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AUTHOR Dake, Dennis M.TITLE A Personal Vision Quest: Learning To Think Like an Artist.PUB DATE Jan 97NOTE 11p.; In: VisionQuest: Journeys toward Visual Literacy.

Selected Readings from the Annual Conference of theInternational Visual Literacy Association (28th, Cheyenne,Wyoming, October, 1996); see IR 018 353. This paper wasselected as the "Editors' Choice." Contains photographswhich may not reproduce clearly.

PUB TYPE Reports Evaluative (142) Speeches/Meeting Papers (150)EDRS PRICE MF01/PC01 Plus Postage.DESCRIPTORS *Artists; *Cognitive Processes; Communication (Thought

Transfer); Concept Formation; *Creative Thinking;*Creativity; Graphic Arts; Perception; *PsychologicalCharacteristics; Visual Learning; *Visual Literacy;Visualization

IDENTIFIERS *Artistic Thought

ABSTRACTUsing the metaphoric story device of two tribes, one that

builds their culture around words and the other which depends primarily onvisual perception, this paper suggests a distinctive mental paradigm at workwithin the society of artists, who pursue visual literacy through graphicideation. The author discusses his education in art and his discovery of"memes," the smallest recognizable pieces of information, and notes thatholistic memes have given him a perception of the ethical values and biasesof the tribe of the vision. Discussion then moves to the differences betweenthe thinking of visual artists and those without artistic inclinations, asidentified by neuropsychologists and psychologists. Artists, who are moreaware of the abstract structures underlying visual perception, are betterable to control and manipulate the viso-spatial abstract structure of theirvisions for communicative and creative purposes. Visual artists ofacknowledged creativity have also been found to demonstrate much greater useof allusive--or loose categorical--thinking than non-artists. Research hassuggested that the superimposition of separate entities and phenomena in thesame space within the human brain is the triggering mechanism for creativethought, or homospatial thinking. Psychomorphology holds that the mind(psycho) and the world of visual forms (morphology) are intimately andintegrally entwined. As illustrated in the author's abstract layered-form andshaped canvas paintings, flexibility and fluency are necessary to effectivelydevelop effective visual stimuli; this design fluency has been identifiedwith the right hemisphere of the brain. Visual literacy requires a deepeningof visual understanding achieved through visual experience in addition to theword based study of human perception. (Contains 19 references.) (AEF)

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A Personal Vision Quest: Learning To Think Like An Artist /-1

by Dennis M. Dake

AbstractThis paper describes thirty years of visual exploration by the author, a professional artist.

Using the metaphoric story device of two tribes, one that builds their culture around words and theother which depends primarily on visual perception, the paper suggests a distinctive mental para-digm at work within the society of artists, who pursue visual literacy through the experience ofgraphic ideation. The author's individual story of visual development and understanding is sup-ported throughout the paper with the findings of numerous studies in psychology and neuropsychol-ogy which show a growing scientific awareness of the distinctive visual thinking style of artists.

"Each hemisphere (of the human brain) hasits own private sensations, perceptions,thoughts, and ideas all of which are cut off fromthe corresponding experiences in the oppositehemisphere. Each left and right hemisphere hasits own private chain of memories and learningexperiences that are inaccessible to recall bythe other hemisphere. In many respects eachdisconnected hemisphere appears to have aseparate 'mind' of its own." Roger Sperry,Nobel Laureate (Sperry, 1976)

A Metaphor: The Two TribesThere are two tribes in this world. The

dominant tribe, the tribe of theword, lives in a valley separatedfrom the "other" tribe by a greatmountain range. Little is knownabout the second tribe, the tribeof the vision, which lives in thevalley on the opposite side of themountains.

There are rumors that thetribe of the vision is quite dif-ferent from our kind. Rumorshave it that they worship differ-ent, heathen gods and practicestrange irrational rituals. Thetribe of the word, as you know,has developed a culture of sophistication andcritical thought. Through the use of discursivesymbolism, parsing all thought into numericaland written symbols, our ancestors have givenus great precise control over knowledge con-cerning the structure and functioning of the sur-

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rounding universe. With our young, we beginin the earliest years of life to stress the stan-dardization of outcomes from our educationalfactories. As our young are initiated into theknowledge of the word, they gain in stature untilsome few are granted the level of expertise thatallows them to become executive controllers ofthe hierarchical structure. Accountability isprized at all levels of our culture and the morequantitatively anything can be assessed thericher the reward. Our culture has a specialmandate from the omnipotent creator of all, forin the beginning was the word.

