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1861: James Clerk Maxwell creates the first color photograph by combining three separate black-and-white images taken through red, green, and blue filters.

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From Wikipedia, the free encyclopedia

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15:13, 6 June 2023
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CactiStaccingCrane

Reverted to version as of 16:11, 17 November 2006 (UTC) Actually, I think it is better to upload this image under a different name

15:07, 6 June 2023
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CactiStaccingCrane

A better scan made 15 years later

16:11, 17 November 2006
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Janke~commonswiki

Better scan, from "Colour Photography", J.H. Coote, ISBN 0-86343-380-4

01:12, 1 August 2006
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Warofdreams

Taken from A World History of Photography ISBN 0789203294 Tartan Ribbon, photograph taken by James Clerk Maxwell in 1861. Considered the first colour photograph.

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From Wikipedia, the free encyclopedia Original file ‎(1,100 × 900 pixels, file size: 420 KB, MIME type: image/jpeg) Click on a date/time to view the file as it appeared at that time.

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1907: The Autochrome Lumière process is introduced, becoming the first widely adopted color photography process. It uses dyed grains of starch to create a color filter layer on glass plates.

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1935: Kodachrome film is introduced by Kodak, becoming the first commercially successful color film. It uses a complex development process and produces vibrant and stable color images.

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1936: Agfacolor Neu, the first commercially available color negative film, is introduced by Agfa.

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1950s: The introduction of Ektachrome by Kodak provides a more straightforward and versatile color slide film.

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1990s: The transition to digital photography begins, with the first digital cameras capturing color images. However, film photography remains popular during this decade.

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2010s: Smartphones with advanced camera capabilities contribute to the widespread adoption of digital photography. The majority of images are captured and shared digitally.

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Handyaufnahme des Sonnenuntergangs als Zeitraffer 20200909 DSC3277.jpg

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From Wikipedia, the free encyclopedia Original file ‎(6,000 × 4,000 pixels, file size: 10.98 MB, MIME type: image/jpeg) This file contains additional information, probably added from the digital camera or scanner used to create or digitize it. If the file has been modified from its original state, some details may not fully reflect the modified file.

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The study of hues as a determinant of human behaviour. Colour influences perceptions that are not obvious, such as the taste of food. Colours have qualities that can cause certain emotions in people.

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Bruce Nauman
Jenny Holzer
Barbara Kruger
Picasso
Heitor Magno
Anselme Servain
Yell Saccani
Petra Collins
Sofia Coppola
Sam Taylor-Johnson
Nan Goldin

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Kruger is most famous for her collage style which consists of black and white photographs with red text over the top. The fact the photograph is black and white means you pay more attention to the text and its meanings. The use of red helps get her point across because it is a bold colour associated with anger and danger, love and power. The fact the photograph behind is black and white means there are no other colours to distract the viewer.

Kruger’s silkscreen image, overlaid with the words, ‘Your body is a battleground’ (1989) speaks about stereotyping and consumption. The portrait is split in the middle, one side of the face in black and white and recognisable and the other side is reversed in black and white like a negative. The right-hand image looks almost mechanical and less recognisable. This photograph relates to how women often feel in a male-dominated society. The idealised version is often portrayed in the media and the other is that of the struggle. I think that this image is very powerful and effective to those viewing it mainly due to the use of red which demands the audience's attention.

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Sofia Coppola, ‘The Virgins Suicide’ film still (1999)

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This is a film still from ‘The Virgin Suicides’ showing a girl in a pale blue shade. This use of colour makes the scene feel calm and secure when in fact the narrative of the film is almost the opposite.

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Taylor-Johnson's David video is on display at Whipps Cross Hospital (2004)

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This film shows David Beckham sleeping. I think this is similar to Sofia Coppola’s film still with a different hue. When these two are put close together you can see the difference the colour makes. Taylor-Johnson’s still is warmer and also makes us as the viewer feel as if we are intruding. It is intimate.

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Picasso’s blue period came about as a result of his friend Carlos Casagemas committing suicide. He associated the colour blue with depression and became known for using the colour blue as a way of portraying sadness.

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Pablo Picasso ‘Arlequin assis au fond rouge’ (1905)

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Another one of his periods was the Rose Period (1904-1906) where he used warmer, more cheerful colours such as oranges and pinks. This was a big contrast to his previous Blue Period. During these years Picasso was happy due to his relationship with Fernande Olivier.

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Directed by Yi-Mou Zhang, ‘Hero’ (2004) 

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Colour is used to enhance characterisation, it can be shown in an order to set a mood and evoke emotions. They have an effect on the viewer, usually, subconsciously. For Example; Colour is used to convey different themes in the movie, ‘Hero.’ Hero consists of four sections which are colour coded. One is red, one green, one blue and one white. Each colour represents a different scene and a different story showing the power that colour has. It evokes emotion and certain concepts associated with them. The colour also has the power to subtly make the viewer think of the theme being represented in each scene. Red is a strong colour which usually represents danger and love therefore these emotions are portrayed in the red scenes. If he changed the colours around the scenes would come across very differently.

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The chocolate brand, Cadbury, uses purple as its trademark colour. The Cadbury brothers originally picked this colour as a tribute to Queen Victoria and it has continued to be used for more than 100 years later. The colour purple is a very strong and bold colour therefore it stands out being associated with Cadbury. Scientists say that the human brain is attracted to different colours therefore for food brands such as Cadbury we eat with our eyes.

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How do you pick your favourite colour?

We layer a meaning and a feeling onto it most likely taken from previous experiences.

What is the world's most favourite colour?

Blue. This is thought because people link it with a positive memory such as a clear blue sky or an idyllic ocean.

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Apps:

Although we use apps such as Snapchat and WhatsApp multiple times a day, if you tierd to draw the app icon the majority of people wont be able too and this is because people recognise the apps due to its colour.

If you rearrange your phone so that apps are in colour order you will save 2 seconds of your day trying to find apps and therefore 22 hours in a year.

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Yellow is not seen anywhere on public transport because it can cause dizziness.

A cafe had white walls and was bored of the customers complaining about the cold that they painted the walls orange and the complaining stopped

A scene from a black-and-white movie is much easier to remember than a coloured movie.

Chromatic adaptation: Our brain craves colour and will add it where it deems it necessary

62-90% of a first impression is made up due to colour. People wearing bright colours are more lightly to form more positive bonds.

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The hidden power of colours | Patricia Thenisch | TEDxHWZ

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The hidden power of colours | Patricia Thenisch | TEDxHWZ

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Which one would you buy?
Red:
Black and White:
Blue:

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soft, subtle colours to highlight its product and convey calm, positive feelings

Brown is associated with comfort

Orange adds a bit of enthusiasm and joy

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Green symbolises health and balance

The green and black create a contrast against the black which represents power

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Contrast between black and red makes the ad stand out

Red evokes action and danger

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Playfulness matches the voice of the brand

Its fun and creative and keeps you engaged

Orange evokes energy, optimism, enthusiasm and happiness

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Brown watches stand out against black background

Simplicity

Sophistication

Black and brown convey luxury and elegance

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Red and black colour scheme is eye catching

Red catches attention

Grey background makes red pop

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Which would you buy?
Black and White:
Blue:
Yellow:

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1. What are the benefits of psychedelics?

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1. What are the benefits of psychedelics?

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3. How do psychedelics affect your brain? How does it react with brain receptors?

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3. How do psychedelics affect your brain? How does it react with brain receptors?

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4. Is it possible to create a replica of a psychedelic trip? If so, how accurate can you make it?

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4. Is it possible to create a replica of a psychedelic trip? If so, how accurate can you make it?

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5. How do psychedelics affect your mental health?

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5. How do psychedelics affect your mental health?

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7. What is the science behind psychedelics?

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7. What is the science behind psychedelics?

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8. How are music and psychedelics similar?

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8. How are music and psychedelics similar?

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9. Can psychedelics create higher states of consciousness?

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9. Can psychedelics create higher states of consciousness?

