‘PhoBIAS ’ is a post-photography project by the neurodivergent artist Mirkolis, consisting of 123 unique works (1/1).

It’s an introspective and cultural investigation into the destigmatisation of phobias.

It will be open to the public on 23 November, 2024 on the OpenSea platform, Base chain.

This first-person written guide provides insights into the collection and includes the artist's notes on each phobia, in an attempt to share thoughts on the subject.

1. Introduction

2. Narrative and aesthetic aspects

3. Sales info

4. Traits, scarcity and hidden meanings

5. The artworks and notes

6. Curiosities and easter eggs

7. Conclusion

This artistic work of cultural and introspective research began in March 2023 through the first notes and attempts to search for an aesthetic/narrative line.

After receiving a diagnosis of autism in 2018, I began a long and intense journey of awareness and well-being that a few years ago led me to delve into my relationship with phobias. Having as a comorbidity a generalised anxiety disorder, which fortunately I now manage very well, I’ve always co-existed with some specific phobias. During this lengthy research I discovered that phobias are more widespread than I thought and that the majority of the world's population avoids this type of intense anxiety, which affects daily life.

This research is not intended to have a clinical approach, except for some basics, but to highlight the phenomenon from a more anthropological point of view, so in the notes of each work you will not find medical sources and therapies, apart from some curiosities, but cultural and historical anecdotes.

I decided to set aside the pathological aspect and place phobias in a broader context, even in the use of language, avoiding using ‘suffering from...’ as an external and malign presence, but as a characteristic that is part of a greater complexity of variables that make up human identity.

Following the principles of the social model of disability, it’s natural for me, however misunderstood or not, to focus more on the environment than on the person. By environment I mean the set of factors and characteristics that determine experience in a specific space, including people, relationships, objects, sensory stimuli, social dynamics. It’s not the person who is not ‘able’, but the environment that ‘disables’ the individual. And this touches us all in its various nuances. This same model will be applied to phobias in this research.

This is why I will mainly speak of the ‘coexistence’ of a phobia, meaning that the person, although not accepting the condition, finds himself dealing with it on a daily basis, or why not there is a greater character of acceptance and awareness. At the same time, I use the word intensity to get away from the binary thinking that too often demarcates the boundaries into A and B, without observing the nuances between one point and another.

Some general information for contextualisation. A phobia, to be declared as such, must be an exaggerated, irrational fear that has lasted for six or more months and must have driven the person coexisting with it to avoid the feared object or situation to such an extent that it interferes with normal functions (source DSM V).

It’s estimated that only one in eight people seek help, so it is difficult to measure its prevalence. A survey by the World Health Organisation (WHO) found that more than 7% of the surveyed population (data collected from 22 countries) had experienced a specific phobia. But I think it’s more.

Phobias are much more common in children, falling by half in later life, and women are twice as phobic as men (but we’ll talk later about that). Phobias can arise for genetic, environmental and experiential reasons, for example due not only to direct exposure to a trauma, but also to someone else's anxieties or phobias, especially parents. This happened to me with snakes in childhood, a phobia my mother passed on to me, which then faded in adolescence.

On an aesthetic level, the biggest challenge was to respect the narrative line. The moment I tell through the images is the state of freezing, a state of surrender and helplessness one is faced with during the activation of the phobia.

Thinking about my own relationship with phobias, talking to friends who coexist with them or collecting sources of personal experiences on blogs, the feeling that emerges most is that of feeling stuck and helpless, aware that there is nothing to do, except run away, when faced with that situation.

But the screaming and running away, should they occur, happens afterwards. Freezing is also a natural and innate response in humans and there are several recent articles that explain well the amount of phenomena that take place inside our bodies at that moment.

The interesting point is that the stereotype, being a cultural product, also influences the AI and its image generators, so if I describe a phobia in the prompt, what will come out is a person with a terrified, screaming expression, but that image does not reflect the complexity that a phobia entails, not even the reactions can be generalised into a scream. It’s a very similar vision to the one created in our mind if we do not prolong the thought process. At first glance, the image in our thinking will have those connotations, and then, depending on how much information we have about it and the time we spend on it, the image will reshape itself looking for a better interpretation.

It’s a mechanism similar to Kaunemann's concept of ‘Thinking, fast and slow’.

For these reasons, Chat GPT itself is full of stereotypes, so the prompts performed are a tailored work of deconstructing the bias, done ‘analogically’, since those proposed by the AI could not work.

From a certain point of view, it is a stimulating challenge against windmills, even though I knew I was facing an AI, I was responding blow by blow, in a mad harangue against the zeitgeist of the time. You propose this to me, and I try to take you down another, more complex road, trying to break down your concept.

Regarding the use of AI, I have co-operated with various generators, although mainly I have used Stable Diffusion and Midjourney, even the initial versions (V1), depending on what I wanted to achieve. In some cases I used both to create images, mixing Text to Prompt and Blender. The initial intention was to train an artificial intelligence model of my own, but the aesthetic impact would have been too powerful and far removed from the subtlety I am aiming for in this project. But I think I will use a trained model for a second project related to this one.

Regarding the collection, for each image I had a precise idea in mind, inspired by the cultural sphere of the subject and influenced by readings of personal experiences or directly from my own life, including dreams, I’m lucky because I can remember them well and mark them down.

Yeah, there’s a lot of my dreams in these artworks! But sometimes AI amazed me even more, convincing me to change my initial idea.

The notes you will read later are a testimony of the work done before creating these images. The most interesting thing, as anticipated, is that co-operating with the AI means that sometimes, after the initial bias, the proposal made by the image generator surprises you more than the one you had in mind, creating an excellent symbiosis and a really intense communication between the parts. Contrary to what one imagines, doing satisfactory work with AI takes time and effort, sometimes extreme frustration, and can be more complicated than using classical techniques. I say this as a professional photographer, some AI images that took me a whole day to make could have been done in a few hours through digital photography. But this is the most stimulating challenge of all.

I chose black and white to give a sense of ethereality and suspension, a mixture of reality and dreamlike thinking. Each image has a frame with the title and name of the phobia digitally handwritten and post-processed with selenium tones to give the black and white a harmonious line.

Another key point, apart from two pieces where the genre is not specified (for narrative reasons), I have exclusively chosen female subjects.

This is a decision I made right from the start and has several reasons. First of all for a personal factor. Irrationally, I relate my phobias to my female identity, while the manias to my male identity. Being an introspective work is something I feel I have to respect.

I find phobias very elegant and manias extremely chaotic. That said, I tend not to like to think in a binary way, but I have always perceived this strong contrast.

Another fact that led me to this choice is having discovered, through study and investigation, that indeed the female gender has a greater relationship with phobias. On the one hand there is an evolutionary characteristic, due to fertility, to raise the threshold of attention in defence of the offspring. On the other hand, there is a cultural factor: the social environment is markedly more hostile compared to the male gender. And here we return back to the concept of environment.

In conclusion, I would like these works to be visually and aesthetically accessible to those who coexist with phobias, being able to enjoy them and observe them without being triggered by them, which is why I preferred to seek a delicate aesthetic and narrative line rather than strong and attractive images. It certainly won't be possible for everyone, but I tried, with elegance.

I know people who experience a lot of phobias or are hypochondriacs, I want them to be able to enjoy the images. I have done some trials with some of them, and it worked, I hope this possibility remains.

The sale will start in Q3.

It will be on Opensea platform, Base chain, with each work on sale at a fixed price of 0.05 ETH and a pre-sale phase for holders of some projects I collect and follow at 0.023 ETH.

Why 0.023? Cause 23 is my fav number, not a phobia, but surely a mania. And thats why are 123 artworks too :)

The presale will start on 23 November at 6:23 pm and will last one day.

The open sale will start on 24 November at 6:23 pm and will last 23 days, 23 hours and 23 minutes.

I don't have the urgency and haste to sell the project instantly, and maybe it may take years, but I’ve more the need to leave the collection unalterably imprinted, precisely because of the concept of timestamps, like taking a snapshot of the current state of society regard to phobias.

At the same time, I would like users, with all the calm they need, to enjoy the works and take time to look at them and see if they resonate with their identity.

If I were a collector, I would take a work that represents a phobia of mine and one that I didn't know and that doesn't represent me, but this is not meant to be advice, just thoughts.

Presale whitelist for hodlers of:

• Opepen Edition by visualizevalue

• $FOOD token by Kevin Abosch

Other nice surprise for hodlers of:

• Checks by Visualize Value

• Trademark by Jack Butcher

• Nakamigos

• Cloaks by Nakamigos

• No-Punks

• Low Effort Punks

• A Kid called Beast

All the artworks have various traits and the contamination of them generates interesting scarcities, sometimes related to the phobia itself, wandering through history, literature, art and popular culture to be totally contaminated by the immense human knowledge.

Each image is imbued with meanings and symbols. The ID token too is assigned individually following the Neapolitan Kabbalah, precise historical dates or other esoteric numbers, and even the names of the subjects

The names of the subject are also highly symbolic, each one having a specific motif, refer to historical cases, famous people or etymologies related to the phobia. In some notes I make it explicit, in most I leave it to the curiosity to look it up.

Happy discovering, contact me if you discover anything and I will be happy to reveal the connections that I thought. I also hope that new ones can be born from the users themselves, cause obviously everything can be interpreted subjectively.

About attributes, it’s very difficult to assign a specific label to phobias, because some belong to more than one category. My subdivision is based on various factors, mainly due to what the picture says and socio-cultural characteristics, so it isn’t (absolutely) meant to be a scientific guide to them, but only a personal interpretation of them.

There are seven types of attributes:

Category / Eyes / Headgear/ Setting / Tributes / Artist own’s fear / Status

• Category:

  I have divided phobias into macro-categories, also following scientific subdivisions.

  Each of these categories highlights how phobias can be categorized based on their specific triggers, whether they are situations, animals, social fears, or related to technology, food, or medical experiences.

  -Situational

  These phobias are triggered by specific situations or scenarios. The fear arises when the person encounters certain environments or experiences and is tied to a particular situation or context rather than an object or being.

  -Social

  Social phobias involve the fear of being judged, embarrassed, or scrutinized in social settings or interactions. It is clearly related to social situations, where the person is afraid of negative evaluation by others.

  -Animal

  These phobias involve a strong fear of specific animals. People with these phobias may feel intense anxiety even when thinking about or seeing the animal, often driven by a perceived threat or danger from the creature.

  -Environment and natural elements

  These phobias are based on fear of natural or environmental phenomena that occur in the world around us, including weather, landscapes, or geographical features.

  -Numbers & Words

  These phobias involve a fear of specific numbers, words, or linguistic elements. They are often linked to cultural or superstitious beliefs, like bad luck.

  -Tech

  These phobias involve the fear of

That’s all folks. If you got here, thank you. Now it's time to discover the artworks and their stories. Have a good trip!

Here you can find each artwork with notes and anecdotes.

To facilitate your search, phobias are in alphabetical order.

Take your time and enjoy your trip.

Let’s start.

The fear of washing. From the Latin “abluere” (to wash) and the Greek “phobia”.

It’s a typical childhood phobia, which tends to be temporary, but in some cases also belongs to adulthood. In some parts of Europe, but not only there, it was common in past centuries, as dirt was believed to be a protection against disease and there was a different conception of sweat as a sign of health and vigour. At the same time, it is important to consider that nudity could be embarrassing, also for religious and cultural reasons, and at the same time there were few who had a private space where they could wash themselves while respecting their intimacy.

Going back through the centuries, in Roman times, in wealthy Roman cities such as Pompei, public baths gave the possibility of a different relationship with water, at very low prices, contrary to what one might think. Obviously, slaves were not allowed to participate.

It’s always a concept of environment, and time is not always a symbol of progress, it depends on the availability of money and access to services. It may make one laugh and feel a sense of superiority over our ancestors, but it is, as is often the case, a matter of social codes and environment that does not allow us to make a meaningful comparison.

Apart from a few cases, hygienic conditions were poor all over the world until the last century. And even today there are areas where one still has to fight for the right to personal hygiene. At the same time, it is important to consider that on a sensory level, the contact with water on the skin or the feeling of wetness can be tremendously uncomfortable for those with a different sensory level. Ablutophobia can affect social and working life due to poor hygiene, neglect and the emission of bad odours, as well as predisposing to infectious or other diseases.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of heights. From the ancient Greek “acron” (height), a term invented by the Italian A. Verga in 1887.

Almost 20% of us are afraid of heights, also known as ‘suffering from vertigo’. Many scientist investigate this phobia, for some it’s a primordial fear that is useful for our survival. But many literary writers have also discussed it, including Milan Kundera in “The Unbearable Lightness of Being”:

“Fear of falling? But then why do we feel dizzy even on a belvedere with a dark railing? Vertigo is something different from the fear of falling. Vertigo is the voice of the void beneath us that attracts us, that allures us, it is the desire to fall, from which we defend ourselves with fear” (F.K.)

In recent years, immersive virtual reality therapy is being studied and some research about Kafka and his phobia was done:

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4866976/

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of flying. From the ancient Greek “aer” (air).

Originally it was used to describe fear of the wind, but today it is used with regard to flying. About 2.5 % of the population lives with this phobia. One of the most common reasons is the feeling of helplessness when faced with a criticality due to flying, from aircraft malfunction to illness or due to unknown physiological reasons, such as hypoxia. In all this, the risks due to flying are very low and small if we compare them to road accidents, but perception (as usual) plays a role in all this.

In response to widespread aerophobia, several airlines began offering specialized programs to help travelers overcome their fear of flying. These include pre-flight counseling sessions, guided meditation, and even simulator experiences where passengers can "practice" flying in a safe and controlled environment.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of crowded places. From the ancient Greek “agora” (square).

It’s the feeling of acute discomfort or panic one can experience in unfamiliar, crowded and chaotic environments that induces a need for an escape route to a place deemed safer. Coined in 1871 by Carl Otto Westphal after treating numerous patients who were terrified of having to cross the city, a place that in its evolution is constantly being renewed and not entirely absorbed by our conception of space if we think of our millenary relationship with nature. The same feeling can occur in wide spaces, as in the open countryside, in the prairies. It is not only a concept of space, but also of relationships: it is a wide-ranging term that can indicate fear of social contacts, due to fear of being attacked (agoraphobia is diagnosed three times more often than men), fear of contact after an epidemic, fear of being continually sought out, as happened to Macaulay Culkin after the success of ‘Home Alone’.

Personally, I suffered from agoraphobia for a few years when I was in my mid-20s, also due to my job, which meant I was constantly being in the public eye and meeting/ greeting people.

I had a strong feeling of nausea at the idea of having to be in crowded places, from university to discos. The feeling of escape was also intense, like an immediate input of the mind that made the body move outside the place. Now much better, but I always prefer a small concert to a concert with thousands of people, the niche to the crowd.

A fact: though best known for his groundbreaking work in biology, Charles Darwin reportedly suffered from agoraphobia. In his later years, Darwin withdrew more and more from public life, spending most of his time at his home in Down House. It’s speculated that his agoraphobia was triggered by stress, his long-term illness, and anxiety over the public reaction to his scientific work. The evolution of fear?

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of cats. From the ancient Greek “aìlouros” (cat).

Identified by Benjamin Rush in 1786, it’s a common fear, often due to association with supernatural elements or cultural superstitions, such as the concept of the black cat, which in the Middle Ages was seen as a symbol of witches or the devil. In other cases it is due to negative childhood experiences, or other traumatic events, such as a close encounter with larger felines. In contemporary culture, it is interesting how ailurophobia is portrayed in the anime Ranma ½.

In the artwork ‘The Annunciation’ by the painter Lorenzo Lotto of 1454 . In this work depicting the archangel Gabriel and the Madonna, in the centre of the field of vision a terrified cat flees by arching its back. Lorenzo Lotto had an animalistic soul and the significance of the cat in the centre of this painting has long been debated. There has often been an emotional-sensory use of domestic animals in paintings, while still maintaining the expressive function.

The cat is often linked to the witchcraft and demonic world. In the 12th century the cat-devil association was very deep-rooted. Around 1180, Walter Map claimed that during satanic rites ‘the devil descends like a black cat in front of his worshippers. The worshippers switch off the light and approach the place where they have seen their master. They search for him in the dark and when they have found him, they kiss him under the tail'. Among the accusations levelled at heretical religious groups such as the Cathars and Waldensians was that of worshipping cats, while during the trial of the Templars in the early 14th century, there was no shortage of accusations of having cats participate in religious ceremonies and praying to them.

Edgar Allan Poe, known for his macabre and mysterious tales, was reportedly terrified of cats. Some speculate that this fear may have influenced his writing, adding a layer of eeriness to his stories. Fascinating.

Finally, a story with happy ending.

A famous case, called “The cat’s rescue”, involved a woman with severe ailurophobia who lived in a rural area where stray cats were common. One day, a stray cat was injured and ended up at her door. Despite her fear, she felt compelled to help the cat, and over time, her fear diminished as she developed a bond with the animal. Empathy helps.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of driving. From the ancient Greek “hàmaxa” (chariot).

Mainly associated with the fear of driving a car, can be very disabling for autonomy and profession. I suffer from it to some extent and with reduced intensity, in the sense that I can, but with difficulty on new roads or traffic. As far as my case is concerned, there are two triggering factors. On the one hand, the fear of an accident, because I don’t trust people driving on the roads, because of the many instances of blowing up the highway code, because of the excessive power to the case and the consequent speed of the vehicles, because of the very high figures of road accidents in relation to the population.

On the other hand, especially as far as the motorway is concerned, it’s due to my neuro-atypical functioning, the awareness of not being able to manage so many stimuli well together and the constant concentration to be maintained due to speed and the relationship with other drivers. It's something I've realised over time and on which I've taken a step back, but it hasn't affected my profession much, it's a matter of choice. In general, I drive comfortably in my city and for the roads I do a lot, like at work, but for long stretches and big cities crowded with traffic I use the train.

I don’t like, as far as new roads are concerned, having passengers, as the sense of responsibility also comes into play. Whereas I handle the situation better when I am a passenger, although I remain extremely alert to dangers and critical issues that may arise. I could be a very good co-pilot.

Interesting point: before the advent of cars, the phobia was somehow already present. Ludwig van Beethoven had a significant fear of traveling by carriage. It’s said that his aversion to carriages was so intense that he would avoid journeys whenever possible, which affected his social and professional life.

Two centuries later, similar fate for Agatha Christie, known for her detective novels, but there were no more horses. She had a fear of driving. During her lifetime, she preferred to travel by train or hire a car with a driver rather than drive herself, which influenced some of her plots where travel and transportation played a key role. Misterious music in the background.

Traits:

• Category: Situational

• Eyes: Closed

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

The fear of anger, one's own or others. From the English “angry”.

One can be frightened by the idea of not managing one's own anger and helplessness in the face of the anger of others and a lack of understanding of what may happen next. I have partly lived this situation since childhood. I tend to freeze, to go into a kind of selective muteness towards those who get angry at me, often because I do not understand why the person cannot find better words to communicate something to me. This has caused me considerable problems at school, because I tend to react the other way round, involuntarily, to no avail. Anger towards me does not lead to solutions, at most it ends up with me not speaking to you anymore because I really don't know what to say to you, in the literal sense of the word. At the same time I manage mine a lot and I don't like to get angry, because I am afraid of saying things I don't mean and of making my interlocutor sorry. It's a constant exercise in finding the right words.

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of flowers. From the ancient Greek “ànthos” (flower).

