![karismaputri:
anhypnic:
Perhaps some might be interested in the origin/context of these?
They are the result of a US military experiment in the late 1950s, where an artist was in a room with free access to a box full of crayons, pencils and paper—and was dosed with LSD. The person he was drawing is the doctor administering the drug.
The first drawing, in charcoal, was done twenty minutes after an initial dose of 50μg (typical of a modern “hit”). The patient didn’t feel any discernable effect at this point.
Almost an hour and a half after the first dose and twenty minutes after a second of the same size, the patient (now exhibiting euphoria) produced the second drawing. He is recorded at this point to have commented: “This… you… it’s all… I’m having a little trouble controlling this pencil. It seems to want to keep going.”
Two hours, thirty minutes after the first dose, the doctor observed that the artist had become extremely focused on drawing (the third image), and recorded him as saying: “Outlines seem normal, but very vivid—everything is changing colour. My hand must follow the bold sweep of the lines. I feel as if my consciousness is situated in the part of my body that’s now active—my hand, my elbow… my tongue.”
The fourth image comes only two minutes after the third, with the doctor reporting that the artist seemed “gripped” by his sketch pad, and records him as having said: “I’m trying another drawing. The outlines of the model are normal, but now those of my drawing are not. The outline of my hand is going weird too. It’s not a very good drawing is it? I give up—I’ll try again…”
Three minutes later, the fifth comes, with the commentary, “I’ll do a drawing in one flourish… without stopping… one line, no break!” The doctor added that when the drawing was finished the artist began laughing but then became “startled by something on the floor”.
Ten minutes later, now two hours and forty-five minutes after the initial dose: “The patient tries to climb into the activity box, and is generally agitated—responds slowly to the suggestion he might like to draw some more. He has become largely non-verbal.” The artist is recorded at this point as having said: “I am… everything is… changed… they’re calling… your face… interwoven… who is…” and drifts into “mumbl[ing] inaudibly to a tune” that “sounds like Thanks for the memory”. He changes medium to Tempera for the sixth drawing.
At that point the “patient retreated to the bunk, spending approximately two hours lying, waving his hands in the air. His return to the activity box” at four hours, twenty-five minutes after the intial dose “is sudden and deliberate, changing media to pen and water color.” He said, “This will be the best drawing. Like the first one, only better. If I’m not careful I’ll lose control of my movements, but I won’t, because I know. I know” and is reported to have repeated it numerous times. He is said to have made the last half-dozen or so strokes of the drawing while “running back and forth across the room”.
The eighth comes five hours, forty-five minutes after the first dose. “Patient continues to move about the room, intersecting the space in complex variations. It’s an hour and a half before he settles down to draw again—he appears over the effects of the drug.” The artist: “I can feel my knees again, I think it’s starting to wear off. This is a pretty good drawing—this pencil is mighty hard to hold”, though he at the time is actually holding a crayon.
Finally, eight hours after the initial dose, the “patient sits on the bunk bed. He reports the intoxication has worn off except for the occasional distorting of our faces. We ask for a final drawing which he performs with little enthusiasm”, saying: “I have nothing to say about this last drawing, it is bad and uninteresting, I want to go home now.”
wow, I didn’t know the story behind these](http://24.media.tumblr.com/tumblr_lt0solrdrE1qkuj9no1_500.jpg)
Perhaps some might be interested in the origin/context of these?
They are the result of a US military experiment in the late 1950s, where an artist was in a room with free access to a box full of crayons, pencils and paper—and was dosed with LSD. The person he was drawing is the doctor administering the drug.
The first drawing, in charcoal, was done twenty minutes after an initial dose of 50μg (typical of a modern “hit”). The patient didn’t feel any discernable effect at this point.
Almost an hour and a half after the first dose and twenty minutes after a second of the same size, the patient (now exhibiting euphoria) produced the second drawing. He is recorded at this point to have commented: “This… you… it’s all… I’m having a little trouble controlling this pencil. It seems to want to keep going.”
Two hours, thirty minutes after the first dose, the doctor observed that the artist had become extremely focused on drawing (the third image), and recorded him as saying: “Outlines seem normal, but very vivid—everything is changing colour. My hand must follow the bold sweep of the lines. I feel as if my consciousness is situated in the part of my body that’s now active—my hand, my elbow… my tongue.”
The fourth image comes only two minutes after the third, with the doctor reporting that the artist seemed “gripped” by his sketch pad, and records him as having said: “I’m trying another drawing. The outlines of the model are normal, but now those of my drawing are not. The outline of my hand is going weird too. It’s not a very good drawing is it? I give up—I’ll try again…”
Three minutes later, the fifth comes, with the commentary, “I’ll do a drawing in one flourish… without stopping… one line, no break!” The doctor added that when the drawing was finished the artist began laughing but then became “startled by something on the floor”.
Ten minutes later, now two hours and forty-five minutes after the initial dose: “The patient tries to climb into the activity box, and is generally agitated—responds slowly to the suggestion he might like to draw some more. He has become largely non-verbal.” The artist is recorded at this point as having said: “I am… everything is… changed… they’re calling… your face… interwoven… who is…” and drifts into “mumbl[ing] inaudibly to a tune” that “sounds like Thanks for the memory”. He changes medium to Tempera for the sixth drawing.
At that point the “patient retreated to the bunk, spending approximately two hours lying, waving his hands in the air. His return to the activity box” at four hours, twenty-five minutes after the intial dose “is sudden and deliberate, changing media to pen and water color.” He said, “This will be the best drawing. Like the first one, only better. If I’m not careful I’ll lose control of my movements, but I won’t, because I know. I know” and is reported to have repeated it numerous times. He is said to have made the last half-dozen or so strokes of the drawing while “running back and forth across the room”.
The eighth comes five hours, forty-five minutes after the first dose. “Patient continues to move about the room, intersecting the space in complex variations. It’s an hour and a half before he settles down to draw again—he appears over the effects of the drug.” The artist: “I can feel my knees again, I think it’s starting to wear off. This is a pretty good drawing—this pencil is mighty hard to hold”, though he at the time is actually holding a crayon.
Finally, eight hours after the initial dose, the “patient sits on the bunk bed. He reports the intoxication has worn off except for the occasional distorting of our faces. We ask for a final drawing which he performs with little enthusiasm”, saying: “I have nothing to say about this last drawing, it is bad and uninteresting, I want to go home now.”
wow, I didn’t know the story behind these