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10. What are first-time experiences like?

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10. What are first-time experiences like?

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11. How can psychedelics cause a spiritual awakening?

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11. How can psychedelics cause a spiritual awakening?

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12. How were psychedelics first discovered? and what were they used for? 

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12. How were psychedelics first discovered? and what were they used for? 

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13. How did different cultures and societies use psychedelics? Are there cultural significances, rituals, and traditions associated with psychedelics?

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13. How did different cultures and societies use psychedelics? Are there cultural significances, rituals, and traditions associated with psychedelics?

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14. Do psychedelics affect your personality?

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14. Do psychedelics affect your personality?

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15. How do colours work with psychedelics?

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15. How do colours work with psychedelics?

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16. What's the relationship between psychedelics and the concept of the 'third eye'?

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16. What's the relationship between psychedelics and the concept of the 'third eye'?

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17. What are the different types of psychedelics? How do they differ?

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17. What are the different types of psychedelics? How do they differ?

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18. How do psychedelics influence creativity, problem-solving, and emotional processing?

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18. How do psychedelics influence creativity, problem-solving, and emotional processing?

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19. What's the legal status of psychedelics globally?

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19. What's the legal status of psychedelics globally?

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20. What are the environmental impacts of psychedelics?

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20. What are the environmental impacts of psychedelics?

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Felix Dennis' collection of psychedelic music posters.

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“The musicians were turning up their amplifiers to the point where they were blowing out your eardrums. I did the equivalent with the eyeballs,” - Victor Moscoso

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The late publishing legend Felix Dennis had a passionate hobby: collecting deliriously psychedelic music posters of the 1960s and 70s, advertising Hendrix, Yoko Ono and the Who among others

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Kiss the sky: psychedelic posters of the 60s and 70s - in pictures

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The late publishing legend Felix Dennis had a passionate hobby: collecting deliriously psychedelic music posters of the 1960s and 70s, advertising Hendrix, Yoko Ono and the Who among others

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Martin Sharp: Donovan - Sunshine Superman

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Martin Sharp: Mr Tambourine Man - Blowin’ in the Mind

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'60s Psychedelic Posters: Why This Visual Language Speaks To Us | Goodness Exchange

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Psychedelic posters were inspired by the Art Nouveau movement. Psychedelic designers would just add a wild colour pallet. The font seen in the majority of psychedelic posters started in a 1902 poster by Austrian designer Alfred Roller. They took this further and made it nearly illegible in order to grab the viewers attention and keep them interested. These posters were known to capture the feeling of the changing world.

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If there was a poster that captured this very moment in time, what would it look like? During eras of great change, objects start to look a little different in the world around us. Here's the story of the trippy, psychedelic posters that define one of the most recognizable decades in history. They'll help us start finding wonder in our current life more often!

If you were to flip back through history books, you'll likely notice that each time period inspires the next movement. The colors, the tone of voice, the music, the fashion, the subject matter...they're all a reflection of a reaction to what was going on in the world. And just think, each of these moments can be summed up in a work of art and pinned to your wall!

Read on, as we celebrate one of the most recognizable decades in history through a very special art form that is still coveted to this day.

Source: Art Zeh // Flickr

You can find them in art galleries, on the walls of music stores and concert halls, and if you're extremely lucky, maybe you'll find one at a flea market. We're about to explore the origins of the trippy psychedelic band posters of the 1960s that have left collectors, history buffs, and music fans swooning since the mid-century.

Same style, 100 years later.

In the United States, the 1960s were an important time for change. For the first time, young people were finding their voice and using it to stand up for what they believed in. (Click here for a rundown on some of the hot-button issues that were taking place at the time like the Civil Rights Movement, the Vietnam War, the moon landing, and more.)

Big changes in the times were not only seen on the evening news, but in just about every other cultural form of expression you can think of. This revolutionary era inspired some of the most revered music of the 20th century from artists like The Beatles, The Grateful Dead, Janis Joplin, Jimi Hendrix and sooooo many others. And with the new music came a new way of advertising it.

Wait, let's back up a bit. Why do these posters look like something we've seen before?

If you're picking up on the swirly, feminine vibes of a late 1800s Mucha painting in some of these 1960s posters, you're not wrong-good eye!

Many of the San Francisco-based artists that are responsible for the psychedelic look of the 1960s posters we're talking about were inspired by the esthetic of Art Nouveau; a detailed yet organic "new" style of art which contradicted the look of the industrial age it was born into.

These '60s poster artists fused elements from Art Nouveau with art from early comic books and surrealism, and then cranked the color contrast up to 11! The result is the mind-bending and kaleidoscopic images we know today that encompass a generation.

Dive into this fascinating story with this mesmerizing video by Vox! We're traveling back in time for some fun, little-known facts about these transformative works of art and why they became the go-to esthetic of a generation.

Thank you, Vox, for the time warp! For more interesting tidbits on cool stuff from our past, check out their YouTube library.

There's a small handful of artists that history recognizes as the most influential in the psychedelic '60s art movement. Read more about them and view a gallery of their work here.

No object is too mundane to be beautiful.

The Art Nouveau artists from the early industrial days took to creating the world they wanted to see, which was a striking contrast to the "ugly" world that surrounded them. The same goes for what happened in the 1960s: people were taking matters into their own hands by rallying, protesting, and molding the future into what they wanted it to look like. All of these notions were captured within a colorful piece of paper. How amazing is that?!

One thing I love about this is that these '60s artists probably had no idea their art was going to have such a lasting impact when they were creating these posters. They just wanted to make something that would speak to their people. And to this day, it still does.

If a picture says a thousand words...

We use visual language to speak to others all the time (probably without realizing it!). This hidden language lies underneath the way we dress, the way we decorate our homes, and even the art we create ourselves.

If this movement had happened even just 10 years prior, it may not have become such a huge sensation. But because these posters were created in the 1960s when color printing was a readily available innovation, and because they were, well, posters, they were easily replicated and made accessible to your everyday person.

Even the history behind the process of printing color is mind-blowing when you stop to admire it. Here's an article that explains the awe-inspiring innovation of filming and printing in color!

A lot of these psychedelic '60s posters are still floating around in the world. It's just one of those things that people want to hang onto forever. Take a glance around your Uncle's basement next time you're at a family gathering...you just might see one!

And if you're looking for a way to pass the time, try your hand at creating a piece of art that will perfectly capture the moment you're living in now. It could be a fun time capsule project! After all, each one of us is living history... Right. This. Very. Moment.

Keep dreaming and notice the beauty around you!

~Renee

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'60s Psychedelic Posters: Why This Visual Language Speaks To Us | Goodness Exchange

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How did the swirling, trippy-dippy band posters of the 60s become so iconic? Here's the fascinating way they've captured time.

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Aimed to cure the ultimate human design flaw - death

“Our bodies are conditioned by our surrounding environments and our architecture, and we naturally adapt to whatever space we are given. Once you feel comfortable, your body begins to deteriorate. The architecture basically tries to keep you from fully adapting to it.”

designed to reverse aging via a sense of playfulness

the use of 14 different colours was meant to stimulate your brain and energize you

stimulates creativity

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Shusaku Arakawa and Madeline Gins-visual artists, conceptual writers, self-taught architects-believed that, through a radical recalibration of the built environment, humans could solve the ultimate design flaw: death. (Your move, Norman Foster.)

Arakawa and Gins completed five projects in their lifetimes-three in Japan, two in America-and to call them unconventional is a gross understatement. There's an acid trip of a park; an eye-poppingly colorful, plucked-from-Pixar apartment building; and doorless lofts with bumpy, uneven flooring. Rather than whimsy or quirkiness, their ethos-dubbed Reversible Destiny-aimed to seriously promote longevity by activating and stimulating the body and mind.

"They thought about death as a process, which the body is constantly trying to fight against," says ST Luk, project manager at Arakawa and Gins's New York-based Reversible Destiny Foundation. "Our bodies are conditioned by our surrounding environments and our architecture, and we naturally adapt to whatever space we are given. Once you feel comfortable, your body begins to deteriorate. The architecture basically tries to keep you from fully adapting to it."