It’s a common fear that can have various causes, including a fear of insects flying around the flower or pollinating it. Queen Elizabeth I had this phobia, particularly of particularly strong-smelling ones like lilies and roses (irony, her family’s symbol was a rose). This was due to her sensitivity to their odors (similar to Osmophobia), which often caused her discomfort. To accommodate her preferences, the royal florists were careful to select flowers that were less pungent for royal events.

In ancient times, flowers were often used in medicinal preparations. However, there are records of individuals who had strong negative reactions to these preparations, leading to a general aversion to certain flowers. For instance, Hippocrates and other early physicians documented cases where patients had adverse effects from herbal treatments, leading to a wariness of certain plant-based remedies.

In some cases it can also affect the symbolic value of flowers, such as the chrysanthemum in Western culture representing death, or the correlation with a traumatic event in which flowers were given. During the Victorian era, flowers had a language of their own, with specific blooms symbolizing different emotions and messages. There are accounts of people being cautious or avoiding the exchange of flowers because they feared misinterpretations or personal discomfort associated with specific types of flowers.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Ethereal

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of water and drowning. From the Latin “aqua” (water).

Some figures report that 2% of the population live with it. It’s one of my fears, due to a traumatic experience in childhood. I was 7 years old, attending a swimming pool course, and during a training session in the water, I got a cramp in my calf and went down, my coach took me to the surface immediately, but I had a very strong seizure and couldn't get back in right away. The following days were even worse and there was no way to convince me to get back in the water. Traumatic events in neuropathic people can have an extremely stronger intensity, resulting in crises that are difficult for the person to handle.

I think that knowing how to swim well, having the knowledge that I can handle that situation well, could help a lot in dealing with this phobia, but it's not that easy. Absurdly, I love being in the water, with my body submerged from the shoulders up. If I go to the beach, I spend almost all my time in the water, which I prefer, on a sensory level, to the beach. Over the years, whenever I found myself in front of a crystal clear, welcoming sea, I jumped in, agreeing with my friends to help me in case I got scared. Fortunately I can still float and move a little in the water, but the feeling of having my feet in the water, because that is what is holding me back, is too strong to go beyond a few seconds.

I know that one day I will have to deal with it completely by taking a swimming course with a coach who will have to fully understand my trauma, and fortunately I have already found him. I just have to make up my mind!

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: Yes

• Status: Real

• Headgear: No

Fear of spiders. From the ancient Greek “aràchne” (spider).

It’s a widespread fear, it is estimated that over 4% of the population is terrified of them. There are various theories about the causes, for some the reactions to the sight of a spider precede conscious thought, awakening primitive survival instincts. According to some, it is due to a particular spider (Sicarius Hahni) that was present where Homo Sapiens appeared and was capable of killing a child with its venom. Another explanation has to do with cultural/biological reasons stemming from the Middle Ages, when they were thought to carry diseases (in fact the opposite is true).

In medieval European folklore, spiders were sometimes associated with witches and dark magic, which could have contributed to widespread fears of these creatures.

In a letter to a friend, write Mark Twain wrote:

"Sometimes, as I walk about my room, a spider will crawl upon me, and I shake it off with a vigorous shrug of the shoulders. I cannot endure to have a spider on me. It is as though I had a small assassin lurking on my skin."

Followers of Freud hypothesised other peculiar viewpoints, but without doubt arachnophobia carries a mysterious and symbolic aura ever since the myth of Arachne.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of numbers. From the ancient Greek “arithmòs” (numbers).

It’s the fear of numbers and their use in mathematical calculations. There are phobias linked to specific numbers (4,13,17,666), some of which are represented in this project, but in this case I decided to also represent the generic phobia due to certain prejudices linked to the female gender. For a long time, the female gender was considered unfit for scientific/mathematical practices, but in recent years the female gender has been gaining more and more ground in STEM (science, technology, engineering and mathematics) subjects, invalidating useless and harmful theories. Illustrious figures such as Ada Lovelace have made mathematical history and as is often the case, the phobia may stem more from the experiential environment (social pressures, demand for high performance) than from the element itself.

And there are a lot of manias connected to numbers, i have one with 23, and i’m not the only one.

There are several anecdotal cases where individuals have become obsessed with the number 23, often citing it as a source of personal significance or conspiracy. One famous example is the "23 Enigma," popularized by writer William S. Burroughs and later explored by Robert Anton Wilson in his "Illuminatus! Trilogy." This phenomenon involves the belief that the number 23 appears in various significant or mysterious ways.

But we’ll talk better in the next project.

Traits:

• Category: Numbers and Words

• Eyes: Open

• Setting: Past

• Tribute: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of the stars and the night sky. From the ancient Greek “àstron” (stars).

It can be a phobia related to other negative feelings, such as feeling alone, being in the dark, or fear of aliens or of something undefined and unknown coming from the sky. Since ancient times, the night sky has been a symbol of fear and fascination, towards a vastness that for millennia was mysterious and inexplicable, often decrypted through religion and spirituality.

Various ancient cultures had superstitions and fears related to celestial bodies. For instance, some ancient civilizations believed that unusual celestial events, such as comets or eclipses, were omens of disaster. This fear of the unknown or ominous nature of celestial events could be considered a form of astraphobia. These beliefs are documented in texts like "The History of the Peloponnesian War" by Thucydides, where celestial events were interpreted as signs from the gods.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of asymmetries. From the ancient Greek “sym” (same) and “metri” (measure) + “a-” (negation).

Anything that is objectively or subjectively asymmetrical will give someone with this condition a very high amount of anxiety or terror. Even the mere thought of it can be enough to give someone with asymmetry an unwanted influx of dread and terror. The asymmetrical phobia of this condition is symmetaphobia, which is the fear of symmetry. Asymmetaphobia can also be very debilitating, in severe cases, as the amount of the world around us is not symmetrical. From the physical appearances of people, to houses, to trees, to any other arbitrary thing found on Earth, asymmetry is all around us. And fortunately, since the concept of harmony of natural elements cannot be based on symmetry. Like our faces, you can give it a try yourself by splitting a photo of your face in half by mirroring it, you will notice that beauty comes from (sometimes imperceptible) imperfections. Be that as it may, such geometric phenomena are often perceived as white noise to most people. I wonder if Wes Anderson lives with this anxiety, I clearly wonder lightly and without judgement.

In various cultures, symmetry is often associated with balance and harmony, while asymmetry can be seen as a sign of imbalance or disorder. Superstitions and traditional beliefs about symmetry and asymmetry can reflect a broader discomfort with unevenness. These cultural attitudes are discussed in texts on cultural psychology and anthropology.

Traits:

• Category: Sensory

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

The fear of being imperfect or not feeling up to standard. From the ancient Greek “atelo” (imperfect).

It can affect any area of daily life (physical appearance, interpersonal relationships, school or profession, ideas and beliefs). It is a malaise that devalues every achievement and the infinite reasons for joy that life gives us every day. It makes one believe that everything one does or says is wrong and is closely related to low self-esteem. There can be many causes here, but the experiential nature due to a judgmental and performative environment is undeniable.

Renaissance artist Michelangelo is known to have struggled with perfectionism, which can be linked to atelophobia. Michelangelo’s famous reluctance to consider his work finished and his continual reworking of sculptures and paintings reflect a deep-seated fear of imperfection. This aspect of his personality is discussed in various biographies, including "Michelangelo: A Life in Six Masterpieces" by Miles J. Unger.

In Japanese culture, the concept of "wabi-sabi"—appreciating the beauty in imperfection—can be seen as a counterpoint to atelophobia. This cultural attitude reflects a different approach to imperfection and its acceptance.

Traits:

• Category: Social

• Eyes: Absent

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of oblivion, of forgetting and especially of being forgotten or replaced. From the ancient Greek word “athazagoros” (forgotten).

Clearly there is a substantial difference between the discomfort felt at the idea of being forgotten or forgetting someone and experiencing this possibility with clinically significant anxiety to the point of invalidating everyday life. It is a phobia also associated with Alzheimer's sufferers, but there may be various causes, genetic and environmental, as well as being related to famous people on their twilight years. The fear of not having done enough to prolong existence beyond death, the endless chain of being so important as to deserve a statue that is likely to deteriorate over time.

Napoleon Bonaparte, the French military and political leader, was driven by a desire to secure his place in history. His fear of being forgotten can be seen in his meticulous efforts to build an enduring legacy through military conquests and the spread of his legal code. In exile on the island of Saint Helena, Napoleon reportedly expressed anxiety about his eventual obscurity. This fear of being forgotten was one of the reasons he wrote his memoirs.

Traits:

• Category: Social

• Eyes: Closed

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of what can resemble and simulate a human form such as mannequins, wax figures or humanoids. From the ancient Greek word “automatos” (self-acting).

It can be generated by traumatic experiences in childhood, such as some horror films, Ali Mattu of Columbia University said that ‘Some people claim that we are afraid of what looks human, but is not, because it reminds us of dead bodies.’

In the late 19th century, Thomas Edison invented a talking doll, which was one of the first toys to use recorded sound. However, these dolls were not well-received because people found them unsettling and even frightening. The dolls' eerie voices, paired with their human-like appearance, likely triggered discomfort similar to automatonophobia in some individuals. Due to their poor reception, the dolls were discontinued. This incident can be seen as an early case of people reacting negatively to human-like objects.

Wax figures, often found in Madame Tussauds museums, have a long history of unsettling visitors due to their lifelike appearances. There are numerous anecdotal accounts of people feeling uneasy or frightened when faced with rows of human-like wax figures.

With the advent of the first “real” android robots (wen AGI ser?) , I think we’ll be talking about them more and more.

It occurs to me that that in Emilia-Romagna (Italy) there is a punk community that builds steampunk humanoid robots out of scraps and salvaged material. It is called Mutonia, a story of some British and Scottish men who could no longer stand Thatcher.

Traits:

• Category: Tech

• Eyes: Closed

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of germs and dirt. From the Latin word “bacterium” (stick).

Also known as Pilate's syndrome or misophobia, it represents the fear of being contaminated, of touching a surface, an object and automatically finding oneself in contact with germs, with all the worst consequences that this possibility brings. Coined by William A. Hammond, a US physician and military neurologist in 1879, while studying obsessive compulsive disorder. It can be disabling depending on the intensity as the subject may go so far as to avoid the use of public transport, contact with other people in the case of seasonal flu, avoid unfamiliar surroundings as they are unsafe to clean.

The discovery of germ theory by Louis Pasteur in the 19th century revolutionized medical science but also contributed to a rise in bacteriophobia. As people became more aware of the invisible dangers of bacteria, the fear of contamination grew. Pasteur himself was a meticulous man who followed strict hygiene practices, reportedly being very cautious about bacteria in his lab and daily life. This heightened awareness of bacteria led to societal changes in hygiene practices, including the sterilization of medical instruments and the development of vaccines.

In several Sherlock Holmes stories written by Sir Arthur Conan Doyle, the character of Holmes exhibits an aversion to germs and contamination. In "The Adventure of the Dying Detective," Holmes feigns illness and warns Dr. Watson to avoid touching certain objects in his room, which Holmes claims are contaminated with dangerous bacteria.

Howard Hughes and Nikola Tesla coexisted with this phobia.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of missiles and projectiles, in general from devices launched into the air. From the ancient Greek “ballō” (to throw, to pull).

It’s also defined as the fear of being hit. It is particularly suffered by PTSD sufferers, in many cases due to direct exposure to the source of trauma for those who have fought in wars. The subject tends to avoid any situation that puts them at risk of being hit or exposed to projectile weapons. Think also of the collective trauma that was the advent of gunpowder and the weapons that came with it. Something totally new for the human being, a multi-sensory shock, from hearing to sight to smell. Genetically unprepared for this kind of information, sensations described with terror in history, the large, new cannons used in the siege of Constantinople, the chaos in the battle of Waterloo, the first photo documenting a ptsd during the First World War (known as Shell Shock). We describe battles through the heroic deeds of brave soldiers, hiding the most natural, human, and healthy feeling that affects everyone: the fear of dying and being wounded.

In some historical notes on the Battle of Waterloo and others mentioned, soldiers were terrified by even the sound of various firearms, causing trauma. Fear = human.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of gravity. From the ancient Greek “baros” (pressure).

Isaac Newton's discovery of gravity in the 17th century revolutionized how we understand the physical world. While Newton himself wasn't afraid of gravity, his work on the force of gravity stirred fear and fascination among scholars and the general public. The notion that gravity was a powerful, invisible force constantly acting on the body led some to consider its potential dangers.

And astronauts, including early pioneers like John Glenn and Yuri Gagarin, expressed anxiety over the unknown effects of re-entry into Earth's atmosphere, where the sudden return of gravity could cause them to crash or burn up in space.

People who live with this phobia may experience anxiety and panic when they are in environments or situations where they perceive increased exposure to the force of gravity, but in some cases simply standing in certain environments, feeling crushed. Sometimes it’s caused by traumatic fall accidents during childhood.

Perceptually, the individual imagines damaging events resulting from gravity failing or becoming too powerful. Sometimes I wonder if as human beings we have a different range of sensitivity to the force of gravity, more or less intense.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of stairs. From the ancient Greek “bathmo” (step).

People feel a strong anguish not only in taking stairs and slopes, but also simply in seeing them. It’s a fear that, as is often the case, can stem from negative childhood experiences, such as having fallen or being exposed to the sight of a gloomy environment where stairs were present. Animals also manifest this fear.

Sigmund Freud often analyzed the symbolism of staircases in his studies of dreams. He noted that stairs were frequently associated with feelings of anxiety, and dreams about climbing or descending stairs could reflect a person's internal fears. Freud’s observations might resonate with individuals experiencing bathmophobia, where the act of navigating stairs triggers intense fear. He believed that stairs in dreams often represented struggles or fears about life's ups and downs.

During World War I, soldiers in the trenches often had to climb out over steep embankments and staircases to launch attacks or escape enemy fire. The fear of climbing out of the trench and being exposed to gunfire, as well as the physical challenge of navigating steep, muddy slopes, caused many soldiers intense anxiety. While the fear was more related to warfare than bathmophobia itself, the steep climbs and descents from the trenches contributed to a broader fear of navigating slopes and uneven ground under stressful conditions.

Finally, there is a famous person strictly related to bathmophobia, but I will not mention it in these notes.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of frogs or other amphibians. From the ancient Greek “bàtrachos” (frog).

A jumping frog, its slimy skin, glittering eyes or peculiar legs. The sight is enough to trigger a strong fear in the individual living with this phobia. The philosopher John Locke already spoke of this in 1693 in ‘Thoughts on Education’. An interesting detail is the cultural use. For a long time, ceramic frogs were used to keep people of Rom ethnicity from entering certain places, as they were believed to be terrified of them. The intimidating use of this phobia concealed another far more worrying one, xenophobia.

In medieval Europe, frogs and toads were often associated with witchcraft, black magic, and poison. People believed that witches used toads in their spells and that these creatures were familiars of witches. Frogs and toads were also believed to be poisonous or harmful in some way and these association with dark magic or poison could have contributed to fear and revulsion toward amphibians.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of books. From the ancient Greek “biblíon” (book).

More than the fear of books, it is very often the terror of the effect that book can have on culture. From an anthropological point of view, it is certainly one of the most interesting phobias, because it is a container for other phobias and extremely dangerous and stagnant. The fear of change, of the alteration of the status quo, of progress and fear of one's own status in the face of openness to a given topic. It is the direct cause of censorship and public book burnings in history. It is the only case in which I have chosen to leave a gender question mark to emphasise how purely masculine and mean-spirited this tendency is. There is a strong symbolism in the image.

History is full of it. From the mass destruction of books during the period of the Inquisition and throughout the Middle Ages by Catholic clergy and fanatical kings and emperors to Emperor Qin Shi Huang's destruction of Confucianism texts, to the mass hysteria during the Nazi period. Related in part to the subject is the book ‘Bibliophobia’ by Brian Cummings of Oxford University. It is interesting how a seemingly inanimate object can provoke violence and terror in various social clusters, from religion to politics, revealing the fragility of human thinking in these millennia.

And finally, one of my most persistent thoughts. I think about how much knowledge we have lost in all existing subjects, one of the greatest tragedies in human history, the destruction of the Library of Alexandria. While it wasn't necessarily caused by a direct fear of books, the destruction of this ancient repository of knowledge could be seen as symbol of a broader fear of intellectualism, knowledge, or the power of the written word. The library, which housed countless scrolls and texts, was burned down, and much of the world's knowledge at the time was lost. Some of these actions were likely driven by political motivations, but they reflect an underlying fear of the dissemination of knowledge.

Traits:

• Category: Numbers and Words

• Eyes: Hidden

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of mucous or viscous consistencies. From the ancient Greek “blènnos” (slime).

It is a phobia closely related to others in which there is a slimy texture, such as snakes or amphibians, or simply to slime. The sense of slime is used a lot in recent cinema and popular culture, an example being the film Ghostbusters in which the main characters go on the hunt for slimey, slimy ghosts, as well as in other genres such as horror or splatter. A similar, lesser effect causes many people not to eat the renowned escargot or snails in general.

In Dante's Inferno (14th century), the third circle of hell, where gluttons are punished, is depicted as a place filled with foul rain and mud, symbolizing the sin of gluttony. The slime in this context is repulsive and serves as part of the punishment, reflecting disgust and fear.

In medieval times, slime and mucus were often associated with illness and decay. During the outbreaks of the Black Death and other plagues, bodily fluids, including mucus, were feared as carriers of disease. The sight of a person expelling mucus or slime-like substances could evoke feelings of disgust and fear of contagion.

A curiosity, the number 28 in the Neapolitan cabala represents slime and has a meaning of purification from envy.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of what is ugly or of being considered ugly. From the ancient Greek “kakos” (ugly, bad).

Many phobias have an objective basis, whereas in this case the phobia is extremely subjective as the idea of beauty or ugliness of living beings or objects is strictly individual and relies on cultural norms and codes of the time in which the phobia is experienced. Certainly the environment in which one grows up and lives has its influence. The image is a clear reference to the ‘Freakshows’ of the early 1920s and its complex function. Freakshows were shows in which actors with different aesthetics and physiognomy from the concept of the ‘norm’ of the time performed, or simply showed themselves, and the audience paid to admire people they described as ‘ugly, grotesque, inhuman’.

In the late 19th and early 20th centuries, some cities in the United States enacted what were known as "Ugly Laws", which prohibited people with visible disabilities or disfigurements from appearing in public. These laws were based on the notion that certain appearances were so "ugly" or disturbing that they should not be visible to the public eye. The laws were in place in cities like San Francisco and Chicago, and they reflect a societal fear or rejection of those who were perceived as physically unattractive or abnormal. The Ugly Laws were rooted in a fear of deformity and ugliness, which the public wanted to avoid confronting.

During and after World War I, many soldiers who had been severely disfigured in combat, particularly due to facial injuries, faced societal rejection and fear. The development of plastic surgery techniques during the war helped some individuals regain their appearance, but many others were left visibly scarred. These soldiers were often viewed with fear and discomfort by the public, who had difficulty reconciling their injuries with societal ideals of beauty.

During Nazi Germany, physical beauty and racial purity were central to the regime’s ideology. Those who were considered physically or mentally "imperfect," including individuals with disabilities, were often targeted for persecution, sterilization, or even extermination under the regime’s eugenics policies. Nazi propaganda often depicted those deemed "ugly" or "deformed" as subhuman, and the fear of physical imperfection played a key role in justifying these atrocities.

Steve Silberman, an autistic activist and writer, speaks of the Nazi theories on eugenics that were popular in the 1930s with high officials of both the Triple Entente and the Allies. Just to get out of the binary view of history. One of the most horrific moments of human thought.