This paper is report from thetribe of the vision, a messagefrom the other side of the moun-tain. In this tribe dwell the hu-mans who call themselves, art-ists.

Figure 1Self Portrait

Portrait Of The Artist As A CertifiableSchizophrenic, 1980, Watercolor,23 X 29" (copyright Dennis M. Dake)

As a representative of this tribe of the vi-sion, let me tell you that we are very suspiciousof the intentions of the tribe of the word. Ourleading priests have warned us repeatedly ofthe danger of dominance by words. Many inour tribe distrust words and the misunderstand-

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ings they can lead to. We all use words andthink we know what they mean but our ancientstories tell us that for many people the samewords have different meanings. A potential forverbal misunderstanding leads to many prob-lems for our tribe, which must have a clear andcreative vision in order to survive. For example,our legendary leader, Leonardo Da Vinci oncewrote, "The supreme misfortune is when theoryoutstrips performance." For the tribe of the vi-sion performance must come first. In moderntimes, the warnings against over reliance onwords have grown increasingly strident.Cezanne the father of our current social ordersaid, "Talking about art is almost useless."While we have often received emissaries fromthe tribe of the word, who talk endlessly aboutour culture, we often wonder, "do they really

understand how we think". Our tribe under-stands the precision and control of thought pos-sible with discursive symbolism, but we believethat presentational symbolism is a superior wayto understand the world.

Our quest, in the tribe of the vision, is toconstruct visual images which are the closestfitting equivalent of the individual's underly-ing experience. This poetic vision of the world,we know, can resonate on multiple levels ofmeaning simultaneously, representing so muchmore, holistically, than words can ever hope toconvey. In our dealings with the tribe of theword, we find them unfailingly serious in theirobsession with converting everything into ab-stract symbols. Don't they appreciate the play-ful experimentation that leads to creativity andbeauty? Our knowledge is known to us throughintuition and aesthetic sensitivity without resort-ing to words. Why don't the people on the otherside of the mountain see what we mean?

"In the artistic process, which involves anovel arrangement of familiar elements to forman affective message, the right hemisphere mayprovide the neural substrate for fresh perspec-tives or insight, simply because of its differentmental modus operandi." A. Schweiger,Neuropsychologist (Benson & Zaidel, Eds.1993)

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The Education Of A Visual Artist

) c.4043,v,

My life as a visual artist has been lived asan interested explorer wandering between thetribe of the word and the tribe of the vision.(Figure 1) While visual artists usually preferto remain on their side of the mountain, my fatehas been to try to learn from both groups andexplore what they have to offer to each other.

My earliest education did not include agrounding in the visual discipline of an artist.There were no art teachers to teach in my schoolsystem, no artists lived in my small town, andno one attended art galleries or museums. Thetribe of the word seemed the total focus of theeducational system and the culture. Therefore,during college art training, I found myself with-out a developed understanding of the thinkingstyles and disciplined visual dialog processescharacteristic of artists. There was always astruggle to find visual ideas for class assign-ments.

The Importance of MemesDuring the early 1960's, the midwest was

being fully exposed to the influence of abstractexpressionism, which had flourished in NewYork ten to twenty years earlier. Abstract Ex-pressionist role models, for me, from the tribeof the vision were the artists Franz Kline andWilem DeKooning. I greatly admired their free

Figure 2Abstract Expressionist Painting

Untitled, Acrylic, 21 X 23", 1967(copyright Dennis M. Dake)

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and expressive use of brush work with paint.The art works of Kline and De Kooning, viewedin books and magazines, continued to guide mythoughts and approaches to art well into mygraduate school years. (Figure 2)

Eventually, however, the heavily introspec-tive and idiosyncratically methods and ideol-ogy of abstract expressionism, which had in-trigued and captivated me for many years, be-came a dead-end path for continued visual de-velopment. I found myself continually copy-ing the solutions from my previous work.Purely subjectively based exploration, I cameto see, was primarily of individual interest andwas not critically attached to the long-term,transpersonal discipline of art.