Arakawa and Gins are decidedly not household names. They belong to no school, their time as builders is only one part of an unfairly neglected 50-year artistic career, and their work exists outside the traditional canon. In other words, architecture students rarely encounter them. There's some irony, then, that the Columbia University Graduate School of School of Architecture, Planning and Preservation (GSAPP) would provide a long overdue reintroduction.

Arakawa and Madeline Gins: Eternal Gradient is a compact, refreshing, and stimulating show on view at Columbia's Arthur Ross Architecture Gallery through June 16. Roughly spanning 1983 through 1991, it tracks Arakawa and Gins's move from the visual arts to architecture through previously unseen illustrations, large-scale paintings/design plans, and text pieces. Taken together, it forms a potent record of a high-wire artistic act.

"I think it's interesting to get architecture in dialogue with another field that it isn't normally in dialogue with," says curator Irene Sunwoo, who also directs exhibitions at GSAPP. "When was the last time you heard about a poet working in architecture with a painter?"

Arakawa was already an established conceptual artist in Japan when he decamped for New York in 1961. Two years later, he met Gins, a native New Yorker five years his junior, at the Brooklyn Museum Art School. Her medium was text-experimental poetry and, later, books like WORD RAIN: Or, a Discursive Introduction to the Philosophical Investigation of G,R,E,T,A, G,A,R,B,O, It Says (1969) that challenged readers' concepts and ideas of language and form. They soon married and became inseparable collaborators.

Almost from the start, their work was physical and spatial. Their seminal The Mechanism of Meaning, begun in 1963 and iterated upon numerous times over the decades, pointed toward the concepts, practices, and philosophies that would define their practice. Originally created with 80 panels, each measuring 90 x 66 inches, the piece moves viewers through different experiences via text and mixed-media art, forcing an intellectual and sensory encounter with words, objects, and philosophical questions.

Arakawa and Gins followed that monumental piece with two decades of architecturally inflected art, from Sculpting II (1971), a "floor plan of speech," to the spatial-textual rendering-like Waiting Voice(1976). Arakawa also began constructing physical experiences for gallery installations: ramps viewers had to walk or pull themselves onto to view paintings, images printed on floors, a moving walkway.

"As an artist, we'd say these were architectural in scale," says Stephen Hepworth, director of collections at the Reversible Destiny Foundation. "In a sense, we can talk about Arakawa kind of always pushing towards the body within a built or experienced space."

Eventually, that led to architecture directly. Eternal Gradient locates 1983 as the flashpoint, when Arakawa and Gins are tapped to develop a project on the Venetian lagoon island Madonna del Monte. If built, Container for Mind-Blank-Body would have been an epic, multi-stage experience that deployed fabricated material like wire meshing alongside natural formations to stimulate self-reflection and self-discovery. Nevertheless, conceptualizing the physical and psychological experiences for the island proved pivotal.

From 1985 to 1987, Arakawa drew 24 Screen-Valves, vertical containers resembling dense mesh pods (displayed for the first time at Columbia) that interrogate architectural space. The artists believed the material and spatial potential of the screen-valve could eventually replace walls, floors, doors, even bodies-a concept that led directly to another work, The Process in Question/Bridge of Reversible Destiny. Conceived in 1987, the bridge was to span a river in Epinal, France, and include containers of unfamiliar landscapes "designed to trigger uncharted perceptual and bodily responses," Sunwoo writes. A 42-foot-long model was exhibited in New York in 1990 and a far smaller model is included in Eternal Gradient. The full-scale bridge was never built.

Still, the experience led to a permanent shift to architecture. Gins published her third book, Helen Keller or Arakawa, in 1994, but Arakawa's attention was fully on building things. "He buried a very substantial art career by just not bothering with it any longer, which is why we haven't heard of him," Hepworth says.

Luk adds, "I just think that because they were always moving forward they felt like they had moved ahead."

Arakawa and Gins finally realized a project in 1994. Ubiquitous Site * Nagi's Ryoanji * Architectural Body was completed at the Nagi Museum of Contemporary Art in Okayama, Japan, and the experience would make Lewis Carroll proud. Upon entering the site from a dark staircase, visitors emerge inside a light-filled, physics-bending inclined tube where the grounded bench and seesaw are mirrored on the ceiling and the walls are replicas of Japan's Temple of Ryoanji's historic rock garden.

The playfulness, cognitive dissonance, and physical discomforts found at the Nagi appear and mature in the artists' subsequent projects: the 195,000-square-foot park, "Site of Reversible Destiny-Yoro" (1995), in Gifu prefecture, which has such extreme grades kids are provided with helmets; Tokyo's "Reversible Destiny Lofts MITAKA-In Memory of Helen Keller" (2005); "Bioscleave House" (2008), in East Hampton, NY; and the "Biotopological Scale-Juggling Escalator" (2013), installed in Rei Kawakubo's Comme des Garçons space at New York's upscale Dover Street Market.

"None of the projects came out the way they fully envisioned them," Luk says. "But at least Madeline used to say that Nagi was 90 percent."

Still, the residential projects are the fullest realization of their reversible destiny ethos. The uneven floors resemble a nubby, prairie-dog-infested plain; ceilings are low where they should be high; entrances are in strange places, like under the kitchen; and common amenities, like doors to the bathroom, are missing.

Even if the literal-minded snickered, and they did, Arakawa and Gins stated repeatedly that these architectural features promoted "death resistance" by demanding an unusual, uncomfortable interaction with the space. By design, you have to think-hard-about how you engage with the spaces.

"Most times when you see the term 'reversible destiny' it's equated with eternal life, which I don't think is what they were getting at," Sunwoo says. "To me, it's more of a prompt to understand how to live to your fullest, to understand all of your body's capacities, how it interacts with the world on every single level: through your senses, through your mind and how your mind can construct the world around you. And in doing so, one is able to experience life so much more exponentially than we can ever understand."

The couple left numerous grandiose plans-"Isle of Reversible Destiny," a city in Tokyo Bay; "The Reversible Destiny Healing Fun House"-when they died: Arakawa in 2010 at 73, Gins in 2014 at 72. But even if they couldn't extend their lives, their work is proving resilient. Besides Eternal Gradient, models and drawings are included in the touring show Shonky: The Aesthetics of Awkwardness and The Future Starts Here, which opened this month at London's Victoria & Albert Museum. The Reversible Destiny Foundation is also working with Gagosian gallery, which represents Gins's estate, on an exhibition and publication due next spring.

All that represents a boom for Arakawa and Gins, conceptual artists, and untraditional architects who defy easy categorization. But in this Instagram era, the world might have finally caught up with their visually evocative work-be it a page of text, a drawing on drafting paper, or wild loft spaces.

"There's this one phrase that one of their colleagues told me they would say over and over again, and it's 'Choose everything,'" Sunwoo says. "That's amazing, just having that freedom not to be tied to your professional identity and just contaminate your thinking always."

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The Artist-Architects Who Believed Their Psychedelic Designs Would Promote "Death Resistance"

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A new exhibition, hosted by Columbia GSAPP, of the art and architecture of Arakawa and Madeline Gins forces us to rethink how we define art and architecture.

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Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter.

Architecture and design have many faces, and the kaleidoscopic world of psychedelia is a fascinating one. Entrancing sinuous curves, vibrant hues, and boundless imagination alongside a connection between mind, body and the natural world are the key elements in this energetic aesthetic. Born initially from revolutionary 1960s counterculture, this surreal realm of artistic expression profoundly influenced architecture and interior design during its short reign, with daring architects pushing beyond conventional boundaries to create new, unprecedented environments.

As the reemergence of this enigmatic movement in today's design landscape unfolds, it's exciting and informative to delve into the past to understand its enduring allure.

