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Indeed, a step-by-step procedure is not recommended. Visual thinking in relation to a challenging problem does not proceed in cookbook fashion for example, 1 recenter your viewpoint, 2 add a dab of inner imagery, 3 now make six sketches, 4 cook in the brain overnight.

Visual thinking that is equipped with a rich repertoire of visual responses moves far more flex- ibly. Consequently, learning to think visually should occur in a flexible way.

Individual needs must be recognized. In a classroom, for example, a few students will reveal themselves to I;e fluent, broad-brush thinkers at the start.

Far more will be constricted and myopic. Expansive thinkers quite frequently need to learn to converge their ideas, to take care with details.

Tight thinkers, by contrast, need to loosen up, tc release their thinking from details. The individual whose drawings show a flair for concrete realism, for example, frequently finds abstract thinking difficult.

To increase skill in abstraction, this individual should use graphic languages that embody abstract relationships see Chapter 21 and draw images that are highly abstract, such as thumbnail sketches see Chapter It is also important to recognize that visualthinking styles vary.

Some visual thinkers are most at home working threedimensionally: others like Tesla operate very well with inner images; and still others think best with pencil and paper.

The teacher of visual thinking naturally favors his own style: he should be careful not to impose it on an entire class. Initial learning experiences in visual thinking should be short and well-related to present knowledge.

Many short problems encourage thinking flexibility; problems that do not require information-gathering allt w more time for deveioping thinking skill.

Design and build a device that does this. Once skill and confidence are developed with short problems such as this, the visual thinker is ready to turn to longer, informationdependent problems in his field of proiessional interest.

Were are three other sugges? The more eyes, the better. Compare observations; what your neighbor sees and what you see of the same stimulus can be quite different, and educationally so.

Discuss your dreams and experiences with inner imagery with other people. Such discussions help lift the social taboo on imagination that is a major block to fluent and flexible visual thinking.

Cover your walls with drawings and idea-sketches, including examples and reproductions of drawings by other people.

Also watch accomplished sketchers at work. Much visual learning occurs by direct example. You will get a feel for how to use this book by using it.

Spend several days simply experiencing the experiences, making notes of experiences that you believe you should repeat.

In the last chapter, I will suggest how to use the book in relation to future problems that challenge you. Learning to think visually is, of course, a lifetime pursuit; mastery is achieved not by performing exercises but by solving real problems.

Neurotic Distortion of the Creative Process. Olton, Ft. Mussen, J. Langer, and M. Holt, Rinehart 8 Winston. Kellogg, R. The Esfhetic Eye ot the Preschool Child.

InternationalChild Art Center, San Francisco. The first describes materials and environmental conditions that are especially conducive to visual thinking.

The second introduces the value of an inner state of relaxed attention. Materials and Environment 6. Relaxed Attention 29 vb1al4blnBclng materbls and environanent material8 Although visual ideas can be captured with whatever is at hand-a stubby pencil on the back of an old envelope, a finger in the moist surface of a sandy beach-a discussion of visualization materials may nevertheless be helpful.

Given a choice, the visual thinker should be choosey: not all visualization materials are well-suited to visual thinking. Materials that involve the visualizer in difficult techniques, for instance, will absorb his energy and divert his attention away from thinking.

Timeconsuming techniques also impede rapid ideation, since ideas frequently come more quickly than they can be recorded.

Frustration with an unwieldy material can block a train of thought or be reflected directly in diminished quality of thinking.

The best materials for visual thinking are direct, quick, and easy to use. Drawing materials are necessary to many of the experiences in the chapters tha!

The following list introduces the kinds of materials that will make these experiences most rewarding. Note: when buying felt-tip markers, consider warm grays Magic Markers 2 and 4 or Prismacolor and , for example for quickly rendered shading effects.

Try different markers and paper combinations. Experiment with line quality, such as light strokes and bold strokes.

Which markers are best for filling in solid tones? G;GdLEiitXi iNitS 7 Which marker-paper combination gives you the most pleasure? Well- supplied art-materials stores carry markers of many kinds.

Try carbon, charcoal, pastel, and lithograph pencils. Many visualizers also enjoy using pens such as the Rapidograph or Koh-i-noor. A word of caution: drawings made with markers such as pastel and charcoal, even when sprayed with fixative, are messy to store.

Costly paper tends to inhibit thinking. Newsprint paper, convenient to buy by the pad, is cheaper by the ream sheets or roll.

Manila wrapping paper, purchased by the roll. Keep in mind, though, that inexpensive pulp papers discolor and become brittle with age.

