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CPS- Professional Studies Career Research

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CPS- Professional Studies Career Research

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Assessment of skills.

To kick off this year's project, I decided to reflect on my acquired skills and explore how they could be best utilized. After taking the National Careers Service assessment, several career paths were suggested, including Web Content Creator, Animator, Commissioning Editor, Art Editor, Video Editor, E-learning Developer, Art Teacher, Early Years Teacher, and Makeup Artist. Here's how I've assessed their suitability for me:

Art Teacher:

My experiences as a young carer and supporting an autistic family member have equipped me with empathy and patience, which are crucial for working with children, making the role of an art teacher appealing.

Given my artistic abilities, I see teaching as a natural fit, allowing me to foster creativity and imagination in students.

Past work in school environments and involvement in children's stage productions through makeup artistry provide valuable insights for collaborative work in educational settings.

Web Content Creator:

Drawing from my background as a bartender and makeup artist, I believe I can create engaging web content, infusing my unique painting style into digital media.

As a member of the LGBT+ community, I understand the importance of inclusivity in content creation, which is increasingly valued online.

My experience with stage productions offers insights into effective storytelling and visual presentation for web content.

Animator:

With a foundation in fine art and experience in whimsical painting, I feel confident in character design and visual storytelling for animation.

Past involvement in stage productions and makeup artistry has given me insights into movement, expression, and character development relevant to animation.

Early Years Teacher:

My background as a young carer and experience supporting an autistic family member demonstrates my ability to provide nurturing care, essential for working with young children.

Integrating my painting style into early childhood education activities can foster creativity and imagination.

Familiarity with educational settings and previous work in schools prepares me well for a career as an early years teacher.

Commissioning Editor:

My organizational skills and attention to detail, honed through art, make me suitable for editorial work.

Awareness of LGBT+ challenges adds value to content curation efforts.

Despite my focus on painting, creativity remains integral to editorial decision-making.

Video Editor:

Leveraging my fine art background, I can bring visual aesthetics and storytelling to video editing.

Experience in creating custom artwork translates into editing skills for promotional videos.

Makeup artistry experience enhances attention to detail in video editing.

E-Learning Developer:

Creativity from bartending and makeup artistry can be applied to developing interactive e-learning content.

Experience in caring for and educating children demonstrates patience and communication skills valuable for educational materials.

Understanding LGBT+ struggles informs the development of inclusive e-learning content.

Art Editor:

My understanding of visual composition and aesthetics from fine art is beneficial for art editing.

Experience in creating custom artwork demonstrates organizational skills applicable to editorial work.

Makeup artistry experience provides insights into visual trends and aesthetics.

Makeup Artist:

While I have experience as a makeup artist, my primary focus is on fine art.

Specializing in gore makeup may limit opportunities compared to broader makeup artistry skills.

While makeup artistry remains an option, it may not align as closely with my primary skills and experiences compared to other paths.

Considering my background, pursuing a career as an art teacher, web content creator, or animator seems most fitting. These paths allow me to leverage my creativity, empathy, and understanding of diverse audiences in fulfilling ways.

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Studio Project: Planning of New project: 

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Studio Project: Planning of New project: 

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Dreamscape Reverie: A Multisensory Exploration of Dream Landscapes

“Dreamscape Reverie” is an art project that delves into the ethereal realm of dreams, utilizing acrylic paint as the primary medium. The objective is to construct an immersive environment that invites viewers to step into the artist’s dreamscapes, evoking feelings of tranquility and comfort through a carefully curated combination of visual and tactile elements.

Conceptual Framework:

“Dreamscape Reverie” aims to translate the elusive and transient nature of dreams into tangible, acrylic-painted landscapes. Each canvas serves as a window into a dream world, inviting viewers to participate in the artist’s nocturnal reverie. The project is inspired by the Romantic period’s emphasis on emotion, imagination, and the sublime, as well as the enchanting illustrations of Brian Froud and John Bauer, known for their ability to transport viewers to fantastical realms.

Spatial Design:

The physical space is meticulously designed to complement the painted dreamscapes. Soft, warm lighting creates a gentle ambiance, accentuating the comfort and serenity of the environment. Handmade clouds suspended from the ceiling, glass orbs emitting a soft glow, and layered fabrics adorning the walls, provide a dreamlike atmosphere, drawing inspiration from the enchanting worlds depicted in the works of Froud and Bauer.

Emotional Impact:

“Dreamscape Reverie” seeks to evoke a profound sense of ease and invitation. The warm color palette of the paintings, coupled with the plush, upholstered furniture, encourages viewers to relax and fully immerse themselves in the dream world. The intention is to create a space where visitors feel a sense of belonging, as if they’ve entered a sanctuary of tranquility, akin to the emotive qualities found in the Romantic period’s art.

Viewer Participation:

Central to the project is the interactive element, allowing viewers to engage with the art on a visceral level. Areas for relaxation and even the option to sleep within the space are provided, encouraging a deeper connection with the dreamscapes. This invites viewers to not only observe, but also to embody the essence of the dream world.

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Interactive Art Interpretation: How Viewers Make Sense of Paintings in Conversation on JSTOR

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Art History: How has immersive art affected the artist-viewer relationship?

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Art History: How has immersive art affected the artist-viewer relationship?

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Essay Title: How does immersive art transform traditional viewer-artwork relationships and what are the implications for both artists and audiences in this evolving form of artistic expression?

things I am going to be focusing on include:

the history of immersive art, how has it evolved? are there any key movements?

analyze sensory and perceptual aspects involved in immersive experiences.

discuss the roles of technology in enabling and enhancing immersive experiances

how immersive art impacts an artist's approach to their work

how immersive art effects the audience's ideas of art

future trends and possibilities.

what texts I'm planning on using:

Interactive Art Interpretation: How Viewers Make Sense of Paintings in Conversation

Kurt A. Bruder, Ozum Ucok

Symbolic Interaction, Vol. 23, No. 4 (2000), pp. 337-358

"Much is left to the viewer’s imagination, waiting to be interpreted. The viewer fills

in these interpretive gaps using her imagination, often without much

visual guidance from the painting. "

https://www.jstor.org/stable/10.1525/si.2000.23.4.337?seq=14

Communicating Culture in the 21st Century: The Power of Media-Enhanced Immersive Storytelling

Maggie Burnette Stogner

The Journal of Museum Education, Vol. 36, No. 2, Protecting the Objects and Serving the Public: An Ongoing Dialogue (SUMMER 2011), pp. 189-198 (10 pages)

https://www.jstor.org/stable/20877439

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Interactive Art Interpretation: How Viewers Make Sense of Paintings in Conversation on JSTOR

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Kurt A. Bruder, Ozum Ucok, Interactive Art Interpretation: How Viewers Make Sense of Paintings in Conversation, Symbolic Interaction, Vol. 23, No. 4 (2000), pp. 337-358

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Dreamland - An Artists perspective

Dreamland: An Artist Perspective" introduces viewers to the distinct worlds of three Canadian artists, each leaving an unfading mark on contemporary art. The documentary begins by immersing us in the vivid realm of Sarah Thompson, a traditional painter whose work seamlessly blends realism with dreamlike abstraction. Her canvases become portals to introspective landscapes, inviting viewers to ponder the intersection of reality and imagination.

Transitioning to the realm of contemporary art, the film then spotlights the installations of Alex Nguyen. Through a synthesis of multimedia elements, Nguyen creates immersive experiences that challenge conventional perceptions. "Dreamland" captures the essence of Nguyen's boundary-pushing approach, offering glimpses into installations that provoke thought and stimulate the senses.

Finally, the documentary introduces audiences to the intricate world of textile artist, Jordan Bennett. Fusing traditional Indigenous practices with a contemporary aesthetic, Bennett's work becomes a cultural tapestry. The film artfully navigates his exploration of identity, heritage, and the intersections of past and present within his creations.

"Dreamland" not only showcases the diversity of artistic expression but also delves into the artists' unique narratives. Through skilful storytelling and visual representation, the documentary invites viewers to appreciate the depth and diversity of Canadian artistry, leaving an impression of the profound impact these artists have on the cultural landscape.

https://www.youtube.com/watch?v=gi96SyUiHf0&t=266s

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DREAMLAND: A Frank Romero Retrospective

"DREAMLAND: A Frank Romero Retrospective" unfolds as an enchanting journey through the visionary world of the renowned artist. The retrospective, a captivating blend of vivid colours and evocative strokes, pays homage to Romero's prolific career spanning decades. The exhibition serves as a testament to his artistic evolution, showcasing the fluidity with which he navigates various mediums and styles.

Romero's ability to capture the essence of his Chicano heritage and the vibrant spirit of Los Angeles is truly commendable. Each piece in the retrospective tells a compelling story, resonating with a unique energy that reflects his deep connection to his roots. The dreamlike quality of the exhibit invites viewers into a realm where reality and imagination seamlessly intertwine.

The retrospective prompts contemplation on the socio-cultural narratives woven into Romero's work, shedding light on themes of identity, community, and the ever-changing urban landscape. The artist's use of symbolism and metaphor adds layers of meaning, inviting the audience to delve into the complexities of his artistic expression.

In conclusion, "DREAMLAND" not only serves as a comprehensive showcase of Frank Romero's artistic prowess but also offers a thought-provoking exploration of cultural identity and the transformative power of art. It stands as a testament to the enduring impact of an artist who has left an indelible mark on the contemporary art scene.

https://www.youtube.com/watch?v=l3jBkRiyvi0&t=6s

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Salvador Dali and his Dreamscapes

Salvador Dali, a prominent Spanish surrealist artist, is widely recognized for his extraordinary ability to portray dreamlike landscapes in his artworks. His unique approach to painting, influenced by his own dreams and subconscious mind, has made him one of the most iconic figures in the art world. This research post aims to delve deeper into Dali's fascination with dreamscapes and the impact it had on his artistic style.

Dali's interest in dreamscapes can be traced back to his childhood experiences and his exposure to the Freudian theory of psychoanalysis. Freud's ideas on the significance of dreams and the subconscious mind greatly influenced Dali's artistic development. Dali believed that dreams held hidden truths and desired to capture these surreal and illogical elements in his paintings.

Dali's dreamscapes often feature melting clocks, distorted figures, and bizarre landscapes that defy the laws of reality. One of his most famous paintings, "The Persistence of Memory," exemplifies his mastery in depicting dreamlike imagery. In this artwork, Dali portrays a desolate landscape with melting clocks draped over branches and a deformed figure in the foreground. Through skillful brushwork and meticulous attention to detail, Dali creates a sense of unease and fascination that draws viewers into his dream world.

References:

https://www.salvador-dali.org/en/

https://www.biography.com/artists/salvador-dali

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EDUCA DALÍ

COME DISCOVER AND LIVE THE MUSEUM.

Get to know an artist from the inside of his work. Learn to go beyond reality and let yourself go by creativity.
Our guided visits for all ages won't let you indifferent.

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COME DISCOVER AND LIVE THE MUSEUM. Get to know an artist from the inside of his work. Learn to go beyond reality and let yourself go by creativity. Our guided visits for all ages won't let you indifferent.

