This is a book that has been out many years, in several editions. I picked up a copy last week and have been going through the exercises. It is amazing! I could always draw a little, but the concepts and exercises in this book (some of them ancient) have made huge changes in my perceptions and ability to render objects. Much of it is designed to bypass the lingustic-symbolic mode of drawing, where, roughly, a face is a circle with two dots and a semi-circle, for example, and to help you see and draw what is actually registering on your eyes. One of the great tricks is simply to draw, not the object, but the spaces around the object. Another is to turn the thing you are drawing upside down. Apparently, it is used by corporations to help people problem solve and "see things differently". I cannot recall ever advancing so much in any skill on just a week.
It makes we wonder whether many of us suffer from systematic perceptual problems in music, and whether there are any books on music that are so powerful, that with a few concepts and exercises can teach so profoundly. Anyone know of books like that?
> This is a book that has been out many years, in several editions. I > picked up a copy last week and have been going through the exercises. > It is amazing! I could always draw a little, but the concepts and > exercises in this book (some of them ancient) have made huge changes > in my perceptions and ability to render objects. Much of it is > designed to bypass the lingustic-symbolic mode of drawing, where, > roughly, a face is a circle with two dots and a semi-circle, for > example, and to help you see and draw what is actually registering on > your eyes. One of the great tricks is simply to draw, not the object, > but the spaces around the object. Another is to turn the thing you > are drawing upside down. Apparently, it is used by corporations to > help people problem solve and "see things differently". I cannot > recall ever advancing so much in any skill on just a week.
> It makes we wonder whether many of us suffer from systematic > perceptual problems in music, and whether there are any books on music > that are so powerful, that with a few concepts and exercises can teach > so profoundly. Anyone know of books like that?
I tried drawing on the right side of my brain once; it hurt!
> > This is a book that has been out many years, in several editions. I > > picked up a copy last week and have been going through the exercises. > > It is amazing! I could always draw a little, but the concepts and > > exercises in this book (some of them ancient) have made huge changes > > in my perceptions and ability to render objects. Much of it is > > designed to bypass the lingustic-symbolic mode of drawing, where, > > roughly, a face is a circle with two dots and a semi-circle, for > > example, and to help you see and draw what is actually registering on > > your eyes. One of the great tricks is simply to draw, not the object, > > but the spaces around the object. Another is to turn the thing you > > are drawing upside down. Apparently, it is used by corporations to > > help people problem solve and "see things differently". I cannot > > recall ever advancing so much in any skill on just a week.
> > It makes we wonder whether many of us suffer from systematic > > perceptual problems in music, and whether there are any books on music > > that are so powerful, that with a few concepts and exercises can teach > > so profoundly. Anyone know of books like that?
> I tried drawing on the right side of my brain once; it hurt!
> Andrew- Hide quoted text -
> - Show quoted text -
Oddly enough I have a copy of that book. It was my ex wife's so I haven't read it...............yet (I really do have it)
> This is a book that has been out many years, in several editions. I > picked up a copy last week and have been going through the exercises. > It is amazing! I could always draw a little, but the concepts and > exercises in this book (some of them ancient) have made huge changes > in my perceptions and ability to render objects. Much of it is > designed to bypass the lingustic-symbolic mode of drawing, where, > roughly, a face is a circle with two dots and a semi-circle, for > example, and to help you see and draw what is actually registering on > your eyes. One of the great tricks is simply to draw, not the object, > but the spaces around the object. Another is to turn the thing you > are drawing upside down. Apparently, it is used by corporations to > help people problem solve and "see things differently". I cannot > recall ever advancing so much in any skill on just a week.
> It makes we wonder whether many of us suffer from systematic > perceptual problems in music, and whether there are any books on music > that are so powerful, that with a few concepts and exercises can teach > so profoundly. Anyone know of books like that?
It's a very interesting effect - deliberately avoiding focusing on the task you're doing. It's always easier to cut a line by not looking at it but rather outside the line. You can carry a container of water with less spills if you're not focusing on keeping the water level. There's probably some way to play the guitar from the right side but most of us never got the knack.