It is a very sad, but anthropologically interesting historical passage that has never ceased to exist, but simply transformed itself through the media and disguised itself in an underhand way, often passing as humour or irony. Social media such as instagram, together with TikTok reels are full of it, through users who seek consensus and success by posting videos of people unknowingly victims of unscrupulous comments and irony, without knowing their history or criticism. These are the same people who are afraid of ugliness, victims of their own models, like an uroboros eating its own tail. If we stick to a binary conception of thought, we can say that people have a need to validate themselves by comparing themselves to what the culture of the time perceives as different and negative. This is the catch of complementarity: disability must exist to keep alive and validate the concept of the able-bodied person (up to the extreme peaks of the current alpha male). In a diffractive view of existence, on the other hand, there is no need to compare, but to embrace diversity with a positive curiosity and a logical disconfirmation of prejudices.

Curiosity: the number 31 in the Neapolitan cabala represents an ugly physiognomy and has a meaning of hopes that come true

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of chemicals. From the ancient Greek “chemeia” (to melt) or from the Egyptian “Chemi”, the birthplace of matter.

It ranks among the technophobias. It is an increasingly common fear, stemming from the erroneous belief that ‘natural’ is healthier than ‘chemical’, often confusing it with the concept of synthetic.

Leaving aside the fact that chemicals make up each of us and the entire world, and that it therefore makes little sense to interpret it literally, it is interesting to understand where this fear stems from. Both in terms of history and motivation.

In the 19th century, chemistry was seen much more favourably as synonymous with progress and a symbol of well-being, as it defeated disease, but this perception, especially in the polarised times we are currently experiencing, is diminishing. At the same time, it must be emphasised that much damage has been done by extravagant pseudo-scientific theories that, through experiments, have led patients in asylums or other medical facilities to take substances unsuitable for their needs. One thinks of the eugenic theories (which I will also mention in other phobias) prevalent in the 1930s and 1940s (some, unfortunately, still persist today), or the history of neurodivergence and treatments of (often misdiagnosed) schizophrenia. If you are interested in the history of neurodivergence and its relationship to culture, I highly recommend Neurotribe by Steve Silbermann, author and autistic activist.

An interesting article published in Nature in 2019 addresses the topic by highlighting the cognitive biases and visceral reactions that come into play in generating an irrational prejudice against chemistry: in short, the idea that ‘natural is better’, the illusion of contagion and the issue of trust (if we think of major disasters such as groundwater contamination).

And as always, these are phobias that can arise from direct experiences, such as intoxication due to contact with a substance. The most famous cases are those with mercury, which until the discovery of its harmfulness was used without precaution, causing erythema, blotches, leading to madness, up to more tragic situations.

Did you ever seen the TV Series “The Terror”? Set in the late 1940s on an ocean liner (named after the series), mercury is a recurring topic. But no spoilers.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

Fear of happiness. From the ancient Greek “kairós” (that which cheers).

Individuals living with this phobia tend to avoid experiences that evoke positive emotions or joy. It is a fear closely linked to human thought, in different forms depending on the culture. In Western thought, there is a profound influence of the Christian religion linked to the concept of sin and thus in a repulsion of life's pleasures that at the same time runs counter to positive psychology and the pursuit of well-being and subjective happiness (the American dream is an example). In this case, the aversion to happiness may be associated with the fragility of happiness beliefs, suggesting that one of the causes of this fear may be instability and fragility, characteristics of happiness itself.

In Eastern cultures this feeling may be prevalent, especially for those who have the notion of having negative karma to pay for, but there is a greater concept of collective well-being.

Happiness is an extremely complex subject and these few lines are only meant to give a glimpse of it, but it could be an interesting exercise to combine the quest for personal well-being typical of the West with the collective pursuit models of many Eastern structures. On a personal level, I realise, thanks to the good fortune of having chosen my job (I work in recreational therapy) that happiness for me is a moment of collective joy, and as someone who lives with ubiquitous impostor syndrome (which I am working on), I find it very difficult to be happy for purely personal successes, as if I had the idea of creating displeasure or envy on the part of those around me. Of course it is not entirely healthy, but at the same time I feel fortunate in perceiving happiness as something collective and shareable. In the symbolism of the image I decided to include a reference to The Sphere, not to the work itself, which I find interesting and experiential, but more to what the city that hosts the work has symbolised for decades.

I am convinced that sometimes we cannot consciously understand when we feel happiness. When I do activities with people on the autistic spectrum like myself, the thing I often recommend is: ‘When you are happy, write it down on a piece of paper.’ Even simply writing it down helps us realise it. It is an exercise that helped me a lot and I still do it.

And then smiling is important. Tiziano Terzani, my favourite author, on a report in Vietnam during the war had a gun pointed in his face. It came to him spontaneously to smile, and this gesture saved his life. As The Killers frontman Brandon Flowers sings, ‘Smile like you mean it’.

The choice of the number 27 is intended as a wish: in the Neapolitan cabala it represents overcoming problems in the best way.

Traits:

• Category: Situational

• Eyes: Closed

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of chewing gum. Not sure, but probably it comes from the Spanish “Chichle” (gum).

It’s a new phobia, born with the advent of chewing gum. People who live with this phobia are terrified at the idea of chewing them or seeing people chewing them, but also at seeing used gum on the ground, among other things one of the most environmentally unhealthy acts and a bad behaviour that we should all work on, given our habit of throwing rubbish where we can. According to some testimonies found on Reddit, even the mere smell or sound of a bubble bursting can trigger anxiety and distress.

Moving away from phobias, chewing gum is not decorum. In some Asian cultures, particularly in countries like Singapore and Japan, chewing gum has faced significant cultural resistance. For instance, Singapore implemented a ban on chewing gum in 1992 to address littering and public cleanliness issues. This strict policy reflects a broader aversion to the use of chewing gum in public spaces and a cultural emphasis on cleanliness and order.

Finally, there are some famous people related to that. Try to discover it, googled it or ask ChatGPT, but pay attention: often his information on such specific topics is often not accurate, so DYOR fren.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of snow. From the ancient Greek “chión” (snow).

Chionophobia is an irrational fear of snow that is typically linked to a fear of physical harm or death. Although phobias can manifest differently in different people's experiences, there are generally two primary fears behind chionophobia: the fear of getting stuck in the snow and the fear of getting stuck in the snow. This fear can have different causes, ranging from negative experiences in a snowy environment, such as a fall from skis or the strong impact of a snowball on one's face, to never having been confronted with snow itself (those who grew up and live in warm or tropical areas).

Napoleon Bonaparte's Russian campaign in 1812 is a notable historical example where snow played a crucial role. The harsh Russian winter and the resulting snowstorm contributed to the disastrous retreat of Napoleon's army. The severe weather conditions, including snow, caused significant hardship and loss of life, influencing Napoleon's eventual defeat. The fear and struggle against snow and extreme cold had a profound impact on the campaign and are often cited in historical analyses of the campaign’s failure.

Early settlers in North America, such as those in the Pioneer Era, faced severe winters with heavy snow, which led to fears and anxieties about survival and the harsh conditions.

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of time that flows inexorably and does not return, and of time that is not enough. From the ancient Greek “Chronos” (time).

It’s a very difficult phobia to understand, as it is extremely subjective and still little addressed by the scientific world. Also called ‘the prisoners’ disease', for obvious reasons prison inmates can live with this perennial feeling, but it is also linked to Alzheimer's or the terminally ill, aware of a battle that will come to an end.

I fit into this phobia as I have felt this sensation since childhood, like an omnipresent cloud that punctuates the passing of minutes. Even now that I am writing these words, and despite the fact that I have taken days off work to have the right amount of time to finish this project, I feel this passage of time that is never enough, this restlessness of having to hurry that never leads me to enjoy things or the here and now. The idea that things have an end and that what I enjoy will end or even worse, will change, altering my daily routine that is so comfortable but also stagnant.

Over the years I have worked a lot on this phobia, finding some useful solutions. The first was to move from a linear idea of time to a circular one.

The purely Christian-Western idea of birth-life-death, with all its crucial points (study-graduation-marriage-making children-leaving an inheritance to grandchildren) is something extremely pressing that afflicts all disillusioned new generations. Thinking in a circular way, organising my life in cycles of 3 or 5 years by giving myself specific goals chosen by me and not by society, helps me a lot.

Another method is not using my wristwatch for long periods if I am constantly looking at the time. Of course, I also help myself by not looking at my smartphone (when I can) for a few hours. Once I stop, I go back to the watch, but lately I don't feel the need. Finally, the work I do helps me a lot to enjoy the “here and now”, as opposed to the effect I had in recent years of constantly using my photocamera to produce memories. In the last 3 years I have reduced the use considerably and apart from a few works, for the rest I use an analogue camera and wait years before developing the negative. There would be many other thoughts about the perception of time in my autistic functioning, the image I have in my mind is more that of a rubber band than something marked and precise, but there will surely be another occasion in the future to talk about this, perhaps with a separate project.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: Yes

• Status: Real

• Headgear: No

Fear of confined spaces. From the Latin “claustrum”(lock).

It’s a phobia related to agoraphobia with which, although it is the opposite, it shares some characteristics. It is very widespread and according to some data 5 to 10% of the population live with it. First called clitrophobia and first identified in 1870 by the Italian physician Antigono Raggi after seeing a painter fleeing from a window because of the narrow gallery in which his paintings were displayed, it was renamed claustrophobia by physician Benjamin Ball in 1879. From an MRI machine, a lift, a closet, a bunker, a grim trench, to a simple narrow-necked shirt, this fear can manifest itself on various occasions.

The development and use of submarines in the 19th and 20th centuries presented significant challenges for those with claustrophobia. Early submariners and explorers often faced intense anxiety and discomfort due to the confined spaces of these vessels. Historical accounts from early submarine crews describe the psychological strain of being confined underwater for extended periods.

Fear of suffocation and being trapped, a traumatic experience, an intense primitive survival instinct closely related to anxiety, it is interesting to see how cases of claustrophobia become more pronounced in war or adverse working conditions, such as for those who work in mines. I had a period when I struggled with tight spaces, now I manage them better, but I still prefer taking the stairs to taking the lift, even if I have to walk 6,7 floors. And tight-necked shirts I don't use, but I think this is also influenced by my tactile senses.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of cemeteries. From the ancient Greek “coimetrós” (burial place).

Those who coexist with this phobia not only tend to avoid cemeteries, but it can be extremely difficult to pass by them (avoiding paths and roads) or even to think about cemeteries. It’s a deeply irrational fear and influenced by religious-cultural conceptions and the idea of death. Fortunately, it is not as disabling as others in that the cemetery is not an obligatory place for sociality, except of course in its specific use. From a personal point of view, being an agnostic person and not influenced by religious thoughts or superstition, I find cemeteries mystical and fascinating, not least because I find it hard to think of the reason for burying non-living people, no matter how much I respect their codes, but it intrigues me as a tribal practice. I also like to visit large monumental cemeteries, for that sense of decadence that belongs to them physically and spiritually. The last one I visited, and which I recommend if you are passing through Rome, is the Verano cemetery. Magnificent and gigantic, one day is not enough to visit it. As a good symbolism enthusiast, this is perhaps the image most full of hidden meanings and one of those that took me the longest to make.

From the subject's hand, to the raven and the black butterfly, to the hourglass and the inscription on the second tomb that refers to the Sator square (Sator-arepo-tenet-opera-rotas). I state the symbols present, but I do not want to make an interpretation of the image, which would be too long and unfair, as I find the subjectivity of interpretation and different visions, beyond the creator, also known as sator, essential. Without giving myself importance clearly, just playing with words.

Traits:

• Category: Situational

• Eyes: Closed

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of clowns. From “kolobathristès”, which means wader in Byzantine Greek, or directly from the English “clown” in the modern Greek version, “klooun”.

It is a recent fear, the term originated in the 1980s, mainly dictated by the effect that popular and film culture has on us spectators. From Donald Mcdonald to Bozo to the mass panic induced by John Gary, a serial killer disguised as a clown who terrorised the United States in the 1970s to Stephen King's best seller IT. Similar effects were given by the film ‘The Killer Doll’ towards dolls and soft toys Returning to clowns, there are several famous people who coexist with this fear, among them Daniel Radcliffe, Johnny Depp and P Diddy.

Historical records show that the fear of clowns is not a modern phenomenon. Cirque performers in the past, such as those in the 18th and 19th centuries, sometimes exhibited behaviors that were intended to shock or unsettle audiences. These early performances contributed to the evolving perceptions of clowns as potentially frightening figures.

Another interesting things is the fact that the makeup and costumes of clowns can contribute to this fear. The exaggerated facial features and artificial appearance can make it difficult for people to read emotions and intentions, which can be unsettling. This aspect of clown design has been studied to understand its impact on people's emotional responses.

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of glass and crystal. From the ancient Greek “krystallos”(crystal).

The causes can be many, from painful contact with a glass object, to a traumatic experience of aggression such as a smashed window. Without going into specifics, in recent and 20th century history, there have been many such events that also take on a symbolic value, in some cases a highly xenophobic one, just think of a tragic and bitter historical event called “The Night of Broken Glass”, remember?

Apart from bitter historical events connected to glass, in various ancient cultures, crystals were often imbued with mystical or magical properties. For instance, medieval alchemists believed that certain crystals had the power to heal or harm, which could contribute to fear or mistrust. These historical beliefs might have influenced the development of crystallophobia in some individuals.

Duality, division, but also a mirror of one's soul, glass takes on various meanings.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of computers. From neologism “cyber” (tech).

Those who coexist with this phobia have the perception that computers are extremely invasive, leading in some cases to the idea of feeling spied on and controlled. It is a technophobia, relatively recent and symbolic of those cultural frictions that arise during a period of strong progress. I remember that in my first year at school, during computer classes, I had a terrible fear that the computer would explode if I pressed the wrong key, it was a really strange feeling when I think that I am currently using it to write these thoughts.

In the early days of computing, mainframe computers were large and intimidating, leading to a fear of their complexity and potential for malfunction. Pioneers like Grace Hopper and Alan Turing worked to make computing more accessible, but the initial reaction from the public often involved fear and skepticism about these new machines.

Another related topic is the rise of automation in the late 20th century led to widespread fear of job displacement. For example, factory workers in the 1980s and 1990s expressed concerns that robots and automated systems would render their skills obsolete and lead to unemployment. This fear of technological unemployment reflects a form of cyberphobia related to job security.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of bicycles, both in the use of others and personally. From the ancient Greek “cyclus” (circle).

When bicycles were first introduced in the 19th century, particularly with the advent of the penny-farthing or high-wheel bicycle, some people were apprehensive about the new technology. Early literature and cartoons often depicted bicycles as dangerous or problematic. For example, in the late 1800s and early 1900s, satirical cartoons sometimes portrayed cyclists as reckless or overly adventurous, which could contribute to a fear or dislike of bicycles.

Personally I perceive this phobia in a mild way, I do not like riding a bicycle nor does the idea of people close to me using it make me feel comfortable. In my case it is clearly due to a childhood trauma from a car accident gone wrong of a close relative of mine. It is not the bicycle itself that frightens me, but the coexistence of bicycle and car in the same road circuit, as I find it illogical that vehicles with such different power and mass can be coexisting in the same place. This puts me a great deal of concern, but I use the bicycle on routes exclusively dedicated to it or protected from cars.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of waves. From the ancient Greek “cyma” (wave).

It is an environmental phobia, often due to trauma from experiences such as tornadoes, tsunamis or events in which water unleashes all its incredible power. The crashing of sea waves on rocks can instil terror, but so can the movement of a washing machine. The mind travels and imagines, the vision of being trapped inside a vortex is immediate.

Natural disasters such as tsunamis can significantly impact individuals' fears of waves and large bodies of water. For example, the 2004 Indian Ocean tsunami had a profound psychological impact on survivors, leading to increased fears of water and waves among affected populations.

For those who have had bad experiences in lakes, whirlpools can also have this strong effect.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of dogs. From the ancient Greek “cynos”.

It’s one of the most widespread fears in the world, also considering our millenary relationship with this beautiful animal. It is one of my fears, so I think it is more important to talk about it through direct experience.

At the precise moment that I am writing these words, I have two dogs outside the house that are barking. For me it is a constant jolting and activating trigger and I can concentrate with difficulty.

Mine is a recent fear, about 10 years ago I was walking in the evening on a country road near my house. I had headphones on and it was dark, but I know the area well so I was comfortable walking that way. Suddenly a black German shepherd jumps out at me. He was off the leash, I think he wanted to party with me but noticing my fright he changed his attitude and began to growl at me loudly. I remained frigid and could not move, only managing to stammerly ask his master to tie him up, the master did not understand my language well so it took a while. In between, moments of interminable terror and helplessness, also blocked by a thought that I found interesting.

In between, moments of interminable terror and helplessness, also blocked by thoughts that I found interesting. Having had domestic dogs for a long time and being a dog lover, I was not too afraid per se, and at the same time I felt affection. That freezing feeling also came from the fact that I had no intention of hitting him to defend myself as I felt sorry, which I still do today. So there is a double catch. I'm starting to stroke them again. With some, even very big ones, I have no problem. It's more a question of energy. I get frisky with the very hyperactive ones. The same thing happens to me with people. It's as if I can't get a complete and clear reading of the scene I'm experiencing, as if everything is unpredictable from one moment to the next. Sometimes it's crippling, because at the sight of a dog with its owner I tend to change course or move to the opposite pavement. But I am fortunate that my favourite park in my city, where I go to relieve my energy and to run/read, does not allow dogs to enter, as there is a gigantic dedicated landing in front of it. The environment is also a solution. That I still love dogs, but I don't always love their owners. That I don't even like the word ‘owner’. I do not feel and am not master of my cats for example. I know it's different, but on a logical level it still doesn't make sense to me.

Traits:

• Category: Animal

• Eyes: Closed

• Setting: Past

• Tribute and References: No

• Artist's own fears: Yes

• Status: Real

• Headgear: No

The fear of demons. From the ancient Greek “daimon” (demon).

It’s a phobia closely linked to religious beliefs, spanning all cultures. At the societal level it has existed for centuries, and it also occurs at times of cultural turning points and changes, such as the sudden exposure to modern, secular society for some civilisations. It can also appear in childhood and prevails in societies where the concept of demonic possession and evil spirits exists. It is also related to the fear of witches, both based on cultural and irrational prejudices. Individuals coexisting with this phobia tend to avoid woods and abandoned houses, as well as places of high spirituality.

Ancient cultures such as the Mesopotamians and Greeks had rich traditions of demonology. For instance, the Babylonians believed in a range of malevolent spirits that could cause illness and misfortune.

In medieval Europe, the fear of demonic possession and witchcraft led to numerous witch hunts and trials. For example, the Salem witch trials of 1692 in colonial Massachusetts were fueled by fears of witches and demonic influences.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Ethereal

• Tribute and references : No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

The fear of choosing. From the Latin “decido” (to make a decision).

Specifically, it is a phobia closely linked to the fear of making a wrong decision, perceiving an intense and paralysing anxiety over even the smallest of everyday decisions. In general, many people feel as if blocked by the idea of making a decision, precisely because of the possible consequences. But phobia differs from simple indecision by a greater intensity felt in relation to a real danger or a specific object.

In the case of decidophobia, the fear concerns decision-making. It is so terrifying to take responsibility for a choice that one avoids making it. Being able to choose and decide is undoubtedly a great freedom, but it is not easy for everyone and in its own way a difficult competence to manage and can prove to be an unbearable burden. The more we progress and improve in this society, the more complex the dynamics become, with an exponential increase of variables in the field, the more difficult it will be to make decisions.