Rag-content papers should be used for permanent records. Although more expensive, they are more stable chemically and possess additional virtues of whiteness, erasability, and hard finish.

In addition to the drawing tools listed, you may also want to purchase a plastic triangle. Visual ideas are generally best recorded freehand, with a minimum of tools.

Mockup materials have not been so well developed by manufacturers as have drawing materials. Clay, the traditional sketch material of the sculptor, has many disadvantages to weigh against its basic advantage of malleability.

Styrofoam is an important alternative to clay: it is relatively stiff, can be easily formed into a hollow structure, and can be glued.

Geometric forms are usually best developed with sheet materials. Sheet thermoplastic such as Plexiglas or styrene is easily cut by scoring and breaking, is formable with heat, and is quickly joined with plastic solvent.

Foamcore, a laminated paper-andStyrofoam sandwich, affords a stiff and light sheet material that cuts like butter: it is especially good for large mockups.

Of course, all visualization materials can be used in combination. A free sense of experimentation is the key. Pleasurable play with materials is a very tempting alternative to productive mental activity.

For example, a quickly developed Polaroid transparency of a small sketch can be projected on a wall-size piece of paper. Photographs and drawings can be combined.

Slide projectors can be used to stimulate visual thinking-for example, by means of multi-screen projections of visual material reievant and perhaps irrelevant to the task at hand.

The visual thinker, in an era of advanced optical technology, is not limited to what he can see with his naked eye. An extremely important preparation, therefore, is creating an environment conducive to visual thinking.

A visual-thinking environment for one person should be as well-designed as a contemporary kitchen. Work areas should be well-illuminated, preferably with natural north light and without shadow or glare.

The drawing surface should be large and adjustable in height and angle. An additional stand-up table should be available for three-dimensional work: spilled glue and-knife marks soon spoil a drawing surface.

Organized storage should be provided close to each work area to diminish dislracting clutter. Chairs and stools should provide back support in the working position.

To alleviate back tension, and also to provide for the important element of change, a stand-up, vertical drawing stirface should be available: a blackboard.

A large tack-space is needed for displaying current idea-sketches. Although admittedly an affront to those who associate productive work with open eyes and erect posi- tion, the visual thinker should also have access to a quiet place where he can relax and turn his thoughts inward-or stop thinking entirely: a reclining chair, a couch, even a relaxing bath!

Johnson needed to have a purring cat, orange peel, and plenty of tea to drink. Zola pulled down the blinds at midday because he found more stimulus for his thought in artificial light.

Carlyle was forever trying to construct a soundproof room, while Proust achieved one. Schiller seems to have depended on the smell of decomposing apples which he habitually kept concealed in his desk.

Some believe that auperior ideas are invariably the gift of a single individual who does his thinking alone. Although these opinions are not mutually exclusive, one cannot entertain the possibility of group-thirik.

It can be easily demonstrated, for example, that five people sitting in a straight line cannot interact verbally as well as can five people sitting in a circle.

When the interchange is visual as well as verbal, such environmental considerations are even more crucial to group effectiveness.

I pose no solutions for an optimal environment for visual group-think: I only mention a few of the problems.

Clearly, an interactive group needs to be able to work over a shared visual image, suggesting modifications and changes. A group working at a single blackboard can do this.

But at a blackboard. One problem is the need for a memory device. Also, how is the group going to generate a variety of visual concepts and then.

When a system for visual group-think is devised, it will very likely incorporate a graphic computer system that will permit colleagues to interact even though separated by thousands of miles.

At this writing, the full potential of the graphic computer has not yet been realized But what is in hypothetical or experimental form now will likely be in prevalent use in the near future.

Figure the graphic computer The graphic computer is rapidly becoming :tn extremely important tool for visual thinking.

An Interactive graphic computet. D Drawing. A Studv Guide. McKellar, P lmaginalion and Think ng Basic Books. Relaxation involves loosening up, letting go, and, finally-ho-hum-going to sleep.

Attention involves focusing energy, finding excitement in discovery-aha! Ho-hum and aha! Together, how are they related to visual thinking?

Relaxation and attention are two sides of the same paradoxical coin. By relaxing irrelevant tension, the individual releases full energy and attention to the task at hand.

Watch any masterful performance-a rhythmic golf swing, a breathtaking bal! Relaxation is important to thinking generally. We not only move with it. Be reminded, however, thai the totally relaxed individual cannot think at all.

Physiologists have shown that some muscular tension is needed to generate and attend mental processes.

Some tension, but not too much: relaxed attention. The moment my head touches the pillow I fall asleep with the problem unsolved.

