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• W31013068 abstract "The current study was designed to test Edwards' (1989) hypothesis that copying a visual stimulus presented in an inverse orientation activates processing in the minor (or non-dominant) hemisphere and results in artistic production through activation of an alternative way of Thirty-eight research participants copied a line drawing in both right-side-up and upside-down orientations. The order of stimulus presentation was counter-balanced for different participants. A second set of 36 participants rated each of the 76 drawings on their similarity to the target drawing in normal orientation. A repeated measures analysis of variance indicated that, contrary to Edwards' hypothesis, the drawings produced from the inverse orientation were not to those drawn from the normal orientation. Additionally, males (but not females) showed a practice effect such that their second drawing, regardless of orientation, was to the first. Also contrary to our hypothesis, participants' level of dissociation was negatively correlated with the rated quality of the drawings, with a higher level of dissociation associated with lower picture quality. The object of painting a picture is not to make a picture?however unreasonable this may sound. The picture, if a picture results, is a by-product and may be use ful, valuable, interesting as a sign of what has past. The object, which is back of ev ery true work of art, is the attainment of a of being, a of high functioning, a more than ordinary moment of exist ence. In such moments activity is inevi table, and whether this activity is with brush, pen, chisel, or tongue, its result is but a by-product of the state, a trace, the footprint of the state. (Robert Henri, The Art Spirit) Few books have had such a significant ef fect on art education as has Betty Edwards' (1979) book, Drawing on the Right Side of the Brain. Placement on The New York Times bestseller list as well as franchisee! art instruction workshops around the na tion attest to its influence. The research here examines one specific hy pothesis and exercise presented in the book, placing the exercise in the context of psychological research on stimulus ori entation and on the experience of disso ciation. Artists and instructors of art have for many years argued that the most important part of the artistic process is learning to the way an artist sees. Robert Henri, an important figure at The Art Students League in New York City early in the last century, wrote in his book, The Art Spirit, It is harder to see than it is to express. ...Rembrandt was a man of great under standing. He had the rare power of deep into the significance of things (Henri, 1923, p. 87). Drawing on the more recent hemispheric deafferentation literature (e.g., Levy, 1968), Edwards (1979) has argued that visual stimuli oriented upside down can activate a different way of that she calls or right brain processing, a different of consciousness (compare this to the quotation from Henri at the be ginning of the paper). She argues that the R-mode can facilitate artistic seeing and production. This is similar to theory (Csikszentmihalyi, 1991, 1997) in which Csikszentmihalyi argues that people enter a state when they are fully absorbed in activity during which they lose their sense of time and have feelings of great satisfac tion. Various scholars (e.g., Cohen, 1996; Frankel, 1990; Storr, 1993) have argued that dissociation is a component of artistic cre ativity and artistic production. Dissociation VISUAL ARTS RESEARCH ? 2003 by the Board of Trustees of the University of Illinois 53 This content downloaded from 157.55.39.176 on Sat, 09 Apr 2016 07:11:46 UTC All use subject to http://about.jstor.org/terms has been defined as, reported experiences and observed behaviors that seem to exist apart from, or appear to have been discon nected from, the mainstream, or flow of one's conscious awareness, behavioral rep ertoire, and/or self-identity (Krippner & Powers, 1997, p. 8). Edwards (1979) presents an exercise early in her book intended to activate this alternative way of seeing. She encourages her readers to copy a line drawing portrait of Igor Stravinsky that is presented upside down (inverse orientation). She claims that the drawings of her students copying the stimulus in this inverse orientation are bet ter reproductions of the original drawing than those of students copying the portrait in normal orientation. While a more accu rate copy of another person's line drawing is not necessarily superior in an artistic sense to some alternative version, one could argue that the skill to produce an ac curate likeness of a person relies to some extent on the ability to produce an accurate representation. The results of a number of research stud ies support the hypothesis that an inverse orientation presentation (i.e., one which re duces the meaningful content of the object), should result in reproduction. Reith and Liu (1995) presented subjects with a trapezoid and a rectangle tilted so that their projective shapes on a frontoparallel plane (a di Vinci window) were identical. She found that subjects' drawings of the objects were affected by their knowledge of the true na ture of the object, so that there were signifi cantly greater errors in reproducing the rect angle. In looking at children's art, Reith (1988) notes several studies (e.g., Ingram, 1985; Luquet, 1967; Phillips et al., 1978; Pratt. 1983; Reith, 1987) that indicate that the meaningful content of objects encour ages children to use less visually accurate, stereotypical representations, whereas un familiar objects may encourage more ac curate representations. Similarly, Pariser (1981 ) argues that the talented and autistic Nadia drew excellent pictures because she was unwilling or unable to conceptualize what she was seeing, and he observes that as her language ability grew, her drawing ability diminished considerably. Additionally, Freeman, Evans, and Willats (1988, as cited in Willats 1997), ex amined the errors made by college students while copying different types of drawings. Most of the students produced errors in their drawings consistent with object-centered description (i.e., drawing what they knew as opposed to what they saw). The present study was designed to test Edwards' (1979) hypothesis, including a test of the effect of presenting a stimulus in nor mal versus inverse orientation, and mea suring the extent to which participants ex periences a feeling of dissociation while drawing." @default.
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• W31013068 title "Dissociation and drawing on the right side of the Brain" @default.
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