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Ford Smith

Ford Smith is a renowned Atlanta artist known for his captivating Dreamscape paintings. His artwork is characterized by vibrant colors, intricate details, and a dreamlike quality that transports viewers to surreal and imaginative realms. With an approximate canvas size of 18x24 and an absence of framing, Smith's original painting titled "Hello There" showcases his distinctive style and artistic vision .

Smith's Dreamscape paintings are not only available in original form but also in limited edition artist proofs. These limited edition prints allow art enthusiasts to acquire a piece of Smith's unique artistry while maintaining the exclusivity of his work. The artist proof prints are created in collaboration with the artist himself, ensuring the utmost attention to detail and quality .

One of the striking aspects of Smith's Dreamscape paintings is his ability to evoke a sense of tranquility and serenity through his imagery. The dreamlike landscapes depicted in his artwork often feature ethereal skies, lush foliage, and calm waters, all contributing to a peaceful and otherworldly atmosphere .

By employing a unique blend of realism and abstraction, Smith creates a bridge between the tangible and the intangible, allowing viewers to explore the boundaries of their own imagination. His use of bold brushstrokes and vibrant colors adds depth and energy to his artwork, further enhancing the dreamlike quality of his creations .

Smith's Dreamscape paintings have garnered significant recognition and acclaim within the art community. His distinctive style has caught the attention of art collectors and enthusiasts worldwide, leading to exhibitions and showcases of his artwork in prestigious galleries and art venues. His captivating depiction of dreamscapes has solidified his position as a prominent artist in the contemporary art scene .

References:

https://fordsmithfineart.com

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Yves Tanguy

Yves Tanguy, a prominent figure in the surrealist movement, captivated audiences with his mysterious and ethereal artworks. His dreamscapes, characterized by abstract forms and desolate landscapes, invite viewers into a realm of the subconscious. This blog post delves into Tanguy's artistic style, influences, and the significance of his dreamscapes in the context of surrealism.

Tanguy's dreamscapes often feature amorphous shapes, enigmatic objects, and vast empty spaces. His paintings, such as "Indefinite Divisibility" and "Extinction of Useless Lights," are characterized by smooth, precise brushwork and a subdued colour palette, creating an otherworldly atmosphere. His meticulous attention to detail and the absence of human presence contribute to the sense of isolation and the surreal nature of his compositions.

Tanguy's dreamscapes were influenced by his personal experiences and the wider surrealist movement. His time spent serving in World War I deeply affected his artistic vision, leading him to explore themes of isolation, desolation, and the mysterious depths of the human psyche. Tanguy also drew inspiration from the works of other surrealist artists, such as Salvador Dalí and René Magritte, who shared a fascination with dreams and the subconscious.

Tanguy's dreamscapes are open to multiple interpretations, reflecting the subjective nature of dreams. The ambiguous forms and objects in his paintings allow viewers to project their own emotions and associations onto the artwork. The vast empty spaces in Tanguy's dreamscapes often symbolize the unknown and the unexplored corners of the human mind. The absence of human figures underscores the theme of isolation and the detachment from reality.

Tanguy's dreamscapes played a significant role in shaping the surrealist movement. Surrealists sought to unlock the power of the subconscious and explore the irrationality of the human mind. Tanguy's dreamlike compositions resonated with the surrealist belief in the transformative potential of art, as they invited viewers to question the boundaries of reality and engage with their own dreams and desires.

References:

https://www.tate.org.uk/art/artists/yves-tanguy-2023

https://www.artnet.com/artists/yves-tanguy/

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The science behind dreams

Dream research has long fascinated scholars since Sigmund Freud's era, but it's only with recent advancements that the neurology behind dreaming has come into focus. Modern brain imaging techniques have provided unprecedented insights into how the brain functions during dreaming, sparking a renewed interest in this enigmatic phenomenon.

A pivotal moment in this journey was the work of George Humphrey and Oliver Zangwill in 1951. Through studying patients with brain injuries, they discovered that damage to specific brain regions led to a reduction or cessation of dreaming, shedding light on the complex relationship between brain areas and the generation of visual imagery crucial for dreams.

Despite these advancements, challenges persist in understanding dreams fully. Dream studies often rely on verbal reports, which may not capture the entirety of the dream experience due to their subjective nature and the influence of memory limitations. Moreover, the laboratory environment where many studies are conducted can impact dream content, highlighting the need for more naturalistic settings.

The Activation-Synthesis Model proposed by Hobson and McCarley suggests that dreams are orchestrated by the brain stem and then shaped by the forebrain. However, dissenting voices like Foulkes have challenged the idea that dreams are solely tied to REM sleep, suggesting that complex mentation can occur during NREM stages as well.

Clinico-anatomical correlations have been used to explore the brain structures involved in dreaming. Studies removing or damaging specific brain areas have provided insights into the neural substrates of dreaming. The mesolimbic and mesocortical pathways have emerged as crucial players, with damage to these pathways resulting in a loss of dreaming. Similarly, the Parieto-Occipito-Temporal junction, involved in high-level perceptual processing, has been implicated in dream generation. Damage to this area can lead to a complete loss of dreaming and a difficulty distinguishing dreams from reality during waking states.

Understanding the involvement of these brain regions suggests that dreaming may involve a motivational component activated by the mesolimbic and mesocortical pathways, while the Parieto-Occipito-Temporal junction plays a role in converting perceptions into abstract thoughts and memories.

In summary, recent advancements in neuroscience have deepened our understanding of dreaming, revealing intricate connections between brain regions and the generation of dreams. However, challenges remain in capturing the full essence of dream experiences and discerning the precise mechanisms underlying this complex phenomenon. As researchers continue to unravel the mysteries of the dreaming brain, our understanding of dreams and their significance in human experience is likely to evolve further.

References:

Humphrey, M. E., & Zangwill, O.L. (1951) Cessation of dreaming after brain injury. Journal of Neurology, Neurosurgery, and Psychiatry, 14, 322.

Schwartz, S., & Maquet, P. (2002). Sleep imaging and the neuro-psychological assessment of dreams. Trends in Cognitive Sciences, 6(1), 23-30.

Domhoff, B., & Kamiya, J. (1964). Problems in dream content study with objective indicators. Archives of General Psychiatry, 11(5) 519-532.

Solms, M. (2005). The interpretation of dreams and the neurosciences. Neuroscience and Freud's Dream Theory.

Solms, M. (2000). Dreaming and REM sleep are controlled by different brain mechanisms. Behavioral and Brain Sciences, 23, 843-850.

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CPS- Professional Studies Exploration  of Careers

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CPS- Professional Studies Exploration  of Careers

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Art Teacher

how to become an art teacher?

A degree in art or a closely related discipline is typically held by art teachers. Art education or a particular art field like painting, sculpture, or ceramics can be the focus of a Bachelor of Arts (BA) or Bachelor of Fine Arts (BFA) degree.

Acquire Teaching Credentials: QTS is a requirement if you want to work as a teacher in a UK state-funded school. To accomplish this, there are multiple ways:

Degree in Education Bachelor (BEd): Together with education courses and school placements, this undergraduate degree blends subject-specific coursework.

Postgraduate Certificate in Education (PGCE): If you already hold an art degree, you can do a one-year PGCE course that has an emphasis on teaching techniques and involves school assignments.

Get Experience: Employers frequently seek applicants who have worked with children or youth. Volunteering, internships, and part-time work in community centres, youth organisations, or educational settings are all excellent ways to get experience.

Clear Background Checks: In order to work with children, you must clear a Disclosure and Barring Service (DBS) background check to make sure you have no criminal history that would disqualify you from working with minors.

Apply for Teaching Positions: After obtaining your credentials and experience, you can begin the application process for jobs as art teachers in educational institutions. employment postings are available on the websites of schools, local government websites, and teaching employment forums.

Maintain Your Professional Development: It's critical for art educators to stay current on pedagogical innovations, curricular modifications, and advancements in the field of art education. To improve your teaching abilities, think about taking part in seminars, going to conferences, or getting more certifications.

Sustain QTS: In order to keep your qualified status after obtaining QTS, you must adhere to specific requirements. This could entail finishing an induction programme and continuing your professional growth.

references:

https://www.linkedin.com/advice/1/how-do-you-become-art-teacher-skills-teaching-m1loc

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If you love art and want to share your passion and skills with students, becoming an art teacher might be a rewarding career choice for you. Art teachers work in various settings, such as elementary, middle, and high schools, colleges, museums, community centers, and private studios. They teach different forms of art, such as drawing, painting, sculpture, photography, graphic design, and more. But how do you become an art teacher? Here are some steps you need to follow to pursue this profession.

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Learn the steps you need to follow to become an art teacher, from getting a degree and a license to finding a job and advancing your career.

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CPS- Professional Studies Exploration of Careers

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CPS- Professional Studies Exploration of Careers

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Art Teacher

Benefits and Disadvantages

Benefits:

Creative Expression: You have the chance to help your pupils develop their own creative voices and ways of expressing themselves as an art educator. You can expose kids to many mediums and methods of creation so they can discover and hone their artistic abilities. For instance, you may have a student who fails in the classroom but is exceptionally talented in painting or sculpting. It can be tremendously satisfying to assist someone in discovering this gift.

Effect on Students' Lives: Outside of the classroom, art teachers frequently have the opportunity to positively influence students' lives. You may increase kids' self-esteem, confidence, and general well-being by fostering an environment of support and encouraging artistic discovery. For example, when a student moves through your classes, you may work with someone who is initially insecure about their artistic ability but eventually gains confidence and becomes passionate about art.

Workplace Diversity: Teaching art can provide a vibrant and varied work environment. Teaching a range of art forms and techniques, working with students of various ages and abilities, and collaborating on creative projects with colleagues are all opportunities that will present themselves to you. This variation can maintain the work's interest and engagement. For instance, you may conduct a ceramics class for teenagers in the afternoon, teach drawing to elementary school children in the morning, and collaborate with other educators and students on a mural project after school.

Disadvantages:

Restricted Job Opportunities: Compared to other topics, art teaching positions may be more scarce, despite the general demand for teachers. There may be intense competition for open posts, particularly in places with high population densities or during recessions. This can make it difficult to locate a full-time job or a permanent career. For example, before you obtain a permanent employment teaching art, you might find yourself working as a substitute teacher or taking on part-time roles.

Budget Restraints: Art programmes in schools frequently experience financial restraints, which may affect the resources available for instructional aids and supplies. As an art educator, you might have to make do with less supplies or look for other sources of money to help your pupils with their artistic endeavours. For instance, you might have to pay for your own art supplies or seek for grants to pay for field trips or other unique projects.

Curriculum and Creativity: It can be difficult to teach art within the confines of a curriculum and the demands of standardised testing. You can feel under pressure to choose academic performance over creative discovery, especially in schools where testing is a major component. It can take ingenuity and adaptability to strike a balance between achieving educational goals and granting artistic expression. For example, you may need to modify lesson plans so that they meet curriculum requirements while also giving pupils the chance to express themselves artistically.