While searching for new vision guides onmy artistic quest, I discovered the artist LarryRivers who became increasingly important tome. Rivers represented a bridge from the ab-stract expressionist immediacy of gesture andexpression to the more traditional disciplinedexploration with representational draftsmanshipand subject matter. (Figure 3) Rivers spoke tome, in the manner of a true spirit guide, of theinitiation rites in disciplined artistic thinkingnecessary for membership in the artistic tribeof the vision.

Figure 3Painting Inspired By Art Of Larry RiversPatriot At The Parade, Acrylic, 50 X 60", 1968(copyright Dennis M. Dake)

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The importance for young artists of artisticrole models as vision guides was given clarity,when during the last year, I discovered, in thetribe of the word, the ideas of R. Dawkins.Dawkins postulates the existence of memes, thesmallest recognizable pieces of cultural infor-mation. Memes are defined as closely analo-gous in cultural evolution to the role that genesplay in biological evolution. The transmissionof memes is said to account for the evolution-ary continuity and on-going development ofcultural information. Encounters with influen-tial memes which have informed the develop-

Figure 4Work Inspired By Art of Franz KlineThe Poor People Next Door, Mixed Media, 18 X 24",1969, (copyright Dennis M. Dake)

ment of my art work have included those foundin the work of Rivers, Kline, De Kooning,Cezanne, Matta, and others. (Figure 4) I havecome to see that much visual and structuralknowledge has been transmitted to me throughholistic meme units.

Holistic memes have given me a percep-tion of the ethical values and biases of the tribeof the vision. These values have centered onthe primacy of visual understanding and com-munication over and above verbal symboliza-tion and expression. As an older ancestor ofthe tribe, Paul Cezanne, expressed it, "Talkingabout art is almost useless." Without con-sciously knowing it, this preference for visualcommunication, in opposition to communica-

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tion in words and numbers, was the first of manyclues to understanding the tribe of visual art-ists.

Laterality and Dominance in the BrainIn the years since my formal art education

was completed, I have discovered several fur-ther explanations for the ingrained preferenceof the tribe of the vision for visual thought andcommunication over verbal discourse. The lit-erature with the most important explanatorypower for me has centered around the overrid-ing executive control and dominance of theparsing, linear thought processes of the lefthemisphere of the human brain. This domi-nance has been shown by neuropsychologiststo have an extremely inhibitory effect on thevisual based, holistic thought structures of thevisio-spatial processing right hemisphere.

This inhibition of one hemisphere of thebrain against the functions of the other hemi-sphere, makes, as artists have known for hun-dreds of years, expanded growth of visual dia-log and thought difficult. For example, a chancecomment from a painting teacher in the late1960's, that the shaped canvases that I wasworking on were, "more sculpture than paint-ing," (Figure 5) effectively convinced me to endthat visual line of inquiry. The inhibitory ef-fect of this simple verbal comment was so pow-erful that it has only been in the past two years,

Figure 5Shaped Canvas - 1969

Untitled, Acrylic & Sand, 45 w x 62" h, irregular shape(copyright Dennis M. Dake)

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nearly 30 years later, that I have again felt vi-sually compelled to return to a deep and com-pelling visual logic that shaped canvases onceheld for me. (Figure 6) Words can create aformidable barrier to visual thought. A prefer-ence for relying on the visual over the verbal isa major boundary between the territories of thetwo tribes of the world.

Neuropsychology Of Artistic ThinkingAs my teaching career has moved from the

high school to the university level, there hasbeen a greater need to continually move backand forth between the separate worlds of thetwo tribes. Both because I have worked in thearea of art education, which requires clear andlogical explanations for artistic phenomena, andbecause of youthful over immersion in the tribeof the word, I have experienced an increasedneed to search out plausible explanations toexplain my continuing lack of visual under-standing. This exploration has led me to someinteresting scientific explorations in psychol-ogy and neuropsychology, from the other sideof the mountain.

