Tag Archives | Oliver Sacks

Oliver Sacks, Exploring How Hallucinations Happen

via NPR 9780307947437_custom-f54744401dadf5676ee07efe7e3a5f96294231c9-s2

In Oliver Sacks‘ book The Mind’s Eye, the neurologist included an interesting footnote in a chapter about losing vision in one eye because of cancer that said: “In the ’60s, during a period of experimenting with large doses of amphetamines, I experienced a different sort of vivid mental imagery.”

He expands on this footnote in his book, Hallucinations, where he writes about various types of hallucinations — visions triggered by grief, brain injury, migraines, medications and neurological disorders.

One chapter of the book — that’s out in paperback July 2 — deals with altered states and Sacks’ personal experimentation with hallucinogenic and mind-altering drugs in the ’60s. He says the first time he tried marijuana, it induced fascinating perceptual distortion. He was looking at his hand, and it appeared to be retreating from him, yet getting larger and larger.

“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling.

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Hallucinated Sheet Music

Vaughan Bell writes at Mind Hacks:

Oliver Sacks has just published an article on ‘Hallucinations of musical notation’ in the neurology journal Brain that recounts eight cases of illusory sheet music escaping into the world.

The article makes the interesting point that the hallucinated musical notation is almost always nonsensical – either unreadable or not describing any listenable music – as described in this case study.

Arthur S., a surgeon and amateur pianist, was losing vision from macular degeneration. In 2007, he started ‘seeing’ musical notation for the first time. Its appearance was extremely realistic, the staves and clefs boldly printed on a white background ‘just like a sheet of real music’, and Dr. S. wondered for a moment whether some part of his brain was now generating his own original music. But when he looked more closely, he realized that the score was unreadable and unplayable. It was inordinately complicated, with four or six staves, impossibly complex chords with six or more notes on a single stem, and horizontal rows of multiple flats and sharps.

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