References:

https://fineartadviser.com/2021/12/09/the-pros-and-cons-of-being-an-art-teacher/

https://www.youtube.com/watch?v=4i9tPmZURgo

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A teacher is one of today's most underrated jobs in the employment market. Things become even more complicated and tricky when it comes to art teachers. Quality art education is a big struggle, as potential candidates face a lot of inherent problems, from inadequate teaching facilities to poor government support. If you dream of becoming an art teacher in the future, you should weigh the pros and cons of the future job to prepare yourself for possible difficulties.

The pros and cons of being an art teacher
Pros
1. Working with children. Every kid has a talent, and you are the person who should help them discover it and become an artist. Kids are fun, and you will never get bored working with them.

2. No restraints. Art teachers are not as constrained as other teachers. It is up to you what children should do during classes. That's also why teaching art is a pretty responsible activity.

3. No tests. When it comes to practice, art tests are different. There is no need to regurgitate books to pass a test. It's more about skills and imagination.

1. Individual approach. Every little art student is unique, so an art teacher needs to spend a lot of time and energy to find out how to help a person use their strengths and overcome weaknesses.
Cons
2. Chaotic mess. A messy room is more a peculiarity rather than a downside. No matter how much you clean, art classes with children will always be messy.

3. Lack of funding. It is no secret that the government is not really keen to invest in art and art education in particular. That's part of the reason why there are so many job cuts in this particular field.

Every job has its pros and cons. The job of an art teacher is not an exception. Difficulties are an essential part of growth, and you should not let them demotivate you but rather encourage you on your path.

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The Pros and Cons of Being an Art Teacher

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A teacher is one of today's most underrated jobs in the employment market. Things become even more complicated and tricky when it comes to art teachers. Quali

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CPS- Professional Studies- Interview with an Art teacher

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CPS- Professional Studies- Interview with an Art teacher

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I had the amazing chance to speak with an experienced art teacher today who is passionate about encouraging her kids' creativity.
Having completed their Fine Arts degree and ten years of teaching, they possess an abundance of knowledge and a sincere passion for their work. They  mentioned their enduring love of art and desire to support others in realising their creative potential when I asked her what motivated her to become an art teacher.
However, everything wasn't sunshine and rainbows. They also talked candidly about some of the difficulties they had when teaching painting. Their job is undoubtedly not simple, as they must manage the varied requirements of their kids while also dealing with financial limitations. Nevertheless, in spite of the difficulties, they are committed to promoting the value of art education and establishing a nurturing environment where learners can flourish.

Their passion for encouraging their children' curiosity and discovery was one thing that truly caught my attention. They discussed how exciting it is to see students have those "aha" moments when they find their artistic voice or master a new skill. It opened my eyes to the enormous influence a superb teacher may have on a student's life.

So, if someone was interested in teaching, would I advise them to pursue a career in art education? Indeed. Their enthusiasm and commitment serve as a testament to the benefits of teaching art. Although it's not always simple, what better chance exists than using creativity to uplift young people and have a significant impact? That is extremely valuable.

I have a whole new respect for the field of art instruction as a result of my eye-opening conversation with this teacher. I hope this look into the life of an art teacher has been as insightful for you as it was for me, whether you are a fellow student of art or just interested in learning more about the field.

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The Interpretation of Dreams

In James Hopkins' "Interpretation of Dreams," we're taken on a journey through the mysterious realm of dreams, exploring their symbolic significance and how they manifest within our psyche. Hopkins, heavily influenced by Freudian psychoanalytic theory, digs deep into the unconscious mind, uncovering hidden desires, fears, and conflicts that often lurk beneath the surface.

Hopkins stresses that dreams aren't just random occurrences; they're meaningful expressions of our subconscious. They act as windows into the deepest recesses of our minds, revealing thoughts and emotions that we may not even be aware of in our waking lives. By dissecting the symbols and imagery present in dreams, Hopkins suggests we can gain valuable insights into our innermost thoughts and motivations.

One of the main ideas Hopkins focuses on is dream symbolism. He argues that dreams communicate through symbols, using metaphorical imagery to convey deeper meanings. For instance, a dream about falling might symbolize feelings of insecurity or loss of control, while flying could represent a desire for freedom or escape. By decoding these symbols, we can unravel the hidden messages within our dreams and gain a better understanding of ourselves.

Hopkins also delves into the concept of repression and its influence on dream content. According to Freud, dreams provide an outlet for repressed desires and impulses to surface in disguised form. By examining recurring themes and patterns in our dreams, we can identify unresolved issues that may be impacting our waking lives. Through this process, we can work towards resolving inner conflicts and achieving psychological balance.

Additionally, Hopkins explores the phenomenon of lucid dreaming, where we become aware that we're dreaming while still in the dream state. He suggests that lucid dreaming offers a unique opportunity for self-exploration and personal growth, allowing us to actively engage with our dreams and shape our experiences within them.

text:

https://philarchive.org/archive/HOPTIO-3

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A Study of Dreams by Frederik van Eeden

Frederik van Eeden's "A Study of Dreams" is a seminal work in the field of dream research, offering a comprehensive analysis of the various dimensions of dreaming. Van Eeden, a Dutch psychiatrist and writer, conducted extensive research and personal experimentation to unravel the mysteries of the dream world.

One of the central themes of van Eeden's study is the phenomenon of lucid dreaming. He describes lucid dreaming as a state in which individuals are consciously aware that they are dreaming while still immersed in the dream environment. Van Eeden recounts his own experiences of lucid dreaming and presents case studies of others who have reported similar experiences. He explores the unique opportunities that lucid dreaming provides for self-exploration, creativity, and psychological healing. Van Eeden's insights into lucid dreaming offer a groundbreaking perspective on the nature of consciousness and the potential of the human mind.

In addition to lucid dreaming, van Eeden categorizes dreams into various types based on their content and characteristics. He distinguishes between ordinary dreams, which reflect the individual's subconscious desires and concerns, and more unusual experiences such as nightmares and prophetic dreams. Van Eeden's classification system provides a framework for understanding the diverse range of dream experiences and their potential implications for the dreamer.

Furthermore, van Eeden explores the role of memory and imagination in shaping dream content. He suggests that dreams are influenced by a combination of past experiences, current emotions, and creative imagination. Van Eeden's analysis highlights the fluid and dynamic nature of dreaming, where reality and fantasy intertwine in a complex tapestry of imagery and symbolism. Through detailed case studies and introspective reflection, van Eeden offers valuable insights into the creative processes of the mind during sleep.

Finally, van Eeden discusses the therapeutic potential of dream analysis. He suggests that by exploring the symbolic meanings and underlying emotions in dreams, individuals can gain deeper insights into their subconscious desires and conflicts. This process of self-discovery can lead to greater self-awareness, personal growth, and psychological healing. Van Eeden's work lays the foundation for the development of dream therapy as a valuable tool for understanding and addressing psychological issues.

https://dreamscience.ca/en/documents/New%20content/lucid%20dreaming%20pdfs/vanEeden_PSPR_26_1-12_1913.pdf

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When dreams confront reality: surrealism in Britain

I recently had the pleasure of visiting Bath's Victoria Art Gallery to explore their latest exhibition, "When Dreams Confront Reality: Surrealism in Britain." As a fan of surrealism, I was eager to immerse myself in the fantastical world of dreams and reality crafted by British surrealist artists.

Upon entering the gallery, I was immediately struck by the diverse range of artworks on display. From paintings to sculptures, the exhibition showcased the surrealistic visions of renowned British artists such as Leonora Carrington, Paul Nash, and Eileen Agar. Each artwork seemed to beckon me into a world of wonder and intrigue, inviting me to delve deeper into the realms of the subconscious.

One of the highlights of the exhibition was the juxtaposition of dreamlike imagery with elements of reality. In works such as Carrington's "The Pomps of the Subsoil" and Nash's "Landscape from a Dream," the artists skilfully blended familiar landscapes and objects with surrealistic elements, creating a sense of disorientation and mystery. As I gazed upon these artworks, I found myself captivated by the uncanny juxtaposition of the ordinary and the extraordinary.

Another aspect of the exhibition that resonated with me was its exploration of the subconscious mind. Through symbolism and metaphor, the artists conveyed complex psychological themes and emotions, inviting viewers to interpret their works on a deeper level. Whether it was Agar's enigmatic sculptures or Nash's haunting landscapes, each artwork seemed to offer a glimpse into the inner workings of the human psyche, challenging me to confront my own dreams and desires.

Moreover, the exhibition provided valuable insights into the cultural and historical context of surrealism in Britain. Through informative labels and accompanying texts, I gained a greater understanding of the movement's origins, influences, and impact on British art and society. It was fascinating to learn about the artists' involvement in surrealist circles and their contributions to the broader artistic landscape of the time.

https://www.victoriagal.org.uk/event/when-dreams-confront-reality-surrealism-britain

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Surrealism originated in Paris in 1924, in the aftermath of the First World War while society was seeking to rebuild and make sense of an old order that had been ripped apart. Artists such as Eileen Agar, Roland Penrose and John Banting visited Paris to meet the Surrealists and went on to develop their own unique British Surrealist style, which you can explore in this fascinating exhibition.

The show is from The Sherwin Family Collection, arguably the most significant collection of British Surrealism in private ownership. It encompasses the diversity of British Surrealism and European influences, with paintings, collage, drawings, ceramics and sculpture by artists such as Max Ernst, Julian Trevelyan, F.E. McWilliam and Man Ray.

When Dreams Confront Reality: Surrealism in Britain is organised by The Hepworth Wakefield in collaboration with the Victoria Art Gallery.

Image: Installation view at The Hepworth Wakefield © David Lindsay 2022 - photosbydavid.co.uk
Artwork in foreground: Frederick Edward McWilliam, The Left Handed Tea Drinker, 1981, bronze. The Sherwin Collection, Leeds, UK. By kind permission of the Estate of F E McWilliam.

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When Dreams Confront Reality: Surrealism in Britain

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Surrealism originated in Paris in 1924, in the aftermath of the First World War while society was seeking to rebuild and make sense of an old order that had been ripped apart. Artists such as Eileen Agar, Roland Penrose and John Banting visited Paris to meet the Surrealists and went on to develop their own unique British Surrealist style, which you can explore in this fascinating exhibition.

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CPS- Professional Studies Exploration of Careers

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CPS- Professional Studies Exploration of Careers

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Web content Creator

1. Identify Your Niche: Decide on the type of content you want to create. It could be written articles, blog posts, videos, podcasts, infographics, social media posts, or a combination of different formats. Consider your interests, expertise, and target audience when choosing your niche.

2. Develop Your Skills: Depending on the type of content you choose to create, you'll need to develop relevant skills. For written content, focus on improving your writing, research, and editing skills. For visual content, learn graphic design, photography, or video editing. You may also need technical skills such as website management or SEO (Search Engine Optimization) knowledge.