Figure 6Shaped Canvas - 1996

Untitled, Acrylic on Canvas, 43 x 71", irregular shape(copyright Dennis M. Dake)

Figure 7Cloth Model for Tie and Die Seriesoriginal photography,(copyright Dennis M. Dake)

Abstract Basis Of Visual ThoughtAn abstract basis for vision has been stud-

ied for many years by the scientific communitybut only in recent years have studies demon-strated that artist's perceptions depend uponphysiological processes that pull in abstractstructures. Neuropsychologists studying thescanpaths of saccadic eye movements in artistsand non-artists (Zangmeister, Sherman, andStark, 1995) found that professional artists andsophisticated viewers of art had significantlydifferent patterns than individuals in controlgroups from scientific fields. A demonstratedhigher ratio of global scanpaths (for large ab-stract structures) to smaller saccadic scans fordetails provides the artist and trained observerwith more awareness of the abstract structuresunderlying visual perception. Artists are thenbetter able to control and manipulate the visio-spatial abstract structure of their visions forcommunicative and creative purposes.

My own studio research, indicates thatprogress in developing all types of visual ideasrequires a disciplined and conscious focus onthe abstract properties underlying outward il-lusions of form. In a series of airbrushed wa-tercolor paintings which I titled, "Tie and Die,"I explored abstract forms that seemed intuitivelyto be the visual equivalents of my own mentalprocesses. These paintings were developedfrom 3-dimensional models of twisted andbundled cloth. (Figure 7 & 8) As I reported inan earlier paper, presented to the International

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Figure 8Painting From Cloth Model

Thought Experiment # 6, Acrylic, 36 x 48", 1976

(copyright Dennis M. Dake)

Visual Literacy Association (Dake, 1993), I wasstartled after finishing this series when a re-spected scientific observer suggested that thesepaintings were a cognitive exploration of theasymmetrical, mathematical functions offractals. Could this series of personally derived .

visual forms represent cognition without dis-cursive symbolization? (Figures 9 & 10)

Allusive Thinking And ArtPsychologists have identified additional

differences between the thinking of visual art-ists and those without artistic inclinations and/or training. Experiments to identify and cat-egorize the nature of this artistic thinking showthat visual artists of acknowledged creativitydemonstrate much greater use of allusive think-ing than non-artists. (Tucker, Rothwell,Armstrong, and McConaghy, 1982) Allusivethinking is defined as loose categorical think-ing based on broader attentional processes thancritical, verbally based thought. In an age thatencourages non-representational as well as rep-resentational art forms, this ability for allusivethinking patterns may even confer a competi-tive advantage on certain visual artists. "Atpresent, when non-representational visual art ismore valued, allusive thinking artists wouldappear likely to be more successful, in view oftheir ability to produce work rich in allusionsoperating at a less conscious level and henceless immediately obvious to the viewer."(Tucker, et. al, 1982)

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Figure 9Tie and Die

PaintingExperiment

Thought Structure # 8, Watercolor, 23 x 29", 1979(copyright Dennis M. Dake)

Visual CognitionThe ability of humans to think by visual

means alone has been explored within scienceand written about in the cognitive literature fromthe tribe of the word. For example, in the book"A Second Way of Knowing: The Riddle ofVisual Perception", Edmund Bolles reexaminesthe "Top Down" gestalt basis of visual percep-tion and contrasts its strengths with the limita-tions of the mechanistic "Bottom Up" approachof much current perceptual psychology. Bollespostulates that both approaches can lead to newknowledge, although the latter usually does notrecognize the former as representative of intel-ligent thought.

A specific example documenting visualcognition was published in the neuropsychol-ogy journal, Brain, (Zeki and Lamb, 1994). Intheir article, The Neurology of Kinetic Art, thesetwo scientists argue that over a 40 + year pe-riod of time artists developed kinetic art formswhich foreshadowed later neurological explo-rations of the functions of the primary visualcortex of the brain. Specifically Zeki and Lambcontend that kinetic artists "unknowingly" iso-lated and explored the functions of the V5 areaof the primary visual cortex which processesmotion to the exclusion of color, shape, or otheraspects of visual experience. Converging linesof exploration and reasoning such as this givehope that the tribe of the word will eventually

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Figure 10Tie and Die Painting Experiment

Thought Structure # 9, Watercolor, 29 x 23", 1980(copyright Dennis M. Dake)

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understand and accept the nature of visual cog-nition.