A journey into the psychedelic movement's history reveals that at its origin, the trend was heavily influenced by the widespread consumption of mind-altering substances and as the 1960s counterculture redefined the boundaries of art, politics, and social norms, a renaissance in artistic expression took hold, with architecture swept up in the beguiling influence.

One early example of psychedelic architecture is in Hamburg, Germany, at the Spiegel Publishing House. In 1969, Danish designer Verner Panton, a pioneer of psychedelic design, unveiled his magnificent office space. His avant-garde vision featured undulating contours, amorphous furnishings, and a riot of colors harmonizing into a symphony of visual delight. This space encapsulated the essence of the movement, defying traditional design's rigidity and embracing a new world of imagination.

Around the same time, the groundbreaking architectural collective Ant Farm designed the House of the Century, an exemplary psychedelic edifice. This residential project is situated in Texas and boasts a distinctive, futuristic design with a curvilinear exterior and a luminous, open-plan interior. The structure's seamless integration with its natural surroundings demonstrated the psychedelic movement's affinity for the organic, a feature that would become a hallmark of the style.

In London, the 1967 opening of the UFO Club, designed by Michael English and Nigel Waymouth, heralded a new era for countercultural gatherings and developed a space that would not only reflect their way of thinking but encourage others to think and experience in new ways. The club's interior, resplendent with otherworldly patterns and shimmering lights, provided an immersive experience, transporting visitors to a realm of hallucinatory euphoria. As a haven for artists, musicians and intellectuals, the UFO Club became and remains synonymous with the 1960s counterculture and the psychedelic aesthetic.

There are many examples of psychedelic design and our list would be incomplete without mentioning the influence of Austrian artist and architect Friedensreich Hundertwasser. Hundertwasserhaus is an apartment building in Vienna, was completed in 1985 and showcased his penchant for fluid forms, vibrant colors, and ecological awareness. With uneven floors, meandering corridors, and lush rooftop gardens, the Hundertwasserhaus defied conventional architectural norms, embodying the psychedelic spirit of freedom and individuality.

Fast forward to the present, and the reemergence of psychedelic design is evident across various contemporary projects. This resurgence can be attributed to several factors, including a renewed interest in alternative spirituality, eco-conscious design, and a desire to break free from the monotony of minimalist aesthetics. While historically, psychedelia meant the use of vibrant colors and contrasting materiality, today's refined and developed architectural style has led to architects and designers primarily adopting the movement's core principles into their own explorations, emphasizing fluidity, form, and connectivity with nature over simply vivid color.

Some critics have suggested that the reemergence of psychedelic architecture directly correlates with the resurgence of interest in psychedelics for mental health and well-being, a field that has undoubtedly risen to the forefront of both healthcare and design as a key focus point. As research into the therapeutic potential of various substances gains momentum and research space, so does the notion that the psychedelic architecture of the past may have had unlocked an essential insight when considering and developing spaces that support our emotional and physical health.

A recognizable cultural shift towards introspection, creativity, and self-expression is widely observed in todays society and this shift dovetails with the core principles of psychedelic design, encouraging architects and designers to revisit and reinterpret the movement's legacy. Even if today's architects aren't necessarily taking the psychedelics themselves, the aesthetics of 1960s have impressed themselves on cultural memory, and it seems that firms dabbling in formal experimentation on this legacy - whether it is consciously or unconsciously.

Notable examples of modern psychedelic-inspired architecture include the Bjarke Ingels Group's (BIG) Serpentine Pavilion that stood in London in 2016 or the Blur Building by Diller Scofidio + Renfro in Switzerland. The Serpentine Pavilion, completed in 2016, featured an undulating, translucent structure that invites visitors to explore its labyrinthine pathways.

A masterful use of form and light transform the pavilion into an immersive experience, echoing the psychedelic principles of the past. Meanwhile, the Blur Building is an ethereal cloud-like structure on Lake Neuchâtel. A fine mist generated by water jets envelops the structure, creating a dreamlike atmosphere that harkens back to the mystique of psychedelic design and the importance of experience within the movement.

Without question, the 1960s counterculture's psychedelic movement left an indelible mark on the architectural and design world, pushing the boundaries of conventional architecture. Today it becomes evident that the psychedelic spirit continues reverberating through the world of design. As architects and designers find inspiration in the past and chart new territory, the allure of psychedelic design endures. As humans continue to explore alternative forms of spirituality, eco-conscious design, and the therapeutic potential of psychedelics, the vibrant and innovative legacy of psychedelic architecture remains a powerful source of inspiration.
Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter.

Sam Frew is an interior designer with ten years of experience in the high-end hospitality industry. She is one-half of Campbell | Frew Design Studio. Over the years Sam has collaborated with some of the world's biggest hotel brands including Accor, Millennium, Ensana and Radisson.

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Psychedelia's Architectural Reverberations: The Mind-Bending Legacy of 1960s Countercultural Design - Architizer Journal

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Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. Architecture and design have many faces, and the kaleidoscopic world of psychedelia is a fascinating one. Entrancing sinuous curves, vibrant hues, and boundless imagination alongside a connection between mind, body and the natural world are the key elements in this energetic aesthetic.

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Verner Panton - a pioneer of psychedelic design

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Have A Good Trip | Official Trailer | Netflix

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2020 Documentary revolving around celebrities telling their stories about hallucinogenic drug usage.

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Have A Good Trip | Official Trailer | Netflix

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7 of the best psychedelic books ever written

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Much has been said about the psychedelic experience and its rich and thrilling history. Luckily for us, some of the greatest pioneers who pushed forward into the choppy waters of the mind wrote it all down. Packed with governmental intrigue, freak-out trips and the loving grace of human community, this breed of psychedelia literature has it all.

Split between riveting fiction, biography and beatific new age how-to manuals, these books cover much of Western culture's first foray into the star soul of mind-blowing consciousness.

There is an exhaustive amount of books pertaining to this subject and this list tries to cover at least a smidgen of these incredible visionaries.

Here are some of the best psychedelic books ever written.

Fear and Loathing in Las Vegas

Largely popularized as a cult classic movie adaptation starring Johnny Depp and Benicio del Toro, Fear and Loathing in Las Vegas by Hunter S. Thompson jumpstarted a new book and writing genre critics called Gonzo journalism. Following in the footsteps of the beatnik poets before him, Thompson penned a roman á clef novel loosely based off an excessive drug-addled trip to Las Vegas.

Delving into the savage heart of the American Dream and casualties of a failed cultural revolution, Thompson's satirical wit makes this book a staple of psychedelic literature. If you're looking for universal consciousness truths laid out nicely in a row, hang on to your hats because you won't get that in this book.

Thompson tears into reality with a dizzying array of hallucinatory scenes that wind you up and drop you down before you can figure out what's really even happening anymore. Interspersed between the crazed prose are beautiful bits of wisdom lamenting in the death of an era. Nowhere is that more potently felt than in Thompson's famed Wave Speech. By the end of the book it is clear that Thompson has left a warning sign for all those future freaks and seekers who naively believe that fundamental change in the world is just a tab away.

We are all wired into a survival trip now. No more of the speed that fueled that '60s. That was the fatal flaw in Tim Leary's trip. He crashed around America selling 'consciousness expansion' without ever giving a thought to the grim meat-hook realities that were lying in wait for all the people who took him seriously... All those pathetically eager acid freaks who thought they could buy Peace and Understanding for three bucks a hit.

But their loss and failure is ours too. What Leary took down with him was the central illusion of a whole life-style that he helped create... a generation of permanent cripples, failed seekers, who never understood the essential old-mystic fallacy of the Acid Culture: the desperate assumption that somebody... or at least some force - is tending the light at the end of the tunnel.

High Priest

Timothy Leary was the great proselytizer of the psychedelic revolution. From Harvard psychologist square to guru-exile, he ran the gamut on what it meant to change your mind. High Priest is taken from the early chronicles of the 1960s and written right around the time Leary was getting acquainted to the many jail and prison cells he'd been forced into by the overzealous drug czar Nixon administration and company.