> On Feb 20, 1:41 pm, Miguel de Maria <elegantspanishgui...@gmail.com> > There's probably some way to play the guitar from the right side but > most of us never got the knack.
> > This is a book that has been out many years, in several editions. I > > picked up a copy last week and have been going through the exercises. > > It is amazing! I could always draw a little, but the concepts and > > exercises in this book (some of them ancient) have made huge changes > > in my perceptions and ability to render objects. Much of it is > > designed to bypass the lingustic-symbolic mode of drawing, where, > > roughly, a face is a circle with two dots and a semi-circle, for > > example, and to help you see and draw what is actually registering on > > your eyes. One of the great tricks is simply to draw, not the object, > > but the spaces around the object. Another is to turn the thing you > > are drawing upside down. Apparently, it is used by corporations to > > help people problem solve and "see things differently". I cannot > > recall ever advancing so much in any skill on just a week.
> > It makes we wonder whether many of us suffer from systematic > > perceptual problems in music, and whether there are any books on music > > that are so powerful, that with a few concepts and exercises can teach > > so profoundly. Anyone know of books like that?
> It's a very interesting effect - deliberately avoiding focusing on the > task you're doing. It's always easier to cut a line by not looking at > it but rather outside the line. You can carry a container of water > with less spills if you're not focusing on keeping the water level. > There's probably some way to play the guitar from the right side but > most of us never got the knack.
I did discover one trick, actually I got it from Kenny Werner. You simply observe your finger or whatever doing the action. You pretend it's not you doing it, but that it moves of its own volition. Try it-- it's cool. They should call it "The Stranger".
> > This is a book that has been out many years, in several editions. I > > picked up a copy last week and have been going through the exercises. > > It is amazing! I could always draw a little, but the concepts and > > exercises in this book (some of them ancient) have made huge changes > > in my perceptions and ability to render objects. Much of it is > > designed to bypass the lingustic-symbolic mode of drawing, where, > > roughly, a face is a circle with two dots and a semi-circle, for > > example, and to help you see and draw what is actually registering on > > your eyes. One of the great tricks is simply to draw, not the object, > > but the spaces around the object. Another is to turn the thing you > > are drawing upside down. Apparently, it is used by corporations to > > help people problem solve and "see things differently". I cannot > > recall ever advancing so much in any skill on just a week.
> > It makes we wonder whether many of us suffer from systematic > > perceptual problems in music, and whether there are any books on music > > that are so powerful, that with a few concepts and exercises can teach > > so profoundly. Anyone know of books like that?
> I tried drawing on the right side of my brain once; it hurt!
> Andrew-
May I suggest next time you draw on paper so it won't hurt? Cheers,
>> This is a book that has been out many years, in several editions. I >> picked up a copy last week and have been going through the exercises. >> It is amazing! I could always draw a little, but the concepts and >> exercises in this book (some of them ancient) have made huge changes >> in my perceptions and ability to render objects. Much of it is >> designed to bypass the lingustic-symbolic mode of drawing, where, >> roughly, a face is a circle with two dots and a semi-circle, for >> example, and to help you see and draw what is actually registering on >> your eyes. One of the great tricks is simply to draw, not the object, >> but the spaces around the object. Another is to turn the thing you >> are drawing upside down. Apparently, it is used by corporations to >> help people problem solve and "see things differently". I cannot >> recall ever advancing so much in any skill on just a week.
>> It makes we wonder whether many of us suffer from systematic >> perceptual problems in music, and whether there are any books on music >> that are so powerful, that with a few concepts and exercises can teach >> so profoundly. Anyone know of books like that?
> I tried drawing on the right side of my brain once; it hurt!
You're probably drawing it on there using one of those cheap Sharpie markers - next time try using a nickel-finish 44 Colt Python. It's a classic!