On a personal level, I do not feel I live with this phobia, but I do have periods when I find it hard to take responsibility and prefer to deal with more operational matters, especially when it concerns a group of people. This is also due to my strict adherence to sometimes self-imposed social rules. When I decide to take on a responsibility, I take the commitment to the end with the utmost seriousness. This can be very tiring, which is why I find it helpful to take responsibility at short intervals. To conclude, the term Decidophobia was coined by Walter Kaufmann who talks about it in his 1973 book ‘Without Guilt and Justice: From Decidophobia to Autonomy’.

I chose the number 54 to associate it with the 'skull monologue' (Act 5, Scene 1) in Hamlet.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and references: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of the dentist. From the Latin “dento” (teeth).

A very common phobia concerning both the treatment of teeth and any other procedure involving the oral cavity. Not to be confused with dental anxiety, which has a lower intensity. According to studies, more than 36% of people in the United States have a form of dental anxiety, while 12% have a form of dentophobia. The causes are many, ranging from family history or past traumatic experiences to embarrassment due to proximity and exposure to breath to feelings of helplessness and fear of pain. It tends to decrease with age and exposure, so that it is more prevalent in the under 20s and particularly decreases in the over 60s. Many famous people coexist with this fear, from Jennifer Aniston, LeBron James, Harry Styles, Robert DeNiro, just to make it clear that as usual, as with any phobia, we are not alone and there is nothing to be ashamed of.

In the past, dentistry was not as advanced as it is today, leading to painful and sometimes brutal dental practices. For instance, in the 18th and 19th centuries, dental procedures were often performed without anesthesia, which could cause lasting trauma and fear.

The introduction of anesthesia in the 19th century significantly changed dentistry and helped alleviate some fears associated with dental procedures. For example, Horace Wells, a pioneer in the use of nitrous oxide (laughing gas) for dental anesthesia, made dental treatments less painful and more acceptable. But not so much, cause as written above, fear remains.

Traits:

• Category: Medical

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of metal detectors. From the Latin “dētĕgo”(discover, unveil).

I make it clear right away that it’s a hypothetical and unacknowledged phobia, but since I live with it I speak from my own experience. Thinking about what happens to me when I am about to go through a metal detector, there are several causes that trigger this sense of anxiety and strong activation in me. On the one hand, the idea that I could be accused of something gives me a lot of frustration.

When I was a child I remember that feeling accused destabilised me so much that I preferred to take the blame even though it was not mine than to remain in that sense of impasse in which one uselessly searches for a culprit. On the other, that horrible squeaking sound, so annoying that it made me stiffen. How do I live with it? I have learnt to prevent and deal with it by organising myself beforehand, checking for metal objects and trying not to leave anything that might activate the sound. Because then of course I don't have anything irregular, that would be nonsense, it's just that it often sounds for small and insignificant things that you don't even think you have on you, like belts or gadgets. Anyway, when I can, I always avoid it.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: Yes

• Status: Hypothetical

• Headgear: No

The fear of seeing double. From the ancient Greek “diplo” (double).

Those who coexist with diplo-phobia can make sure not to do anything that might cause double vision such as avoiding drinking alcohol or doing sports activities where they might suffer from dizziness, such as dancing. Or, avoid any kind of body movement that involves a lot of rotation because one fears having double vision immediately afterwards. These are just simple examples because there can be many cases. Diplopia can be a symptom of various neurological conditions, such as stroke or multiple sclerosis. Individuals diagnosed with such conditions may experience significant fear and anxiety about their symptoms, including double vision.

Traits:

• Category: Sensory

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear or aversion to throwing things away. From the English “to dispose” + phobia (fear).

Those who coexist with this phobia, commonly referred to as 'hoarding disorder', have a compelling need to acquire and store objects, and experience great distress when they are forced to part with them or even at the mere thought of having to do so. The subject does not have enough space to accommodate all the objects he accumulates. The rooms become so full that they are no longer liveable; they only serve to accumulate objects. The accumulation often interferes with the subject's domestic activities and sometimes with school or work activities. False progress and capitalism with its serial and endless production of objects has definitely influenced this condition, which affects us all a little.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tribute: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: Yes

Fear of houses and being at home. From the Latin “domus”(home).

It differs from Oikophobia in that it relates exclusively to real estate, whereas the latter also refers to typical household objects. Individuals who coexist with this phobia perceive the home as an unsafe place, such as traumatic domestic events or in contexts of war, in which one witnesses the destruction of one's ‘nest’, deliberately chosen to indicate one's private and safe space. Some late 19th century writers used the expression to indicate the need of the adolescent becoming an adult to leave his or her home.

There are various literary works in which the loss of one's cause during the war is addressed.

In this image I worked mainly on the gaze with a reference to the photo ‘Unidentified shell-shocked soldier’, 1916.

Apart war, in other historical contexts, poor housing conditions and overcrowding could contribute to fears related to living spaces.During the Industrial Revolution, many people lived in unsanitary and overcrowded conditions, leading to psychological distress and fears about their living environments.

Another topic is the concept of haunted houses that has been a recurring theme in literature and folklore. For example, the Amityville Horror case, which gained widespread attention in the 1970s, involved claims of supernatural occurrences in a house, contributing to fears about living in homes with a dark history. In Japanese culture, the idea of a “yūrei” (ghost) haunting a home reflects cultural anxieties about the influence of the supernatural on domestic spaces.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of furs. From the Latin “doro” (fur).

It’s the phobia of coming into contact with animal skins or furs, a strong and deep revulsion for any kind of fur, whether smooth or rough. In some cases, popular culture plays its part, as in fairy tales where the negative subject is the classic bad wolf that wants to eat the protagonist. In this image there is a deliberate reference to “The lady with an Ermine” by Leonardo da Vinci revisited in a modern key, ermine being specifically chosen because it symbolises softness. Not all perceptions are the same, sometimes they are confusing, other times they are unique or rare, such as the anthropologically unsurpassed beauty of an albino subject.

During the Victorian period, fur and animal skins were often seen as luxurious materials. However, certain individuals of the time developed an aversion or even fear toward the idea of wearing dead animal skins, anticipating by decades the first battles in defence of animal protection and activism against the use of furs.

Traits:

• Category: Sensory

• Eyes: Open

• Setting: Past

• Tribute: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of crossings and intersections. From the Latin “dromos” (street, passage, corridor).

It can result from trauma due to the means of transport, but also from different sensory perception. A very sensitive person may struggle to process the many (higher than average) stimuli that a busy crossing or a crowded urban space can have. But in the past, the great and rapid urban transformation of cities adapted to the mass adoption of cars has created confusion and bewilderment for many people unaccustomed to living in a space no longer designed for pedestrians.

The field of urban planning has addressed concerns related to street safety. For example, the "Safety Streets" movement of the 1920s aimed to improve pedestrian safety by redesigning streets and implementing traffic regulations. These efforts reflect societal attempts to mitigate fears related to traffic and street crossing.

In the image I took inspiration from the Shibuya intersection, the largest in the world, and as a symbol of historical and conservative contrast a lost geisha.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of drones. From the Deutsch “drohne” (male bee).

Again, it is a hypothetical and unacknowledged phobia, but it is a thought I have had for many years and I wanted to share it. The image was inspired by an event that made me think of this possibility. About 15 years ago, I was watching a documentary and they interviewed a young Yemeni girl who said ‘you better hope the weather was cloudy because then the drones couldn't fly in the sky’. These words created a powerful image in my mind. How can one hope for a bad cloudy day? How can one not wish for sunshine? Apart from cases of drought or other natural causes, it is a paradox. By that time, the long war in Yemen had already broken out, which still rages today and claims victims, going unnoticed for years. Drones and the commercial craze were still unheard of, the revolution of everyone being able to look down on the world from above was far from being started, and drones were an exclusively military product that was talked about very little. Because the technology was still primitive, clouds created interference and did not allow full manoeuvrability of the craft. Today, almost everyone can afford a drone and its affordability has allowed, in critical and hot times like the one we are currently experiencing, the wide adoption of drones in warfare contexts. I do not know how it will turn out, but I hope that dronophobia will never be recognised.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Hypothetical

• Headgear: Yes

Fear of an alleged physical defect. From the ancient Greek “dysmorphia” (deformed).

Term coined in 1891 by the Italian Enrico Morselli Later, the French psychologist called it ‘the obsession with the embarrassment of one's own body’. Freud spoke of it in connection with the ‘WolfMan’ and the Italian writer Luigi Pirandello, in his book ‘One, No One and a Hundred Thousand’, recounted the trauma of the protagonist, Vitangelo Moscarda, upon realising the crookedness of his nose. But unlike the subject of the book, those who coexist with this phobia have an altered perception of their bodies and reality does not conform to what they see in the mirror. It is a confirmation of how one's inner world has a sometimes superior power over reality.

A perception similar to this, and those who have experienced it know it well, I experienced it at a time when I was overweight for a few years. Due to joint problems (joint laxity) at the age of 16, I had to stop playing football. In addition to the injury, quitting the sport led to weight gain, making my body feel bulkier than it actually was.

Years later I went back to the gym and after six months I lost that extra weight, but for many years I continued to perceive myself as overweight. A little still now, but fortunately I stopped giving importance to my physical appearance. I think a lot of these anxieties are due to social pressure and the habit of comparison, making the person who does not fit into bogus physical standards but culturally imposed by society and the media feel ‘out of market’. I have to say that a lot has changed since 20 years ago and the acceptance of physical differences has greatly improved, despite some polarisation.

Traits:

• Category: Social

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of a probable environmental cataclysm. From the ancient greek “oîkos” (home, environment)

Yes, it’s a hypothetical phobia and we’ve been talking about Eco-anxiety for a few years now.

But the more we go on in time, the more this nature will show us that for every action there is a reaction, the more we’ll become afraid of what we are doing, which is to destroy while thinking of creating. And so this anxiety, in years to come, could turn into a phobia.

I don't want to get into descriptions or transcribing data on this issue, time will speak for itself. It’s up to us to decide what to choose.

I’m thinking about this more and more so I feel the need to include ecophobia among the hypotheticals as a metaphor for the future.

• Category: Environment and natural elements

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Hypothetical

• Headgear: No

Fear of electricity. From the ancient Greek “electron” (electricity).

Individuals who coexist with this phobia avoid using electricity as much as possible, preferring, for example, without wishing to generalise, manual housework to electrical appliances. Electrophobes experience extreme anxiety when using things powered by electricity, so even the simple act of plugging in a plug can be terrifying. Personally, in a mild way and without feeling a phobia, I always have some apprehension about plugging in and tend to avoid it when I find old cables or exposed wires. In my case, I don't find it a fear at all, but a shrewdness based on a lack of information, as I am not well prepared on the subject, so even when changing a light bulb my head is filled with criticality and absurd things that can happen. Given the high prevalence of the use of electricity in our daily lives, this phobia can be crippling. Many jobs or leisure time systems can be very anxiety-provoking for these people, as well as causing difficulties in using or adjusting any tools, instruments or appliances, in some cases even towards electrical elements that are necessary for the person's health, such as devices that use electrodes, respirators or certain implants. This fear can also be related to keraunophobia.

This phobia can also be linked to electrosensitivity, a hypersensitivity of some people to electricity and magnetic fields that, although not yet recognised by the WHO, has been a much-debated topic in recent years and some states have moved to protect their citizens, as in the case of Sweden.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of horses. From the Latin “equinus” (horse).

Those who coexist with this phobia experience great anxiety when riding a horse or simply at the mere sight of it. A bad fall or an episode experienced in the third person can be the main causes, as the risks of a fall themselves can be serious.

The introduction of horses to Native American cultures had a significant impact, and initially, many of them exhibited distrusts or fear of these animals. Before the arrival of horses in the Americas with the Europeans in the 16th century, Indigenous peoples were unfamiliar with such large and powerful animals, which led to initial fear and uncertainty. At first, they were seen as mysterious and frightening creatures. Some tribes viewed the horse as a sort of supernatural being associated with foreign invaders. This led to fears not only of the animal itself but also of the cultural and military implications it represented.

A curiosity: both protagonists of the Twilight saga, Kirsten Stewart and Robert Pattinson, are equinophobes, and this issue is also mentioned in the Yellowstone series through the character Beth Dutton.

But, more interesting, something about rapper and web3 pillar Snoop Dogg. On the Sept. 12 episode of Snoop Dogg's YouTube news network series Double G News,he admitted his equinophobia saying: "I'm just f---ing scared of them."

You’re not alone.

Traits:

• Category: Animal

• Eyes: Closed

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of algae and other marine plants, such as corals. From the ancient Greek word “fykia” (algae).

It’s a rare phobia, closely related to aquaphobia and thalassophobia, and develops mainly in childhood. It's a reaction we all have a bit, obviously with lesser intensity, and it's interesting that in recent decades the same reaction occurs when we are in the sea and feel some kind of seaweed around our feet, only to find out later that it's plastic.

As usual, it depends from culture. For example, seaweed has been used for centuries in various cultures for food, medicine, and even in construction. Ancient Chinese and Japanese cultures have long used seaweed in their diets and traditional medicine. The historical use of seaweed might contrast with modern fears and highlight how perceptions of seaweed have evolved.

Traits:

• Category: Environment and natural elements

• Eyes: Closed

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of getting married. From the ancient Greek “gamo”(marriage).

It’s a phobia closely linked to culture and relationships. The causes can be multiple and differ according to historical and social context. Certainly at the root may be a traumatic divorce experienced in childhood, but if we go back in time, but not entirely gone, a blame can also be laid at the door of the tradition of arranged marriages, in which, especially for the female gender, there was (and is) no possibility of choosing one's partner. These types of pressures, pushed through the ages mainly by the male gender, have in turn a boomerang effect, so much so that the so-called ‘stronger sex’ (ironically chosen) are intimidated to be pressured in turn according to the role of responsibility the man would have in the family context. Civilisation, one step at a time and very slowly, evolves, and the dynamics also change, as does the concept of the couple, which increasingly embraces diversity, moving away from binary concepts.

At the same time for some characteristics I find an affiliation with decidophobia, in the difficulty of having to make decisions, which according to common thinking, are irrevocable, causing a sense of failure in the case of a marriage gone wrong. Which in itself would be nothing serious and is an extremely common phenomenon. The idea of having to maintain a single relationship, and thus practising monogamy, can also be a fear. It is a complex topic that makes us realise how much need there is to debate romantic relationships and the concepts of respect and consent in a couple without remaining in the limbo of common thought, which few respect, but hiding the remnants of it. If there is consent and love, in all its forms, a couple can move beyond the prejudices that block full freedom of expression in walking together through a stretch of life, be it a stretch or to the end. Just in case, think back to Giulia Roberts in “Runaway Bride”.

Finally, this is an homage to Sibilla Aleramo, an exceptional woman and writer of the early 1900s

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of being laughed at. From the Greek word “gelos” (laughter).

Individuals with gelotophobia experience intense anxiety or distress at the thought of being the subject of laughter, mockery, or ridicule, even in situations where such outcomes are unlikely. This fear can lead to avoidance of social situations or behaviors that might expose them to potential ridicule.

It’s a phobia that can occur from childhood, when one is more sensitive to judgement, but also during adolescence when one is literally more exposed to it. It can involve an alteration in self-perception and lead to other disorders, also involving an avoidance of social relationships and can be linked to agoraphobia. There is a tendency to look at oneself from the outside and perceive oneself in the third person, in an attempt to understand what the interlocutor or actors in the individual's environment may be thinking.

Vincent van Gogh was largely unrecognized and ridiculed during his lifetime for his unconventional and emotive style of painting. His fear of being judged and his experiences of ridicule and rejection by the art establishment had a profound impact on his mental health and life.

In contemporary times, social media platforms have amplified the fear of public ridicule, as individuals are often subject to widespread and immediate criticism. For instance, public figures and ordinary people alike can face viral shaming or ridicule for their actions, comments, or appearances.

Traits:

• Category: Social

• Eyes: Closed

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of crossing bridges. From the Greek “gephura”(bridge).

It’s a very common fear, on a par with claustrophobia or agoraphobia, and can be related to acrophobia or barophobia with regard to height and the feeling of gravity. Those who coexist with this phobia tend to avoid all such crossings, which can be disabling because bridges are sometimes unavoidable on the road. This can affect one's profession or everyday life. Think what effect large road bridges such as those in US metropolises can have, there are even rankings of the scariest in the world. A certain Alex Robinson has created a service in this regard: for 25 dollars he provides a driver who will drive their car during the crossing and his drivers are trained not only to drive but also to calm and assist passengers during this journey. More fortunate are those who live in Michigan: the Mackinac Bridge Authority offers to drive cars and motorbikes for free! And what about Tibetan bridges? If you have visited an adventure park, you will certainly have seen someone who, despite the maximum safety and the impossibility of falling, got stuck without even starting, changing their mind and cancelling the experience.

I have a certain passion for bridges, I often tend to photograph them and use them as metaphors, I find a bridge the most beautiful symbol of union that human beings can conceive, almost as if it were an archetypal form. I had the opportunity about eight years ago to visit Mostar, famous for its bridge which was sadly demolished during the Bosnian war in the 1990s, and then rebuilt with great dignity. The image is inspired by those memories, intense, full of hope, but poignant at the same time.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of growing old. From the ancient Greek “gerasko”(elderly).

It’s an increasingly common and current phobia, also known as the Dorian Gray syndrome, a clear reference to the protagonist of Oscar Wilde's play. There are several factors contributing to this phenomenon, but without a doubt social pressure from current status models are doing serious damage to the population. More and more people in their old age are resorting to cosmetic surgery due to the difficulty of accepting this natural body change. It certainly does not help us to live in a society that puts aesthetics before function, given also the close connection between visual perception and our use of prejudices, the need to compare and contrast. It is also closely linked to the fear of dying, this typically Western feeling that everything has an end, which has led to the emergence of various companies dealing with cryogenesis, in the hope of a new rebirth. As a portrait photographer, I have a passion for wrinkles and have photographed hundreds of elderly people since I was 18 years old, being attracted by their physiognomies.

The difference between a natural face, hollowed out by wrinkles and lived-in, and a face treated with cosmetic surgery, lies in the harmony of its features, which is the purest form of aesthetics. Finally, a note on the gaze: a life lived to the full of one's abilities and possibilities, combined with acceptance and awareness of the passage of time and its becoming, keeps the gaze alive and bright. The gaze improves with the years, and does not age. Small note on the image: one of the most difficult and challenging to achieve what I had in mind, it would have taken me much less time to do it in physical life, maybe.

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of balloons. From the Latin “globus”(sphere).

It’s also a form of phonophobia, as the most common source of fear is the sound of the balloon exploding, but in some individuals the fear can also be triggered by the smell. In general, people with globophobia refuse to touch, smell or approach a balloon for fear of it exploding. As an autistic person, for sensory reasons, I dislike anything that can suddenly explode, from balloons to fireworks, I would ban everything, if only as a matter of plastic pollution in the former case, and out of respect for animals in the latter. I don't dare to say that I coexist with this phobia because I have known people who live with the same ND condition as me who coexist with these phenomena much more intensely and with much more difficulty than I do, but I can say that I understand these critical issues in my own small way. Little curiosity: the image is inspired by a young Oprah Winfrey who has repeatedly stated that she coexists with this phobia.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: Yes

The fear of public speaking. From the Greek “glōssa” (word).