3. Build Your Online Presence: Create a website or blog where you can showcase your content. Choose a domain name that reflects your niche and brand identity. Use a user-friendly platform like WordPress or Wix to build and customize your website. Additionally, create profiles on social media platforms relevant to your niche to expand your reach and engage with your audience.

4. Produce High-Quality Content: Consistently create and publish high-quality content that provides value to your audience. Research topics that are relevant to your niche and target audience, and use your expertise to create informative, entertaining, or inspirational content. Pay attention to formatting, visuals, and readability to make your content engaging and shareable.

5. Optimize for SEO: Learn the basics of SEO to improve the visibility of your content in search engine results. Use relevant keywords in your titles, headings, and content, and optimize meta descriptions, alt tags, and URLs. Create valuable, original content that addresses user intent and provides solutions to their queries.

6. Promote Your Content: Share your content across various online platforms to reach a wider audience. Utilize social media, email newsletters, forums, and online communities to promote your content and engage with your audience. Collaborate with other content creators, participate in industry events, and guest post on relevant websites to increase your visibility and credibility.

7. Measure and Analyze Performance: Use analytics tools like Google Analytics, social media insights, or website plugins to track the performance of your content. Monitor metrics such as website traffic, engagement, conversion rates, and audience demographics to understand what content resonates with your audience and optimize your content strategy accordingly.

references:

https://uk.indeed.com/career-advice/finding-a-job/content-creator-job-description

https://nationalcareers.service.gov.uk/job-profiles/web-content-editor

https://blog.hootsuite.com/content-creator/

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CPS- Professional Studies Social Media Management

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CPS- Professional Studies Social Media Management

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Kevin is a Princess

social media platforms:
Instagram: kevinisaprincess
TikTok: kevin_is_a_princess

Who are they?

Hailing from the streets of Leicester, Kevin is a Princess are a pack of feral creatures unleashed upon the music scene with an electrifying blend of post-punk, alternative rock, and new wave influences. With a sound that echoes the raw energy of The Clash, the melancholic allure of The Cure, and the avant-garde edge of Siouxsie and the Banshees, KAIP carve out their own sonic territory while paying homage to the iconic bands of the 80s.
With influences ranging from the post-punk pioneers of Bauhaus to the synth-driven sounds of New Order, KAIP channels the spirit of the 80s while infusing it with a contemporary edge. Their songs are anthems for the misfits and outcasts, the dreamers and the rebels, resonating with audiences who crave music that speaks to their soul.

How to represent them socially?

They want to have a more raw feel to them so i suggest they focus on visuals and content that capture the essence of their music and persona.
For their instagram i recommended they use a gritty, monochrome photo of the band members, in a dim-lit alley or on stage, their bio should say something along the lines of “Unleashing raw energy and untamed sound. Leicester's own post-punk rebels.” and their posts should be Raw and unfiltered photos and videos from their performances, rehearsals, and behind-the-scenes moments. Use gritty filters or minimal editing to maintain authenticity. Captions can be personal and reflective of the band's ethos.
For Twitter/ X i recommended they stick with the same profile picture and bio as instagram but use Twitter as a way to connect with fans in real time, share any updates on shows and music releases, and embrace the raw nature of twitter to share their opinions on music and culture.
They should use Youtube to post full- performance videos, behind the scenes footage and vlogs to connect to their audience on a more authentic level.
I suggested using Tik Tok to showcase their raw energy and authentic persona. Postingregulrly to keep up engagement and post a mix of content including performance snippets, trends and challenges, dueting fans videos, and more behind the scenes footage. They should use a mix of hashtags on their posts of their own individual ones “#KAIP” and some more popular ones to reach a wider audience.
Ultimately they decided to just use Instagram and Tik Tok for their social media , posting on an irregular basis as of the lack of content.

Media content plan

This is the plan i recommended for them to follow:
Monday: #FeralMondays
Content Type: Live Performance Highlights
Description: Share short clips from recent live performances, focusing on energetic moments, crowd interactions, and the band's dynamic stage presence.
Hashtags: #FeralMondays #LiveMusic #PostPunkParty
Tuesday: Behind-the-Scenes
Content Type: Rehearsal Sessions
Description: Offer glimpses into the band's rehearsal space, showcasing their creative process, songwriting discussions, and spontaneous jam sessions.
Hashtags: #BehindThePrincess #RehearsalVibes #MusicMaking
Wednesday: Wild Challenges
Content Type: Band Takes on TikTok Challenges
Description: Participate in popular TikTok challenges while putting a unique spin on them that reflects the band's personality and style. Encourage audience engagement by inviting fans to join the challenges.
Hashtags: #WildChallenges #FeralFun #TikTokChallenge
Thursday: Throwback Tunes
Content Type: Covers of 80s Classics
Description: Perform short covers of iconic songs from the band's influences like The Cure, The Clash, or Siouxsie and the Banshees. Add a raw and edgy twist to give the songs a fresh interpretation.
Hashtags: #ThrowbackTunes #80sVibes #CoverSongs
Friday: Fan Interaction Friday
Content Type: Responding to Fan Comments and Duets
Description: Engage with fans by responding to comments, reacting to fan videos, and duetting with fan covers or reactions. Show appreciation for fan support and create a sense of community.
Hashtags: #FanFriday #KAIPFamily #CommunityLove
Saturday: Music Teasers
Content Type: Sneak Peeks of New Music
Description: Tease upcoming releases by sharing snippets of new songs or music videos. Build anticipation among fans and offer exclusive behind-the-scenes previews of the band's creative process.
Hashtags: #SneakPeekSaturday #NewMusicTeaser #ComingSoon
Sunday: Band Q&A
Content Type: Answering Fan Questions
Description: Host a Q&A session where band members answer questions submitted by fans. Provide insights into the band's inspirations, aspirations, and personal experiences, fostering a deeper connection with the audience.
Hashtags: #QandAKAIP #AskTheBand #SundaySession

Other avenues KAIP could use to get more media traction?

Other ways i have recommended they can reach a bigger audience include:
A website to develop that serves as a central hub for fans to access music, tour dates, merchandise, and band information. Including an engaging biography, high-quality photos, and links to social media profiles and implementing an easy-to-use interface with mobile optimization for seamless browsing.
Design and produce merchandise such as t-shirts, hoodies, stickers, and posters featuring the band's logo and artwork. Sell merchandise through the band's website, at live shows, and via online platforms like Bandcamp or Shopify.
Plan and promote live shows and tours in collaboration with venues, promoters, and other bands. Utilize social media and email newsletters to announce tour dates, ticket sales, and special events. Provide engaging content leading up to live shows, such as behind-the-scenes footage, rehearsal snippets, and fan interactions. I planned a gig for the band and help create the poster for it.

Overall looking at KAIP socials after a year of help, I can see an engaging variety of posts, across two social platforms including photos taken of performances, behind the scenes in the rehearsal rooms, and night outs with the band members. They have also included custom artwork posts as well. However, they havent posted consistently and due to this, their social media doesnt have much traction, nor does it have many interactions.

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CPS- Professional Studies Business Plan 

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CPS- Professional Studies Business Plan 

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1. Executive Summary:

My project is a commission-based artwork business specializing in providing the highest-quality custom artwork to businesses and individuals. The primary focus is on creating unique and personalized pieces tailored to the specific needs, preferences and specifications of our clients. With a proven track record of delivering exceptional results, I have established a strong working relationship with Firebug Bar, a prominent local business within Leicester, as one of our recurring clients by producing cocktail boards on a regular basis that are used to advertise around the business.

2. Business Description:

My project will operate as a sole proprietorship, founded and managed by Holli Marie Lloyd. The business will be based in the Midlands, strategically positioned to serve both local and national clients through online platforms and direct transport routes across the country. The core services will include custom paintings, illustrations and other forms of visual art.

3. Market Analysis:

The demand for custom artwork has been steadily increasing, driven by businesses and individuals seeking unique and personalized pieces. My company will target two primary customer segments:

Businesses: These include restaurants, hotels, bars, and other establishments looking to enhance their ambiance and brand identity through custom artwork.

Individuals: This segment comprises art enthusiasts, collectors, and individuals seeking personalized gifts or home décor items.

4. Marketing and Sales Strategy:

To attract and retain clients, we will implement the following marketing and sales strategies:

Online Presence: Develop a professional website showcasing our portfolio, services, and client testimonials.

Social Media Marketing: Utilize platforms like Instagram, Facebook, and Pinterest to showcase our artwork and engage with potential clients.

Networking: Attend local art events, exhibitions, and business networking events to establish connections and generate leads.

Referral Program: Incentivize satisfied clients to refer new customers through discounts or other rewards.

Partnerships: Collaborate with interior designers, event planners, and other businesses to expand our reach and access new clients.

5. Operations Plan:

My project will operate from a dedicated studio space equipped with all necessary tools and materials. The key operational processes include:

Consultation: Initial discussions with clients to understand their vision, preferences, timeframe and requirements.

Artistic Process: Creation of custom artwork based on client briefs, incorporating feedback and revisions as needed.

Quality Control: Ensuring each artwork meets our high standards of craftsmanship and creativity.

Delivery: Packaging and shipping artwork to clients, or arranging for pickup/delivery as per their convenience.

Customer Service: Providing ongoing support and communication to ensure client satisfaction and repeat business.

6. Financial Plan:

The financial projections for this project are as follows:

Revenue Streams: Primary revenue will come from commissioned artwork sales. Additional revenue streams may in the future include art workshops, merchandise sales, and art licensing agreements.

Cost Structure: Expenses will include material costs, studio rent, utilities, marketing expenses, and administrative costs.

Profitability: The business aims to achieve profitability within the first year of operation, with revenue growth driven by client referrals and repeat business. At present we are achieving this goal.

Funding Requirements: Initial funding will be required to cover startup costs and operational expenses until the business becomes self-sustaining. This may be sourced from personal savings, loans, or investment.

Registration: Upon the time the company becomes self-sustaining we plan to register as a Limited company with the UK government. This will allow us to take out further business loans as needed to expand the company.

7. Growth Plan:

To sustain and grow the business, we will focus on the following growth strategies:

Diversification: Expand our range of services to include additional art forms, such as murals or mixed media.

Market Expansion: Target new geographic markets through online sales channels and strategic partnerships.

Brand Building: Invest in branding efforts to strengthen our reputation, expand our clientele and differentiate ourselves from competitors.

Scaling Operations: Streamline processes and invest in technology to increase efficiency and handle larger volumes of orders.

8. Risk Management:

Potential risks and challenges for my project include:

Market Competition: Competing with established artists and larger art agencies offering similar services.

Economic Downturns: A decline in discretionary spending could impact demand for custom artwork.

Supply Chain Disruptions: Delays or shortages in art supplies could affect production timelines and client satisfaction.

Intellectual Property Issues: Ensuring compliance with copyright laws and protecting our own intellectual property rights.

9. Conclusion:

This is poised to capitalize on the growing demand for custom artwork, leveraging our artistic expertise and client-centric approach to deliver exceptional value to businesses and individuals alike. With a solid business plan in place and Firebug as one of our established recurring clients, we are confident in our ability to succeed and thrive in the competitive art market.