>>> This is a book that has been out many years, in several editions. I >>> picked up a copy last week and have been going through the exercises. >>> It is amazing! I could always draw a little, but the concepts and >>> exercises in this book (some of them ancient) have made huge changes >>> in my perceptions and ability to render objects. Much of it is >>> designed to bypass the lingustic-symbolic mode of drawing, where, >>> roughly, a face is a circle with two dots and a semi-circle, for >>> example, and to help you see and draw what is actually registering on >>> your eyes. One of the great tricks is simply to draw, not the object, >>> but the spaces around the object. Another is to turn the thing you >>> are drawing upside down. Apparently, it is used by corporations to >>> help people problem solve and "see things differently". I cannot >>> recall ever advancing so much in any skill on just a week.
>>> It makes we wonder whether many of us suffer from systematic >>> perceptual problems in music, and whether there are any books on music >>> that are so powerful, that with a few concepts and exercises can teach >>> so profoundly. Anyone know of books like that?
>> It's a very interesting effect - deliberately avoiding focusing on the >> task you're doing. It's always easier to cut a line by not looking at >> it but rather outside the line. You can carry a container of water >> with less spills if you're not focusing on keeping the water level. >> There's probably some way to play the guitar from the right side but >> most of us never got the knack.
> I did discover one trick, actually I got it from Kenny Werner. You > simply observe your finger or whatever doing the action. You pretend > it's not you doing it, but that it moves of its own volition. Try it-- > it's cool. They should call it "The Stranger".
I like weird stuff like that and will try it out on a couple of my favorite body parts.
> >>> This is a book that has been out many years, in several editions. I > >>> picked up a copy last week and have been going through the exercises. > >>> It is amazing! I could always draw a little, but the concepts and > >>> exercises in this book (some of them ancient) have made huge changes > >>> in my perceptions and ability to render objects. Much of it is > >>> designed to bypass the lingustic-symbolic mode of drawing, where, > >>> roughly, a face is a circle with two dots and a semi-circle, for > >>> example, and to help you see and draw what is actually registering on > >>> your eyes. One of the great tricks is simply to draw, not the object, > >>> but the spaces around the object. Another is to turn the thing you > >>> are drawing upside down. Apparently, it is used by corporations to > >>> help people problem solve and "see things differently". I cannot > >>> recall ever advancing so much in any skill on just a week.
> >>> It makes we wonder whether many of us suffer from systematic > >>> perceptual problems in music, and whether there are any books on music > >>> that are so powerful, that with a few concepts and exercises can teach > >>> so profoundly. Anyone know of books like that?
> >> It's a very interesting effect - deliberately avoiding focusing on the > >> task you're doing. It's always easier to cut a line by not looking at > >> it but rather outside the line. You can carry a container of water > >> with less spills if you're not focusing on keeping the water level. > >> There's probably some way to play the guitar from the right side but > >> most of us never got the knack.
> > I did discover one trick, actually I got it from Kenny Werner. You > > simply observe your finger or whatever doing the action. You pretend > > it's not you doing it, but that it moves of its own volition. Try it-- > > it's cool. They should call it "The Stranger".
> I like weird stuff like that and will try it out on a couple of my > favorite body parts.- Hide quoted text -
On Feb 20, 7:32 pm, "foli...@yahoo.com" <foli...@yahoo.com> wrote:
> I think improvising is a way.
> On Feb 20, 8:31 pm, dsi1 <dsi...@hawaiiantel.net> wrote:
> > On Feb 20, 1:41 pm, Miguel de Maria <elegantspanishgui...@gmail.com> > > There's probably some way to play the guitar from the right side but > > most of us never got the knack.
Any specific sort? Classical or jazz, with guitar or without?
Come to think of it, Eduardo Fernandez' book might fit this bill. He wants the student to memorize the feeling of each movement and play by consciously deploying those feelings, rather than by referring to visual landmarks or descriptions of the movements. I have tried it off and on, but not with consistent discipline.