It’s a very common phobia, not to be confused with stage fright, which has a lower intensity and affects a large segment of the population. In the case of glossophobia, people who coexist with it may have a block that does not allow them to speak, a total freezing that also affects the body. The fear of being judged is closely related to this phobia. When I was younger I wanted to be a singer, I loved playing with my band and creating new original songs, but every time it was agony to sing in front of an audience. The bigger it got, the more complicated it was. Eventually I gave up and for a long time I avoided it.

In recent years, however, I have discovered that it can be a very stimulating thing for me. As I have discovered myself and my relationship with special interests, I have realised that when I am passionate about a topic, I have no problem speaking in public, in fact I am recognised as having a certain verve in doing so and I enjoy the role of trainer very much. Anxiety remains, but I manage it thanks to the knowledge that I know the topic and have the appropriate information even to answer any critical questions.

Many celebrities coexist and in some cases, as far as I have read, live with this phobia: Adele, Katy Perry, Barbra Streisand. Interestingly, there is the case of Maynard Keanan, frontman of Tool and A Perfect Circle, who sings with his back to the audience at concerts with Tool, although it is not clear whether it concerns agoraphobia or glossophobia (in this case also called stage fright), or both. Sometimes even in these cases it is difficult to fit everything into a specific category, as we tend not to consider the co-occurrence of several cases together. I remain of the opinion that categories are useful tools, but they should not be fixed and immovable, but should modulate according to the influx of new information.

Traits:

• Category: Social

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of what is sacred. From the Greek “hagios” (sacred).

It’s a phobia that is not very common, but has existed since the dawn of human history. The causes can be many, from traumatic experiences in sacred places to film culture (think of the effect the film series ‘The Exorcist’ had on people), but without a doubt religious culture with all its symbolism, has had. I say this with respect for religion, but as someone who grew up with a Catholic upbringing, I cannot help but emphasise the bleak and macabre side of the Christian religion: from the concept of original sin with its removal through the sacrament of baptism, the faithful are immediately influenced by images and rituals that have sin and death as recurring themes throughout the spiritual journey. Crucifixions, torture, aggression. Our pictorial art, which I find both splendid and sublime, has literally bombarded us with visions full of suffering, without taking into account the cult of relics and all the rituality surrounding death. As if joy were something exclusively related to paradise.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of being touched. From the Greek “haphḗ“ (to touch).

It’s a phobia involving a revulsion towards physical contact, whether given or received. The causes as usual can be many, a childhood trauma unintentionally provoked during a gesture of affection, up to a sexual assault, as reported in studies by the Canadian sociologist Michel Dorais. But there can also be sensory reasons, from extreme hypersensoriality to physical contact, up to reasons due to proxemics, in which we feel our private, intimate zone invaded, even if touched in the so-called ‘comfort’ areas of the body (shoulder, knee, etc.). It can happen that some children or adults are wrongly read as introverted or extremely shy, when the reasons are quite different. There are many people in the neuro-atypical community who do not like contact, for various reasons, some of which are listed above. It is very important to respect others' bodies (and one's own) during a social relationship, and we should train the rusty mechanisms of consent, which we have but forget to have.

And just to destigmatise certain functions, considering the fact that some languages have a different way of using the body, think of the difference between Mediterranean cultures, which tend to be predisposed to touch, to Scandinavian or Far Eastern ones, where non-verbal languages have developed differently. I happily recall a meme that appeared towards the end of the Covid period in which a Swedish person on hearing the news of the end of the restrictions exclaimed ‘Finally! Now we can go back from 50 cm to 3 metres as we used to’.

In history, the philosopher Friedrich Nietzsche was known for his hypersensitivity to stimuli, including touch. His letters mention physical discomfort in crowded places or being jostled, which could be interpreted as an aversion to touch. While Nietzsche’s physical and mental conditions were complex, his discomfort with physical contact may have been a form of haphephobia.

Again, the inventor Nikola Tesla is often cited as having an aversion to physical contact, which may have been linked to haphephobia. Tesla was known to avoid shaking hands and disliked touching hair (trychophobia). His obsession with cleanliness and his hypersensitivity to touch were part of his complex personality. To avoid shaking hands with people he met, he lied that he had injured his hands in a laboratory accident. He apparently never took part in a romantic relationship of any kind. So Tesla was surely one of us, often present in several of these phobias.

Traits:

• Category: Social

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of being robbed (and thus attacked). From the Latin “harpax” (thief).

It’s a phobia triggered by a specific stimulus, the fear that someone in our environment may attack and rob us, which may be rational. We can all experience it when we find ourselves in an unfamiliar context where aggression may go unnoticed or unpunished, but the difference is that the Harpaxophobic experiences a constant and unreasonable state of alertness, and tends to avoid contexts perceived as potentially risky, such as various social spaces. This can also happen in one's own home, in the case of trauma due to a house burglary that occurred in the past to the subject or people close to him or her. But at the same time it is a fear that can also be felt by minorities in certain contexts up to victims of bullying in adolescence.

Do you remember the movie Thelma and Louise?

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of the sun and light. From the Greek “helios”(sun).

Popular culture is full of references to this topic. Vampires, witches, gargoyles, even comic book characters like GEA are heliophobic. Remember the 1922 film Nosferatu, Prince of the Night?

So much so that, in imagining this phobia, I initially thought of vampires, only to veer towards another kind of allegory. Individuals who coexist with this phobia have extremely different characteristics, from exposure trauma (sunburn, eyesight problems) or indirect experiences, to a different and extremely sensitive perception of the sun's rays.You may have seen some people totally covered in clothing in a hot summer. Perhaps one of the reasons could have been this.

But can one be terrified of the sun because it burns too much? What will people's relationship with the sun be in the future if we consider global warming? I think of me in India where it recently reached 52 degrees Celsius in New Delhi. Would I be able to adapt or would I risk injury?

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of blood. From the ancient Greek “haima” (blood).

Hemophobia is a persistent fear that generates in people a strong sense of anguish and in the most intense cases can even lead to fainting at the mere sight of fluid. It is a specific phobia and people who coexist with this fear may experience with extreme anxiety a blood sample (avoiding even medical tests), a minor injury of their own or others, as well as scenes from films, videos in general or a simple story can trigger powerful physiological and psychological reactions in them.

As always, the issue is not one of courage, since these reactions are generated by systems that are below the level of awareness and thus beyond the individual's control. Even people who are considered to be the most ‘courageous’, if it makes sense to draw up such a classification, may faint when faced with blood exposure. It is clear that traumatic experiences have a strong hold on this phobia, there are numerous reported cases of soldiers and veterans who developed a strong aversion to the very thought, and the literary works of the two great wars of the 20th century are proof of how shocking such an experience is.

Do you know bloodletting? It is an ancient medical practice where blood was deliberately removed from a patient, was once a common treatment for various ailments. The aversion to blood seen in modern hemophobia may have roots in the discomfort and fear associated with such practices.

In various cultures, blood has symbolic or ritualistic significance. For example, in ancient Aztec culture, blood was used in religious ceremonies, which might contrast with modern aversions to blood and highlight differing cultural attitudes.

Finally, blood donation drives and educational campaigns often aim to overcome fears related to blood. For example, campaigns by organizations like the American Red Cross work to reduce anxieties and encourage donations by educating the public about the importance and safety of blood donation. This image is a tribute to Red Cross founder Florence Nightingale.

Traits:

• Category: Medical

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of fog. From the Greek “homikhle”(mist,fog).

If we were to look at it from a poetic point of view, it would undoubtedly be the fear of the indefinite. It is part of the meteorophobia, it has at its base a primitive concept of survival. A sudden noise, something moving slowly without being able to identify its presence, are sensations that affect us all. In its most intense forms, the situation is far more complicated and terrifying and can have various origins, from a traumatic event such as a car accident (increasingly frequent) to the cultural and secular influence of spiritual and supernatural figures, such as ghosts, who enrich tales set in foggy contexts, or the stereotypical image of the murderer appearing in the middle of the fog.

For instance, in Irish and Scottish folklore, mist or fog was often considered a veil between the human world and the otherworld.

During the Jack the Ripper murders in late 19th-century London, thick fog would often settle over the city, amplifying the fear of crime. Many locals were not just afraid of the murders, but also of the fog itself, which made visibility near impossible and created an ominous atmosphere in the narrow streets of East London. Reports from the time describe how people avoided going outside when the fog was thick, fearing they could be attacked without warning. The fog’s unpredictable nature and ability to obscure vision made it a source of anxiety during this period, contributing to homichlophobia for some.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of doctors and hospital environments. From the Greek “iatros” (doctor).

Like all phobias, iatrophobia also goes beyond the state of anxiety we may feel when faced with medical situations that affect our health. But in this case it is a cocktail of catastrophic thoughts, from an operation that does not go well to negative self-diagnoses that rule out the possibility of recovery. This is why it is important that medical and nursing staff are not only clinically but also emotionally prepared. Empathy is essential in this case. Also because it is a common phobia, it is estimated that 12% of American adults and 19% of adolescents coexist with Iatrophobia.

“She resolutely refuses to see a doctor”

It was a note about Charlotte Brontë, the famous English novelist, reportedly exhibited iatrophobic tendencies during her final illness in 1855. Despite suffering from severe symptoms—likely due to tuberculosis or complications from her pregnancy—Brontë was reluctant to seek medical help. Her fear and distrust of doctors were influenced by her own experiences, including the deaths of her siblings, which had occurred despite medical interventions. Brontë’s refusal to see a doctor contributed to the rapid deterioration of her health.

Traits:

• Category: Medical

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of fish. From the Greek “ichthus”(fish).

It falls under zoophobia, those who coexist with this phobia may be frightened of it either by the sight of it or by the food and there are no accurate studies to determine the causes, but surely there may be genetic reasons, or experiential ones, such as falling into a pond full of fish or exposure to films and stories, so much so that there is a specific sub-category, selacophobia, regarding sharks, influenced greatly by Steven Spielberg's film Jaws. Piranhas are often present in horror films. As with the various aquatic phobias, the subject tends to avoid lakes, rivers, seas, any place that may contain fish, including of course aquariums. Among the cultural causes, interesting is the case of the native Navajo tribe, defined as ichthophobic, because of a taboo that forbids them to touch and eat fish and deep-sea diving. There are various ichthyological celebrities, including Mark Wahlberg and Helena Bohnam Carter, who a few years ago wore a dress in the shape of a tuna to talk about environmental sustainability and had some difficulty about touching it. Speaking of the environment, in recent years more and more people are afraid of eating fish because of contamination and water pollution.

Many sailors and seafarers throughout history developed a fear of certain fish, especially large or unusual species encountered in the open ocean. Sailors in the 18th and 19th centuries often reported fearsome encounters with creatures like giant squids or sharks, leading to superstitions about particular fish being omens of bad luck or death. Some sailors developed a general fear of large aquatic animals, including fish, which influenced maritime folklore. This cultural fear of sea creatures has connections to ichthyophobia in individuals who have an extreme aversion to fish.

Traits:

• Category: Animal

• Eyes: Closed

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of insects, also called entomophobia. From the Greek “entomos”(insect).

It’s a very common fear encompassing many sub-categories. It is based on a constant and intense thought that insects can interfere with one's daily life in a negative way. The causes are often traumatic events (such as a bee sting) and it is often expressed in a revulsion with a specific insect and not always with all of them, which is why I decided not to launch into the subcategories, although some images would have been interesting to bring out. Certainly the ones that have the most effect and trigger this phobia are flying insects, which give a greater sense of unpredictability and helplessness. Also called ‘The Infested Mind’, there is a book about it by Jeffrey Alan Lockwood.

In ancient times, locusts were feared across many cultures, especially in the Middle East and North Africa, where locust swarms could destroy crops and bring about famine. This fear is reflected in the Bible, where the Plague of Locusts is one of the ten plagues of Egypt in the Book of Exodus. The destructive power of locusts has been a source of dread for thousands of years, and in regions prone to locust swarms, this fear remains. The mass appearance of insects like locusts often triggers widespread panic and represents a collective form of insectophobia.

A famous entomophobe was the artist Salvador Dali. When Dalí was five years old, he witnessed an insect that had been eaten by ants where the shell was the only thing that remained. The swarming ants in Dalí's pieces and models are innuendos to death and decomposition, and are hints of human mortality and uncertainty.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of poison and of being poisoned. From the Greek “iós”(poison).

Ivan IV of Russia, better known as Ivan the Terrible, was notoriously paranoid about being poisoned. His fear was so intense that he created an Oprichnina—a personal security force tasked with protecting him from perceived threats, including poisoning. Ivan also employed food tasters and insisted on highly controlled conditions for his meals. His paranoia led to the execution of many individuals within his court, whom he believed were plotting against him.

It was the same for Pope Clement VII, who served as the head of the Catholic Church from 1523 to 1534, was deeply afraid of being poisoned by his political adversaries, particularly during the turbulent period of the Reformation. He took extraordinary measures to ensure his safety, including eating from specially prepared dishes and limiting contact with individuals he did not trust. This fear was not unwarranted, as poisoning had been a common method of assassination in Italy at the time, especially among the papacy’s rivals.

It’s undoubtedly an ancient phobia, but one that comes down to the present day, turning into a fear not only of being fatally poisoned by someone, but also of using toxic products such as household cleaning products. As you read, history is full of references to this, there are many periods when court plots and the work of spies led to the poisoning of kings, queens and powerful people. Even today, politicians and governments, through their secret services, still make use of this tool and no specific references are needed because it is the order of the day. It is interesting how over the centuries a profession has formed in this regard, the court taster, who would test the dish first to avoid the poisoning of the ‘master’, I write this way because they tended to be slaves. This fits in with another project of mine, ‘RETROSPECTRA: Vanishing Labors’, a project about jobs that are disappearing. But currently I think it still exists, so I'll wait.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of emptiness and empty spaces. From the ancient Greek “kenós”(empty).

It’s a rare phobia that not only touches the physical sphere, but also the conceptual and imaginary, since just thinking about the sense of emptiness can trigger terror. In less intense terms, it is also something we have not been used to since we became bipeds. Genetically, this information about being suspended is new, apart from leaning off a cliff. But just think of the sensation provoked in our minds since we started exploring space, this idea of breaking away from the spacecraft and remaining in oblivion, without gravity. What feeling did the film Gravity leave you with?

Buzz Aldrin, one of the first astronauts to walk on the Moon during the Apollo 11 mission, described a profound sense of isolation and emptiness when looking out into the vastness of space. While not explicitly an expression of kenophobia, Aldrin spoke of the “magnificent desolation” of the lunar surface, which can be interpreted as a reaction to the overwhelming emptiness around him.

Explorers and travelers in vast, empty deserts—like the Sahara or Arabian deserts—have often described an overwhelming sense of fear when faced with endless stretches of sand and sky.

Similar stories after World War II, many European cities were left in ruins, with entire neighborhoods abandoned or destroyed. Survivors of bombings in cities like London or Berlin often recounted the fear of walking through empty, rubble-strewn streets where once-busy areas had become ghost towns.

Finally, the concept of 'horror vacui' in art is also closely related as a theme. I think I will do a second edition inspired by this.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Future

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

The fear of lightning. From the ancient Greek “keraunós”(lightning).

According to studies in the United States, it is the third most prevalent phobia in the country. People who coexist with this fear tend to prevent it from being triggered by hiding in sheltered places and it is not exclusive to humans as dogs and cats are also known to suffer from it. Certainly, as in other weather phobias, there is an underlying survival instinct, but in this case the intensity is so high that it can trigger crises. It has many other names, such as astraphobia, brontophobia, tronitrophobia.

The “Queen of Pop” Madonna is terrified of thunder and never steps out when it is raining and thundering. For example, she ordered regular forecast updates before a show in Ireland for fear of a thunderstorm. Health always comes first.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of buttons, also called “button phobia”. From the ancient Greek “koumpouno”(beans).

A well-known study published in 2002 in the Journal of Behavior Therapy and Experimental Psychiatry describes the case of a 5-year-old boy with a severe fear of buttons. The boy’s phobia developed after a classroom incident where buttons from his uniform fell on him. He became increasingly distressed whenever he saw buttons, leading his parents to seek help. Over time, with cognitive-behavioral therapy, the boy was able to reduce his fear, though he continued to have discomfort around buttons. This case remains one of the most documented instances of koumpounophobia in clinical psychology.

It’s an example that phobias, like anxiety, can also have creative sides and lead to innovative solutions and it is one of the reasons why I do not speak of ‘suffering from’ but ‘coexisting with’ the given phobia. Those who coexist with this fear have a repulsion towards buttons, mainly those on clothes, so I sometimes find correlations with tripophobia, the fear of round holes, but also towards buttons in general. The reason why I mentioned the creative side of it concerns Steve Jobs, who was very koumphonophobic, and because of his distaste for buttons he decided to eliminate them as much as possible from his Apple devices, until the arrival of the iPhone, the ultimate synthesis of this desire of his. This is why prejudices are of little use, because they often conceal from us the most interesting implications. Design as costraints, like Opepen!

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of vegetables. From the ancient Greek “lákhanon”(greens, vegetables).

In 2009, the Telegraph reported the story of Vicki Larrieux, a 22-year-old student from Portsmouth, who claimed she could not eat a healthy diet because she was afraid of vegetables.

Vegetables are universally considered a healthy and nutritious food, we are moving towards eating more and more of them, but there are some cases where the mere thought of them can trigger terror. Sometimes it is the sight, others the taste, because of the particular textures. It’s a fear that has various sub-categories, but it can affect several foods at once, in which case it can be a problem in terms of physical health and nutrition, lacking some essential nutrients. I know several people who coexist with this phobia, in first place there is certainly salad, and I know how important it is to prevent this uncontrolled aversion that can lead to intense crises. All it takes is a few things, prevention, anticipation and where you can, avoidance. Arcimboldo approves it.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of tornadoes and hurricanes. From the ancient Greek “laîlaps”(hurricane).

This terror can be triggered by images, sounds, weather forecasts or simply by the thought that a tornado or tornado may suddenly arrive. It mainly affects countries that are more exposed to these phenomena, but the consequences of climate change could bring new cases, since very often this phobia stems from a traumatic event in the past. In 2011 after Tornado Joplin, Karin R. Herrmann spoke openly about her lilapsophobia and then created various listening groups to share thoughts and emotions with other individuals with this phobia. This seems to me to be a very good reaction.

There are also those who are immensely fascinated by tornadoes, bravely challenging them to make their own contribution to science.

Do you know the story of Tim Samaras?

Samaras was an engineer worked to change the face of tornado science, helping researchers better understand how changes in pressure, humidity, winds and air temperature conspire to produce a phenomenon so powerful it can snap trees, flip cars or even derail a multi-ton train.

He developed innovative devices, such as the "tornado probe," designed to withstand extreme tornado conditions and collect data on wind speeds, pressure, and other meteorological factors.Samaras died in May 2013 while chasing an EF-4 tornado near El Reno, Oklahoma. The tornado, one of the widest ever recorded, struck suddenly and with unprecedented intensity. Samaras and his team were caught in the storm, leading to their deaths.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of ropes and laces. From the ancient Greek “lino”(rope).

Those who coexist with this fear may have had trauma from direct experience, or from watching films (often used aggressively in horror scenes). I thought of other historical reasons why one might have this phobia and was reminded of a tradition that struck me for the silent violence it brought with it, that of the ‘Golden Lotus’, an oriental practice of deforming women's feet for purely aesthetic reasons, but according to some also for power, as the subject had reduced mobility and was therefore indirectly subjugated to the partner. It is part of a long tradition that fortunately disappeared in the 20th century and began with the Chinese Song dynasty. Today it is called ‘pinyin’, which means ‘wrapped feet’.

