The Matter With Things. Chapter 3. Perception

To repeat: don’t think, but look! (Ludwig Wittgenstein, 1976)

The Channel McGilchrist reading group met again yesterday to discuss the third chapter, Perception, of Iain McGilchrist’s new book, The Matter With Things. The discussion was quite wide-ranging, and not always on topic, but nevertheless interesting. For example, there was a discussion about whether we can trust McGilchrist’s interpretation of the research papers he has read and referenced in support of his overarching argument that ‘the right hemisphere is a more important guide and more reliable one to the nature of reality’. The question was asked, how many readers will actually seek out and read the papers that McGilchrist references to check whether or not we agree with his interpretation, and if we do not, then how can we be sure that his interpretations are correct? I wasn’t sure that everyone grasped the significance and importance of this question, and I haven’t quite sorted out in my own head, how relevant it is to discussions of McGilchrist’s book, but it is easy to recognise that McGilchrist’s work attracts people who have already bought into his key hypothesis, that we live in a world increasingly dominated by the left hemisphere, and therefore it is quite difficult to engage in critical discussion. But one person did say that we don’t necessarily have to read McGilchrist’s work and engage with his ideas by standing outside it and analysing it objectively. We can wear it like a garment and dance around in it, until we no longer need it. This reading group is only just getting going, and I hope it won’t shy away from more challenging discussions.

My interpretation of the discussion around perception was that no-one had really got to grips with it. Compared to other chapters in the book, this is quite a short chapter – 30 pages, and McGilchrist sticks to discussing perception in relation to the hemispheres, considering hemispheric differences in normal perception, and the hemispheres and pathologies of perception. So, he does not mention philosophy of mind, although questions about the relationship between mind and body, and brain and body, and how we can know whether what we perceive is real or not, seem to me to be implicit in the writing. In his book The Master and His Emissary, McGilchrist does briefly mention ‘the mind-brain question’, although he says that it is not the subject of the book and that he does not have the skill or space to address the topic at any length (McGilchrist, 2009, p.19). He seems to have taken the same approach in this book, The Matter With Things.

McGilchrist starts Chapter 3 by writing:

‘Perception is not the same as attention, and not at all the same as thinking. But the world we choose to attend to, indeed choose whether and how to attend to, is nothing without perception.’ (p.105, The Matter With Things). It is worth remembering at this point that Part 1 of The Matter With Things, which includes Chapter 3 on Perception, is about the hemispheres and the means to truth. So along with Attention (Chapter 2), which we discussed in our first meeting and which I have already written about, McGilchrist considers perception to be a means to truth.

McGilchrist defines perception as follows:

‘Perception is the act whereby we reach out from our cage of mental construct to taste, smell, touch, hear and see the living world.’ (p.105. The Matter With Things) and ‘To be good at perceiving is to be good at integrating information.’ (p.106 The Matter With Things). 

There was some discussion in the group about the difference between sense and sensation, and the role of emotions and feelings in relation to perception, but we didn’t come to a clear understanding of this, and McGilchrist doesn’t explicitly address this in the chapter. Perhaps the nearest McGilchrist comes to addressing this is when he tells us that Merleau-Ponty saw perception as a reciprocal encounter.

“Experience is a sensorimotor – and intuitive – participation, a fusion of one’s own awareness with awareness of the world. Speaking of his perception of the blue sky, Merleau-Ponty wrote that ‘I abandon myself to it and plunge into this mystery, it “thinks itself within me”… Perception is not passive reception, but participation.” (p.106 The Matter With Things). Perception is an active process, bound up with motion. We see something as an opportunity to act. When we see things, our whole body is engaged in perception; perception is embodied.

In this chapter McGilchrist looks in some depth at the left and right hemispheres’ roles in visual, auditory, olfactory, gustatory, tactile, local and global perception. He also discusses what happens to perception if the left or right hemisphere is damaged, writing at some length about visual hallucinations and distortions, auditory, olfactory, gustatory and tactile hallucinations, and concluding from examining a wide range of scientific evidence that hallucinations are more often due to right hemisphere damage than left hemisphere dysfunction. I am not going to repeat the details of the evidence that McGilchrist provides here. They are all in the chapter, and you can listen to McGilchrist talking to Alex Gomez-Marin about this chapter in this YouTube video:

Lastly, one of the questions we considered was, if we agree with McGilchrist that the right hemisphere is a more important guide and a more reliable one to the nature of reality (because of its pattern recognition ability, its ability to deal with incomplete information and its ability to see the whole), then can we train ourselves to make more and better use of our right hemisphere and be less dominated by the left hemisphere (which tends to objectify and jump to quick conclusions, seeing things out of context, seeing the map rather than reality)?

McGilchrist has suggested that practising mindfulness or meditation is one method, but also spending more time in nature, looking at art, and listening to music.

Another method is to think about optical illusions. McGilchrist uses the image of Schroeder’s stairs (p.114 The Matter With Things).