>>>>> This is a book that has been out many years, in several editions. I >>>>> picked up a copy last week and have been going through the exercises. >>>>> It is amazing! I could always draw a little, but the concepts and >>>>> exercises in this book (some of them ancient) have made huge changes >>>>> in my perceptions and ability to render objects. Much of it is >>>>> designed to bypass the lingustic-symbolic mode of drawing, where, >>>>> roughly, a face is a circle with two dots and a semi-circle, for >>>>> example, and to help you see and draw what is actually registering on >>>>> your eyes. One of the great tricks is simply to draw, not the object, >>>>> but the spaces around the object. Another is to turn the thing you >>>>> are drawing upside down. Apparently, it is used by corporations to >>>>> help people problem solve and "see things differently". I cannot >>>>> recall ever advancing so much in any skill on just a week.
>>>>> It makes we wonder whether many of us suffer from systematic >>>>> perceptual problems in music, and whether there are any books on music >>>>> that are so powerful, that with a few concepts and exercises can teach >>>>> so profoundly. Anyone know of books like that?
>>>> It's a very interesting effect - deliberately avoiding focusing on the >>>> task you're doing. It's always easier to cut a line by not looking at >>>> it but rather outside the line. You can carry a container of water >>>> with less spills if you're not focusing on keeping the water level. >>>> There's probably some way to play the guitar from the right side but >>>> most of us never got the knack.
>>> I did discover one trick, actually I got it from Kenny Werner. You >>> simply observe your finger or whatever doing the action. You pretend >>> it's not you doing it, but that it moves of its own volition. Try it-- >>> it's cool. They should call it "The Stranger".
>> I like weird stuff like that and will try it out on a couple of my >> favorite body parts.- Hide quoted text -
>> - Show quoted text -
> What a joke setup - but I won't.
Showing restraint, eh? It's jokers like you that really messes it up for everybody else. 300 and even higher posts on the stupidest of topics don't just happen by accident, buster!
> On Feb 21, 4:18 am, dsi1<d...@usenet-news.net> wrote: >> ..next time try using a nickel-finish 44 Colt Python. It's a >> classic!
> OK, just got one, loading it, let's see what happens now, pulling the > tr
Looks like I forgot that part about making sure it wasn't loaded. It's always something, ain't it? Hopefully, it won't affect your playing. I made the same mistake and I'm OK except I don't hear so good sometimes.
> On Feb 20, 7:32 pm, "foli...@yahoo.com"<foli...@yahoo.com> wrote: >> I think improvising is a way.
>> On Feb 20, 8:31 pm, dsi1<dsi...@hawaiiantel.net> wrote:
>>> On Feb 20, 1:41 pm, Miguel de Maria<elegantspanishgui...@gmail.com> >>> There's probably some way to play the guitar from the right side but >>> most of us never got the knack.
> Any specific sort? Classical or jazz, with guitar or without?
I'm pretty knackless in all genres on any instrument although probably a little less so on CG, I never could get the hang of being inept at that one.
> This is a book that has been out many years, in several editions. I > picked up a copy last week and have been going through the exercises. > It is amazing! I could always draw a little, but the concepts and > exercises in this book (some of them ancient) have made huge changes > in my perceptions and ability to render objects. Much of it is > designed to bypass the lingustic-symbolic mode of drawing, where, > roughly, a face is a circle with two dots and a semi-circle, for > example, and to help you see and draw what is actually registering on > your eyes. One of the great tricks is simply to draw, not the object, > but the spaces around the object. Another is to turn the thing you > are drawing upside down. Apparently, it is used by corporations to > help people problem solve and "see things differently". I cannot > recall ever advancing so much in any skill on just a week.
> It makes we wonder whether many of us suffer from systematic > perceptual problems in music, and whether there are any books on music > that are so powerful, that with a few concepts and exercises can teach > so profoundly. Anyone know of books like that?
I saw a demo on TV where a reporter had his left brain hemisphere irradiated with what looked like a dental x-ray machine and then was asked to draw a picture of a horse. The before and after drawings were quite different. My guess is that the left brain tends to keep our drawings as a literal rendition in which correct dimensioning is critical. After the irradiation, the reporter's drawing was more of an impressionistic "artistic" rendering. The effect was quite remarkable although temporary.
