a single dose of psilocybin experienced immediate and dramatic reductions in anxiety and depression, improvements that were sustained for at least six months.
The fact that a drug given once can have such an effect for so long is an unprecedented finding. We have never had anything like it in the psychiatric field.”
“There is such a sense of authority that comes out of the primary mystical experience that it can be threatening to existing hierarchical structures,” Griffiths told me when we met in his office last spring. “We ended up demonizing these compounds. Can you think of another area of science regarded as so dangerous and taboo that all research gets shut down for decades? It’s unprecedented in modern science.”
Participants ranked these experiences as among the most meaningful in their lives, comparable to the birth of a child or the death of a parent. Two-thirds of the participants rated the psilocybin session among the top five most spiritually significant experiences of their lives; a third ranked it at the top.
Furthermore, the “completeness” of the mystical experience closely tracked the improvements reported in personal well-being, life satisfaction, and “positive behavior change” measured two months and then fourteen months after the session.
A follow-up study by Katherine MacLean, a psychologist in Griffiths’s lab, found that the psilocybin experience also had a positive and lasting effect on the personality of most participants. This is a striking result, since the conventional wisdom in psychology holds that personality is usually fixed by age thirty and thereafter is unlikely to substantially change. But more than a year after their psilocybin sessions volunteers who had had the most complete mystical experiences showed significant increases in their “openness,” one of the five domains that psychologists look at in assessing personality traits. (The others are conscientiousness, extroversion, agreeableness, and neuroticism.) Openness, which encompasses aesthetic appreciation, imagination, and tolerance of others’ viewpoints, is a good predictor of creativity.
The psychedelic experience seems to allow many subjects to reframe, and then break, a lifelong habit. “Smoking seemed irrelevant, so I stopped,” one subject told me. Twelve subjects, all of whom had tried to quit multiple times, using various methods, were verified as abstinent six months after treatment, a success rate of eighty per cent.
adverse effects have not surfaced in the trials of drugs at N.Y.U. and Johns Hopkins. After nearly five hundred administrations of psilocybin, the researchers have reported no serious negative effects.
In his account, he likened the start of the journey to the launch of a space shuttle, “a physically violent and rather clunky liftoff which eventually gave way to the blissful serenity of weightlessness.”
Griffiths likens the therapeutic experience of psilocybin to a kind of “inverse P.T.S.D.”—“a discrete event that produces persisting positive changes in attitudes, moods, and behavior, and presumably in the brain.”
I was struck by how the descriptions of psychedelic journeys differed from the typical accounts of dreams. For one thing, most people’s recall of their journey is not just vivid but comprehensive, the narratives they reconstruct seamless and fully accessible, even years later. They don’t regard these narratives as “just a dream,” the evanescent products of fantasy or wish fulfillment, but, rather, as genuine and sturdy experiences. This is the “noetic” quality that students of mysticism often describe: the unmistakable sense that whatever has been learned or witnessed has the authority and the durability of objective truth. “You don’t get that on other drugs”
Aldous Huxley concluded from his psychedelic experience that the conscious mind is less a window on reality than a furious editor of it. The mind is a “reducing valve,” he wrote, eliminating far more reality than it admits to our conscious awareness, lest we be overwhelmed. “What comes out at the other end is a measly trickle of the kind of consciousness which will help us to stay alive.” Psychedelics open the valve wide, removing the filter that hides much of reality, as well as dimensions of our own minds, from ordinary consciousness.
“This culture has a fear of death, a fear of transcendence, and a fear of the unknown, all of which are embodied in this work.” Psychedelics may be too disruptive for our society and institutions ever to embrace them.
The first time I raised the idea of “the betterment of well people” with Roland Griffiths, he shifted in his chair and chose his words carefully. “Culturally, right now, that’s a dangerous idea to promote,” he said. And yet, as we talked, it became clear that he, too, feels that many of us stand to benefit from these molecules and, even more, from the spiritual experiences they can make available.
“We are all terminal,” Griffiths said. “We’re all dealing with death. This will be far too valuable to limit to sick people.”
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Standing on the edge of reality, I look back to see the mist. I see that there is the aimless, worthless, and serpentine life I live, and then… there are my dreams. There are my legs, rooted and twined heavily with responsibilities, and then… there are my wings. There are my exhausted dry eyes that stare emptily at emptiness, and then… there is my synesthesia. There are my wounds, scars and urges to stay alive, and then… there are you.
PS: Press 'L' if you wish to see it against black.
Writing a book here: open.spotify.com/show/3mMrq70ofFvPputOjQIiGU?si=kwclM6f8Q...
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At this point in the 21st Century, I'm sure there are dozens of versions of this song to chose from.
Having grown up on a self-imposed diet of Punk, Ska, and Underground, I've always enjoyed Goldfinger's the best. It literally oozes color--sunshine yellow, deep amber, coral red, and lime green. There's a lot going on all at once. A rise and fall, a change in tone and mood, and all of a sudden, I feel as if I'm seeing a completely different song...yet it all blends together so wonderfully, I had quite a hard time attempting to portray it on such a small canvas.