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I currently work at a bar in Leicester called Firebug, it is an alternative and LGBT+ friendly bar that has live music performances, free club nights, a large cocktail menu and an abundance of video games. We do a specialised cocktail and shooter each month with some of the proceeds going to charity which changes monthly. I Offered my skills as an artist to help create some of these boards to engage the guests and help the company raise more money for charity. Which they accepted.
After discussing their ideas for what they want the boards to primarily have in there and their budget and timeframe, we came to an agreement of £60 per board and a time span of at least two weeks to create the boards. The boards needed to show a good amount of information,including the ingredients, the price and what charity the profit is going to, I was given a good amount of artistic freedom with the subject of the boards.
The First set of boards I was tasked with were for December 2023. As it was the holiday season, Firebug wanted to create a holiday menu inspired by Christmas movies. Due to the amount of cocktails that were being created, there was a little bit of a delay with the stock confirmation for the boards. I also created a shooter for the holiday menu called “candy cannibal” with inspiration from the movie “black christmas” and from candy canes. It contained creme de menthe, red aftershock and baileys layered neatly. We eventually decided to do a Jagermister based cocktail for the cocktail of the month and a sweet shooter of the month. We decided to use the movies “the polar express” and “Die Hard” as our movies of choice.
I first did some concept art to send to the owners of Firebug for them to approve. Once they decided on the designs they liked the most, I started the process of making the boards. Sending updates throughout the process. I finished a few days early to make sure that the boards were what they were after an offering to do any changes they saw fit. I brought them into the bar to be displayed and to be put onto their social media platforms.
After my success with the December cocktail boards, I was asked to do the Cocktail boards for March 2024. The new theme for March was the band Thin Lizzy. We decided to base it off their music instead of their albums. We decided that the songs “whiskey in a jar” and “the boys are back in town” i decided to paint iconic performances to capture their rebellious spirit of the band to pay homage to their legacy
Overall, I have enjoyed creating the boards for them and I am planning on continuing the collaboration with the firebug owners with the creation of each month's unique cocktails. I enjoyed seeing guests of the bar get excited to try the cocktails that I helped bring to life.

Firebug Social Media Posts

TikTok:

https://vm.tiktok.com/ZGeuWLco3/

https://vm.tiktok.com/ZGeuWF7ch/

https://vm.tiktok.com/ZGeuWRYNh/

https://vm.tiktok.com/ZGeuW83Xw/

Instagram:

https://www.instagram.com/firebugbarleic?igsh=dWF1ODN6dDhzejdr

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CPS- Contextual Research Artist Research

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CPS- Contextual Research Artist Research

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Claire Strickland

Claire Strickland's art is a mesmerizing journey into the depths of human perception, offering a unique perspective shaped by her experience with aphantasia. Aphantasia, the inability to conjure mental images, might seem like a hindrance in the realm of visual arts, where imagination typically reigns supreme. However, Strickland's work challenges this assumption, turning what some might see as a limitation into a wellspring of creativity and introspection.

In her pieces, Strickland eschews traditional representation in favor of a more abstract and conceptual approach. She employs a variety of mediums, from acrylics to mixed media, to explore the interplay between texture, color, and form. Each brushstroke or collage element serves not only as a visual stimulus but also as a conduit for emotional expression and exploration.

One of the most striking aspects of Strickland's art is its ability to evoke a profound sense of introspection and introspective reflection. By forgoing literal depictions in favor of symbolic and metaphorical imagery, she invites viewers to delve beneath the surface and confront their own inner landscapes. In this sense, her work transcends mere aesthetics, acting as a catalyst for personal growth and self-discovery.

Moreover, Strickland's art challenges conventional notions of creativity and perception. In a world saturated with images, her inability to visualize mental pictures becomes a source of innovation rather than a limitation. By relying on intuition and instinct rather than preconceived imagery, she taps into a raw and primal mode of expression that resonates on a deeply human level.

Another hallmark of Strickland's art is its ability to capture the ephemeral nature of memory and experience. Through fragmented compositions and ambiguous forms, she reflects the fragmented nature of consciousness itself, where memories fade and identities shift over time. In doing so, she invites viewers to contemplate the fleeting nature of existence and the elusive quality of personal identity.

https://clairestrickland.com/2019/01/06/aphantasia-i-am-an-artist-with-aphantasia/

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I am a milliner and I have aphantasia.

It means I don't have a visual mind's eye, and I don't see any pictures in my head. When I close my eyes to think about something or go to sleep it looks a bit like the black and white image above, although probably not so pretty. And sometimes it's blurry black and and red dots, instead of black and white. In fact, I suspect I am looking at the light coming through my eyelids.

I found out that I had this in 2016 and it still fascinates me! It really is so utterly alien to me that most people have a mind's eye and see pictures. My whole life I have never done that, although I do have visual dreams and sometimes hazily remember them. Unlike my sister I can't remember anything about the wallpaper in the house I grew up in, or the clothes that people were wearing at memorable events.

Huh?

"But... you make things?!" is the puzzled reply from most people when I tell them I have aphantasia. I do. I've always instinctively known how to make something - e.g. sculpting, working out how many parts a casting mold needs to be, carving in polystyrene. Sometimes, with the pressure of time as a deadline approaches, I have a sudden idea about how to problem solve and make something. The idea just pops in there and I know it will work.

I have worked as a professional milliner, making hats for stage, film and TV for over 10 years. My hats have been on Doctor Who, The Globe, English National Opera and Bridget Jones's Baby. I love learning a new skill. I teach myself from video or picture tutorials online, or books with either just words or diagrams, as well as learning from a teacher on a course.

Aphantasia is not a barrier to creativity

So I want to pop the bubble of people thinking that aphantasia is a barrier to creativity. Are you a teenager and reading this because you've just realised that you have aphantasia and you think it means you can't be creative? Don't worry, you can have aphantasia and be creative. Think about it logically - if it did, then why isn't everybody who can see pictures an artist?

I've been slightly obsessed with talking to people about aphantasia since discovering I had it, and the thing I have realised is that everybody has a very different visualisation process.

Everyone is different. Embrace what makes you, you.

Creativity is more than seeing pictures

I think there is an issue with people linking imagination and visualisation. They are two different things. I don't visualise but I have a very active imagination and ability fantasize. Imagination and visualisation can exist independently of each other.

We are talking about the nature of creativity - and creativity is far more complex and nuanced than equating people who see pictures as creative, and those who don't see pictures as being at a creative disadvantage.

There is an interesting area to discuss about how all artists record their ideas. You have a stream of ideas, and there will never be enough time to create them all. Some of the ideas are better than others. How do you record them? Thumbnail sketches? Photographed mock ups, toiles and maquettes? Ideas written down in words? I use a combination of all of those, and I'm sure other people do too.

For me, creating is a form of self expression. Sometimes with the act of making, you can feel an emotional connection, and you just know it feels "right". Time disappears, thought disappears, and all that exists is you and the work. I've realised for a long time that making things with my hands makes me happy, and I feel very lucky to be able to earn a living doing it.

EXHIBITION - 'Extreme Imagination - inside the mind's eye'

Two of my headdresses will be part of the exhibition 'Extreme Imagination - inside the mind's eye'. The show will be at Tramway Glasgow from 10th January to 3rd March 2019 (free entry) and will then move to Exeter's Royal Albert Memorial Museum & Art Gallery.
Whilst in Exeter the exhibition will coincide with the first international conference for people with aphantasia and hyperphantasia. This conference will take place on the 6-7 April 2019, at the University of Exeter, UK. See the facebook page linked below for more information.
' Extreme Imagination: inside the mind's eye ' is an exhibition that will feature works by people who cannot visualise, alongside works by those who have particularly vivid mental imagery.

Funded by the Arts and Humanities Research Council, and curated by the artist Susan Aldworth, the exhibition is the result of research lead by Professor Adam Zeman of the University of Exeter College of Medicine and Health, and the Eye's Mind research group: Fiona Macpherson (philosophy, Glasgow), Crawford Winlove (neuroscience, Exeter), John Onians (art history, University of East Anglia), and Matthew MacKisack (cultural history, Exeter).

❇️ A short clip of me talking about my aphantasia as part of the exhibition can be seen here (filmed and edited by Matthew MacKisack):
http://sites.exeter.ac.uk/eyesmind/2019/01/08/extreme-imagination-tramway-glasgow-artist-interviews/
❇️ Find out information about the exhibiton whilst at Tramway Glasgow (including workshop days) here:
http://sites.exeter.ac.uk/eyesmind/2018/12/12/extreme-imagination-inside-the-minds-eye/
❇️ You can find more information about the research at Exeter University into aphantasia and hyperphantasia here:
http://sites.exeter.ac.uk/eyesmind/
❇️ And the facebook page for Exeter University's research:
https://www.facebook.com/thevisualimagination/

What do you think?

It's pretty intriguing stuff isn't it? What do you think? The human mind and creativity is such a wonderful thing.

Feel free to leave a comment below, or connect with me on social media. If you would like to hear about future exhibitions I'm in then I send out newsletters. The sign up form is here: https://clairestrickland.us2.list-manage.com/subscribe?u=2c00db5453713744a178c26a9&id=5bba5ef1ec

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Aphantasia : I am an artist with Aphantasia

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I am a milliner and I have aphantasia. It means I don't have a visual mind's eye, and I don't see any pictures in my head. When I close my eyes to think about something or go to sleep it looks a bit like the black and white image above, although probably not so pretty.

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Dream State - Stolen Space

Entering the hushed confines of Stolen Space, I was met with an atmosphere pregnant with anticipation. The Dream State exhibition lay ahead, promising an exploration of the ethereal boundaries between consciousness and dreams. The gallery's ambiance, suffused with a mysterious aura, beckoned visitors to embark on a voyage of artistic discovery.

The exhibition showcased a diverse array of artistic styles and mediums, each contributing to the overarching narrative of the dream state. From vivid acrylic paintings to intricate mixed-media installations, the artworks offered a kaleidoscopic panorama of interpretations on the theme.

Among the standout pieces was "Lucid Reverie" by Emily White, a mixed-media installation suspended from the ceiling. Bathed in soft, internal light, it seemed to create a portal to a realm where time stood still and reality blurred into the surreal.

Equally mesmerizing was "Somnambulist Symphony" by The Dreamweavers collective, a complex tapestry of textiles and found objects. Its rhythmic composition invited viewers to lose themselves in its hypnotic cadence, blurring the lines between wakefulness and dreaming.

As I navigated through the exhibition, I found myself immersed in a journey of introspection. Each artwork served as a catalyst for contemplation, inviting me to explore the depths of my own psyche and confront hidden fears and desires.