This is a central book for understanding both the rich cultural history of the time and the story of a great man. Famed poet, Allen Ginsberg once remarked that Timothy Leary was a hero of consciousness. The book pays its dues to the many prophetic mystics and scientists that came before him, while also touching on some contemporaries' of the time as well, such as Aldous Huxley, Ram Dass and Ralph Metzner.

It's a thrilling journey for both the reader and Leary himself. At one point he states:

I learned more about...my brain and its possibilities... and more about psychology in the five hours after taking these mushrooms than I had in the preceding 15 years of studying doing research in psychology.

Leary's High Priest is a gateway drug to opening your mind and entering into one of the most important cultural time periods in the 20th century.

The Doors of Perception

Break on through to the other side. The philosophical essay and book by Aldous Huxley that inspired The Doors' Jim Morrison. First published in 1954, the book covers Huxley's experiences while taking mescaline. It's a recollection book that's often paired with his other essay on William Blake. The title comes from a phrase in Blake's poem The Marriage of Heaven and Hell.

The beautiful line goes like this:

If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.

What's even more surprising about this book was that Huxley wrote in a time that preceded the onslaught of the counterculture. But that comes as no surprise to if you've read Huxley's Brave New World, which has been eerily prescient in predicting our current future.

The Hasheesh Eater

One hundred years before the beatniks, hippies and whatever you want to call our current breed of hedonistic meanderers, Fitz Hugh Ludlow's tour de force novel, The Hasheesh Eater, influenced an entire generation in the ways of drug experimentation. Written in 1857, Ludlow's book describes his experiences of altered states of consciousness while using the cannabis extract.

He dedicates many pages to wild flights of fancy from the visions he saw while ingesting the drug. Ludlow also takes the time to talk about the perils of addiction, which some critics believe was more related to his eventual problems with opium.

In a time many people don't place with a bohemian surge of freedom and creativity, Ludlow helped to bring about a unique change of pace in mid 19th century American culture. With passages such as these:

I am borne aloft upon the glory of sound. I float in a trance among the burning choir of the seraphim. But, as I am melting through the purification of that sublime ecstasy in oneness with the Deity himself, one by one those pealing lyres faint away, and as the last throb dies down along the measureless ether, visionless arms swiftly as lightning carry me far into the profound, and set me down before another portal.

It was no surprise that so many wished to experience this. Not too long after the books publication, many companies began advertising "Hasheesh Candy" and private hashish clubs sprang up all over the country.

DMT: The Spirit Molecule

Dimethyltryptamine (DMT) is an incredibly powerful psychedelic compound that is also endogenously produced inside the human body. After a long period of draconian drug research suppression, Rick Strassman was able to conduct a number of biomedical tests on human subjects taking DMT. In recent years there has also been many new promising studies into this wondrous substance.

Strassman conducted a series of tests in the early 1990s at the University of New Mexico. Although Strassman has a scientific background, he's very well versed in the cultural history of psychoactive drugs and never bores with the explanations of his subject's experiences. The book opens up with an unexpected hilarious account of the Kafka maze of bureaucracy he has to go through just to acquire the drug legally.

Mixed with a dash of scientific expertise and spiritual proclamations, it's a great book that, in a sense, is carrying the torch forward for future scientific exploration of these altered states.

True Hallucinations

Terence McKenna recounts his insane adventures in the Amazon Basin in the search for a mythical hallucinogenic substance called oo-koo-hé. Whether or not this was the tall tale from some sophist raconteur or a glance at the truth to the inner cosmos, McKenna knows how to tell a story.

True Hallucinations is a wonderfully erudite story that's mixed in with reams of esoteric history, metaphysical pondering and just outright hilarious situations. After their mother's untimely death in 1971, Terrence and his brother Dennis and a coterie of seeker friends set out to the Amazon to experiment with DMT and a whole lot of psilocybin mushrooms.

McKenna truly believed that the fate of humanity and the species rested on returning to the roots of shamanism - the expanding of consciousness - and what he termed the Archaic revival. At one point in the book he says:

The Archaic Revival is a clarion call to recover our birthright however uncomfortable that may make us. It is a call to realize that life lived in the absence of the psychedelic experience upon which primordial shamanism is based is life trivialized, life denied, life enslaved to the ego and its fear of dissolution in the mysterious matrix of feeling that is all around us. It is in the Archaic Revival that our transcendence of the historical dilemma actually lies.

Nothing is off limits for McKenna in this whirlwind paean for the search on the true ontological nature of reality itself.

LSD: My Problem Child

This is the story told by the father of the substance himself, organic chemist Albert Hoffman. Hoffman traces back LSD's humble beginnings in his chemist's lab that would go on to radically change the world, sparking hysteria and a new age.

The book follows Dr. Hoffman as he goes across Mexico searching for sacred plants and corresponding with other notable figures about his discoveries, which also included psilocybin. For the father of such far-out drugs, Dr. Hoffman grounded himself to a scientific reality with an added twist of pure mysticism. This was evident in some of his speech:

The wonder, the mystery of the divine ‹in the microcosm of the atom, in the macrocosm of the spiral nebula, in the seeds of plants, in the body and soul of people.

Hoffman focuses less on "trip reports" in this book and goes into the nitty gritty of the chemistry of LSD and other psychiatric drugs. However, the book is not bereft of some wonderful ravings and incredibly diverse citations of a mountain full of great scientists and philosophers.

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7 of the best psychedelic books ever written

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Turn on, tune in, and drop out and into a good psychedelic book.

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‘I learned more about…my brain and its possibilities… and more about psychology in the five hours after taking these mushrooms than I had in the preceding 15 years of studying doing research in psychology.’

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Timothy Leary’s psychedelic life in Millbrook

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Timothy Leary’s psychedelic life in Millbrook

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Millbrook is a 64 room mansion which Leary and Richard Alpert, psychotherapists who ere fired from Harvard University, rented from Peggy Hitchcock. Leary and Ralph Metzner founded the Millbrook commune, where they ran the League for Spiritual Discovery (LSD). They advocated the use of psychedelic drugs for personal growth and enlightenment.

They ran weekend workshops which started to focus on mimicking the psychedelic experience without drugs. ‘You’s show up to breakfast and all the food would be different colours, it was a way to alter your perception,’ - Lander.

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Painting on the front of the house

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LSD became illegal and raids were coordinated at the estate. Leary called the raid of the estate, ‘Religious persecution.’

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The Doors of Perception by Aldous Huxley

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The Doors of Perception by Aldous Huxley

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‘If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.’

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Nine tabs of "Eye of Horus" blotter

Blotter art is an art form printed on perforated sheets of absorbent blotting paper infused with liquid LSD. The delivery method gained popularity following the banning of the hallucinogen LSD in the late 1960s. The use of graphics on blotter sheets originated as an underground art form in the early 1970s, sometimes to help identify the dosage, maker, or batch of LSD.

Images may be of various sizes but sheets are often 7.5-inch (190 mm)-square and perforated into a 30 by 30 grid. Individual pieces, separated along the perforations, were sold as "hits", with a carefully calculated dosage in micrograms, so users could plan the intensity of their "trip". Blotter art also appears on blotter paper carrying other potent substances, and on undipped (drug-free) sheets.

Blotter art frequently incorporates themes common to psychedelic art, using bright, contrasting colors and repeating patterns in its designs. Cartoon characters were often exhibited, and many examples contain religious and mystical imagery or pay homage to figures in the psychedelia subculture.

Blotter art has been exhibited at art galleries and undipped blotter is often sold online. San Francisco collector Mark McCloud founded the Institute of Illegal Images, which includes over 33,000 sheets of blotter art.

LSD and blotting paper

Early in its history, LSD was distributed in liquid form, sometimes applied to sugar cubes, or in pills, capsules, or gelatin "window panes". After LSD became illegal, first in California in 1966, the use of blotter paper as a medium became more common. In the United States Supreme Court case Chapman v. United States, the court found that Congress had intended to include the weight of the carrier medium for LSD in its sentencing guidelines, regardless of whether it was in liquid form, on blotting paper, or the much heavier sugar cubes. The vastly disparate penalties for possessing LSD affected the choice of medium for the acid-taking community.