To satisfy the canon of beauty of extremely small feet, which allowed admiration and the possibility of social ascendancy, they were bent so that the toes, with the exception of the big toe, were under the sole of the foot, forcing the arch itself to curve unnaturally. It was performed on girls between the ages of 4 and 9, whose development was not yet complete and whose bones were more malleable. I will not go into the grisly details you can find in various books and articles, but to get to the point the feet were wrapped, often with silk, allowing the deformation to continue. Poetics and social control, as I read in an interesting article by the University of Padua, because as in other cultural traditions concerning the female gender, a very painful and disconcerting practice is hidden. Such practices are and still are taking place all over the world, like the practice of corsets in Europe. The desire to belong through adherence to certain social standards, even painful ones, passed off as proof of courage and will, is in its own way a form of submission and social control by a dominant class. This depiction nor is just one example, and I repeat, this concerns all existing cultures, from the least to the most ‘developed’.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of cooking. From the ancient Greek “mágeiros”(chef).

It’s a very particular phobia because it can have different motivations that can cause many limitations and even health problems with food. While many people relax by cooking, for others cooking can be hell. It can stem from the fear of making mistakes, which in turn leads to the risk of getting hurt, fires, or the prolonged non-satisfaction of the prepared dish from which trauma can then arise. Some fears are related to the cooking process itself, including that of poisoning. Overcoming prejudices about mageirophobia can be facilitated by recognising that cooking does not have to be a complicated or perfect undertaking. Cooking can be a creative and relaxing activity, a way to express oneself and connect with others. Furthermore, the increasing availability of educational resources, such as TV programmes, online tutorials and cooking classes, can help reduce the anxiety associated with meal preparation and make cooking more accessible and fun for everyone.

Platforms such as Reddit and Quora are full of conversations about the fear of cooking; if you experience something like this, it can be helpful to read about others' experiences and the solutions they have adopted, as well as to consult an expert.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Mazeophobia is the fear of mazes or of getting lost. From the English “maze”+phobia. In Italian is called “labirintofobia”.

The ancient Greek myth of the Minotaur, who lived in the labyrinth of Crete designed by Daedalus has been cited in discussions about mazeophobia. The myth reflects ancient fears of being trapped or lost in complex structures.

This type of phobia can be triggered by the visual complexity of mazes or the anxiety of not being able to find the exit, causing feelings of panic and claustrophobia. Culturally, labyrinths have always played a significant role: from the (as the aforementioned) myth of the Minotaur to the labyrinthine gardens of European Renaissance villas. An interesting example is the Chartres Labyrinth in Chartres Cathedral in France, dating back to the 13th century. This labyrinth was conceived as a path of meditation and penance, symbolising the spiritual journey of the pilgrim. In other cultures, labyrinths are often seen as symbols of inner journey and personal transformation. A curious anecdote concerns the famous Argentine writer Jorge Luis Borges, who was fascinated by labyrinths and frequently used them as metaphors in his stories to explore themes of infinity, destiny and the complexity of human experience.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of large things. From the ancient Greek “megálos”(large, big).

This phobia can cause intense anxiety and discomfort when close to or thinking about objects of imposing size such as buildings and statues. Culturally, large structures and monuments have always fascinated mankind. The Egyptian pyramids, the Great Wall of China and colossal statues such as Christ the Redeemer in Brazil or the Statue of Liberty in the United States are examples of constructions that have a significant visual and symbolic impact. In the same way, skyscrapers are the evolution of ancient medieval towers, think about San Gimignano. These works often represent the power, grandeur and creative capacity of man, but in some cases they can instil such fear that the subject coexists with this phobia.

According to some anthropologists, human beings have always looked at the night sky and wondered what is up there, hence their need to verticalise and climb upwards, to get closer to something they cannot touch, for now.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of memories or memory. From the ancient Greek “mimnḗskō”(memories).

People with this phobia may experience intense anxiety at the thought of specific memories or the ability to remember in general, negatively affecting their daily lives. The reasons for this can be various, from traumatic memories, avoiding situations that can bring back those memories, to positive memories, where anxiety is caused by the painful comparison between positive memories of the past and the present, but also memory loss, with the crippling fear of neurodegenerative diseases such as Alzheimer's. The film ‘Eternal Sunshine of the Spotless Mind’ somewhat approaches this theme.

The need to remember and retain information is what led us to writing, to the invention of printing, to modern computers and cloud systems. It is an innate need of human beings, the indelible mark of their existence. Which sometimes frightens us.

Traits:

• Category: Situational

• Eyes: Closed

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Musophobia, the fear of mice and rats, is a phobia that has deep roots in human culture and history. From the ancient Greek “mūs”(mouse).

These rodents have elicited a wide range of reactions over time, often dependent on individual experiences and cultural representations. In many societies, mice and rats are seen as unwanted animals and disease carriers, associated with dirt and decay. This negative perception can be found in many literary, artistic and cinematic works, where rats are often depicted as sinister and evil creatures, but also in historical events, such as the Black Death.

However, there is also a more complex side to the relationship between humans and mice. In some cultures, mice are considered symbols of adaptability, survival and cunning. For example, in Chinese mythology, the mouse is one of the twelve animals of the zodiac cycle, associated with qualities such as wealth and ingenuity. Those who coexist with this phobia, and I know a few, tend to be active in places where there is a possibility of finding mice, such as abandoned places, places in the countryside, cellars. In recent times there has been a significant increase in the number of mice in various metropolis, certainly not a good thing in general.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of kayaking. Also known as kayak angst (the word nangierneq has a broad meaning) is a phobia closely linked to Greenlandic Inuit culture.

The term is used to describe a feeling of severe anxiety on the part of seal hunters when alone in a calm sea or lake, especially with the sun directly overhead or shining directly into their eyes.

Episodes often occur in foggy or overcast conditions, as the sky reflects off the still, mirrored surface of the water, making it difficult to distinguish the horizon and determine high from low, causing confusion and hallucination-like sensations. Also the There are various unconfirmed theories as to the causes of this condition, ranging from a possible hereditary information among Greenlanders to a form of post-traumatic stress syndrome caused by the constant life and death trials involved in hunting seals alone. Even the Inuit Igloolik of northern Canada have admitted to having these crises, consisting of wild hallucinations of mythical spirits, including visions of a sea ermine. It reminds me in part, although the theme is not addressed, or again, of the final episodes of the TV series ‘The Terror’.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: Yes

The fear of death or dead things. From the ancient Greek “nekros” (body).

Culturally, death is a complex and universal theme that is dealt with in different ways all over the world. Many cultures have specific rituals and practices to commemorate the dead and deal with mourning. However, necrophobia can cause people to avoid or reject these practices because they are too intimidated by the sight or simply by the thought. As with cemetery phobia, one interpretation of necrophobia may also include a fear of the unknown or the afterlife.

The causes as usual can be due to childhood trauma. It is interesting how in some cases, the opposite can happen, where the trauma is addressed through art, as happened to one of my favourite photographers, Joel-Peter Witkin. Culture also permeates with death-related themes, as already addressed with regard to Hagiophobia.

When I was a child visiting my grandparents in southern Italy, I remember that they had some very peculiar photographs stuck to their wardrobe. They were post-mortem photographs of children and adults, a practice born with the advent of photography, and perhaps one of the most extraordinary, if macabre, uses of this media. Today it has, alas, taken on different and less useful forms. The function of post-mortem photography was to leave a memento of the deceased person's existence, especially for infants, which given the high infant mortality rate, helped mothers to keep alive a memory of such a brief existence. I find this to be of unprecedented power. I have to say that for me, instead of creating trauma, it triggered my passion for photography, although fortunately I have always focused on the life-filled looks.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

The fear of being without a connection. Cool meaning…It’s an abbreviation for ‘NO Mobile PHOne PhoBIA’!

The term was first coined in England in 2008, during a study commissioned by the British government to investigate the correlation between the development of anxiety spectrum disorders and the overuse of mobile phones. The study identified that around 53 per cent of Britons who used mobile phones experienced high levels of apprehension and anxiety when they ‘lost their mobile phones, mobile phones ran out of power and switched off, ran out of credit for calling or texting, or had no signal coverage at all.

As this is a new and evolving techphobia, there is still a lot of uncertainty about it, but it is very likely that cases of this phobia will increase, also considering the levels of smartphone addiction reached in the last decade. It's a slight feeling I get when my iPhone runs out of power and the central button seems helpless and unresponsive, it gives me an idea of grief, although I can't really explain it.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of the atomic bomb. From the Latin “nucleos” der. of “nux,nucis”(walnut).

More generally, it refers to the fear of a threat or hypothetical nuclear war. I think it may fall under techphobia and like ballistophobia, it is a recent one, born precisely with the dropping of the first nuclear bombs in Hiroshima and Nagasaki. Since that insane event, the anguish caused by this historical shock has never faded and the growing international tension and warlike rhetoric may further increase this condition.

Albert Einstein is often quoted reflecting on the fear and consequences of nuclear weapons. In a letter to President Franklin D. Roosevelt in 1939, Einstein expressed concerns about the potential for devastating destruction if nuclear weapons were used. His reflections on the dangers of nuclear technology contributed to the broader discourse on nucleomituphobia and the ethical implications of nuclear warfare.

On the morning of 6 August 1945, as the atomic bomb was dropped by US airmen on the city of Hiroshima, 15-year-old Chieko Kiriake was crossing a bridge on her way to the hospital. Just as she was standing in the shade of a riverside warehouse to get some rest, the bomb exploded. The decision to stop for breath saved her life. Since then she has continued to bring her experience to young people. Kiriake's story is not only about the physical disaster caused by nuclear weapons, but also about the corrosive and traumatic mental damage suffered by the victims.

This post-photography is a tribute to her and all the survivors.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Future

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of the dark. From the Latin “nycto”(dark).

Curious note: in ancient Greek the word is “nux”(read →Nucleomituphobia).

In ancient civilizations, the fear of darkness was a common sentiment. The Greeks believed that during the night, the boundaries between the world of the living and the dead became thinner, and they feared the darkness because they thought that spirits could roam freely. In premodern times, the lack of electric lighting heightened these fears, making darkness a threatening part of daily life. This led to the creation of stories about nocturnal creatures, such as spirits, ghosts, or demons, which fueled a widespread fear of the dark across societies.

This phobia may manifest as intense anxiety or panic when being in dark environments or when the light diminishes. Individuals coexisting with this phobia may be afraid of being alone in the dark or fear that something bad will happen to them when they cannot see their surroundings clearly. Culturally, nyctophobia is one of the most common and deep-rooted fears in childhood, but it can persist into adulthood. It can be fuelled by traumatic experiences or symbolic influences that we associate with darkness, such as ghost stories or horror films.

One only has to think of the fairy tale ‘Hansel and Gretel’, in which the two protagonists get lost in the dark woods and fear encountering the wicked witch, to today's series such as ‘Stranger Things’ in which a lot of light-hearted play is made on evil creatures from the dark. Furthermore, darkness is associated with beliefs and superstitions. It can be seen as the hiding place of evil beings or spirits, as is the case with fog. These cultural beliefs can influence the individual perception of darkness and reinforce the phobia.

The 2001 film The Others, directed by Alejandro Amenábar, features a protagonist with a deep fear of darkness. The film’s portrayal of nyctophobia is central to its plot, exploring how fear of the dark can influence behavior and psychological states.

A lot of famous people coexist with this phobia. And of course, how can we not remember the song (and album title) ‘Fear of the Dark’ by Iron Maiden?

The song's lyrics tell the story of a man who has always been intensely afraid of the dark. He recalls the many times he has walked alone, and recollections of the feeling of being followed while walking at night. Steve Harris, bassist and founder of Iron Maiden, wrote this song because he himself was really afraid of the dark.

It's time to listen to it again.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of eyes and eyeballs. From the ancient Greek “ommeta”(eye).

This phobia can manifest itself as intense anxiety at the sight of eyes, eye contact, or even the thought of eyes. People suffering from ommetaphobia may avoid situations in which they have to look into someone else's eyes or be looked into their eyes. Considered to be the ‘windows to the soul’, eyes have always played a significant role in many cultures and mythologies and are present in the world of art and literature that can influence, as well as traumatic events, the onset of this phobia.

In some popular beliefs, such as the ‘evil eye’ in the Mediterranean, eyes can cast bad luck or curses. I remember that my grandmother, who came from Southern Italy, used to cure the evil eye and I still know many people influenced by these traditions. Works such as George Orwell's ‘1984’ use the image of the eye (Big Brother) to represent surveillance and control, evoking a sense of unease and fear, and how can one forget the scene in Stanley Kubrick's ‘A Clockwork Orange’ in which the protagonist is forced to watch violent films with his eyes wide open and locked. On this I can count myself lucky, as much as I struggle in the moment of watching eyes, but for other reasons, the gaze has always been my constant quest in the world of photography and I am fascinated by it.

Egon Schiele, an Austrian painter known for his distinctive and often unsettling portraits, have an anxiety about eyes and being observed and they are reflected in his art, where many of his subjects are depicted with exaggerated, unsettling eyes.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of snake. From the ancient Greek word “ophis” (snake).

People who coexist with ophidiophobia experience intense fear or anxiety when they see or think about snakes, even if the snake is non-threatening or the situation is harmless (like seeing a snake on TV). This is one of the most widespread animal fears, and it manifests in various cultural, religious, and mythological contexts around the world.

In the Bible, the serpent is a symbol of deceit and evil. The most famous story is from the Book of Genesis, where a snake tempts Eve to eat the forbidden fruit, leading to the fall of man. This portrayal has contributed to the association of snakes with sin, temptation, and danger in Western cultures.

In contrast, snakes hold both positive and negative connotations. While some serpents are feared as dangerous, others, like the Nāga, are seen as divine and protective. Lord Shiva is often depicted with a cobra around his neck, symbolizing power over death and fear. In many indigenous cultures snakes are seen with a mix of fear and reverence. In some African traditions, snakes are believed to be messengers of the gods, but they are also often feared as carriers of curses.

From religion to mythology (Medusa), literature (Macbeth), and modern media, snakes are often depicted as creatures to be feared and avoided, reinforcing the deep cultural roots of ophidiophobia across societies.

About Macbeth, the snake is a symbol used to represent treachery. Lady Macbeth warns her husband to ‘look like the innocent flower,/But be the serpent under’t’ (I.5.63–4).

• Category: Animal

• Eyes: Closed

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of birds. From the ancient Greek “ornithos”(bird).

It’s a widespread fear and I know many people who coexist, sometimes live, with this phobia, especially of pigeons in the city. Since ancient times, birds have been part of culture in various forms, often as messengers of the gods and symbols of misfortune, or of death as in the case of crows. It would be natural to quote Hitchcock's ‘The Birds’, but we will discuss this in another phobia, namely Ovaphobia. Unpredictable and elusive, often their sudden movements or attacks have created traumatic experiences, as in the case of seagulls when we have food in our hands.

During an interview with Vulture in December 2011, Scarlett Johansson revealed she has a fear of birds, which made filming "We Bought a Zoo" especially difficult. One scene that featured a peacock was scary to film because she "was terrified of them" and didn't want them to "get too close," saying that "they're like, mean.

Some reports also mention Eminem's fear of owls.

Traits:

• Category: Animal

• Eyes: Closed

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of smell. From the ancient Greek “osmē”(smell).

The sense of smell is an extremely complicated and fascinating sense and each person develops his or her own peculiar functioning in this regard. I, for example, am hypoolfactive, I smell smell very little, so I am not very sensitive to it. The thing that strikes me is that even though I don't perceive much through this sense, it has an incredible ability to bring back memories even from early childhood. It's a visceral feeling that it causes me. But let's think for a moment how difficult life can be for those who are hyper-olfactive, sensitive to the slightest smell, nauseous to some, and in some cases, phobic.

Not all hyper-olfactive people are osmo-phobic clearly, but it can clearly affect this condition. Speaking of prejudices, I chose an Oriental subject because it is little known that Asians are less sweaty compared to Western people, and therefore much more sensitive to our smells and our sweat, which can be nauseating, however much we think otherwise. This fact emerged many years ago thanks to research by Nivea, which could not understand why it could not enter the market with its deodorants in Japan. Simply because they did not need them.

That said, the sense of smell is also language. When I do training on neurodiversity at work, I point out how important it is for employees to know their senses. Imagine a hyper-olfactory person sitting at a desk next to someone who is sweating more and perhaps smells very strongly. Neither of them is at fault (beyond the banal phrase ‘he could wash more’), but it triggers a mechanism of hatred on the one hand and embarrassment on the other that finding a consensus can be difficult.

It is better not to be close, there is nothing wrong with that. I don't know if it can fit into this phobia, but there might be a possibility of having a phobia of one's own smell. I for example, when I am very stressed, the smell of my sweating changes and if I don't rest it can become unmanageable, entering a vicious circle that the more I think about it the worse it gets. Sometimes it can be unavoidable, but I have learnt first and foremost to do a good job of energy management and at the same time quietly tell those who work with me about it. I can't feel guilty about it, I can't feel ashamed, I can't be afraid of myself.

Widening the discourse and returning to the reasons that can trigger trauma, odours play an important role in different cultures. For example, certain perfumes or incense are used in religious and spiritual rituals, while other odours may be associated with festivals and celebrations. Other references include the book and film adaptation of Patrick Süskind's ‘The Perfume’, which tells the story of a man with an extraordinarily developed sense of smell who is obsessed with human scents.

Traits:

• Category: Sensory

• Eyes: Closed

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of crustaceans. From the ancient Greek “òstraka”(shell).

People with ostracophobia often develop the phobia as a result of a negative experience, such as being stung by a crab or seeing a crustacean come out of nowhere from under the sand. There are also people who are extremely allergic to crustaceans and who discovered this after a bad reaction after eating them; such experiences can also create trauma. In films and cartoons, they can be depicted as antagonists or giant creatures, which can negatively influence the perception of these animals, let's say the exact opposite of Sebastian, the cute crab from Disney's ‘The Little Mermaid’.

In Ancient Greece, the term "ostracon" referred to a piece of pottery or shell used in the process of ostracism, a form of democratic vote to exile individuals.Tis use use of shells might reflect an early cultural association with the discomfort related to shells.

Sometimes it is a paradox, like calling ‘Shell’ an oil company whose main product is among the biggest polluters of the seas.

Traits:

• Category: Animal

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of void, nothingness or emptiness. From the ancient Greek “ouden”(nothing).

It represents an intense anxiety or dread associated with the concept of emptiness, non-existence, or meaninglessness.

People coexisting with this phobia may experience anxiety or distress when confronted with the idea of emptiness or nothingness, either in philosophical or literal terms. It can also extend to a fear of empty spaces or objects perceived as empty. This fear can be triggered by encounters with empty rooms, containers or the night sky.

This fear can manifest in various forms, such as the fear of isolation, loss of self, or other critical actions.

Or finally about an existential anxiety, in which individuals contemplate the meaning of life, death and their own existence in relation to the vastness of the universe.

Traits:

• Category: Environment and natural elements

• Eyes: Closed

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Ovaphobia is the fear of eggs. From the Latin “ovum”(uovo).

Strictly related to “Ornitophobia”, but different.

People who coexist with this phobia may experience intense anxiety, disgust or panic at the sight, smell or thought of eggs. This phobia can include both raw and cooked eggs, and in some cases even products that contain eggs as ingredients, or just the red or white of eggs.