He writes:  ‘While the left hemisphere underwrites local attention, the right hemisphere underwrites global attention – and the ability to switch between them.’ This ‘… inevitably makes a difference to the world we perceive. What it means is that both to perceive the form of something as a whole, and to see it differently to the way you are accustomed to see it, depends on the way of taking in the world that is underwritten by the right hemisphere of the brain. If you think and adopt the way of being of the left hemisphere world, not only will you struggle to see the overall shape, but you won’t be able so easily to switch – or even be aware that you can. If someone else tells you they see something quite different there, you might well, sincerely but wrongly, believe that they must be mistaken.’

Members of the reading group provided further links to interesting illusions for us to think about:

https://www.upworthy.com/people-are-freaking-out-over-this-rotating-cube-illusion

https://www.dailymail.co.uk/sciencetech/article-4493744/Video-shows-car-driving-WITHOUT-wheels-rotating.html

And finally, here is an exercise suggested by Cynthia Ford in the comments under McGilchrist’s video,  which might be interesting to try out.

There’s a writing exercise in which you walk somewhere deeply familiar, that you know so well that you hardly see it, and you notice and write down only one color, every instance of that color. Or, following the Oulipo school, you notice only the unnoticed, the trash, or detritus, or signs, the unaesthetic. You can actually feel the perceptual shift from the left brain to the right brain as the place changes and becomes new.

Our next reading group meeting will take place on Friday 3rd June at 4.00 pm UK time, when we will discuss Chapter 4. Judgment (as a means to truth).

References

McGilchrist, I. (2021). The Matter With Things. Our Brains, Our Delusions, and the Unmaking of the World. Perspectiva Press.

McGilchrist, I. (2009). The Master and his Emissary. The Divided Brain and the Making of the Western World. Yale University Press.

Grids & Gestures Exercise. The text behind my experience.

 

Nick Sousanis’ Grids and Gestures 5 day online exercise has come to an end. It’s been a while since I’ve felt so engaged in an online activity. It was a lot of fun and I particularly liked the diversity of the group who participated. Aras Bozkurt tells us that there were 208 participants and 762 interactions.

Aras

I provided links to details of this comic drawing activity in my last post, so I won’t repeat them here, except to say that for me it was less about drawing and more about the impact of visual images and drawing on perception. And I will also say again that Nick Sousanis’ book – Unflattening – (which provides the background to this exercise) is fascinating, thought provoking and visually stimulating.

The task/exercise was to draw the shape of our day in comic format, ideally (at least to begin with) in grid format and without any text. On the first day (Tuesday for me as I discovered the activity a day late), I followed the rules.

Tuesday

I had just finished reading Nick Sousanis’ book, so although I didn’t reference it whilst drawing, I know that his use of black and white, and his drawings that depict direction, influenced me. I was on holiday so I only had a pad of lined paper and a black pen. I drew without any other aids. It didn’t take me long. The trickiest bit was working out how to add the photo I took of the drawing to Twitter. It is the first time I have added an image to a tweet. It’s interesting to remember that the difficulties people encounter with online activities are sometimes those we don’t expect.

On Wednesday I took a slightly different approach. Whilst my Tuesday drawing was about feelings, Wednesday’s drawing was of places and I made some attempt to connect the grids.

Wednesday

On Thursday I abandoned the grids. I’m uncertain about the outcome – too busy?  But it does tell the story of my day.

Thursday

On Friday I spent most of the day working on a research paper, topped and tailed by physical activity. This wasn’t easy to depict. Again I abandoned the grids. I tried not to get hung up on a perfect outcome, or even an aesthetically pleasing outcome, but simply to think about how I could depict the shape of my day. I like this even less!

Friday

 

By this time I had seen many other examples – Click here for the Twitter stream full of wonderful work. I was intrigued by how some people did completely their own thing right from the word go. Was this deliberate, or had they simply not read the exercise instructions? Possibly the latter because half way through I realised that I had missed the bit about size of panels, shape and orientation.

Comics are static – and it’s in the way we organize the space that we can convey movement and the passage of time. Unlike storyboards, to which comics are frequently compared, in comics we care not only about what goes on in the frame, but we care about the size of the panel, its shape, orientation, what it’s next to, what it’s not, and its overall location within the page composition. The way you orchestrate these elements on the page is significant to the meaning conveyed (http://spinweaveandcut.com/grids-and-gestures/)

I never did get a handle on this.

Then there were the people who used colour and different media straight off – paint, pencils, pastels, even video. It made me wonder about the influence of colour on the outcome and also the influence of colour on how the drawing is interpreted. Even when I came home and had access to coloured pencils, I didn’t want to use it, although for my life drawing classes I love the use of colour. I haven’t yet worked out why this is so. There were people who used plain paper, coloured paper, squared paper. I noted that Nick himself used squared paper, so on the final day I went to the village shop and bought a pad of graph paper. Without this I don’t think I could have produced Saturday’s drawing. This was the most time consuming drawing. I wanted to try and do something that might vaguely resemble a comic, but I have mixed feelings about it and I would have liked a finer pen for the text.