Aside from the legal ramifications, a machinist who had built specialized pill presses for the underground in the United States died in the late 1970s. Due to these factors, acid producers largely switched to blotter paper which had the advantage of being easily sent through the mail. By the end of the decade, blotter had become the standard medium for distribution. Later blotter art existed independent of LSD production.

Blotter designs as art

Blotter art reproducing The Garden of Earthly Delights

The production of blotter acid with graphics started as early as 1970. Symbolic pictures were sometimes added to indicate the origin of the LSD. Designs printed on blotter paper can serve to identify dosage strengths, different batches, or makers. As designs became more creative, blotter art became a folk and underground art form, drawing on an art vocabulary borrowed from psychedelic art and underground comix. Early blotter acid seized by the U.S. Drug Enforcement Administration depicted the Robert Crumb character Mr. Natural. LSD is sometimes branded under a particular name, and individual producers may use blotter art designs, which serve as a sort of calling card. In one instance, a chemist who went by "Bill" used the Saturday Night Live character Mr. Bill as his signature design.

Works of psychedelic art have often been reappropriated for use as blotter art. The Mati Klarwein-designed cover of the 1970 Santana album , for one, was used as a blotter art design. Other artworks that became blotter art were Frank Kozik's Tribute to Preston Blair, Stanley Mouse's Flying Eyeball, and Reverend Samuel's Lucifer. Blotter art has also appropriated older artworks such as The Garden of Earthly Delights by Hieronymus Bosch.

An acid dealer from Golden Gate Park who was interviewed by the San Francisco Chronicle in 1979 thought that widespread interest in kung fu was responsible for Asian symbology in early blotter designs, including yin-yang symbols, Chinese dragons and stars. Another popular design at the time was rainbow blotter.

Blotter art is a type of psychedelic art and incorporates many of its elements, such as color palettes reminiscent of 1960s art and the use of bright, contrasting colors. Blotter art emphasizes psychedelic themes, frequently incorporating repeating patterns in its designs, such as fractal, paisley, moiré, or kaleidoscopic patterns. While early blotter art designs could be simple repetitions of a smiley face or a single word such as PURE or YES, the subject matter soon veered toward the fantastic, surreal, and metaphysical.

Cartoon and comic book characters have been consistently popular subjects throughout the history of blotter art. Early subjects were Felix the Cat, Mighty Mouse, Goofy, Mickey Mouse as the Sorcerer's Apprentice from , and the Cheshire Cat from Alice's Adventures in Wonderland. Designs changed according to the era, and later subjects were Bart Simpson, Beavis and Butt-Head, characters from South Park, and SpongeBob SquarePants. A 1991 report from The Army Lawyer noted that tabs of acid were imprinted with designs of the Lucky Charms breakfast cereal mascot or Mickey Mouse. Painter Randall Roberts' psychedelic portrait of Homer Simpson was a popular blotter design in 2018.

Blotter art often incorporates religious, mystical and occult symbology, such as pentagrams, a Tetragrammaton, Knights of Malta shields, the Giza pyramids, and UFOs. Religious figures such as Jesus, Buddha, and the Dalai Lama have also been depicted in blotter art. At the 2010 Boom Festival, there was blotter with a Shiva image. Other designs used new age iconography, such as astrological signs.

Blotter art often pays homage to figures within the psychedelic movement, such as Timothy Leary, Albert Hofmann, and the Furthur bus used by Ken Kesey and the Merry Pranksters. Early blotter art often employed Grateful Dead symbols such as bears and the Steal Your Face lightning bolt-skull logo. One piece of blotter art featuring cartoon blue unicorns commemorates the Blue Unicorn, a hippie and Beat coffeehouse in San Francisco.

Blotter art also features animals and political symbols, like the peace dove, dolphins, John Lennon, or the anarchist Circle-A symbol.

Blotter art sometimes bordered on the satirical, depicting figures such as Mikhail Gorbachev on "Gorby acid" and depictions of a sheet with a red background with a miniature Seal of the Federal Bureau of Investigation on each tab. An example of blotter art from 1987 depicted pink flamingos while another from 2015 depicted characters from the Breaking Bad television series.

While blotter art originated in the early 1970s, most sheets of acid from the period were not preserved due both to their status as perishable commodities and their illegality. San Francisco artist Mark McCloud was an early collector and popularizer of the art. He matted and framed blotter sheets he had collected, sometimes obtaining undipped, LSD-free sheets from acid dealers. He exhibited his collection in the mid-1980s and in 1987 won second place at the San Francisco County Fair for his exhibition, which was described as "unusual but timely". His collection includes over 33,000 sheets of blotter. 400 framed sheets of blotter art are displayed in his San Francisco home, which doubles as a gallery for blotter art named the Institute of Illegal Images.

Blotter art with a ruby slippers theme

In 1987, McCloud attended an exhibition by Alex Grey, a painter known for his spiritual and psychedelic works. He purchased Grey's Purple Jesus painting for $1000. The painting depicts a purple crucified Jesus with visible internal anatomy, surrounded by a "flowering halo of blotter acid". McCloud made a print of the work, and produced around 3,000 blotter sheets that he then distributed. Later infused with LSD, the resulting Purple Jesus blotter was popular in California in the early 1990s. Grey himself was initially upset at the commercialization of his work, but later forgave McCloud, including the image in published collections of his work and signing 500 of the blotter sheets. McCloud's collection includes blotter art based on works by psychedelic artist Rick Griffin, including his Surfing Jesus, The Gospel of John, and the print Mine Eyes Have Seen the Glory, which depicts Jesus and a Native American man smoking joints with the hookah-smoking caterpillar from Alice's Adventures in Wonderland in the background. His collection also includes sheets of the comic strip character Snoopy from 1981, a full-color, perforated 44-tab piece from 1976 of a mouse and bunny with a birthday cupcake, a 1977 sheet with a Tetragrammaton with occult imagery, octopuses from Jules Verne, unicorns, and ants.

Older pieces from McCloud's blotter art collection have been exposed to ultraviolet light to eliminate any residual LSD. Nevertheless, McCloud was prosecuted by United States law enforcement agencies in 1992. He was acquitted but charged again in 2000, with conspiracy to manufacture and distribute LSD, following a year-long stakeout of his home. A raid found 30,000 sheets of undipped, perforated blotter art, which prosecutors argued McCloud was supplying to chemists and wholesalers. After protracted legal battles, he was acquitted in both instances. The legal cost for McCloud's defense in the 2000 case is estimated to have been over $500,000. Some of the blotter art that was confiscated by the FBI now bears markings from the agency. A binder of blotter sheets used as evidence by the prosecution in the case was obtained from drug busts throughout the United States in the decade prior to McCloud's arrest. It was later published by McCloud and Adam Stanhope as The Bust Book and included side-by-side comparisons to pieces from McCloud's collection. A special edition of the book included a sample of original blotter art depicting the Eye of Horus which is thought to be the oldest extant example of the medium. Items from McCloud's collection can be viewed at his website Blotter Barn.

A variety of blotter tabs, one with a Cheshire Cat design

Thomas Lyttle started collecting blotter art after meeting with McCloud. He produced vanity blotter art, limited edition runs of undipped blotter art prints that were then signed by luminaries in the psychedelic community such as Albert Hofmann, Timothy Leary, Ken Kesey, Laura Huxley, Alexander Shulgin, Robert Anton Wilson, and John Lilly. Sales of blotter art designed by Stevee Postman and signed by Hofmann were auctioned to raise funds for the drug information organization Erowid and for a study on the use of MDMA for treating post-traumatic stress disorder by the Multidisciplinary Association for Psychedelic Studies.