I, for example, can't stand red, although I don't have an intensity that causes me anxiety, but i don’t like the consistency.

For the more observant, there are several references to Alfred Hitchcock's film ‘The Birds’. This is because there is a curious anecdote about the director who, in an interview in 1963 with Oriana Fallaci, declared that he had a phobia of eggs, but it has never been understood whether this was true or simply a provocation.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of children. From the ancient Greek “paîs, paidós”(children).

This phobia may manifest itself as intense anxiety, panic or discomfort at the sight, touch or even thought of children. People suffering from paedophobia may avoid situations where they are likely to encounter children, such as parks, schools or family events.

It has been explored in various literary and cinematic works, just think of the twins in ‘The Shining’. These portrayals can contribute to feelings of unease and fear towards young children. There are causes related to the concept of responsibility or social expectations related to childcare, while others may have traumatic experiences associated with childhood that influence their perceptions, as well as experiences occurring at work in educational settings.

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

It’s the vague and persistent fear of an unknown evil or of everything. From the ancient Greek “pan”(all). Maybe the word isn’t connected to the same deity in Greek’s mythology, the Faunus in latin culture.

Unlike other phobias that are specific to a particular object or situation, panophobia is characterised by a widespread sense of apprehension or dread without a single obvious trigger. This constant state of anxiety can make it difficult for sufferers to identify and address the cause of their fear.

People with panophobia tell of how this widespread fear affects their daily lives, a constant state of alertness or tension, difficulty relaxing or enjoying life, and a persistent feeling that something terrible is about to happen, even without an obvious threat. It can be related to existential themes of anxiety and fear of the unknown that have been explored in literature and philosophy.

For example, authors such as Franz Kafka and Jean-Paul Sartre explored the concept of a pervasive, non-specific anxiety that reflects the uncertainty and anguish of the human condition. I find myself very much in Kafka and Sartre, especially in the former whom I know best, I have always felt this constant sense of heaviness and malaise, difficulty in enjoying happiness (I have to take notice, read Cherophobia) and a professional absorber of negative environments.

For some things I find a similarity with Charles Baudelaire's ‘Spleen’, but the latter is closer to a feeling of melancholy than fear.

Traits:

• Category: All

• Eyes: Absent

• Setting: Ethereal

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: Yes

Pathophobia is the fear of illness. From the ancient Greek “pathós”(disease).

People who coexist with this phobia may experience intense anxiety, panic or worry at the slightest idea of falling ill or at the sight of symptoms that could indicate illness. This fear may go as far as extreme behaviour, such as avoiding public places, obsessive medical check-ups and taking exaggerated preventive measures, such as not leaving the house or protecting oneself from anything that may contaminate. Great epidemics in history, such as the Black Death, the Spanish flu of the early 20th century or the recent COVID epidemic can cause this phobia, which is also closely linked to cyberchondria, the compulsive need to document information about one's health through the Internet.

In literature, fear of disease is often explored through characters who exhibit pathophobic behaviors. For example, in the novel The Plague (1947) by Albert Camus, the spread of a deadly plague causes significant distress among the characters, reflecting underlying fears of disease and suffering. While not explicitly pathophobia, the novel captures the essence of such fears.

Traits:

• Category: Medical

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of dolls. From the ancient Greek 'pedio' (doll).

Its opposite extreme is pediophilia, also commonly called 'Doll-Fetish'.

This phobia can extend to all kinds of dolls, including porcelain dolls, plastic dolls, mannequins and even humanoid robots (links to autotomatophobia). Fear of dolls can be linked to the concept of the ‘Uncanny Valley’, theorised by Masahiro Mori, which describes the uncomfortable feeling people experience when an object looks almost human but not quite realistic. This phenomenon may explain why dolls, which are human-like but clearly not living, can arouse fear.

At the same time, films and stories, such as ‘The Killer Doll’, have had a great influence on this theme, a constant reminder for many young people of Generation Y. Dolls have always played a dual role in society. In some, such as Nigeria, voodoo dolls have supposed ‘spirit’ powers and are symbols of negativity, while in Japan, Hina dolls are used during the Hinamatsuri festival to protect children.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of kissing or being kissed. From the ancient Greek “phílēma”(kiss).

Kissing is often seen as an intimate act of affection. Philemaphobia can be related to deeper fears, such as fear of intimacy, loss of control or social expectations. In psychology, kissing-related anxiety can be analysed in terms of past experiences, personal insecurities or associated traumas.

The use of kissing differs from culture to culture and also differs greatly, according to gender too. In Ancient Rome, kissing was often used as a formal greeting among acquaintances.

Again, there may be sensory and proxemic reasons, as in the case of Aphephobia. This image is an homage to René Magritte's ‘The Lovers’, since childhood one of my favourite artists.

Traits:

• Category: Social

• Eyes: Closed

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: Yes

Fear of rain. From the Latin “pluvia”(rain).

People who coexist with this phobia may experience intense anxiety, panic or discomfort at the sight or sound of rain, or even at the thought of an impending thunderstorm. This fear can lead to avoiding outdoor situations and negatively affect daily life. Being caught in a violent thunderstorm, an accident in rainy conditions, are examples of events that can leave a lasting impression and feed this fear.

In many cultures, rain is seen as a blessing, essential for the growth of crops and for life itself. However, rain can also be seen as an omen of doom or as a symbol of sadness and hardship. For example, in myths and legends, storms can be seen as a sign of divine wrath or as warnings of impending disasters, just think of the plagues of Egypt recounted in the Bible.

I had a very beautiful image in mind, but it seemed too strong, so I opted for a lighter one that makes sense and touches everyone a little, though with less intensity: that of the umbrella man flying away in the background exposing us to the rain during a windy storm.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of feet. From the ancient Greek “podos”(feet).

This phobia may manifest as intense anxiety, disgust or panic at the sight, touch or even thought of feet, one's own or those of others, and leads those involved to avoid situations where they might be exposed to the sight or touch (or smell). One can also tend to avoid bare feet, as can happen in environments such as swimming pools or the sea. standing in the rain during a windy storm.

In popular culture, feet are sometimes portrayed as objects of discomfort or fascination. For example, some horror films and television shows use feet in unsettling ways to evoke fear.

In ancient Egyptian culture, feet were often associated with servitude and humility. For instance, servants and slaves were depicted as sitting with their feet exposed. The exposure of feet in art was sometimes used to signify a lower social status or servile role.

In contrast to ancient Greece, feet were important both socially and religiously. Washing feet was a common practice in hospitality, symbolizing respect and the honoring of guests. Feet were also important in various rituals, such as the festival of Dionysus, where participants would dance barefoot as a form of worship.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of feathers or bird feathers. From the ancient Greek “fteros”(feathers).

It’s a little-known phobia, but can be very annoying to coexist with. There is not much information about it, but like the always mentioned traumatic experiences, culture can also play an influential role, where in some cases they play a negative role.

On the one hand, feathers are associated with specific symbolism, such as freedom, purity or spirituality, while in others they may be associated with negative beliefs or superstitions. For example, some people believe that feathers bring bad luck or are associated with evil spirits, as they are also used for black magic practices.

Traits:

• Category: Sensory

• Eyes: Closed

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of fire. From the ancient Greek “pyro”(fire).

Present since the dawn of time, like any natural element, those who coexist with this phobia may experience intense anxiety, panic or disgust at the sight, sound or thought of fire, leading them to avoid situations where they might have direct exposure, such as lighting a candle, cooking on a grill or attending parties with fireworks. Human culture is rich in meanings attributed to fire.

From Hephaestus to Prometheus in ancient Greece, to the correlation between flames and hell in the Christian religion, fire has always received our attention, perhaps also due to the mystical air it exudes that is a mixture of beauty and terror. And then there are the great fires in history, like the one in London in 1966 or other historical events that have influenced this condition. In the case of the image, I was inspired by a horrific military tactic used by Genghis Khan, who understood the role of cognitive psychology well before its devious use by marketing. To attack villages G.K. used to set fire to the tails of horses which he then pushed towards the village to be attacked which of course fuelled huge and terrible fires. Imagine, for those who are up to it of course, the idea of seeing a horde of burning horses coming towards you, an image too powerful not to be overwhelmed. And this Genghis knew it well. Bloody marketing strategy.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of shadows. From tha ancient Greek “skia”(shadow).

In ancient Greek philosophy, shadows held significant symbolic meaning. Plato's Allegory of the Cave describes prisoners in a cave who only see shadows projected on a wall, mistaking them for reality. The allegory taps into the fear of mistaking shadows (illusions) for the real world. Some historians suggest that this allegory reflects a broader human unease with shadows as symbols of deception or the unknown.

Edgar Allan Poe frequently used shadows and darkness to symbolize fear and mystery in his stories, for example in “The Fall of the House of Usher*”* (1845).

It’s a phobia that can be generational, passed from one person to another, or through observed behaviour. Shadows can frighten some people by the possible presence of harmful things or unwanted people inside a place where they are. Shadow phobia is usually caused by a past traumatic event, such as a cartoon mouse casting shadows as big as a monster seen on television.

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of school. From the Latin “scius”(knowing).

A complex topic, because it has so many variables, ranging from school performance, so in terms of anxiety due to performance, to the school environment and the relationships that occur, including bullying. I remember very well the difficulties I had during my time at school. I really enjoyed studying and had no particular difficulties, on the contrary, the problem was sometimes boredom as some subjects were very easy for me. In some cases, all I had to do was read and the subject was absorbed. I struggled more with what I had to learn by heart, but it was also a learning mechanism that did not work for me. I always had the habit of wanting to understand the why of things, the classic ‘why why why why why why’ child, this allowed me to process issues thoroughly and connect them to other topics. I always felt the need to understand rather than to record. That was as long as I liked the teacher of the given subject, otherwise I would switch everything off. Up to middle school this did not happen, by the third grade it was a tragedy.

In my late teens, I had come to struggle with relationships. Everything became more difficult, I had an almost bulimic relationship in wanting to know everyone, to make friends, an almost serial handling of the issue. Everything was extremely amplified.

From that day on, like a counterpoise, I promised myself that I would have to learn something new every day, and it became a beautiful habit.

Traits:

• Category: Social

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of silence or the absence of sound. From the ancient Greek “sedate”(silent,sleeping,dead).

In 1952, composer John Cage premiered his piece 4’33”, in which the performer plays nothing for 4 minutes and 33 seconds. The audience is left to experience silence, or more precisely, the ambient sounds around them. While this performance was intended as a philosophical exploration of silence, many in the audience reacted with discomfort, confusion, or even anger. The fear of silence, as highlighted in the reactions, revealed that for many, silence can be unsettling or even intolerable.

If there’s one thing we have gradually abandoned in our progress, it is silence. Living in big cities, for example, means constantly living with noise in the background. Some scholars claim that generations who have grown up with television in the background are even more sensitive to it. Those who coexist with this fear may constantly seek out noise sources to avoid silence. It may be related to dramatic situations in which, for example, a moment of silence anticipated a terrifying event. Silence brings with it anticipation. And this was also the case when living amidst completely natural sounds. Because absolute silence is and was only found in the great wastelands, in human and animal terms.

Traits:

• Category: Social

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of trains. The German term "Eisenbahnangst" used by Sigmund Freud was literally converted into Greek as "siderodromophobia" (Eisen = sideron = iron, Bahn = dromos = way, Angst = phobos = fear).

It’s a techphobia and therefore has no particularly deep historical roots, as the train is a recent invention. The term was coined in 1879 by the German doctor Johannes Rigler while observing railway workers. According to the doctor, their discomfort was due to the great shaking and noise that the trains caused. If we think about it, especially the first ones, they were enchanting but at the same time awe-inspiring vehicles. Giant black beasts, noisy and steaming, screeching along these iron tracks.

Think what a fright for the Native American peoples, far removed, even in thought, from these artefacts. And how frightening the speed, especially when it endangers our lives. At one time it was even believed that high speed (back then!) was bad for the human body.

Sigmund Freud coexisted with this phobia, the idea of travelling by train distressed him, influenced by his constant research and reading about train accidents. Think of the crowded Indian trains where people put their lives at risk by falling off a moving train. The image is inspired by precisely these events, which just thinking about them gives me the shivers. And tachophobia can be related.

In the mid-19th century, when human beings had never been transported faster than a speeding horse, trains caused many people not only excitement, but also a fear similar to today's fear of flying. The phenomenon became so pronounced and common that it acquired its own name: railway neurosis and, ultimately, a place in history as perhaps the first recognised psychosomatic illness. Many historians attribute a key role in the development of the field of psychotherapy to the railway neurosis. The railway neurosis diathesis paved the way for the treatment of shell shock in the First World War and even for understanding the lingering effects of 9/11 trauma. It is a long story that I recommend exploring further.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of cotton wool and cotton balls. From the ancient greek “sidon”(cotton) and “glosso” (tongue).

For some people, even the simple noise of using cotton wool can create considerable anxiety, for others the sight of the cotton ball soaked in any liquid, or its swelling. Surely a medical experience in which a cotton ball was used to disinfect a wound is an example of a possible traumatic event that may have brought out this phobia, a sensation that some sidonglophobics say is similar to a punch in the stomach.

One of the most famous figures associated with a phobia of cotton is Ellen Degeneres. While she hasn’t described it as a full-blown phobia, Ellen has mentioned in interviews and on her show that she finds the texture of cotton balls incredibly unsettling.

Traits:

• Category: Sensory

• Eyes: Open

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of food and eating. From the ancient Greek “sitos”(meal).

It’s a very sensitive topic and can cause other conditions, which is why I have chosen to avoid strong images and possible triggers and have chosen to broaden the topic to the entire human sphere and our unhealthy relationship with food. A symbol of today's consumerism and materialism, our relationship with food manifests its results in contrasts: great food waste and malnutrition, pollution and unsustainable prices for organic food. Regarding the specific phobia, apart from the food itself, in some cases the act of eating itself can also be frightening, because of all the consequences it can entail.

Do you know the story “The Piano Glass”?

Princess Alexandra of Bavaria, who lived in the 19th century, is often cited for her eccentric behaviour, one of which was her extreme caution about food. Reportedly, as a child she believed she had swallowed a grand piano made of glass. This belief led her to feel extremely delicate, even at mealtimes.

Franz Kafka, who as it turns out is one of our own, as already mentioned had several health problems throughout his life, including extreme anxiety about food. He was very sensitive to the idea of food being contaminated or inadequately prepared, which led him to experience discomfort and fear when eating.

The image is a homage to the work ‘Food for Degens’ by artist Kevin Abosch, one of my favourite contemporanean artist.

Traits:

• Category: Food, substances and inanimate objects

• Eyes: Open

• Setting: Future

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: Yes

The fear of social judgement. From the Latin “socius”(companion).

The term was coined in 1880 by George Miller Beard. According to a survey in 1994, it was one of the most frequent anxiety disorders in the United States. Being raised in an overprotected environment or having been bullied can be possible causes, but the environmental issue is relevant. But as a society we struggle to be aware of how toxic our attitudes are, so we tend to look for the problem in the individual and not the environment, which has turned character traits into illness, pathologising reserved or shy individuals into patients to be treated pharmacologically.

The thought here went to the social pressure that some minorities have received and continue to receive, these constant judgments and tortuous social channels that make self-assertion impossible.

This work is dedicated to the American computer scientist Katherine Johnson. In 1959, she calculated both the trajectory for the first manned space flight, later assigned to Alan Shepard, and the launch window for his 1961 Mercury mission, up to his collaboration on the famous Apollo 11 mission.

Traits:

• Category: Social

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of sleep or sleeping. From Latin “somnium”(sleep).

People who coexist with this phobia may experience intense anxiety or at the prospect of falling asleep and may have constant worries about not being able to wake up or losing control during sleep. This fear can lead to sleep avoidance or other behaviours that compromise quality of life and health. The dream has always been a great unknown, the child of great questions from scientists and philosophers.

Zhuangzi, one of the main Taoist philosophers, often reflected on sleep and dreams, particularly on the relativity between reality and illusion. His famous parable of “The Butterfly Dream" explores this theme.

'Once Zhuang Zhou dreamed that he was a butterfly, a butterfly fluttering happily here and there, completely unaware that he was Zhuang Zhou. Suddenly, he woke up, and there he was, solid and unmistakable, Zhuang Zhou. But he didn't know if he was Zhuang Zhou who had just dreamed of being a butterfly, or a butterfly now dreaming of being Zhuang Zhou.' (Zhuangzi, "The Butterfly Dream")".

This parable illustrates the uncertainty of reality, raising questions about the nature of existence and whether life itself might be a dream.

Mythological figures, such as the Mare, first appeared in Scandinavian literature from 1100 B.C. and transformed over the centuries and also present in pictorial art (such as Fussli's ‘The Nightmare’), were malignant figures that sat on people's chests causing nightmares. They were also likened to ‘sleep paralysis’, unexplained events for centuries. And nightmares precisely, as well as the fear of waking up, are two major causes of phobia.

Traits:

• Category: Situational

• Eyes: Closed

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of mirrors. From the Latin “spectrum”(appereance).

This phobia is distinct from eisoptrophobia, which is specifically the fear of one's own reflection.

In the folklore of some civilisations, the mirror was charged with superstition, capable of showing the soul and the presence of evil spirits. Superstition removed, it can also be a problem with one's body or identity. This fear can lead one to avoid mirrors or try to hide or cover one's reflections.

Luigi Pirandello, one of the most influential writers of the 20th century, frequently used the motif of mirrors in his works to explore themes of identity, self-perception, and the fluid nature of reality. Mirrors are much more than reflective surfaces. They symbolize the fractured nature of identity, the illusions we cling to, and the dissonance between who we think we are and how we are perceived. In his works, mirrors become tools for exploring the philosophical questions surrounding the nature of the self and the complexities of human existence, underscoring the idea that identity is fluid, constructed, and ultimately unknowable. Do you remember Dida in “To Find Oneself”?

In “The Late Mattia Pascal” the mirror here symbolizes the character’s lost sense of identity and the futility of trying to escape one's true self.

Pirandello describes this moment:

"When I passed by a mirror, I would stop and, looking at myself, I did not recognize myself."

Traits:

• Category: Situational

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of high speed. From the ancient Greek “taxos”(speed).

Amusement park, rollercoaster, the friend on duty who refuses to get on, resulting in a joke about a lack of courage. Speed is something new, so much so that various techphobias are related to this phobia, which are characterised by using an artifice to move beyond man's natural speed, so much so that many brands use as their logo or name animals that are distinguished by speed (and in some cases power, like Lamborghini) .

But the fear of speed can manifest itself in people who are afraid of travelling by car, train or plane, or even of being in fast-paced environments. It can occur for various reasons, above all after a traumatic event such as an accident.

Niki Lauda, the legendary Formula 1 driver, survived a near-fatal crash at the 1976 German Grand Prix that left him with severe burns. While Lauda was known for his bravery on the racetrack, after his recovery, he developed a heightened awareness of the dangers of speed. In his memoir, Lauda mentions feeling a new sense of fear about high-speed driving, a form of tachophobia that influenced his cautious approach after his return to racing.

Early astronauts, including those involved in the Apollo missions, often reported feelings of anxiety related to the incredible speeds required for space travel. Although astronauts were rigorously trained to handle these fears, the psychological challenge of moving at speeds up to 25,000 miles per hour during re-entry into Earth’s atmosphere brought on anxiety in several cases.

Personally, I do not fear the speed of a plane or a train, roller coasters amuse me, but I am the one who constantly asks the car driver to slow down on the road. But this is more about amaxophobia.

