I started to wonder whether what I had taken to be a personal experience and resonance might in fact be part of a larger whole, whether certain basic forms of geometric art, going back for tens of thousands of years, might also reflect the external expression of universal experiences. Migraine-like patterns, so to speak, are seen not only in Islamic art, but in classical and medieval motifs, in Zapotec architecture, in the bark paintings of Aboriginal artists in Australia, in Acoma pottery, in Swazi basketry — in virtually every culture. There seems to have been, throughout human history, a need to externalize, to make art from, these internal experiences, from the decorative motifs of prehistoric cave paintings to the psychedelic art of the 1960s. Do the arabesques in our own minds, built into our own brain organization, provide us with our first intimations of geometry, of formal beauty?
Friday, February 15, 2008
Oliver Sacks on Migraines, Pattterns, and Universal Art
In an interesting essay in the NYT, Sacks wonders about the patterns he has witnessed since childhood while gripped by migraine and the cross-cultural ardor for repetitive design: