In the 1960s and 1970s, Psychedelic Art supported the notion of creating works that defied traditional limitations associated with formal art, which was something that many artists in previous movements had tried out. Heavily inspired by the previous movement of Art Noveau, which protested the revolutionary changes associated with the Industrial Revolution, the Psychedelic aesthetic adopted the concept of rebellion within artworks created and disputed the military-industrial complex of the 1960s. [iii] There was also a Surrealist era influence on the aesthetic.

It then became overly commercialised as brands took the Psychedelic aesthetic and capitalised on it, so the rebellious nature of Psychedelic Art experienced a downturn. Yet it saw a great revival within the digital age, most notably within 1990s rave culture. Graphic software began developing at a fast pace, which allowed the digital recreation of psychedelic experiences to become a possibility.[iv]

The term “psychedelic” was conceived by British psychologist Humphry Osmond after his extensive work with psychedelic drugs. Osmond stated that the word was used to imply a type of “mind manifesting” that occurred after the consumption of drugs, with his term going on to represent the emotions felt after viewing psychedelic artworks.[v]

Our theory is this: ‘mind manifesting’ is possible without the use of drugs. We are in no way against the use of psychedelic drugs, especially those that grow from the earth. But there is a more sustainable way to achieve the psychedelic experience. It is a part of our brain and consciousness that can be tapped in to, through nourishment and hard work. That is mindfulness; real conversations with ourselves, with nature, every day, which facilitates an opening up of the inner eyes, or eye, where imagination expansion is possible, where the psychedelic can be achieved – but it takes dedication and time. The kaleidoscope within can help us see issues from multiple perspectives and find multiple solutions to even the most complex problems.

Perhaps animals and nature already do this, surpassing the need for words and linguistics, going straight to the heart and soul of life… Perhaps Nature is a conscious being herself, and all ecosystems are conscious, multifaceted networks – like our own brains.

Naturally psychedelic, the Kaleidoscope aesthetic has appealed to old and young since the 1800s. We love the idea of having many eyes and one eye, and how kaleidoscopes embody separation and integration: they are mind and eye expanding and yet they are tools for play, primarily. And we must remember to play! Animals remind us of this playfulness too, and pure presence, pure being. Pick up a kaleidoscope and look at EVERYTHING in the world with a different perspective.They are psychoactive objects.

Researching KALEIDORASA led Rosa to discover Cozy Baker, an old-school Kaleidoscope queen. She said:

“A new dawn is always breaking inside a kaleidoscope… Listening with an open heart enables one to discover that each kaleidoscope is a little world unto itself where one can… keep dreaming dreams… reflect on beauty repeating itself over and over again and know that for each ending there is a new beginning”.
Cozy Baker, Preface, Kaleidoscope Artistry, 2002
Mrs. Baker said viewing kaleidoscopes was like combining the majesty of fireworks, stained-glass windows, rainbows, sunrises and sunsets into one simple package. She compared the enchantment to "a surprise party for the eyes."[vi] "I like to have them (kaleidoscopes) where people are sitting or eating," Mrs. Baker told the Washington City Paper in 2002. "They're nourishment for the soul."[vii]
Of course, now the kaleidoscope lives within the computer. What was once a tangible tool is now flattened, digitised, made visible only through the artworks created.

With KALEIDORASA, aside from the natural trio of the kaleidoscope, the psychedelic and the Indian Aesthetic Theory of Rasa (essence: it can only be suggested, rather than described), we are interested in the intersection of technology and nature, computer and the brain, the brain and nature, so separate and yet always merging.

Imagine a future opposed to the ‘man vs. machine’ doom that films like ‘Terminator’ represent – opposed to the dystopian narrative running in society and our brains… how about instead we propose a beautiful future, where technology aids humans and nature to thrive and flourish, where nature aids our brains and our brains aid nature? A future where mindful use of technology means that humans become a keystone species? Is this naïve, is this toxic positivity? Or do we create what we believe? Where our attention goes, our energy flows…

Surely tech is being implemented all the time to support ecosystems; it’s computers bringing data allowing conservation scientists to do better work, it’s machine learning algorithms helping us reduce our carbon footprint and live more sustainable lives. And while the screen is problematic, separating us as it does from the tangible world, if we all used it differently, with boundaries, could it truly help us improve our tangible world for future generations of people, animals and plants? It depends on us: how much of our own innate power we will continue to give away, or not.

Imagine humans and technology always living in peace, in reciprocity, nourishing the land and our animal family, together and not in conflict. To reiterate: Maybe it could be the wise and careful use of technology that allows the modern human to become a keystone species, vital to a healthy eco-system?