Blotter art has been exhibited at art galleries, including Fort Lauderdale's Galerie Macabre, the Ever Gold Gallery and FIFTY24SF in San Francisco, Method in Mumbai, the Fuse in New York City, and Miami's Luna Star Café.

Markets for undipped blotter art exist on Etsy, eBay, Online Blotter Stores and the dark web. Ken Kesey's son Zane has previously sold blotter art on the website key-z.com. Contemporary blotter artists include Ziero Muko.

Sheets of blotter art may be of various sizes but are often 7.5-inch (190 mm)-square and perforated into a 30 by 30 grid, resulting in 900 individual tabs measuring inch (6.4 mm) on each side. Early production of blotter acid involved hand-cranked machines to perforate the sheets, while contemporary perforation is often done professionally with automated die-cutting machines. Designs on blotter art may be stamped or printed, for example with a four-color-process.

Blotter as a delivery method allows for easy dosing of potent substances and easy sublingual administration of drugs which has made it popular as a medium for other potent drugs. Other drugs active in the microgram range are also distributed on blotting paper and carry blotter art, including 25I-NBOH, 25I-NBOMe, Xanax, Bromo-DragonFLY, and DOI.

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Blotter art is an art form printed on perforated sheets of absorbent blotting paper infused with liquid LSD. The delivery method gained popularity following the banning of the hallucinogen LSD in the late 1960s. The use of graphics on blotter sheets originated as an underground art form in the early 1970s, sometimes to help identify the dosage, maker, or batch of LSD.

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‘Set the controls for the Heart of the Sun’ - vocals evoke imagery of an intense acid trip.
‘Interstellar Overdrive’ - guitar sound equivalent to being inside of Syd Barrett’s mind during one of his many acid trips.
‘Echoes’ - ‘perfect way to escape the mundanity of everyday life’
‘Alan’s Psychedelic Breakfast’
‘See Emily Play’
‘Astronomy Domine’ - Written by Barrett
‘Speak to Me/Breathe’ - intense instrumental with the sound of tills, clocks, insane human laughing, screaming and other noises is the sound of insanity.
‘Julia Dream’
‘Flaming’
‘Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict’

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Pink Floyd are one of the most influential bands of all time. Their long and decorated career saw the band take off from the raw psychedelia that marked their first epoch, the Syd Barrett-fronted one, and jump with feet first down the rabbit hole of musical and studio experimentation.

Unsurprisingly for a band with a career so long, they released many misfires, but the great moments they crafted are really that. Be it Meddle, The Dark Side of the Moon, Wish You Were Here, or even The Wall, the debate concerning the ultimate Pink Floyd album will likely still be raging long after we've departed from this earthly realm, a testament to just how incredible their highlights are.

One thing that everyone can agree on though, is that although Pink Floyd, throughout the '70s and beyond, established a style that is viewed as prog, it wasn't prog in the same way as, say, King Crimson or Yes. This Pink Floyd version of prog-rock could quite easily fit into the category of psychedelia as it could with all the bombastic wizardry of prog. Regardless of prog being an offshoot of psychedelia, it is safe to say that Pink Floyd never really forgot their early acid-drenched roots, all the way up until 2014's The Division Bell. Put it this way, you wouldn't catch David Gilmore wearing a glittery cape.

There's a reason why some of Pink Floyd's best moments are some of the trippiest out there. They were one of the original bands to do it, but showing their progressive nature as artists, they just adapted the formula, which was then hailed by the press and fans as prog.

Indeed, the compositional differences between their debut, The Piper at the Gates of Dawn and The Dark Side of the Moon, are stark, but one would argue that they're both still psychedelic records, the latter makes a bold claim for being the most intoxicating record of all time. Even cuts like 'Shine On You Crazy Diamond', long hailed as prog staples, have their style firmly rooted in the dazzling psychedelia of earlier Pink Floyd.

As much of a psychedelic band as they are a prog band, join us as we list a collection of Pink Floyd's most psychedelic songs.

Pink Floyd's ten most psychedelic songs:

'Set the Controls for the Heart of the Sun' - A Saucerful of Secrets (1968)

Taken from the band's second album, A Saucerful of Secrets, 'Set the Controls for the Heart of the Sun' is classic psychedelia. Featuring keyboardist Richard Wright's slightly ominous eastern-influenced line, David Gilmour's vocals evoke imagery of an intense acid trip, totally engulfed by the experience.

If there was a song that embodied the period where hippiedom lost sight of reality and took a darker turn, this is it. There are also flecks of post-rock here, and honestly, this could quite easily be a Swans single. An all-encompassing track, prepare to be enchanted.

'Interstellar Overdrive' - The Piper at the Gates of Dawn (1967)

A Syd Barrett classic, his guitar work here is iconic. The opener to the band's debut album, this set a precedent for the rest of their Barrett-era, and immediately established Pink Floyd as one of the most exciting bands of the time.

Meandering and always threatening to come off the rails, you get a sense that 'Interstellar Overdrive' was the sound equivalent to being inside of Barrett's mind when he was on one of his many acid trips. Again, there's that sinister edge that intrigues you and has you totally captivated. A nine-minute long romp, it's one of the bands rawest.

'Echoes' - Meddle (1971)

Comprising the entire second side of Pink Floyd's lauded album , 'Echoes' is a psychedelic classic. Whether it be the album version or the one live from Pompeii, it is a psychedelic adventure with many iconic different parts.

Be it the drawn-out intro, the Phantom of the Opera riff, or David Gilmore's guitar sounding like a seagull, for Pink Floyd purists, you don't get much better than this. Inducing a narcotic-like haze for sober listeners, 'Echoes' is the perfect way to escape the mundanity of everyday life.

'Alan's Psychedelic Breakfast' - Atom Heart Mother (1970)

The fifth and final track from the band's polarising fifth album, 'Alan's Psychedelic Breakfast' was written primarily by drummer Nick Mason, but is credited to the whole group. Famously, the song features the band's roadie Alan Styles talking about breakfast, the one he's preparing and one's he's had in the past.

The track has a largely conceptual feel, and in many ways, can be seen as the immediate predecessor to the work they'd do on Meddle and The Dark Side of the Moon. Added to Styles talking, there's also the numerous sounds of the kitchen of him making breakfast, including pouring milk on cereal and cooking on the stove. A three-part instrumental, this masterpiece is best enjoyed high.

'See Emily Play' - The Piper at the Gates of Dawn (1967)

The band's second single, 'See Emily Play' is perhaps the most well known from the Syd Barrett era. Featuring the late frontman's iconic BBC-esque vocals, Roger Waters' pulsating bassline, Richard Wright's droning keys and the psychedelic freakout in the middle, there's no surprise the song enjoys a coveted status.

Truly psychedelic, it makes you want to lose it, and as Barrett sings "See Emily Play" at the end of the chorus, it's as if he's pulling you into the vivid psychedelic wonderland that he so often conjured with his music.

'Astronomy Domine' - The Piper at the Gates of Dawn (1967)

One of the shorter pieces in Pink Floyd's psychedelic armoury, this is the most psychedelic piece of their debut album. Written and composed by Barrett, it starts off with the sound of a desperate morse code, before Barrett's dissonant guitar cuts through the mix.

A cacophonous sound, the vocals are shared between Barrett and Wright, and the almost Gregorian sound they create is magical. Added to the dazzling music, Barrett's mention of the planets places this track firmly under the psychedelic bracket.

'Speak to Me / Breathe' - The Dark Side of the Moon (1973)

The first and second tracks from the band's conceptual masterpiece, The Dark Side of the Moon, 'Speak to Me' is an intense instrumental with all the sound of tills, clocks, insane human laughing, screaming, and other noises, that pull you to the edge. If insanity had a sound, it would probably be this.

Fear not, though. It quickly hauls you in and wraps you in the comfort blanket of tape effects, and Roger Waters' warm bassline. A heroic piece of psychedelia, it's the perfect track for when you're floating above the clouds, on an aeroplane heading to warmer climes.

