You are the artist when you approach a Dreamachine with your eyes closed. What the Dreamachine incites you to see is yours ... your own.
Brion Gysin in Dreamachine Plans, Temple Press, 1992
Flicker-effects entered art when, in the early 1960s, the painter and writer, Brion Gysin collaborated with the mathematician Ian Sommerville to produce what he called the Dreamachine: a cylinder with slits cut in the sides and a light bulb suspended at its centre, placed on a record turntable and rotated at 78 revolutions per minute. As the viewer faced it with their eyes closed, the flickering light caused trance-like hallucinations.
Officially unveiled in March 1962 at an exhibition at the Museé des Arts Decoratifs in Paris, Gysin’s Dreamachine followed on experiments in collage (inventing the ‘cut-up’ technique that was taken on by his friend, the writer William Burroughs), calligraphy, then sound works, using magnetic tape and early computer technology.
Gysin thought of Dreamachine as both a new kind of artwork - ‘the first art object to be seen with the eyes closed’ – and a potential form of mass entertainment, which could ultimately replace the television in people’s homes. His fellow artists and writers saw the Dreamachine’s potential to be a source of endless artistic and spiritual inspiration. Burroughs thought it could be used to ‘storm the citadels of enlightenment.’ The poet Alan Ginsberg was similarly moved: ‘I looked into it, it sets up optical fields as religious and mandalic as the hallucinogenic drugs – it’s like being able to have jewelled biblical designs and landscapes without taking chemicals’.
What do you see in the Dreamachine?
INSTRUCTIONS FOR VIEWING THE DREAMACHINE (10-minute video)
1. Situate yourself in a dark room and open the Youtube video below on your mobile phone. Turn the brightness up!
2. Start the video, close your eyes, and hold your phone directly in front of your closed eyelids.
You should begin to see patterns emerge through your closed eyelids within seconds!
If you would like your experience to be shared in the virtual and live exhibition, please send a written description and/or a drawing of your experience to Dr Reeder at email@example.com