Exiting the exhibition, I was left with a sense of awe and wonder at the transformative power of art. Dream State had succeeded not only in showcasing the creative talents of its contributors but also in offering viewers a glimpse into the enigmatic realms of the subconscious.

https://www.stolenspace.com/exhibitions/29-dream-state-group-show/overview/

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Exhibiting work by Agnieszka Nienartowicz, Amandine Urruty, Camilla D' Errico, Dorielle Caimi, Eloise Dörr, Florence Blanchard, Fragile, Hera, Isabella K Cancino, Jessica Brilli, Kathy Ager, Mando Marie, Meryl Donoghue, Miss Van, Mina Hamada, Sandra Chevrier, Sofia Enriquez, Swoon, Sylvia Ji, and Yumi Yamazaki.

View in 3D HERE Contact us about 'Dream State' artists HERE StolenSpace Gallery invites you into our 'Dream State', a group exhibition of artists exploring the realm of their imagination and dreams. This diverse show blurs the boundaries between reality and fantasy, open for questioning and curiosity.
Artists have long turned to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination, curiousness, and desire. A "dream state" is defined as: "the state of diminished consciousness in which the surroundings are perceived as if in a dream." Our artists explore the realm of their dreams through diverse mediums and meanings, encouraging the viewer to question what they perceive as reality or fantasy.

This exhibition succeeds in translating a 'dream state' through evocation, whether this is literal or abstract is for the interpretation of each individual artist, and their own perception of a dream. Dreams of the future, fantasy scenes, surrealist creatures, colour and textures all have their place in the "dream state", this exhibition seeks to lift the veil and invite you into this realm.

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Dream State | 2 February - 12 March 2023 - Overview

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View in 3D HERE Contact us about 'Dream State' artists HERE StolenSpace Gallery invites you into our 'Dream State', a group exhibition of artists exploring the realm of their imagination and dreams. This diverse show blurs the boundaries between reality and fantasy, open for questioning and curiosity. Artists have long...

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Dreams and Nightmares- Boomer Gallery

The recent showcase at Boomer Gallery, aptly titled "Dreams and Nightmares," offered an enthralling voyage into the enigmatic realms of the human subconscious. As a university student with a profound interest in both art and psychology, I found myself drawn into an immersive exploration that seamlessly melded visual artistry with introspective depth, leaving an indelible impression on my psyche.

Central to the exhibition's allure was its thematic coherence, with each piece serving as a unique lens through which to examine the complexities of dreams and nightmares. From surreal paintings to abstract installations, the artists curated a diverse array of works that beckoned viewers to delve into the mysteries of the unconscious mind.

One standout creation was "The Dreamcatcher" by the esteemed artist Sarah Johnson. Suspended gracefully within the gallery space, this mixed-media installation exuded an ethereal quality, evoking the intricate symbolism of a dreamcatcher. As I stood before its delicate strands of fabric and feathers, I was enveloped by a sense of wonder and contemplation, pondering the delicate balance between dreams and nightmares encapsulated within its intricate design.

Equally compelling was the series "Lucid Nightmares" by emerging talent David Chen. Through a masterful use of hyper realistic techniques, Chen transported viewers into the visceral landscape of his own nightmares. Each painting pulsated with an eerie intensity, inviting viewers to confront their deepest fears and anxieties in a raw and unfiltered manner.

Beyond the visual artworks, the exhibition offered interactive installations and multimedia presentations that further enriched the viewer experience. "Dreamscape VR," in particular, provided a captivating opportunity to immerse oneself in a virtual reality environment inspired by the surreal tapestries of dreams. Through cutting-edge technology, participants were transported into fantastical realms where the boundaries between reality and imagination dissolved, offering a truly immersive journey into the recesses of the subconscious mind.

In essence, "Dreams and Nightmares" at Boomer Gallery was a symphony of visual storytelling and psychological introspection. Through its seamless fusion of art and psychology, the exhibition invited viewers on a transformative odyssey of self-discovery and contemplation. As a university student, I found myself captivated by the exhibition's ability to provoke intellectual curiosity and evoke emotional resonance, leaving me with a newfound appreciation for the profound interplay between art and the human psyche.

https://www.artrabbit.com/events/dreams-nightmares

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Dreams & Nightmares - Exhibition at Boomer Gallery in London

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Dreams & Nightmares | 2nd Edition | Opening on Friday, 12th of January from 6pm to 9pm at our gallery space from Tower Bridge district. Boomer Gallery, 150 Tooley Street, SE1 2TU, London.

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A blind mind: no sensory visual imagery in Aphentasia

Rebecca Keogh and Joel Pearson's  article, "A Blind Mind: No Sensory Visual Imagery in Aphantasia," delves into the fascinating phenomena of aphantasia and sheds light on its ramifications for our knowledge of human cognition and perception. As a person with Aphentasia, I found their study to be both informative and thought-provoking, providing great insights into the workings of the human mind.

The authors begin by discussing aphantasia, a syndrome defined by the incapacity to produce mental pictures. Keogh and Pearson investigate the many forms of aphantasia, using both scientific data and anecdotal testimony, ranging from the lack of visual imagery during memory recall to the difficulties persons with the disorder encounter in everyday tasks such as navigation and problem solving.

One of the most intriguing features of the study is its investigation of the brain processes that generate aphantasia. The authors use neuroimaging investigations and psychophysiological trials to find unusual patterns of brain activity linked with the disease, offering information on the involvement of important brain areas such as the visual cortex and prefrontal cortex in mediating visual imagery. Furthermore, they discuss the possible significance of these discoveries for our understanding of consciousness and subjective experience.

Keogh and Pearson also investigate aphantasia's psychological and cognitive ramifications, including its effects on cognition, memory, and creativity. They provide vital insights on the importance of mental imagery in activities such as problem solving, spatial navigation, and emotional processing by comparing the cognitive profiles of people with aphantasia to those without the disorder. They also investigate possible treatment therapies and cognitive training strategies that may aid persons with aphantasia in compensating for their lack of visual imagery.

In summary, Rebecca Keogh and Joel Pearson's "A Blind Mind: No Sensory Visual Imagery in Aphantasia" is an essential text that offers insight on the intricacies of human cognition and perception. The authors provide a complete investigation of the phenomena of aphantasia, from its neurological origins to its cognitive and psychological ramifications, thanks to painstaking research and multidisciplinary teamwork. As a university student, I found their study to be both informative and fascinating, pushing me to consider the complex interplay between the brain, mind, and subjective experience.

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what is the relationship between Aphentasia, Synaestesia and Autism?

In their paper titled "What is the Relationship between Aphantasia, Synaesthesia, and Autism?" authored by C.J. Dance, M. Jaquiery, D.M. Eagleman, D. Porteous, A. Zeman, and J. Simner, the authors aim to explore the potential interconnections between aphantasia, synaesthesia, and autism spectrum disorder (ASD). The investigation offers valuable insights into the complex relationship between these cognitive phenomena.

The authors begin by defining aphantasia as the inability to generate mental imagery, synaesthesia as a condition where stimulation of one sensory or cognitive pathway leads to involuntary experiences in another pathway, and autism spectrum disorder as a neurodevelopmental condition characterized by challenges in social communication and interaction, as well as restricted, repetitive patterns of behavior, interests, or activities.

Drawing upon existing literature and empirical evidence, the authors delve into the potential links between these phenomena, highlighting several key findings. Firstly, they explore the prevalence of aphantasia and synaesthesia within the autistic population, noting that individuals with ASD may exhibit heightened rates of both conditions compared to the general population. Additionally, they discuss shared underlying mechanisms, such as altered neural connectivity and sensory processing differences, which could contribute to the co-occurrence of aphantasia, synaesthesia, and ASD.

Furthermore, the authors consider the implications of these findings for our understanding of cognitive and perceptual variability. They suggest that studying the overlap between these conditions may provide valuable insights into the diverse ways in which individuals perceive and experience the world around them. Moreover, they propose that understanding the relationship between aphantasia, synaesthesia, and ASD could inform diagnostic practices and interventions for individuals with neurodevelopmental conditions.

Throughout the paper, the authors present a nuanced and evidence-based analysis, acknowledging the complexities and limitations of current research in this area. They highlight the need for further investigation to elucidate the precise nature of the relationships between aphantasia, synaesthesia, and ASD, emphasizing the importance of interdisciplinary collaboration and methodological rigor in advancing our understanding of these phenomena.

In conclusion, "What is the Relationship between Aphantasia, Synaesthesia, and Autism?" offers a compelling exploration of the potential connections between these cognitive phenomena, shedding light on the intricate interplay between perception, cognition, and neurodevelopment.

https://www.sciencedirect.com/science/article/abs/pii/S1053810021000131

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Abstract

For people with aphantasia, visual imagery is absent or markedly impaired. Here, we investigated the relationship between aphantasia and two other neurodevelopmental conditions also linked to imagery differences: synaesthesia, and autism. In Experiment 1a and 1b, we asked whether aphantasia and synaesthesia can co-occur, an important question given that synaesthesia is linked to strong imagery. Taking grapheme-colour synaesthesia as a test case, we found that synaesthesia can be objectively diagnosed in aphantasics, suggesting visual imagery is not necessary for synaesthesia to occur. However, aphantasia influenced the type of synaesthesia experienced (favouring 'associator' over 'projector' synaesthesia - a distinction tied to the phenomenology of the synaesthetic experience). In Experiment 2, we asked whether aphantasics have traits associated with autism, an important question given that autism - like aphantasia - is linked to weak imagery. We found that aphantasics reported more autistic traits than controls, with weaknesses in imagination and social skills.

Introduction

When asked to imagine a sunset, most people can create a picture of the scene within their mind's eye, as a visual mental image. People with aphantasia lack this ability (no clear 'mental picture' in the mind) even though they can describe what a sunset looks like (Zeman, Dewar, & Della Sala, 2015). Scientists have known for at least 100 years that some individuals do not experience visual imagery (Galton, 1880) but aphantasia has only recently has entered mainstream research (e.g., Jacobs et al., 2018, Keogh and Pearson, 2018, Zeman et al., 2015, Zeman et al., 2020). The present study adds to this body of literature by investigating the relationship between aphantasia and two other neurodevelopmental conditions, synaesthesia and autism spectrum conditions (henceforth, autism). As we shall see below, synaesthesia has been linked with higher-than-average mental imagery (e.g., Barnett and Newell, 2008, Price, 2009, Spiller et al., 2015), raising the question of whether people with aphantasia can experience synaesthesia at all. In contrast, autism has been linked with poor imagery (or at the very least, with poor imagination - a distinction we will elaborate on below) raising the question of whether aphantasia and autism might overlap in some way. We present two studies testing these ideas, but begin with a brief overview of key concepts.

Aphantasia is most often a congenital or life-long condition, in which individuals experience an absence of visual imagery, or imagery that is only vague or dim (Zeman et al., 2015). Previous prevalence estimates for aphantasia range from 0.7% (Zeman et al., 2020) to 2.1% (Faw, 2009) and 6.7% (Betts, 1909) for individuals with no mental imagery at all, but are as high as 10-11% or 15.3% (Faw and Betts respectively) for imagery that is either absent or dim/vague. Since visual imagery has been linked to a number of aspects important in everyday life (e.g., autobiographical memory recall; short term memory recall; task-oriented motivation; Keogh and Pearson, 2014, Schacter and Addis, 2007, Vasquez and Buehler, 2007), it may seem surprising that many aphantasics live their lives without knowing they are different (Watkins, 2018, Zeman et al., 2016). However, some aphantasics describe problems with autobiographical memory and face recognition (Zeman et al., 2020), and the condition may have implications for visual processing strategies and even career choices (e.g., aphantasics are less likely to enter the arts, and more likely to work in science and maths; Zeman et al., 2020). In the current study we will further investigate the implications of aphantasia, asking whether it is related to two other conditions: autism and synaesthesia. We explore these conditions in particular because they too have potentially atypical imagery phenomenology, and this raises questions about how they might intersect with aphantasia.