Again, relaxed attention. Then, if one is wise. Memory works best, it would seem, when the mind is in a state of dynamic relaxation. Excessive eye tension interferes with seeing: directed imagination is enhanced by a disciplined form of letting go: visual ideas flow most 33 freely onto paper when the marker is held and moved with graceful ease.

Sleepy-sagginess-collapse is the opposite pole to hyper-tension. When we tense our muscles, we do so to make a response. But why do we over-tense our muscles?

What are the causes of excessive tension? By far the most fundamental cause of hypertension is fear. The fearful or insecure person tenses his body because he believes that he will soon face a real or imagined attack or catastrophe.

At work, he overreacts and burns energy needlessly, or does not act at all-in each instance, to avoid failure.

At home in bed, he fusses and worries: his body lense, he cannot go to sleep. Unable to relax, the fearful individual also finds it difficult lo maintain attention.

Every distraction is interpreted as a potential threat or an opportunity for relief. Easily diverted, he becomes flicting menial prone to the con- agenda and immobile ten- sion tnat characterize Ihe indecisive.

Excessive tension has physical as well as psychological causes When energy level arid :nuscular slruciure are inadequale lo the response demanded of them, excessive tension results.

The relatively unmuscular intellectual, for example. Josephine Rathbone, in Rela.! But how rare is that person! Jacobsen claims that by relaxing these muscular tensions, ability to mainlain the negalive psychological slate is diminished The totally relaxed individual, Jacobsen has demonstrated, cannot entertain any kind oi thinking al all, worriful or constructive.

Can the psychosomatic cycle of fear and tension be broken by deep physical relaxalion3 Possibiy not wlthout experl and sustained training in relaxation techniques, and, in exlreme cases, probably not withcut additional expert psychological counsel.

Try them. They are excellent preparation for visual thinking and may even have additional benefits. Relaxation experts generally agree that the first step in eliminating excessive muscular tension is to become aware that you are tense.

The next step is to realize that you are responsible for your excessive tension. The final step is to learn to let go of tension voluntarily.

Ways of letting go take two forms: dynamic and passive. Dynamic letting go involves activity; passive letting go involves lying down and going limp.

Very slowly bend your head forward three times. Then slowly circle your head through the same movements, clockwise then reverse, three times each.

Go slowly and gently; most civilized necks are sliff. You will likely have to do this exercise several weeks before you can do it comfortably. Close your eyes and sit quietly for several minutes.

Allow your attention lo systematically explore the muscle sensations of your body: your face muscles, neck muscles, shoulders, and so on down.

Where are you excessively tense right now? Now, stand up and stretch-slowly, gracefully, and luxuriantly, like a cat. As you do, inhale deeply and feel the lens on in your body.

Wtlh a generous sigh, exhale, sit down, and relax. As you do, feel the tension letting go. Sustain this passive sensation for several minutes.

Holding Ihe heavy human head over a desk for long 3. With the fingers of both hands, massage the nape of your neck near the back of the skull.

Better yet, invite a friend to massage your neck and shoulder muscles gently with long strokes down along the back of the neck and shoulders.

Then return the favor. Take a deep breath and, with a sigh, let go excess neck and shoulder tension. Sit or stand erecl.

Let your arms and hands hang loosely al your sides, like wet spaghetti. As loosely as possible, shake your hand. Extend this aclion to your forearm, your entire arm.

Let your arm rise over head, shaking the entire limb iooseiy vigorously. Stop and compare the feeling of your right arm with that of your left.

Repeat with your left arm. The importance of relaxed vision to visual thinking should go without saying. Tired, strained eyes interfere not only with visual thinking but with efficient mental functioning generally.

Precede this passive form of eye relaxation by gently massaging your temples and the nape 01 your neck and by blinking to lubricate your eyes.

To avoid exerting any pressure on the eyeballs which should never be pressed, massaged, rubbed, or otherwise handled the lower part of the palms should rest upon the cheekbones, the fingers upon the forehead.

When the eyes are closed and all light has been excluded by the hands, people vith relaxed organs of vision see their sense-field uniformly filled with blackness.

Turn your imagination to a pleasurable scene involving black: a furry black cat resting on a large black velvet pillow, or the night sky. You may have to palm your eyes several times a day, and for a period of time, before your inner field ot vision takes on the deep and rich blackness that characterizes complete eye relaxation.

By brmging muscles! Wrinkle your forehead upward. Become aware of the muscles that are controlling the tension, and progressively let them go.

Frown tightly and let go. Shut your eyes tightly and let go. With eyes open, look to the far left, become aware of the muscles involved, and let go.

Repeat looking right, up, and down. Conscious of the tensions involved, look forward at a dis? Now let your vision unfocus and your eyes relax.