Traits:

• Category: Environment and natural elements

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of being buried alive. From the ancient Greek “taphos”(grave).

In the past, it wasn’t easy to ascertain a death and premature burials happened frequently, and in recent centuries a mass phobia broke out in this regard. Coined by the Italian psychiatrist Enrico Morselli, there were many cases of people equipping themselves to avoid this possibility.

From those who decided to dissect or burn their corpse for safety, such as Chopin or Nobel, to Hans Christian Andersen who wrote a note every night, leaving it on his bedside table, to warn that he was only sleeping and not dead. Others took food and candles with them in order to survive, still others invented systems with megaphones or direct connections to bells in case they woke up. Advances in medicine gradually made this phobia disappear. Sometimes it was instead a real danger, used as a mode of punishment in various cultures. It was the bad end that could befall a murderer who refused to repent, or, as in the case of the image created, a vestal virgin who broke her vow of chastity in ancient Rome.

The Vestals, priestesses of Vesta in ancient Rome, had a unique and revered status in Roman society, but their role came with strict rules and harsh punishments. One of the most notable punishments, relevant to the context of taphophobia, was being buried alive for breaking their vow of chastity.This harsh punishment reflects both the importance of their role in Roman society and the symbolic significance of their purity.

The Romans believed that spilling the blood of a Vestal Virgin was an impious act, so they found an alternative means of execution—entombment. The condemned Vestal would be placed in a small underground chamber with minimal food and water to avoid directly spilling her blood.

One of the most famous cases involved the Vestal Virgin Cornelia, who was buried alive in 216 BC for allegedly breaking her vow of chastity. Despite her protests of innocence, she was ceremoniously led to her underground chamber. The name of this subject.

Traits:

• Category: Situational

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of phones. From the ancient Greek “tēle”(far).

As technology evolves, so does the way we communicate, and we do so more and more through texting than through calls.

As psychologist Maria Hejnar explains: ‘Certain procedures that were only accessible by phone call are now accessible via the internet, which makes the phone call less and less familiar and therefore increasingly distressing.’

Those who coexist with telephobia usually experience a state of anxiety that prevents them from answering the phone when an unexpected call comes in, often because they fear bad news, thus adopting an avoidant attitude towards it. I had a period of a few years when I was very close to this phobia, but the motivation was more social. I could no longer manage the too many relationships I had between my private life and work, I was falling behind in responding to messages, I couldn't devote the right amount of time to each relationship, until at some point I stopped responding altogether, stopped using social and did a general reset. Restarted the computer. The situation today is much better, but this has made me independent of the need to constantly use social media or check my phone. Plus, I'm lucky enough to have a job where we communicate through radios, so that's perfect!

W.H. Auden, the influential poet, probably had an aversion to the telephone, in general to modern times. He preferred written correspondence and often avoided phone conversations, finding them intrusive and stressful. Absurdly, through the use of computer-vision technologies, a previously unknown version of an Auden poem has now been reconstructed.

Instead, here, a poem of his called, precisely, “Stop all the clocks, cut off the telephone”.

Stop all the clocks, cut off the telephone, 
Prevent the dog from barking with a juicy bone, 
Silence the pianos and with muffled drum 
Bring out the coffin, let the mourners come. 

Let aeroplanes circle moaning overhead 
Scribbling on the sky the message He Is Dead, 
Put crepe bows round the white necks of the public doves, 
Let the traffic policemen wear black cotton gloves. 

He was my North, my South, my East and West, 
My working week and my Sunday rest, 
My noon, my midnight, my talk, my song; 
I thought that love would last for ever: I was wrong. 

The stars are not wanted now: put out every one; 
Pack up the moon and dismantle the sun; 
Pour away the ocean and sweep up the wood; 
For nothing now can ever come to any good. 

W H Auden

The name of this artwork is a tribute to the character Peggy Olson (Elisabeth Moss) from the series ‘Mad Men’, the secretary to the main character.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of number four. From the ancient Greek “tetrás”(four).

Widespread mainly in East Asia, the origins of tetraphobia can be traced back to ancient Chinese beliefs and the influence of Feng Shui. The number four is considered unlucky because its pronunciation is similar to the word for death.

Just as in Europe the number 13 or 17 may be missing (depending on the area) in hotel rooms, in large Oriental buildings there may be no numbers in which 4 is present, so that one can go from the 39th to the 50th floor in a flash. The same happens with ships and planes, they never end with it.

The impact of tetraphobia can be seen in product design and marketing strategies aimed at avoiding any negative connotations associated with this number.

Given our peculiar relationship with mathematics, numbers can often become an obsession and lead the unfortunate subject to avoid everything related to them.

Traits:

• Category: Numbers & Words

• Eyes: Open

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of heat. From the ancient Greek “thermós”(hot).

Not to be confused with a physical condition due to hyperthyroidism, this phobia is triggered by the mere thought that it might be hot and is on the rise in recent years due to climate change and the onset of so-called eco-anxiety. Moreover, those who coexist with this phobia are faced with a consequence that triggers a vicious circle. The anxiety that is produced leads to increased sensitivity to heat, increasing the perception of heat, as if the temperature suddenly rises, making the situation unmanageable.

In some cultures, extreme heat is associated with negative superstitions and beliefs. For example, in Ancient Egypt, excessive heat was often linked to divine displeasure or impending disaster.

In the late 19th and early 20th century, the invention and spread of air conditioning was partly motivated by concerns about heat and discomfort. The development of air conditioning systems by inventors such as Willis Carrier was, in part, a response to the need to control the indoor climate and reduce the discomfort associated with high temperatures. This technological advancement reflects how society's concerns about heat influenced architectural and technological innovation early on, but now it is a problem that we need to face decisively and intelligently.

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Future

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: Yes

Fear of giving birth or of the consequences of giving birth. From the ancient Greek “tokos” (childbirth or labor).

Childbirth is a highly anticipated event, perhaps the most anticipated event ever in human culture (and beyond). But this experience can have an extremely negative connotation for some women, especially with regard to first childbirth, where there is no real knowledge of the possible pain that will come at the moment of the act. For those who have had a painful childbirth, this memory may linger in nightmares and you may have a fear of getting pregnant again and a negative impact on your relationship with your child, as well as on your relationship with your partner and the whole family. As a man, I can only try to be empathetic, without allowing myself to imagine the difficulty and courage that such an event requires.

I can only say that raising a creature in one's own body is a choice of the individual who has to face this challenge, and that what we can do as partners is to support and foster wellbeing through presence and understanding, and perhaps by avoiding the usual toxic mansplaining.

This is not to say we cannot talk about it, but to question the subject with the knowledge that we could never understand it in direct terms, and that is a big information gap.

Interestingly enough, French psychiatrist Louis-Victor Marco was the first to talk about it in 1858, but the term was coined a century and a half later, in 2001, by scientists Kristina Hofberg and Ian Brockington.

• Category: Medical

• Eyes: Open

• Setting: Future

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of hair. From the ancient Greek "tricho”(hair).

For those coexisting with this phobia, hair becomes a source of anxiety and fear, and in general can be associated with any hair or hairy body.

It typically manifests as an irrational fear of loose hair, either one's own or others’. People may experience distress when seeing hair on clothes, furniture, or even while cutting or shedding their own hair. Another manifestation is the worry of being affected by abnormal and excessive hair growth.

About hair in human culture, in ancient Egypt, hair was associated with status, and shaving the head signified a higher social rank.

Similarly, in many indigenous cultures, hair is linked to spiritual strength and identity. Sikhs do not cut their hair, viewing it as a symbol of faith, in Buddhism shaving the head can symbolize renunciation of materialism and in Crystianity certain nuns and monks take vows that include cutting or maintaining specific hair lengths, representing devotion.

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Ethereal

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of needles. From the ancient Greek “trypanon” (bore or perforator).

Trypanophobia influences human culture in various ways, from impacting public health and healthcare practices to being represented in media and affecting individual experiences.

Just think of the period just gone by of the Covid epidemic, which I mention because it is a benchmark of this century and it is only right to represent it historically, in which one of the problems to be addressed was precisely the fear of needles. I know many people who had no problem with the vaccine except for the fear of the needle.

During the polio vaccination campaigns of the 1950s and 1960s, health officials worked to alleviate fears about injections by using pain management techniques and educating the public about the safety and importance of vaccination. The success of these campaigns depended in part on addressing and mitigating trypanophobia.

Of course it is not something we are used to, so the fear is natural, but syringes have been used since time immemorial The current syringes were developed around 1853 by Charles Pravaz and Alexander Wood. Currently, most syringes are made of plastic, disposable, with the needle pre-inserted. In the past, glass was used and syringes were reused after sterilisation in an autoclave or simple boiling at home.

While piston syringes were used in ancient times. In the 1st century AD. Aulus Cornelius Celsus mentions their use to treat medical complications in his De Medicina.

In the 9th century the Iraqi/Egyptian surgeon Ammar ibn ‘Ali al-Mawsili created a syringe using a hollow glass tube and suction to remove cataracts from patients’ eyes, a practice that remained in use until at least the 13th century

Traits:

• Category: Medical

• Eyes: Open

• Setting: Present

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of clusters of holes and protuberances. From the ancient Greek “trypta” (hole).

It’s a fear that was discovered recently and thanks to the spread of the Internet, as it was realised through constant talk about it on blogs and social media.

The term was coined by an Irish woman named Louise and the spark that triggered this revelation was a photoshopped picture circulating on the internet in 2003. It is interesting because it is a phenomenon noticed by a person who lived the experience and not by a psychologist or psychiatrist. This is the power of the Internet in the production of knowledge, where this information is positive food for thought.

Even model Kendall Jenner has admitted that this visual pattern causes her great anxiety, and according to some scientists, this phobia stems from an impulse to stimuli that lead back to negative elements. In fact, these patterns are reminiscent of infectious infections or diseases such as smallpox, and this could be one of the causes.

Traits:

• Category: Sensory

• Eyes: Closed

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

Fear of the number thirteen. From the ancient Greek “tris” (three), “kai”(and), “deka” (ten). It’s a widespread phobia in the West.

The fear of the number 13 dates back to ancient times, but its roots in Western culture are often linked to Christian traditions. According to legend, Judas Iscariot, the apostle who betrayed Jesus, was the 13th guest at the Last Supper. For some it stems from Loki, a Viking god who, after not being invited to the dinner of the 12 gods of Valhalla, crashed the event and cursed the earth through the darkness.

Like the number 4 in East Asia, 13 is also avoided by hotels and airlines, people avoid big events or operations on Friday the 13th (it has a specific name: paraskavidekatriaphobia) and even Stephen King is influenced and frightened by the number 13. It is the page he writes the fastest, trying never to stop until he reaches page 14.

The Knights Templar, a medieval Christian military order, were allegedly persecuted on Friday the 13th in 1307 by agents of King Philip IV. This historical event contributed to the superstition surrounding both Friday the 13th and the number 13, embedding it further into Western culture as a day associated with bad luck.

Traits:

• Category: Numbers & Words

• Eyes: Open

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of witches. From the old English word “wicca” (witch).

This fear dates back to the beginning of recorded history, running through almost every culture in our world. Explanations for illnesses, droughts and other misfortunes were commonly believed to be the result of supernatural and mystical forces from witchcraft, evil spirits and angry deities.

This is why it falls under supernatural phobias, similar in these cases to Daimonophobia, and led to the infamous witch hunts and witch trials all over the world, mainly in the period from the 14th century to the 17th century, known as the ‘Burning Times’, when witchcraft was a capital offence punishable by death. And this is still the case today in some (few) places in the world.

Traits:

• Category: Social

• Eyes: Hidden

• Setting: Past

• Tributes and References: Yes

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

It can result from various factors, including ignorance, lack of exposure to different cultures, personal insecurity or political propaganda.

In the 19th century, it was synonymous with agoraphobia, later taking on a specific character, since in 1923 the New York Times used it to describe the Ku Klux Clan, stating ‘for a free people, a disease more dangerous than a physical plague’.

According to some scholars, using this term while accusing xenophobes of irrationality risks increasing polarisation even more, making it impossible to create a dialogue. That is why I chose a soft image, but one that makes the idea well: that of being afraid to opening up to others.

Traits:

• Category: Social

• Eyes: Open

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

Fear of forests. From the ancient Greek “xylon” (wood).

A forest is a place full of danger, both because of the animals it harbours, such as wolves, bears, wild boars, and because it is difficult to see inside it, amidst patterns of dense trunks and branches that repeat themselves endlessly.

It can also be the lair of bandits, or evil spirits that confuse passers-by, making it impossible to find the right path. Those who coexist with this phobia may have got lost in a forest or been impressed after watching impressive films, such as The Blair Witch Project. In Fear and Loathing in the Western Front, Davide Alegre Lorenz reports on the terror that the forests of northern Russia emanated in French and Spanish soldiers during the Second World War.

Traits:

• Category: Environment and natural elements

• Eyes: Hidden

• Setting: Present

• Tributes and References: No

• Artist's own fears: No

• Status: Real

• Headgear: No

Fear of vacuum cleaners. From the Dutch word “zuigen” (to vacuum).

It’ s a phobia that mainly arises during childhood and may be triggered by their shape and the intense, annoying rumors they make when switched on. It is a recent fear and falls under techphobias.

Personal anecdotes from individuals with zuigerphobia describe intense fear and anxiety triggered by the sight or sound of vacuum cleaners. For instance, some people report avoiding cleaning tasks or delegating them to others due to their fear of the noise and sensation created by the vacuum cleaner. It’s both Sensory and Tech.

Traits:

• Category: Tech

• Eyes: Open

• Setting: Past

• Tributes and References: No

• Artist's own fears: No

• Status: Pseudo

• Headgear: No

There are some homages and easter eggs within the collection, which are not part of the traits but enrich the uniqueness of certain artworks.

Small details that refer to the WEB3 culture that I personally own and which I following with passion and curiosity. These projects and their community have kept me company during this year of production of the project. You can find the list in chapter 3 “Sales info”

Have fun discovering them.

If you have come this far, thank you for going deeper.

It has been a long journey, although time isn’t synonymous with quality, but certainly with hard work and the joy of discovery.

I’ve learnt so much and travelled through time, from ancient history to a future yet to be imagined.

I would like to remind you that this project is not intended to have clinical or academic purposes, but only to gently intrigue the public towards such a stigmatised subject as phobias.

Thanks to those who have helped me in this year and a half, sending me articles, curiosities and personal experiences.

I would like PhoBIAS to be just the beginning of a longer research into the manifestations and functioning of mankind. The next two chapters are already in the sketchbook, I will update you when they take shape.

‘Compass beats map’

Mirko

‘PhoBIAS ’ is a post-photography project by the neurodivergent artist Mirkolis, consisting of 123 unique works (1/1).

It’s an introspective and cultural investigation into the destigmatisation of phobias.

It will be open to the public on 23 November, 2024 on the OpenSea platform, Base chain.

This first-person written guide provides insights into the collection and includes the artist's notes on each phobia, in an attempt to share thoughts on the subject.

1. Introduction

2. Narrative and aesthetic aspects

3. Sales info

4. Traits, scarcity and hidden meanings

5. The artworks and notes

6. Curiosities and easter eggs

7. Conclusion

This artistic work of cultural and introspective research began in March 2023 through the first notes and attempts to search for an aesthetic/narrative line.

After receiving a diagnosis of autism in 2018, I began a long and intense journey of awareness and well-being that a few years ago led me to delve into my relationship with phobias. Having as a comorbidity a generalised anxiety disorder, which fortunately I now manage very well, I’ve always co-existed with some specific phobias. During this lengthy research I discovered that phobias are more widespread than I thought and that the majority of the world's population avoids this type of intense anxiety, which affects daily life.

This research is not intended to have a clinical approach, except for some basics, but to highlight the phenomenon from a more anthropological point of view, so in the notes of each work you will not find medical sources and therapies, apart from some curiosities, but cultural and historical anecdotes.

I decided to set aside the pathological aspect and place phobias in a broader context, even in the use of language, avoiding using ‘suffering from...’ as an external and malign presence, but as a characteristic that is part of a greater complexity of variables that make up human identity.

Following the principles of the social model of disability, it’s natural for me, however misunderstood or not, to focus more on the environment than on the person. By environment I mean the set of factors and characteristics that determine experience in a specific space, including people, relationships, objects, sensory stimuli, social dynamics. It’s not the person who is not ‘able’, but the environment that ‘disables’ the individual. And this touches us all in its various nuances. This same model will be applied to phobias in this research.

This is why I will mainly speak of the ‘coexistence’ of a phobia, meaning that the person, although not accepting the condition, finds himself dealing with it on a daily basis, or why not there is a greater character of acceptance and awareness. At the same time, I use the word intensity to get away from the binary thinking that too often demarcates the boundaries into A and B, without observing the nuances between one point and another.

Some general information for contextualisation. A phobia, to be declared as such, must be an exaggerated, irrational fear that has lasted for six or more months and must have driven the person coexisting with it to avoid the feared object or situation to such an extent that it interferes with normal functions (source DSM V).

It’s estimated that only one in eight people seek help, so it is difficult to measure its prevalence. A survey by the World Health Organisation (WHO) found that more than 7% of the surveyed population (data collected from 22 countries) had experienced a specific phobia. But I think it’s more.

Phobias are much more common in children, falling by half in later life, and women are twice as phobic as men (but we’ll talk later about that). Phobias can arise for genetic, environmental and experiential reasons, for example due not only to direct exposure to a trauma, but also to someone else's anxieties or phobias, especially parents. This happened to me with snakes in childhood, a phobia my mother passed on to me, which then faded in adolescence.

On an aesthetic level, the biggest challenge was to respect the narrative line. The moment I tell through the images is the state of freezing, a state of surrender and helplessness one is faced with during the activation of the phobia.

Thinking about my own relationship with phobias, talking to friends who coexist with them or collecting sources of personal experiences on blogs, the feeling that emerges most is that of feeling stuck and helpless, aware that there is nothing to do, except run away, when faced with that situation.

But the screaming and running away, should they occur, happens afterwards. Freezing is also a natural and innate response in humans and there are several recent articles that explain well the amount of phenomena that take place inside our bodies at that moment.

The interesting point is that the stereotype, being a cultural product, also influences the AI and its image generators, so if I describe a phobia in the prompt, what will come out is a person with a terrified, screaming expression, but that image does not reflect the complexity that a phobia entails, not even the reactions can be generalised into a scream. It’s a very similar vision to the one created in our mind if we do not prolong the thought process. At first glance, the image in our thinking will have those connotations, and then, depending on how much information we have about it and the time we spend on it, the image will reshape itself looking for a better interpretation.

It’s a mechanism similar to Kaunemann's concept of ‘Thinking, fast and slow’.

For these reasons, Chat GPT itself is full of stereotypes, so the prompts performed are a tailored work of deconstructing the bias, done ‘analogically’, since those proposed by the AI could not work.

From a certain point of view, it is a stimulating challenge against windmills, even though I knew I was facing an AI, I was responding blow by blow, in a mad harangue against the zeitgeist of the time. You propose this to me, and I try to take you down another, more complex road, trying to break down your concept.

Regarding the use of AI, I have co-operated with various generators, although mainly I have used Stable Diffusion and Midjourney, even the initial versions (V1), depending on what I wanted to achieve. In some cases I used both to create images, mixing Text to Prompt and Blender. The initial intention was to train an artificial intelligence model of my own, but the aesthetic impact would have been too powerful and far removed from the subtlety I am aiming for in this project. But I think I will use a trained model for a second project related to this one.