PsychomorphologyWithin the tribe of the vision, I have dis-

covered that all configuration sources are le-gitimate and equally full of potential. The logicwe, of the tribe, respect is purely intuitive andvisual. Using these mental processes, over thepast 10 years, the range of my visual experi-ments has broadened to include a larger varietyof invented and discovered forms. The sourcesof these new design ideas have come from bothnature and man made forms. My visual ide-ation to discover evocative visual images be-gins with the archival photographic documen-tation of interesting forms from nature and ran-dom mechanical configurations, found in suchplaces as automobile junkyards. At the begin-ning of this series of paintings, I layered sev-eral photographic images on top of each other,using visual interest as the sole criteria for se-lection. (Figures 11 & 12)

Homospatial ThinkingAfter completing this series of paintings, I

discovered that research by scientists interestedin the creative functions of the human mind hassuggested that the superimposition of separateentities and phenomena in the same spacewithin the human brain is the triggering mecha-

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nism for creative thought. This type of think-ing has been called homospatial thinking.(Rothenberg 1986) Homospatial thinking is aform of visual epistemology well respected inthe tribe of the vision although it may seem ran-dom and chaotic to humans on the other side ofthe mountain. The order and pattern of this typeof thinking lies below the level of superficialappearances. Homospatial thinking acknowl-edges that the viewer of any visual form makesan important contribution to the meaning of his/her perceptions. Objective sensations of visualphenomena are always filtered through a men-tal filter consisting of the viewer's expectationsand past experiences. Each viewer then putstogether their perceptions as unique and indi-vidual constructions.

The visual art forms which I have devel-oped over the past 10 years are designed as rig-orous experiments to explore this visual mind -form interaction. I have on other occasions(Dake, 1995) called this original discipline,psychomorphology. Psychomorphology holdsthat the mind (psycho) and the world of visualforms (morphology) are intimately and inte-grally intertwined.

Figure 11Layered Photographic Negatives As

Visual Inspiration For Painting(copyright Dennis M. Dake)

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44'

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Design Fluency & Low Spatial FrequencyOver the past 3 years, my visual research

has shifted to a series of shaped canvases thatbreak the mold of rectangles, a painting formatused almost exclusively by painters since theRenaissance. Inspired by rocks from the coastof Maine and the crumpled scraps of metal fromdestroyed automobiles, I have created a seriesof shaped wood and canvas forms which I thinkof as analogous to stimuli used in a scientificexperiment. These forms are developed by con-tinual, flexible, and extended manipulation ofsections of ambiguous, out-of-focus photo-graphs to visually discover a spirit of equiva-lency with my life experiences. (Figure 13)

Flexibility and fluency are necessary to ef-fectively develop such effective visual stimuli.This design fluency has been identified with theright hemisphere of the brain. Two neurosci-entists (Jones-Gotman and Milner, 1977) havethrough the study of brain damaged individu-als, identified the right frontal and right fronto-central areas of brain as most implicated in de-sign fluency in a non-verbal mode. Other sci-entists have found that to engage the right hemi-sphere it is important to draw upon the demon-

Figure 12Psychomorphology ExperimentArtist's Perspective, Acrylic, 40 x 60", 1989(copyright Dennis M. Dake)

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Figure 13Psychomorphology ExperimentOut of the Blue, Acrylic, 28 x 36", 1989(copyright Dennis M. Dake)

strated task sensitivity of the right hemisphereto "fuzzy" visual stimuli of low spatial fre-quency (Semmes, 1968). Diffuse representa-tion of information in the right hemisphere con-tributes to an ability in creative individuals tointegrate dissimilar units into new and previ-ously unseen inventions. Leaders of the tribeof the vision have attested to the inventivepower of low frequency, right hemispheric pro-cesses. Leonardo DaVinci said it most elo-quently:

"When you look at a wall spotted withstains, or with a mixture of stones, if you haveto devise some scene, you may discover a re-semblance to various landscapes, beautifiedwith mountains, rivers, rocks, trees, plains, widevalleys, and hills in varied arrangement; or againyou may see battles and figures in action; orstrange faces and costumes, and an endless va-riety of objects, which you could reduce to com-plete and well drawn forms. And these appearon such walls confusedly, like the sound of bellsin whose jangle you may find any name or wordyou choose to imagine." (Mac Curdy, 1938)

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Reconstrual and BisociationThe logic of the tribe of the word relies on

the integration of similar units of information.The logic of the tribe of the vision prefers thefertile interactions of dissimilar units. The biso-ciation, cross fertilization within a single hu-man brain, of previously separated "dissimilar"information sources into new combinations isthe primary mental process in human creativ-ity. (Koestler, 1977)