Unfortunately, many methods for tension b-? Lie down in a comfortable and quiet place. If possible, step 3 should be read to the individual who is relaxing, Ihe reader giving the relaxer ample time and occasional reminders to become aware of the feeling of tension and of letting go in each muscle group.

Feel the peaceful, posilive feeling lhal accompanies deep relaxation. One exception is a relaxation technique advocated for centuries: deep breathing.

We al; must breathe, whether busy or not. The effectiveness of deep breathing as a method to release tension and also to increase energy is subject to rapid personal validation.

Many deep-breathing techniques have been proposed. The goal of relaxed attention is 0 let go of chronic, excessive, or irrelevant tension, so that energy may be directed appropriately, freely, and fully.

Devotion of attention is the focusing of energy. The vehicle for transmitting human energy is muscular There are many varieties tension.

When this external demand for attention becomes internalized, we force ourselves to pay attention. Externally or inte:nall!

S demanded, forced attention usually occurs for brief moments only, and must continually be reinforced. Paying attention because you should or ought to is clearly less pleasant, and less effective, than devoting attention because you want to.

The individual who altends because he wants to is not easily diverted. Immersed atlenlion is natural absorption in developing an idea, contemplating an object, or enjoying an event.

Watch a child pleasurably engrossed in stacking blocks to obtain a clear image of immersed attention. Immersed attention should not be confused, however, wilh passive a:fenfion, which is being easily absorbed, willy-nilly, in Vihaietiei comes.

Absorbed in thought, for example, you suddenly realize that you have somehow negotiated your automobile through miles of turns and traffic without conscious awareness: you have been preattending the driving task.

Preattention is comparable to an automatic pilot that attends routine events but cannot cope with the unusual. Should a highway emergency occur while you are preattending, however, you must come to full attention to cope with it.

Dispersed attention rests the human organism; it is a natural function of the attendwithdraw. Of the kinds of attention discussed so far, immersed attention would seem at first best suited to visual thinking.

Emphatically better is a quality of attention in which sense of self is not lost and consciousness is not taken over entirely by what one is attending.

I will call this kind of attention voluntary attenfion. The individual who attends voluntarily is able to change the focus of his attention quickly, at will.

To do this, his consciousness cannot be wholly immersed; he must be sufficiently self-aware to be able to decide. Ability to direct attention voluntarily, and to sustain attention, is central to human freedom.

The first principle to learn is that you can fully attend only one group of things, at a time. True, you can preattend one thing of a routine nature and attend another.

But try out the space and objects around it. Then turn to some other visual object and observe how this, in turn, begins to have a different background.

This lime. Become aware of v, ;lether you like or dislike the object. If your feelings are neutral. An object that disinterests you is far more difficult to atfend than one that you like or dislike.

Attention follows feelings of interest. You will also find that your attention naturally favors the conversation that most interests you, which introduces a second principle of voluntary attention: find interest in what you are attending, or your attention will wander, become divided, or have to be forced.

As you look at it. Asked to look at something, they stare at it. The fovea, a small patch of sharp focus on the retina of the eye, must scan the attended object freely in order to obtain rl complete image.

Thus, the third principle 0; voluntary attention is that attention is dyn,lmic. Whenever mind and eye become imrlobile, attention diminishes and vision Kurs.

You will observe that soon it becomes unclear and you w:lnf to let yoti:r attention wander. Or, the other hand, if you let your gaze play around the shape, always returning to it in the varying backgrounds, the shape will be unified in these successive differentiations, will become clearer, and will be seen better.

This last princiC. And intellect unfurnished with materials, stagnant, unoriginal, will hardly be likely to consider any subject iong.

Select an object that pleases you. See how long you can find something new about it. View it from many angles. Explore it with all your senses. Imagine how it is made.

Contemplate the origins of its constituent materials, the kinds of skilled people involved in its creation.

Compare its qualities with like qualities in other objects for example, if it is red, compare it with other red objects.

By relaxation, you let go inappropriate muscular tensions that divert energy from what you are doing; by attention, you direct and devote your energy, freely and dynamically.

Old habits, however, may initially make the task of maintaining a state of relaxed attention difficult. Excessive tension reappears; the mind wanders.

The following exercise will help to clear the ground of consciousness so that the physical and mental and emotional awareness inherent in relaxed attention can be maintained for longer periods of time.

Sit comfortably erect, hands on your thighs, eyes closed. Follow your thoughts for a minute or so, without judging them.

Now gradually begin to attend your breathing. Become aware of the whole cycle of inhalation-pauseexhalation-pause. Now count your breathing.

