Fortification patterns

Oliver Sacks has a very lovely piece at the Times about migraines and the visual hallucinations that accompany them:

As a child, I was fascinated by patterns, starting with the patterns in our house — the square colored floor tiles we had on the porch, the tessellation of small pentagonal and hexagonal ones in the kitchen; the herringbone pattern on the curtains in my room, and the pattern on my father’s check suit. When I was taken to the synagogue for services, I was more interested in the mosaics of tiny tiles on the floor than in the religious liturgy. And I was fascinated by a pair of antique Chinese cabinets we had in our drawing room, for embossed on their lacquered surfaces were patterns of wonderful intricacy, patterns on different scales, patterns nested within patterns, all surrounded by clusters of tendrils and leaves.

These geometric and scrolling motifs seemed somehow familiar to me, though it did not dawn on my until years later that this was because I had seen them not only in my environment but in my own head, that these patterns resonated with my own inner experience of the intricate tilings and swirls of migraine.

Much later still, when I first saw photographs of the Alhambra, with its intricate geometric mosaics, I started to wonder whether what I had taken to be a personal experience and resonance might in fact be part of a larger whole, whether certain basic forms of geometric art, going back for tens of thousands of years, might also reflect the external expression of universal experiences. Migraine-like patterns, so to speak, are seen not only in Islamic art, but in classical and medieval motifs, in Zapotec architecture, in the bark paintings of Aboriginal artists in Australia, in Acoma pottery, in Swazi basketry — in virtually every culture. There seems to have been, throughout human history, a need to externalize, to make art from, these internal experiences, from the decorative motifs of prehistoric cave paintings to the psychedelic art of the 1960s. Do the arabesques in our own minds, built into our own brain organization, provide us with our first intimations of geometry, of formal beauty?