Images of psychic art are recorded in our earliest visual records over the centuries. From the examination of prehistoric humans, ancient saints and shamans to modern psychic artists, we find an intuitive acceptance of pictures. Psychic art is one of the greatest tools for our communication and intuitive understanding of space, expanding our physical reality in ways that are pleasing to the eye and pleasing to the logic of the mind.
The term psychic art is a form of automatism that represents a person whose writing, drawing, painting or musical performance occurs without conscious control or knowledge. Premonitions of future events, messages from beyond the grave, and scenes from the distant past can be recalled through vivid colors, shapes, and lines that contrast with physical reality. The term psychic art is in some ways a deliberate umbrella used to encompass almost everything in the field, including tribal art forms, folk art, and today’s proposals for spirit painting. It is safe and valid, but a very general term for automation.
Some of the most capable and promising contributions of psychic art have been used in the public record for criminal investigations, such as targeting rapists or other horrific crimes, such as the Hillside Strangler in Los Angeles, in which psychic artists produced renderings of suspects and other clues related to the crime during the investigation. Such records are rare, given the volume of mail and phone calls received by law enforcement agencies following media reports of these horrific crimes.
The early Victorian cultural fascination with conjuring and other pseudoscientific phenomena supported the field of paranormal research in the 19th century. Observations at the time distinguished paranormal phenomena from psycho-psychology.
Reports by leading researchers such as Sir William Crooks and William James provided evidence of automatic writing and drawing. Jung’s concept of the collective unconscious; studied automation and consequently contributed to the diversity of psychological and parapsychological research.
In the teleview experiments conducted in the 1980s by the Möbius Group led by Stephen Schwartz, one respondent repeatedly and explicitly suggested mind-art automation. The term tele-vision refers to the ability to perceive places, people, and actions that are not within the range of the five senses.
There is a large market for spirit guide charts or effect charts that illustrate messages from deceased relatives listed under the umbrella term of psychic art through various channeled sources. Practitioners, sometimes referred to as mediums, connect spiritually with the spirit world to produce artwork for their clients.
Real canvases created in true spiritual automatism, documented in the 1970s through the press and radio, are now being published in print form. The 1979 CBS documentary “Psychic Phenomena” is an extraordinary example of support for the automation of psychic art; it filmed psychic artists who painted with their eyes closed. Another example is “Horizon in ESP” in which BBC Nova considers the replicated titles “Mother Earth”, “Alpha Theta Omega”, “Ohm 1” and “The Omega”. “Ohm 1” and “Father Earth”. Images and colors from the deepest realms of the paranormal are painted onto canvas and then presented to the public, which is sure to open up new dimensions of profound thought for the general public.
Psychic art automatism is usually associated with surrealism. The mechanism of surrealism is divided into two groups of expressions, automatism or “absolute” and “real”. Veristic forms transform objects from the physical world into paintings. The imagery of the Absolute form came purely from spontaneous thought.
The 1920s and 1930s were an important era for American Surrealism. Leading the great Surrealist movement of the era was Salvador Dali, who is considered the greatest Surrealist master of the twentieth century. In its critical appreciation of the historical principles of art, Surrealism was not a social act, but it remained a symbol of the cultural liberation of the age.
On the other hand, the automation of psychic art is entirely attributed to the scope of unconscious thought of phenomena that cannot be explained by natural law. It is usually predictive, but remains one of the less studied mental skills in parapsychology.
Perhaps its presence in museums would create an active market for psychic art automation, but most likely only for elite groups in paranormal societies.