I could probably cover an entire wall with this song!
Do take a moment to compare this to other works I've done and you'll see why I tend to think of this as a rather 'refreshing' piece of music. I've listened to it a million and one times, and I still feel like there's always something new about it. I'm probably going to do a larger version of this (and 'Whereabouts Unknown' by Rise Against) when I get back to my art classes in Oregon. In the meantime, though, take a listen to the song here: www.youtube.com/watch?v=ZXjo-3uYZys
As always, I'm open for commissions (starting at $10.99). Just contact me at lionheart09@comcast.net if interested and I'll get back to you in a timely manner.
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See the commission I did for David Coalburn: www.flickr.com/photos/littlelioness09/4267902266/
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Any unauthorized use of this image is illegal and strictly prohibited.
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{Synesthesia Imagery}
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[Fluidr • Imagekind • RedBubble • deviantART • Picasa • 500px]
{Social}
[Twitter • Facebook • Google+ • Friendfeed • Orkut]
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[Reddit • Digg • StumbleUpon • Mixx]
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{Professional}
(Cloudscapes - Digital Artwork Blog)
(Geopolitics, Science, Technology, & Philosophy Blog)
(Electrosymphonic Music - Online Radio Station)
• Species Identification Group on Reddit
(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.)
• Artistic Photography Group on Reddit
(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
(Everything flowers. Showcase your favorite floral shots from your peers, pros, amateurs, or even yourself)
(Everything butterflies. Showcase your favorite butterfly shots from your peers, pros, amateurs, or even yourself.)
Tangerines galore psychedelically more. Dream on.
Press L to view in LIGHTBOX.
Press F to favorite.
Press G to add to a group.
Press C to make a comment.
If you like my photo(s), please add me as a Flickr contact!
I promise not to disappoint!
Follow Me (Elsewhere Across The Internet)
{Synesthesia Imagery}
[Flickr Group • Facebook Page • Tumblr • Blogger • WordPress • Reddit]
{Imagery}
[Fluidr • Imagekind • RedBubble • deviantART • Picasa • 500px]
{Social}
[Twitter • Facebook • Google+ • Friendfeed • Orkut]
{Aggregators}
[Reddit • Digg • StumbleUpon • Mixx]
{Video}
{Music}
[SoundCloud • Last .fm]
{Professional}
(Cloudscapes - Digital Artwork Blog)
(Geopolitics, Science, Technology, & Philosophy Blog)
(Electrosymphonic Music - Online Radio Station)
• Species Identification Group on Reddit
(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.)
• Artistic Photography Group on Reddit
(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
(Everything flowers. Showcase your favorite floral shots from your peers, pros, amateurs, or even yourself)
(Everything butterflies. Showcase your favorite butterfly shots from your peers, pros, amateurs, or even yourself.)
Best when viewed in LIGHTBOX.
If you like my photo(s), please add me as a Flickr contact!
I promise not to disappoint!
Follow Me (Elsewhere Across The Internet)
{Synesthesia Imagery}
[Facebook Page • Tumblr • Blogger • WordPress]
{Imagery}
[Fluidr • Imagekind • RedBubble • deviantART • Picasa]
{Social}
[Twitter • Facebook • Google Buzz • Friendfeed • Orkut]
{Aggregators}
[Reddit • Digg • StumbleUpon • Mixx]
{Video}
{Music}
[SoundCloud • Last .fm]
{Professional}
(Cloudscapes - Digital Artwork Blog)
(Geopolitics & Philosophy Blog)
(Electrosymphonic Music - Online Radio Station)
• Species Identification Group on Reddit
(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.)
• Artistic Photography Group on Reddit
(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
Press L to view in LIGHTBOX.
Press F to favorite.
Press G to add to a group.
Press C to make a comment.
If you like my photo(s), please add me as a Flickr contact!
I promise not to disappoint!
Follow Me (Elsewhere Across The Internet)
{Synesthesia Imagery}
[Flickr Group • Facebook Page • Tumblr • Blogger • WordPress • Reddit]
{Imagery}
[Fluidr • Imagekind • RedBubble • deviantART • Picasa • 500px]
{Social}
[Twitter • Facebook • Google+ • Friendfeed • Orkut]
{Aggregators}
[Reddit • Digg • StumbleUpon • Mixx]
{Video}
{Music}
[SoundCloud • Last .fm]
{Professional}
(Cloudscapes - Digital Artwork Blog)
(Geopolitics, Science, Technology, & Philosophy Blog)
(Electrosymphonic Music - Online Radio Station)
• Species Identification Group on Reddit
(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.)
• Artistic Photography Group on Reddit
(Showcase your favorite artistic photography from your peers, pros, amateurs, or even yourself.)
(Everything flowers. Showcase your favorite floral shots from your peers, pros, amateurs, or even yourself)
(Everything butterflies. Showcase your favorite butterfly shots from your peers, pros, amateurs, or even yourself.)
¿A dónde sube lo que sube? El punto que pinta.
Part of Around synesthesia very, very shy series.