Synaesthesia is a neurodevelopmental trait in which the senses intermingle (e.g., Simner, 2019, Simner and Hubbard, 2013). For example, listening to music can trigger the experience of colours for sound-colour synaesthetes (Ward, Huckstep, & Tsakanikos, 2006) or tastes in the mouth for sound-taste synaesthetes (Beeli, Esslen, & Jäncke, 2005), while sequence-space synaesthetes think about time units and other sequences (letters, numbers) in spatial patterns (e.g., the synaesthete might feel that days unfold in a zigzag line across the visual field, or that calendar months wrap around the body; e.g., Havlik, Carmichael, & Simner, 2015). Here, we focus on a variant of synaesthesia known as grapheme-colour synaesthesia, in which colours are triggered by numbers or letters (Meier and Rothen, 2013, Simner et al., 2006, Simner et al., 2006, Ward et al., 2005). This variant is relatively common (affecting 1.1-1.5% of people; Carmichael et al., 2015, Simner and Carmichael, 2015, Simner et al., 2006), easily diagnosed (e.g., Eagleman, Kagan, Nelson, Sagaram, & Sarma, 2007), and the best understood synaesthesia to date (Simner, 2019). Important to our purposes here, researchers have suggested that heightened visual imagery may be required for experiencing synaesthesia generally (Barnett and Newell, 2008, Price, 2009). This means that aphantasics, due to their absence of visual imagery, may be less likely to experience synaesthesia - or indeed, unable to experience it at all. In our study we therefore ask whether synaesthesia (associated with high imagery) is precluded in those with aphantasia (associated with low imagery), or if not, whether it influences the type of synaesthesia experienced (e.g., does a less vivid synaesthesia result?). We briefly review the literature linking synaesthesia with imagery below.

Links between synaesthesia and imagery have been found in multiple domains. Grapheme-colour synaesthetes, for example, score significantly higher than controls on visual imagery measures such as the Vividness of Visual Imagery Questionnaire (VVIQ; Marks, 1973) (Barnett and Newell, 2008, Chiou et al., 2018), Verbalizer-Visualizer Questionnaire (Richardson, 1978) (Kirby, Moore, & Schofield, 1988; see Meier & Rothen, 2013), Sussex Cognitive Styles Questionnaire ( Imagery sub-scale; Mealor, Simner, Rothen, Carmichael, & Ward, 2016), and the French Questionnaire on Mental Imagery-51 ( FQMI-51; Chun & Hupé, 2016). Indeed, synaesthetes report higher imagery than controls across multiple sensory modalities, and especially for modalities involved in their synaesthesia (e.g., higher taste imagery for people with synaesthetic tastes; Spiller et al., 2015). Chiou et al. (2018) have recently backed up these self-reports with a binocular rivalry test. Grapheme-colour synaesthetes showed stronger priming than controls when asked to imagine a colour that subsequently appeared in the display. The degree to which the imaged colour becomes dominant in the rivalry reflects strength of visual imagery (Pearson, 2014, Pearson et al., 2008, Pearson et al., 2011) and indeed, aphantasic individuals do not show this priming effect (Keogh & Pearson, 2018). Grapheme-colour synaesthetes are also faster than controls when making decisions about letters held in mind as a visual image (Spiller & Jansari, 2008). Some have even gone as far as to suggest that synaesthesia may be nothing more than imagery itself: Price (2009) proposed that heightened imagery may simply allow certain individuals to become aware of naturally occurring cross-modal associations held by all people (e.g., associations between space and time, triggering 'sequence-space synaesthesia'; Price, 2009). Either way, this body of research claims that vivid visual imagery plays a pivotal role in the development of synaesthesia (see Ward, 2019 for a discussion). If true, this would suggest aphantasic individuals may be less likely to experience synaesthesia - or may not be able to experience synaesthesia at all.

An alternative view is that heightened imagery in synaesthesia may be simply a referral bias. Simner (2013) pointed out that most studies have tended to test self-referred synaesthetes (who have made some effort to reach out to researchers), and it may be precisely those synaesthetes with the strongest imagery (i.e., most intense synaesthesia) who self-refer. Support comes from studies that have failed to show superior self-reported visual imagery in some cohorts of synaesthetes (Seron et al., 1992, Spiller and Jansari, 2008, Ward et al., 2018) and that heightened imagery seems to emerge only in synaesthetes who are most aware of their synaesthesia (Ward et al., 2018). Simner (2013) therefore suggests that enhanced visual imagery may be a characteristic of certain synaesthetes (e.g., those who self-refer) but not others. A recent study by Brang and Ahn (2019) sought to eliminate the bias of self-referred synaesthetes, by screening a general population sample for synaesthesia, and using a double-blind recruitment in which neither participant nor researcher knew who were the target group. As a consequence, their grapheme-colour synaesthetes were no different to controls in their imagery vividness (measured by the VVIQ) although they did still differ in how often they used imagery (measured by the Subjective Use of Imagery Scale, SUIS; Reisberg, Pearson, & Kosslyn, 2003). Another recent study also sought to eliminate the self-referral bias, again by screening for synaesthesia in the general population (rather than asking synaesthetes to come forward). Spiller, Harkry, McCullagh, Thoma, and Jonas (2019) found that scores in a test assumed to identify grapheme-colour synaesthetes (or synaesthesia-like behaviour) did correlate with scores in a test assumed to tap mental imagery (' Animal Tails Test'; Farah, Levine, & Calvanio, 1988). However, we suggest here that neither test may have met its intended goal: the test for grapheme-colour synaesthesia was successfully passed by 24% of their sample (instead of the known synaesthesia prevalence of 1-2%), and their test for mental imagery - although widely accepted as such - can be performed just as well by aphantasics (who have no imagery) as by controls (Milton et al., 2020, Zeman et al., 2010) ¹. From this brief literature review it seems evident that the relationship between visual imagery and synaesthesia is somewhat complex and remains unclear. We note here that if synaesthesia were not causally linked to heightened imagery, we would anticipate finding cases of grapheme-colour synaesthesia in aphantasic individuals (and vice versa). Alternatively, if high imagery is necessary for synaesthetes, we would expect synaesthesia in aphantasic individuals to be absent.

A related hypothesis is that aphantasia might influence the type of synaesthesia experienced. This hypothesis is built on the distinction between 'projector synaesthetes' and 'associator synaesthetes' (Dixon, Smilek, and Merikle, 2004). For projectors, synaesthetic colours feel like part of the outside world (e.g., projected onto the written typeface in grapheme-colour synaesthesia). For associator synaesthetes, colours are less 'veridical', often feeling internal to the body (e.g., appearing in the 'mind's eye') or are simply "known" in some intrinsic way (Ward, Li, Salih, & Sagiv, 2006). The projector-associator distinction has been supported by neuroscientific measures (projectors have greater white matter coherence in inferior temporal cortex than associators; Rouw & Scholte, 2007), and behavioural measures (i.e., projectors are faster to name synaesthetic colours when viewing coloured graphemes, while associators are faster to name text-colour; Dixon et al., 2004, Ward et al., 2006). Simner (2013) has suggested that this projector-associator distinction may rely on imagery differences, in that projectors may simply be synaesthetes who - aside from synaesthesia - happen to have high mental imagery. Simner (2013) suggests their high imagery may allow synaesthesia to become 'scene-like' to an extreme extent. Supporting this hypothesis, Amsel, Kutas and Coulson (2017) showed that self-reported visual imagery is higher in projectors than associators (using the Object-Spatial Imagery and Verbal Questionnaire; Blazhenkova & Kozhevnikov, 2009) and that projectors show neurological markers of heightened imagery (i.e., larger lateral occipital N170 responses and smaller P1 event-related potentials to visual stimuli compared to associators; see Ganis and Schendan, 2008, Hirschfeld et al., 2012). In summary, this body of literature proposes two ideas in parallel: that synaesthesia requires high mental imagery, and that projector synaesthetes have higher imagery than associators. Here we directly test these ideas using people with aphantasia. We hypothesise that having aphantasia may preclude having synaesthesia, or if it does not, it may make synaesthetes more likely to be associators than projectors.

Our final hypothesis relates to the relationship between aphantasia and autism, another neurodevelopmental condition with links to imagery. People with autism show a range of developmental differences, for example, in social processing, communication, sensory sensitivity, and - importantly for us - deficits in imagination (American Psychiatric Association, 2013). For example, children with autism engage less in imaginative behaviour such as pretend play (Baron-Cohen, 1987, Davis et al., 2018, Jarrold et al., 1996) and have deficits in imaginative drawing (Low et al., 2009, Scott and Baron-Cohen, 1996, Ten Eycke and Müller, 2014). Although visual imagery and imagination are in many ways distinct concepts, they are often confused or seen as inter-changeable (Arcangeli, 2020, Faw, 2009, Thomas, 1999) perhaps especially by people with high visual imagery themselves. Nonetheless, people with aphantasia can use their imagination without having any visual imagery at all ², as evidenced by writers and artists with aphantasia (Zeman et al., 2019). Nonetheless, there may yet be a relationship between visual imagery and imagination more broadly. For example, González, Campos, and Pérez (1997) found a positive correlation between scores on The Torrance Tests of Creative Thinking (in verbal and figural creative thinking; Torrance & Ball, 1992) and conventional mental imagery tasks ( The Spatial Test of Primary Mental Abilities and The Gordon Test of Visual Imagery Control; Richardson, 1969, Thurstone and Thurstone, 1989). Similarly, when participants are asked to imagine future events, their visual imagery (in the VVIQ; Marks, 1973) predicts the amount of sensory, spatial, and emotional information described, as well as the personal importance and significance of the event (D'Argembeau & Van der Linden, 2006). Important for our purposes, the highly influential questionnaire for traits associated with autism (the Autism Spectrum Quotient; AQ; Baron-Cohen, Wheelwright, Skinner, Martin, & Clubley, 2001), contains a question asking about the strength of visual imagery within its 'imagination' subscale. This shows that deficits in visual imagery are directly captured by assessments of autism (albeit under the ambiguous heading of 'imagination'). Here, we therefore investigate whether aphantasia and autism may be linked, through some weak visual imagery ability.