DSC01212

There were also people who were clearly using some sort of drawing software, with great results, but I probably wouldn’t have joined this activity if it had involved using drawing software.

There are people who have blogged about the experience as I am doing here. See for example:

All these posts give a sense of how engaging this activity has been. And there are people who are not yet ready to let go, despite having done 5 drawings. They have learned something new about themselves. As Lisa Hammershaimb wrote

Lisa

I have not yet got to the bottom of why this was, for me, such an engaging activity. Perhaps it was deceptively simple. Perhaps it was the group of people. Perhaps it was because the drawing was done, by most, by hand. Perhaps it was the pleasure and stimulation of seeing so many different outcomes (don’t miss the Twitter stream – there are too many great examples to include in this post).I’m pretty certain that part of it was down to just having read the book and seeing Nick Sousanis in action, posting his own drawings,

Nick

giving advice and encouragement, responding to participant comments and questions, retweeting participant drawings and generally being very present. It was also good to see the work of some of his past students, to see what could be achieved. It seems appropriate to finish off with those.

Students

Thanks to all for this memorable experience.

Unflattening: text, drawing and alternative perspectives

This week there has been a flurry of activity on the #gridsgestures hash tag on Twitter as many people have responded to Nick Sousanis’  invitation to draw the shape of your day each day for a week, i.e. to take part in his Grids and Gestures- A Comics Making Exercise.  I discovered this activity on the second day, via Matthias Melcher, who has done some great drawings,  just as I finished reading Sousanis’ book ‘Unflattening’.  It was also Matthias who encouraged me to read the book which has helped to give depth to the exercise.

‘Unflattening’ is a gem of a book. Not only is it visually very compelling – a lovely object in its own right, but the text (which is presented in comic format and is no greater or less than the images) resonates so much with my own work and research. The book is an outcome of Nick Sousanis’ PhD dissertation which he presented in comic format. There is no traditional literature review, but the ideas are informed by historians, scientists, philosophers, educational theorists and artists, many of whom inform my own work.

So what does Nick Sousanis mean by unflattening? The book is about the narrowness and flatness of our vision and thereby of our understanding of the world around us. It is a plea for seeing beyond the boundaries of our current frames of reference, beyond the limitations of text, beyond the borders of the ‘flatlands’. It is a plea to imagine otherwise, to find different perspectives and new ways of seeing.

In support of this, Nick Sousanis points out that we see with two eyes, not one, and each eye gives us a different perspective. There is no one perspective. He reminds us that some of the most revolutionary changes of thinking in our history have come about through changes in viewpoint, for example the realisation that the Earth is not flat, its circumference can be measured (Eratosthenes) or that the Earth is not the centre of our universe but moves around the sun (Copernicus).

Like McGilchrist (whose work I have written about before), Sousanis reminds us that we tend to see only what we are looking for rather than see the whole picture. Others have recognised this. Stephen Downes (2014) has talked about this in relation to research methodologies and Checkland and Scholes’s work in soft systems methodology (2001) was about mapping different perceptions in order to better understand the whole rich picture. Sousanis draws on the work of Dreyfuss, Deleuze and Guattari, Bakhtin, Mandelbrot and others to drive home the point that differences are essential, that we need to hold different ways of knowing in relation, that we need views of our own and others and that we need to overcome linear static views through shifts in awareness. As flatlanders, our vision is limited. We need a different attitude, a different orientation, a multi-dimensional view.

Sousanis  discusses how traditionally words and images are not equal partners (text has the upper hand) and given that language is the means by which we give shape to our thoughts then this defines what we see. He writes ‘While image IS; text is always ABOUT’. In comics words and pictures co-habit. Comics are the spatial interplay between the sequential and the simultaneous. This is illustrated in this image from his book ‘unflattening’.

Screen Shot 2016-04-14 at 20.47.11

Source of image – http://www.comicsgrid.com/articles/10.5334/cg.ax/

Sousanis points out that perception is a dynamic activity in which we see things in relation, we negotiate experience. We create perception from a multitude of views. To experience another’s way of knowing we need to step out of our rut and take a leap of imagination. ‘We need a kaleidoscope of views that convey both our own dimensionality and dynamic capability (p.148) …… Understanding, like seeing, is grasping this always in relation to that’ (p.150).

References

Checkland, P.B. and J. Scholes (2001). Soft Systems Methodology in Action, in J. Rosenhead and J. Mingers (eds), Rational Analysis for a Problematic World Revisited. Chichester: Wiley

Downes, S. (2014, May 26). Digital Research Methodologies Redux. Retrieved from http://www. downes.ca/presentation/341

Sousanis, N. (2015). Unflattening. Harvard University Press

Sousanis, N. (2016) Tapestry Keynote. https://youtu.be/7veGaFlu9Xk

For a review of Nick Sousani’s book see: https://lareviewofbooks.org/article/215762