At a subconscious level all incoming vi-sio-spatial messages are continually correlated,in a rapid fire process of comparison, with othersimilar structural units from past experiences.This process has been titled, "reconstrual" bypsychologists (Peterson, 1993) studying the pro-cesses of creativity and discovery. Individualswho have been initiated into the tribe of the vi-sion have a developed sensitivity to the pro-cess of reconstrual. Members of the tribe ofthe vision are able to tap into isomorphic formsof analogical thinking which occur early in vi-sual processing in the right hemisphere of the

Figure 14Photo Collage Model6 x 8", (Upper Left)

AndPsychomorphology ExperimentUntitled, Acrylic, 71"h x 29"w, irregular shape1995, (Right), (copyright Dennis M. Dake)

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Figure 15 Psychomorphology ExperimentUntitled, Acrylic, 48"h x 32"w, irregular shape, 1996(copyright Dennis M. Dake)

brain. The richness of the multiple associationsobtained in this way lend a richness of contex-tual meanings to everything seen and created.

Because perception is so variable, I havebegun to experiment with abandoning the rect-angular, Renaissance "window on the world"that implies a stable, single one-eyed observerwith a set point of view. (Figure 14) Myintention, as best I can state it to you in discur-sive form, is, not to convey any predeterminedmessage but to rather provoke the mind of theviewer to original invention and creation. (Fig-ure 15) Psychomorphology is backed up by re-search from the both tribes of the world.

The Vision Quest Goes OnMy personal and professional, artistic vi-

sion quest goes on. My goal, is an undefinablesense of beauty and order that, in the end, I cannot explain in words. I am challenged by thecreation of visual stimuli that can arouse in theviewer an abstract, allusive, and poetic percep-tion of the world. This ability, which is popu-larly called imagination, requires taking fullresponsibility for one's visions and the mannerin which they are communicated. As my re-search develops, I hope to deepen my under-

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standing of this process of visual cognition, theuniversal birthright of every human.

The two tribes of this world should beequally home to all human beings. We are allon a vision quest whether or not we have everbeen formally educated to "see" the true natureof our abilities. As with the traditional verballiteracy skills of the tribe of the word, visualliteracy involves not only passive reading skillsbut the active acquisition of knowledge and un-derstanding through the practice of ideationskills. Visual Literacy requires a deepening ofvisual understanding achieved through visualexperience in addition to the word based studyof human perception.

References

Arnheim R. (1969) Visual Thinking, Berkeley,CA, University of California Press

Bolles, E.B. (1991) A Second Way of Know-ing: The Riddle of Human Perception, NewYork, Prentice Hall Press

Changeux, J.P. (1994) Art and Neuroscience,Leonardo, Vol. 27, No 3, pp 189-201

Corballis, M. (1991) The Lopsided Ape: Evo-lution of the Generative Mind. New York, Ox-ford University Press

Dake, D. (1993) Visual Links: Discovery inArt and Science, in: Art, Science, & VisualLiteracy, Braden R., Baca J., & Beauchamp D.Eds., Blacksburg, VA, International Visual Lit-eracy Assoc., pp 11-21

Dake, D. (1995) Process Issues in Visual Lit-eracy, in: Imagery and Visual Literacy,Beauchamp, D., Braden R., and Griffin R. Eds.,Blacksburg, VA, International Visual LiteracyAssoc., pp 1-23

Jones-Gotman, M. and Milner, B. (1977) De-sign Fluency: The Invention of Nonsense Draw-ings after Focal Cortical Lesions,Neuropsychologia, Vol. 15, pp 653 - 674

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Koestler, A. (1978) The Act of Creation, Lon-

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the Surgically Separated Hemispheres. In: TheNeurosciences: Third Study Program, F.O.Schmitt and F.G. Worden, Eds., Cambridge,Mass., MIT Press, pp 5-19

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McConaghy N. (1982) Creativity, divergent,

and allusive thinking in students and visual art-ists. Psychological Medicine, Vol 12, pp 8357

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L. (1995) Evidence for a Global ScanpathStrategy in Viewing Abstract Compared with

Realistic Images, Neuropsychologia, Vol. 33,

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Zeki S. and Lamb M. (1994) The Neurologyof Kinetic Art, Brain, Vol 117, pp 607 - 636

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