'Julia Dream' - (1968)

The B-side to 1968's 'It Would Be So Nice', this entry is one of the more downbeat bits of psychedelia that Pink Floyd released. As Barrett sings about Julia being the queen of all his dreams, we're transported into the dream realm by Richard Wright's airy Mellotron sounds.

Mellow yet eclectic, 'Julia Dream' is the perfect music for the post-club comedown. Ironically, the lyrics reference an eiderdown, and it's like being wrapped in one.

'Flaming' - The Piper at the Gates of Dawn (1967)

Similar musically to 'See Emily Play', 'Flaming' is one the more fun songs that Syd Barrett wrote. Featuring his unmistakable overly-English accent, it's a warming piece of music that instantly removes you from the clutches of ordinary existence.

The lyrics describe a youthful game, which Barrett enriches with fantastical imagery, and there's no clearer of his intent than the line "here we go, ever so high". Also, the line, "watch the buttercups cup the light" is pure genius. Barrett really established some of the essential psychedelic characteristics on 'Flaming'.

'Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict' - Ummagumma (1969)

A highly experimental track, particularly for the time, this is one of the most visceral cuts Pink Floyd ever released, even if there is minimal music. The track consists of several minutes of noises resembling rodents and birds, all the while Waters' voice is augmented by studio techniques and effects.

Weirdly, the bird and rodent sounds, when they speed up, sound like an early version of the breakbeat. Feeling as if the song is always about to fall apart, this is perhaps the most mind-bending song that Pink Floyd ever released, ironic given the fact that it's mainly comprised of vocals.

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Pink Floyd are one of the most influential bands of all time. Their long and decorated career saw the band take off from the raw psychedelia that marked their first epoch, the Syd Barrett-fronted one, and jump with feet first down the rabbit hole of musical and studio experimentation.

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Roger Waters Tells the Tragic Story of Syd Barrett

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Roger Waters Tells the Tragic Story of Syd Barrett

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Acid test: scientists show how LSD opens doors of perception

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“Normally, our thoughts and incoming information are filtered by our prior experience,” said Parker Singleton, a PhD candidate at Cornell University in New York. “But if you take that filtering and suppression away, you are looking at the world with new eyes. You get a totally new perspective.”

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When Aldous Huxley emerged from a mescaline trip that veered from an obsession with the folds in his trousers to wonder at the "miraculous" tubularity of the bamboo legs on his garden chairs, he offered an opinion on how the drug worked.

Writing in The Doors of Perception, his 1954 book that took its name from a William Blake poem, Huxley declared that the psychedelic "lowers the efficiency of the brain as an instrument for focusing the mind on the problems of life".

Even for Huxley, the assessment now seems remarkably prescient. In new research, scientists have found evidence that LSD, another psychedelic, lowers the barriers that constrain people's thoughts. In doing so, it frees the mind to wander more easily and experience the world anew.

"Normally, our thoughts and incoming information are filtered by our prior experience," said Parker Singleton, a PhD candidate at Cornell University in New York. "But if you take that filtering and suppression away, you are looking at the world with new eyes. You get a totally new perspective."

Singleton and his colleagues set out to test the so-called Rebus model of psychedelics. Standing for "relaxed beliefs under psychedelics", it frames the brain as a prediction engine. Under the model, the brain takes thoughts and information from the senses and shapes them according to its understanding of the world. This makes the brain highly efficient: armed with prior beliefs, the noise and uncertainty of perception and thought are swiftly hammered into coherent reality.

But the brain works differently on psychedelics. According to Rebus, substances such as LSD weaken the influence of prior beliefs that the brain uses to make sense of the world. In one sense, the drugs rewind the brain's clock to a time before it learned that walls tend not to move and furniture is rarely threatening.

"You can imagine you might experience altered perceptions," said Amy Kuceyeski, a senior author on the study at Cornell. "If your prior belief is that walls don't move and your prior belief melts, then that wall may appear to move."

The scientists analysed fMRI brain scans of people on placebo or LSD. These revealed four distinct states, or patterns of activity, that the brain switched between when the volunteers were resting in the scanner. Two of the brain states were largely driven by sensory parts of the brain, while the other two involved the kind of top-down processing the brain performs to make sense of the world. On LSD, the brain spent less time on higher-level processing and more on the sensory-driven activities.

By comparing scans of the brain on LSD versus placebo, the researchers found that the drug reduced the amount of energy the brain needed to switch from one brain state another. Dr Kuceyeski likens it to flattening the landscape over which the brain can roam. Normally, the brain's activity is constrained by the mountains and valleys of our prior beliefs, but on LSD these obstacles are flattened out. "It allows us to move more freely and have more dynamic brain activity," she said.

Writing in a preprint, which has yet to be peer-reviewed, the researchers go on to show how the distribution of a particular receptor called 5-HT2a, the primary target for LSD, enables the drug to have such a profound levelling effect.

David Nutt, professor of neuropsychopharmacology at Imperial College London, who was not involved in the research, said that "flattening the landscape" allowed parts of the brain to talk to each other for the first time since early childhood.

"The whole process of child development and education is to take your brain, which is extremely malleable, and force it to be like everyone else's brain. Under psychedelics, you go back to a state where bits of the brain that haven't spoken since you were a baby can cross-talk. And it's that increased connectivity that allows people to get new insights into old problems," he said.

The ability of LSD to free up brain activity may explain why psychedelics can help people with depression, anxiety and other mental health disorders such as post-traumatic stress disorder.

"In depression, people get locked into a way of thinking that is repetitive and ruminative. It's like tramline thinking," said Nutt. "Psychedelics disrupt those kinds of processes so people can escape from it."

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Acid test: scientists show how LSD opens doors of perception

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Study analysing brain scans of people finds psychedelic drug lowers barriers that constrain thoughts

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Illusionaries - Multisensory Art Odyssey

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Immerse yourself in a realm where the lines between reality and illusion fade as light, sound, and motion unite to create an awe-inspiring spectacle.

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LONDON'S FIRST-EVER STORY-BASED IMMERSIVE ART: A FUSION OF ART AND TECHNOLOGY.

DISCOVER MORE

Illusionaries: A Multisensory Art Odyssey

Welcome to Illusionaries, a captivating multisensory art odyssey nestled in London's vibrant core, where groundbreaking digital masterpieces take centre stage. Immerse yourself in a realm where the lines between reality and illusion fade as light, sound, and motion unite to create an awe-inspiring spectacle.

Illusionaries Proudly Presents:

created by Arash Irandoust

A 40-Minute Journey Through a Triptych of Multisensory Immersion Spectacles

Step into the ethereal world of imagination at the Illusionaries and experience vivid memories of a departed bard. Be enraptured by an intellectually and aesthetically stimulating audio-visual experience that defies conventional expectations. Immerse yourself in a feast for the senses as you explore vivid imagery and emotive soundscapes, culminating in an awe-inspiring spectacle.

London's First-Ever Story-Based Immersive Art:
A Mind-Bending Fusion of Art and Technology

Immerse in Mesmerising Storytelling: Blurring Reality and Imagination with Sensory Wonders

"Epilogue"

22 JUNE - 24 SEPTEMBER 2023

Venture within, where time stops, and the infinite expanse of space unfolds. Immerse yourself in a sea of elusive imagery and ethereal sensations, allowing yourself to dissolve into the very fabric of the experience.

A Never-Ending Dance of Light And Sound:

22 JUN 2023 - 24 SEP 2023

Getting Here

Illusionaries, Crossrail Pl

Canary Wharf, London E14 5AR

Tube: Canary Wharf - Crossrail Place Exit (1 min walk)

Bus: Canary Wharf is serviced by the following buses: D3, D7, D8, 135, 277, and N550.

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Illusionaries - Multisensory Art Odyssey

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Illusionaries is a captivating multisensory art odyssey nestled in London's vibrant core, where groundbreaking digital masterpieces take centre stage. Immerse yourself in a realm where the lines between reality and illusion fade as light, sound, and motion unite to create an awe-inspiring spectacle.