When I was young, I remember covetously looking up on the bookshelf at my grandparent's house and, amongst their rather fine collection of Reader's Digest subscription tomes, was a book by Gordon Rattray-Taylor called the Science of Life: A Pictorial History of Biology. The first time they allowed me to look in it, I was utterly wrapped by the pictures, photos and stories within. I later became a biologist, and I sometimes think without this early influence, would I have even gone in that direction? Incidentally, my grandparents eventually gave me their copy of the book and I am pleaseed to say it is still a treasured possession. In The Science of Life is a vivid description of 1950's psychological experiments into artistic creativity, which I have summarised below.
Beginning in 1954, psychiatrist Oscar Janiger embarked on a pioneering study to understand how LSD influenced artistic creativity. Over seven years, he administered the drug to more than 100 professional artists, who collectively produced over 250 drawings and paintings under its effects. One such experiment, believed to be part of Janiger’s research, involved an unidentified artist who was given two 50-microgram doses of LSD, spaced an hour apart. The artist was then asked to sketch a series of portraits of the doctor who had administered the drug.
Over an eight-hour period, the artist created nine portraits, each capturing the shifting perceptions induced by LSD. As they worked, they described their evolving experience, offering a rare window into the psychedelic state and its impact on the creative process. Despite years of research, Janiger later reflected that no scientific consensus had been reached on the core elements of the LSD experience or the precise mechanisms by which the drug could enhance creativity. “Even 45 years after I started my studies,” he noted, “no scientific consensus has emerged clearly defining the core elements of the LSD state. Nor has research illuminated the specific mechanisms by which LSD can be used to stimulate creativity.” Still, he hoped that future studies would build upon his work, ensuring that his early explorations were just the beginning, not the end. You can see Janiger's experiment unfold below:
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| 20 Minutes After First Dose: Artist Claims to Feel Normal |
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| 85 Minutes After First Dose: I can see you clearly. I’m having a little trouble controlling this pencil. |
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| 2 hours 30 minutes after first dose: I feel as if my consciousness is situated in the part of my body that’s now active; my hand, my elbow… my tongue. |
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| 2 hours 32 minutes after first dose: I’m trying another drawing… The outline of my hand is going weird too. It’s not a very good drawing is it? |
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| 2 hours 35 minutes after first dose: I’ll do a drawing in one flourish… without stopping… one line, no break! |
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| 2 hours 45 minutes after first dose: [Agitated and changing medium to Tempera] I am… everything is… changed… they’re calling… your face… interwoven… who is… |
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| 4 hours 25 minutes after first dose: [After taking a break, changes to pen and water colour] This will be the best drawing, like the first one, only better. |
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| 5 hours 45 minutes after first dose: [Holding a crayon] I think it’s starting to wear off. This pencil is mighty hard to hold. |
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8 hours after first dose: Final drawing. The intoxication has worn off. |
References:
Rattray-Taylor, G. (1967). The Science of Life: A Pictorial History of Biology. Panther.
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