Count 1 on inhalation. Now allow your attention to disperie. Gently relax your eyes. Gradually, enter into silence. This last experience, an exercise in relaxed attention, is also a form of meditation.

The experience in Exercise It is then that I work most. I look at flies, at flowers, at leaves and trees around me.

I let my mild drift at ease, just like a boat in the current. Sooner or later, it is caught by something. It gets precise.

It takes motif is de- Although frequently taught to athletes and performing artists, the art of relaxed attention is rarely even mentioned to-those who would develop skill in thinking.

Indeed, contemporary education commonly inculcates fear, tension. XZ tion can be educated, and Negative thinking habits i?

Rugg, H. Huxley, A. The Art of Seeing. Harper 8 Row. Gunther, 8. Sense Relaxation. Macmillan Collier Books. Jacobsen, E. You Musl Relax. Columbia University Press.

James, W Psychology: The Briefer Course. Harper 8 Row Harper Torchbooks. Ferls, i-. Picasso P. Quoted by Gautheir. December IO. Schultz and W.

Bernard Gunther, in What to Do Tiff the Messiah Comes Macmillan -Collier Books , presents a beautifully illuslrated guide to other ways of obtaining the graceful state of relaxed attention, including massage.

Seeing is treated not as a passive process but as a creative and active art that can be educated. Externalized Thinking Recentering Seeing by Drawing Pattern-seeking Analytical Seeing Proportion Cues to Form and Space.

Seeing, according to this view, is n. As shown in Chapter 2; many visual operations such as calegorizing and reasoning have counterparts in symbolic thinking operations.

In this chapter, consider the possibility that thinking and seeing can function together. Consider the sculptor who thinks in clay, the chemist who thinks by manipulating three-dimensional molecular models, or the designer who thinks by assembling and rearranging cardboard mockups.

Each is thinking by seeing, touching, and moving materials, by externalizing his mental processes in a physical object. Many contemporary thinkers, in science and engineering as well as art and design, respect the fertility of this venerable form of visual thought.

The chemist who is advancing his thinking by playing with a molecular model is not involved in the same process as the chemist who is using a molecular model to communicate a fully formed idea to another person.

The materials used are important: inflexible materials tend to cause rigidity in thinking. Materials used to communicate a visual idea that is already formed need not be as flexible.

Externalized thinking has several advantages over internalized thought. Third, thinking in the direct context of sight, touch, and motion engenders a sense of immediacy, actuality, and action.

Finally, the externalized thought structure provides an object for critical contemplation as well as a visible form that can be shared with a colleague or even mutually formulated.

Begin the first experience in the section on seeing by externalizing your thought processes-literally by seeing what you think.

Although you have been educated to do otherwise, link perception, thinking, and action as closely together as you possibly can.

Cut: fold; touch: test; hold the pieces together a new way. Begin by dissecting a cardboard square into seven pieces, as shown in Figure 7-l.

You may cut, fold, or form these materials any way you like. Other challenges. Figure shows a frisky dog. As you structure the tangram pieces to form this silhouette, be aware that your ability to move the pieces around makes the solution easier.

Many sports require thinking and doing in the immediate context of seeing. The fascination of visual puzzles can also be attributed to the way they involve us in this ancient and fundamental thinking process.

I Figure Try to solve this paradox mentally first, and then by moving the pieces. Which is easier in this case: thinking by imagining, or thinking by seeing?

The likely answer is a bit of each. Figure 7-l. I The following three-dimensional thinkingby-seeing puzzle can be home-made or can likely be purchased at your local game store.

As you work this puzzle, be aware of the way you search for a solution. Do you move the elements about by an intuitive form of trial-and-error?

Do you use some form of visual logic? Or do you quietly look at the elements until you imagine a solution?

More power to you if you can solve Soma cube puzzles entirely in your mired! When the cement is dry, begin simply by assembling two Soma piece?

Then assem- ble all pieces into a single cube there are several ways to do this. Next, see if you can construct the ccnfigurations shown in Figure , each with all seven pieces.

Then invent your own configurations. The reader who enjoys visual puzzles and games can readily acquire an extensive collection of interlocking bent-wire pu:-rles, Chinese wooden puzzles, jigsaw puzzles, and a score of games that involve externalized thinking.

For advanced challenge, try the puzzie of four multicolored blocks, called Instant Insanity, or the games of three-dimensional tick-tack-toe and chess.

In the meantime, the phenomena of seeing will be discussed and experienced more fully. Gordon, W. Read, R. Tangrams: Puzzles.

Walking through a wood, a city dweller will be blind to a multitude of things which the trained naturalist will see without difficulty.

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