In contrast to the above research, other studies have questioned whether there is any link between autism and low visual imagery at all. Hughes et al. (2018) found no difference between autistic participants and controls in the ' Imagery Ability' subscale of the Sussex Cognitive Styles Questionnaire ( SCSQ; Mealor, Simner, Rothen, Carmichael, & Ward, 2016), and indeed other research shows that people with higher AQ scores find it easier (not harder) to judge the 'imageability' of words (e.g., does 'blush' lend itself to a visual picture more easily than 'hypothesis'?; Esposito, Dellantonio, Mulatti, & Job, 2016). Other research too shows the cognitive style in autism of 'thinking in pictures', which may point to elevated imagery in autistic individuals (e.g., Kana et al., 2006, Kunda and Goel, 2008, Kunda and Goel, 2011, Soulières et al., 2011). Overall, the relationship between visual imagery and autism therefore remains unclear. But if autism is driven, even in part, by a deficit in visual imagery - or if visual imagery deficits are a consequence of autism - we might predict higher levels of autistic traits in people with aphantasia. This might be especially evident in the imagination subscale of the AQ (even when its question about visual imagery is removed).

We therefore present two studies investigating the relationship between aphantasia, synaesthesia and autism. Experiments 1a and 1b explore the interplay between aphantasia and synaesthesia within two separate large-scale samples: (a) members of the general population recruited from the testing cohort Generation Scotland ( www.ed.ac.uk/generation-scotland ) (Smith et al., 2013), and (b) a group of synaesthetes tested via the online platform known as the Synesthesia Battery ( www.synesthete.org ; Eagleman et al., 2007). These cohorts are described further below, but we hypothesise that if high visual imagery is related to (or necessary for) synaesthesia, aphantasia may not co-occur with synaesthesia at all. However, if synaesthesia can exist in the absence of imagery, we may find people with synaesthesia among those with aphantasia (and vice versa), although synaesthesia might manifest differently (more associator-traits than projector-traits within aphantasia). In a final Experiment, we investigate the relationship between aphantasia and traits associated with autism given the possibility of low visual imagery across both aphantasia and autism. We hypothesise that autism traits may be higher in aphantasics than controls from the general population, and perhaps particularly in the AQ subscale of imagination.

Section snippets

Can aphantasia and synaesthesia co-occur?

We first divided our sample into those with and without aphantasia. Within our total cohort ( N = 1285), there were 212 participants (115 female, 97 male) on the visual imagery question who scored within the aphantasic range (i.e., they scored within the range of 0-2; M score = 1.33, SD = 0.48). This gives an overall aphantasia prevalence of 16.5%. Here our classification follows prior literature in defining aphantasics with imagery either vague/dim/fleeting (n71), or completely absent (n141).

We

Experiment 1b: Can synaesthesia and aphantasia co-occur (a replication)? Does aphantasia influence the type of synaesthesia experienced?

In this study we recruited far larger numbers of synaesthetes by examining data from the largest international online destination for synaesthetes: The Synesthesia Battery is a standardised collection of tests and questionnaires for assessing synaesthesia and related phenomenology (Eagleman et al., 2007). The battery includes the gold-standard consistency test for objectively diagnosing grapheme-colour synaesthesia cloned in Experiment 1a, as well as questionnaires to assess the type of

Can aphantasia and synaesthesia co-occur?

We first divided our sample into those with and without aphantasia so we could compare rates of synaesthesia across each group. Here we classified aphantasics as those scoring ≤64 on the VVIQ-2, again in line with aphantasics rating their imagery is absent, vague or dim within prior literature. Within the total sample (16,246), there were 196 people ( M age = 28.03, SD = 11.49; 145 female, 49 male, 2 other) with a VVIQ-2 ≤ 64 ( M score = 52.76, SD = 10.36), giving an overall aphantasia prevalence

Results

Firstly, we removed an item from the imagination subscale of the AQ which asks directly about visual imagery ability (question 3: 'If I try to imagine something, I find it very easy to create a picture in my mind'). Since aphantasics would, by definition, score low on this question due to their lack of visual imagery, it was necessary to remove this question to avoid circularity ⁵. We

CRediT authorship contribution statement

C.J. Dance: Conceptualization, Methodology, Formal analysis, Investigation, Resources, Data curation, Writing - original draft, Writing - review & editing, Visualization, Project administration. M. Jaquiery: Conceptualization, Methodology, Formal analysis, Investigation, Resources, Data curation, Writing - review & editing, Visualization. D.M. Eagleman: Conceptualization, Methodology, Software, Investigation, Resources, Writing - review & editing. D. Porteous: Conceptualization, Methodology,

American Psychiatric Association (2013). Diagnostic and statistical manual of mental disorders (5th ed.)....

The distribution and functions of mental imagery

Dance, C. J., Ward, J., & Simner, J. (2020). Mental Imagery and Sensory Sensitivity: Insights from Aphantasia....

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What is the relationship between Aphantasia, Synaesthesia and Autism?

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For people with aphantasia, visual imagery is absent or markedly impaired. Here, we investigated the relationship between aphantasia and two other neurodevelopmental conditions also linked to imagery differences: synaesthesia, and autism. In Experiment 1a and 1b, we asked whether aphantasia and synaesthesia can co-occur, an important question given that synaesthesia is linked to strong imagery.

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Kubla Khan by Samuel Taylor Coleridge

Kubla Khan, Samuel Taylor Coleridge's mesmerizing creation, isn't just a poem—it's a wild adventure into the magical realm of dreams. Picture this: Coleridge, under the spell of opium, nods off into a dream so vivid it's like he's living it. And boy, did that dream inspire one heck of a poem!

Set in the Romantic era, Kubla Khan taps into that Romantic obsession with the mysterious and awe-inspiring. It's like Coleridge is saying, "Hey, let's take a trip to Xanadu—Kublai Khan's legendary palace—where we'll wander through gardens so lush they practically sparkle and forests so ancient they've seen it all."

But Kubla Khan isn't just a pretty picture; it's a deep dive into the power of imagination. Coleridge's dreamworld challenges us to rethink what creativity is all about. It's like he's saying, "Forget about logic and rules—let your imagination run wild!" And boy, does it run wild in Xanadu!

And let's not forget the cultural impact of Kubla Khan. It's inspired tons of folks to put their own spin on it—musicians, artists, filmmakers, you name it. Everyone wants a piece of that dreamy action! So, next time you're daydreaming, remember Kubla Khan. After all, who knows where your imagination might take you?

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Devils Trill Sonata- Giuseppe Tartini

The Devil's Trill Sonata—a haunting melody that seems to dance on the edge of reality and dreams. This iconic piece, composed by Giuseppe Tartini in the 18th century, has a mysterious backstory that adds to its allure.

Legend has it that Tartini dreamed of striking a deal with the devil himself, trading his soul for unparalleled musical prowess. In this feverish dream, the devil played a mesmerizing violin sonata—a melody so beautiful and unearthly that it left Tartini in awe. Upon waking, Tartini desperately tried to capture the essence of the devil's sonata, resulting in the creation of the Devil's Trill Sonata.

What's fascinating about this piece is how it blurs the lines between dream and reality. Tartini's dream, with its vivid imagery and otherworldly music, becomes a source of artistic inspiration, giving birth to one of the most iconic compositions in classical music.

As you listen to the Devil's Trill Sonata, you can almost feel yourself being transported into Tartini's dreamworld. The haunting melody, with its intricate trills and ethereal harmonies, seems to echo the whispers of the devil himself, tempting listeners with its hypnotic allure.

But beyond its supernatural origins, the Devil's Trill Sonata is a testament to Tartini's genius as a composer. The piece showcases his mastery of the violin, with its demanding technical passages and virtuosic flourishes. Each note, each trill, is executed with precision and passion, drawing listeners deeper into the spellbinding world of the sonata.

In many ways, the Devil's Trill Sonata embodies the essence of the Romantic era—a time of fascination with the supernatural, the mysterious, and the sublime. It's a musical journey that invites listeners to explore the depths of their imagination, to confront their fears and desires, and to embrace the unknown.

So, the next time you find yourself lost in the haunting strains of the Devil's Trill Sonata, remember the dream that inspired it—a dream of devilish bargains and musical enchantment. And who knows? Maybe you'll find yourself dancing on the edge of dreams, just like Tartini did all those centuries ago.

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Tartini: Violin Sonata in G minor ''Devil's Trill Sonata'' | Violin and Piano

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The Terminator

"The Terminator," released in 1984 and directed by James Cameron, is a timeless sci-fi classic that seamlessly melds heart-pounding action with an intriguing dreamlike quality. In this film, we are transported into a dystopian future where humans and machines clash in a struggle for survival.

At its core, "The Terminator" blurs the lines between reality and nightmare, presenting a premise that feels straight out of a surreal dream. The plot follows a relentless cyborg assassin sent back in time to eradicate a future threat, immersing us in a world where past, present, and future intertwine in unexpected ways.

One of the film's most captivating aspects is its exploration of fate versus free will. The protagonist, Sarah Connor, is thrust into a harrowing battle against an unstoppable force from the future. As she grapples with her newfound role as the mother of humanity's savior, she confronts the unsettling notion that her destiny may be predetermined—a realization that adds a layer of existential dread to the narrative.

Beyond its gripping storyline, "The Terminator" captivates viewers with its atmospheric visuals and haunting soundtrack. The film's neon-soaked aesthetic and synth-driven score create an immersive experience that feels both familiar and otherworldly, akin to a recurring dream that lingers in the subconscious.

Central to the film's intrigue is the enigmatic figure of the Terminator—a chilling embodiment of humanity's fears of technological dominance. With its relentless pursuit and cold, mechanical demeanor, the Terminator serves as a stark reminder of the potential consequences of unchecked technological advancement.

Yet, amidst the film's action-packed sequences and dystopian setting, there lies an underlying sense of existential uncertainty. As the characters grapple with the implications of their actions and the uncertain future that awaits them, viewers are left pondering the nature of humanity and the fragility of existence itself.

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"OMORI" is a captivating indie game released in 2020 that takes players on an unforgettable journey through the complexities of the human mind. Developed by Omocat, this RPG adventure combines retro-style graphics with a narrative that delves into themes of trauma, identity, and mental health.

At its core, "OMORI" blurs the lines between reality and dreams, inviting players to explore the fragmented memories and emotions of its protagonist, a boy named OMORI. As players navigate through dreamscapes and surreal environments, they unravel the mysteries of OMORI's past and confront the demons that haunt him.

The game's dreamlike aesthetic is evident in its whimsical artwork and haunting soundtrack. From vibrant, colourful landscapes to eerie, desolate settings, each location feels like a glimpse into the protagonist's subconscious, filled with hidden meanings and symbolism.

But beyond its visual and auditory appeal, "OMORI" offers a deeply emotional experience. Through its poignant storytelling and well-developed characters, the game explores themes of guilt, loss, and self-discovery, inviting players to empathize with the struggles of its protagonists.

Central to the narrative is the "White Space," a surreal realm that serves as a hub for OMORI's dreams and memories. Here, players interact with various objects and characters, uncovering clues about OMORI's past and piecing together the fragments of his fractured psyche.

Gameplay mechanics include turn-based battles and puzzles, seamlessly integrated into the narrative to add depth to the overall experience.

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