JF Ptak Science Books   Post 1829

Vision from the inside out, or from another version of the outside-in, from the very Outside, can be very fruitful things, idea-engineers, inspirations.  They might have real insight of lasting applied value, or imaginary insight into the unexpected and imagined, with nothing of immediate or future values save for sense impressions  that might trigger thinking in unexpected ways or areas.

There are occasionally great finds in mounds of experimental thinking that find a foothold in the outside world, such as in the case (further) below of Robert Fludd.  Fludd (1574-1637) was a Welsh-born, London-based (and Oxford- and Padua-educated)  astrologer, Paracelsian physician, occultist, Qabalist, hermeticist, semi-cosmologist and energetic thinker who found inspiration and solution in many ususual areas, some of which didn’t really exist. 

For example,  a visionary of a different sort, as his celestial sphere will show:

And here in detail:

Universal Correspondence from Fludd’s Utriusque Cosmi Historia, 1617.Rob

Fludd’s (1574-1637)  features a complicated astrological existence well beyond the point of Copernicus.  In addition to everything else, real and imagined, Rosicrucianism and astrology and puffy-birds, Fludd looked deeply into the real stuff of the world in this book in addition to all of the other make-believe–optics, the musical intervals, perspective drawing, hydraulic engineering, construction of lifting machines, military engineering and many other interesting, physical science topics.  But this drawing, right there on the title page, reveals Fludd’s real interests and shows what governs what he does.  Everything else, the math and and the physics, services this need.  Of course the image is beautiful, which is why it is here, but it is also a deeply personal, exploitative, cover-all for the things that Fludd *wanted* to find.

So in the middle of all of this, Fludd wrote  his Pulsus seu nova et ARcana Pulsuum Historia e Sacro Fonte Radicaliter Extrata…(Published in Frankfurt in 1630), which was a tall but realtively skinny work on what at the time was a skinny topic:  the pulse.  In addition to discussing an listing all manner of data and observations ancient and modern on the subject, Fludd visits the newish and vastly important work of William Harvey, De Motu Cordis (1629), and gives it the first published favorable review.  This was a big deal at the time as Harvey’s epochal work was still feeling its way around for support.  And here it was, in an unlikely place, a book filled with useful and not information, its writer claiming a certain association with mystical medicine and universal knowledge and getting the whole deal with Harvey right. 

There are some other more recent contributions in our Outsider Logic collection that reach the limits of outside, reaching far into the aspects of knowledge that lies more or less completely hidden and inaccessible to the vast majority of readers.  Sometimes bumping into outré thinking like this is very useful because it is just so very different; and sometimes this thought process is just and only that: very different.

 This is last bit is probably the case for W. Clarissa Christeen’s  (“D.D.A.T.O.M.”)The Universal Color Keyboard for Body Building. But what Ms. Christeen absolutely does have going for her is her artwork, which is, in its own special way, quite sensational—I’m really sorry that the pamphlet is limited to only two pieces of her work, as I’d really like to see more. 

Her philosophy is at the very least odd, though it may spring from a synesthesia.  Or not. 

“Syn” (Greek, “together” and “Aisthesis” (“sensation”) combine to form this very interesting word and ability, being an automatic response to a stimulus by one sense when that stimulus is usually associated with another sense.  For example, there are “synesthetes” who perceive color as an auditory input, basically hearing yellow and so on; more famously are the musicians composing tone poems associating sound with color.  There are letter-color and number-color associatons, as well as taste-senses from colors and sounds and so and on.  For example in Kandinsky’s On the Spiritual in Art there is an attempt to relate color theory to touch and smell; Franz Liszt wrote color music; Isaac Newton attempted to establish the common distribution and association between color and tone frequencies; Rameau constructed a clavencin oculaire while Rimington made a color organ; Richard Feynman spoke of colored equations, and Nabokov recorded  (Speak, Memory) letter/color visions.  THese are just a few examples of some of the more well-known practicing synesthetes. 

In any event Ms. Christeen may be of that mold, and is attempting the universal perfection of mind and body through the combination of color and music (and scent), which “is valuable in building body-tissues of a harmonized order…the music chosen for social functions, the key notes being for the planet ruling or governing the day or the hours etc..  This brings celestial and terrestrial vibrations in direct contact, without interrupted angles which produce in harmony; in other words the creative powers which produce these various waves f light and sound or color or tone, acts upon the lower octave, matter or material manifestations recreating it, transforming it, and raising the vibrations of the said matter or material manifestations, thus, refining the temperature and quality of germ or tissue, etc.”

This is a long passage, but I include it because, well, I just had no idea when an abrupt turn was going to be made in the discourse; nor did I have any idea of what the principles were of what was being discussed.  And this is still all on page one.  Sometimes passages like these are breathtaking, as in leaving you without breath, because their foundation for understanding is so elusive.  All you’re left with, sometimes, is a “wow!” reaction, like appreciating a pitcher who has just struck you out on three roughed-up-greasy-spit-laden nastiness pitches that were invisible and illegal, and didn’t matter at all.(What the figure in the cover illustration is saying. by the way, is “Ether air motions creates cell activity”, with a couple of Biblical references, somehow.)

I do know that the major divulged secret is the Universal keynote (and “keyboard”) and its control through music and fragrance of all that is, “each individual is to harmonize his or her astral colors to the universal keynote that he or she may be surrounded by a correcting aura, which sends out its streamers of light rays into the cosmos”.  Things get more deeply possessed after this, stretching into the Old Testament and astrology, which we don’t need to get into here. 

As I said, perhaps Ms. Christeen was a synesthete, and perhaps multiply so.  In 1925, when this book was written, there mayn’t’ve been a place for people to go who had advanced sensibility of seeing colors in music, and perhaps colors in fragrance. Perhaps Ms. Christeen was working out there in Los Angeles completely alone, trying to figure out just what her special and very different gift actually was.  Perhaps her life was greatly enlivened by her synesthesia, and sent herself out on a mission to the world to have other people experience it, too,, with the help of her color-relational charts.  I do feel for her, though I have absolutely no connection to what she was trying to explain.  I do find the artwork fascinating—a true “outsider” contribution. 

(By the way, I don’t think that we ever got to the “body building” part in this work.  Also, I think the “DDATOM” after Ms. Christeen’s name meant something like “Doctor of Divinity of the Atom” or something like that–it wasn’t mentioned in the text.)

 And so there you have it.  I think that I’m just making the point that the outcome of some of this very provocative work doesn’t necessarily come into play in its ultimate evaluation, and that it should all be judged by what short of thinking that it excites in its reader.