My guess is that we're capable of so much more through selectively damaging parts of our brain. Who knew that drain bamage could be so much fun?
On Feb 21, 6:22 pm, dsi1 <d...@usenet-news.net> wrote:
> On 2/21/2011 7:52 AM, Andrew Schulman wrote:
> > On Feb 21, 4:18 am, dsi1<d...@usenet-news.net> wrote: > >> ..next time try using a nickel-finish 44 Colt Python. It's a > >> classic!
> > OK, just got one, loading it, let's see what happens now, pulling the > > tr
> Looks like I forgot that part about making sure it wasn't loaded. It's > always something, ain't it? Hopefully, it won't affect your playing. I > made the same mistake and I'm OK except I don't hear so good sometimes.
On Feb 21, 2:33 pm, dsi1 <d...@usenet-news.net> wrote:
> My guess is that we're capable of so much more through selectively > damaging parts of our brain. Who knew that drain bamage could be so much > fun?
A notorious member of Ken Kesey's Merry Pranksters, Wavy Gravy was quoted in the first edition of the Whole Earth Catalog: "They said if we fooled around with those drugs we would get brain damage. They didn't know that brain damage was what we were after."
On the subject of drawing:
When my daughter was 3 years old we were driving from Baton Rouge to visit friends in Auburn, Alabama. She and her 2-year old brother were in the back seat of the VW Beetle, my wife and I were in the front.
During a boring stretch of countryside my daughter was working with paper and Crayolas. "Now I draw pussycat," she announced.
After 5 minutes or so of silent concentration and work, she exclaimed in a scandalized tone of voice, "No, no, hippopatamus!"
On Feb 21, 5:17 pm, Miguel de Maria <elegantspanishgui...@gmail.com> wrote:
> On Feb 20, 7:32 pm, "foli...@yahoo.com" <foli...@yahoo.com> wrote:
> > I think improvising is a way.
> > On Feb 20, 8:31 pm, dsi1 <dsi...@hawaiiantel.net> wrote:
> > > On Feb 20, 1:41 pm, Miguel de Maria <elegantspanishgui...@gmail.com> > > > There's probably some way to play the guitar from the right side but > > > most of us never got the knack.
> Any specific sort? Classical or jazz, with guitar or without?
> On Feb 21, 5:17 pm, Miguel de Maria <elegantspanishgui...@gmail.com> > wrote:
> > On Feb 20, 7:32 pm, "foli...@yahoo.com" <foli...@yahoo.com> wrote:
> > > I think improvising is a way.
> > > On Feb 20, 8:31 pm, dsi1 <dsi...@hawaiiantel.net> wrote:
> > > > On Feb 20, 1:41 pm, Miguel de Maria <elegantspanishgui...@gmail.com> > > > > There's probably some way to play the guitar from the right side but > > > > most of us never got the knack.
> > Any specific sort? Classical or jazz, with guitar or without?
> cheesy flamenco, hopefully without guitar
What a coincidence! Last night I was singing in the shower, imagining an E-F chord progression and my voice as Rafael Mendez' trumpet. 65% of people think they are composers, you know.
> I saw a demo on TV where a reporter had his left brain hemisphere > irradiated with what looked like a dental x-ray machine and then was > asked to draw a picture of a horse. The before and after drawings were > quite different.
I've heard of sacrifices for science, but not for TV!
My guess is that the left brain tends to keep our
> drawings as a literal rendition in which correct dimensioning is > critical.
According to Edwards, the LB is used for the large-scale proportioning of the object. You make this glass with a grid on it and use that to train your ability to construct the object. However, she also believes the LB is what distorts perception to make trees look kinda like green lollipops when we draw them and eyes look like round balls with dots in the middle. Some of the exercises are designed to get the LB to decline the task and let the RB take over. Whether or not that is true, there is definitely some strange things happening upstairs. When you are looking at the negative space in an object, it kind of "pops out" when you stare long enough. And some of tricks certainly help to override the biases that prevent good drawing.
