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Does Your Language Shape How You Think?

by Henk ter Heide on Tuesday August 31, 2010

Quoting from the New York Times

Seventy years ago, in 1940, a popular science magazine published a short article that set in motion one of the trendiest intellectual fads of the 20th century. At first glance, there seemed little about the article to augur its subsequent celebrity. Neither the title, “Science and Linguistics,” nor the magazine, M.I.T.’s Technology Review, was most people’s idea of glamour. And the author, a chemical engineer who worked for an insurance company and moonlighted as an anthropology lecturer at Yale University, was an unlikely candidate for international superstardom. And yet Benjamin Lee Whorf let loose an alluring idea about language’s power over the mind, and his stirring prose seduced a whole generation into believing that our mother tongue restricts what we are able to think.

In particular, Whorf announced, Native American languages impose on their speakers a picture of reality that is totally different from ours, so their speakers would simply not be able to understand some of our most basic concepts, like the flow of time or the distinction between objects (like “stone”) and actions (like “fall”). For decades, Whorf’s theory dazzled both academics and the general public alike. In his shadow, others made a whole range of imaginative claims about the supposed power of language, from the assertion that Native American languages instill in their speakers an intuitive understanding of Einstein’s concept of time as a fourth dimension to the theory that the nature of the Jewish religion was determined by the tense system of ancient Hebrew.

Eventually, Whorf’s theory crash-landed on hard facts and solid common sense, when it transpired that there had never actually been any evidence to support his fantastic claims. The reaction was so severe that for decades, any attempts to explore the influence of the mother tongue on our thoughts were relegated to the loony fringes of disrepute. But 70 years on, it is surely time to put the trauma of Whorf behind us. And in the last few years, new research has revealed that when we learn our mother tongue, we do after all acquire certain habits of thought that shape our experience in significant and often surprising ways.

Whorf, we now know, made many mistakes. The most serious one was to assume that our mother tongue constrains our minds and prevents us from being able to think certain thoughts. The general structure of his arguments was to claim that if a language has no word for a certain concept, then its speakers would not be able to understand this concept. If a language has no future tense, for instance, its speakers would simply not be able to grasp our notion of future time. It seems barely comprehensible that this line of argument could ever have achieved such success, given that so much contrary evidence confronts you wherever you look. When you ask, in perfectly normal English, and in the present tense, “Are you coming tomorrow?” do you feel your grip on the notion of futurity slipping away? Do English speakers who have never heard the German word Schadenfreude find it difficult to understand the concept of relishing someone else’s misfortune? Or think about it this way: If the inventory of ready-made words in your language determined which concepts you were able to understand, how would you ever learn anything new?

SINCE THERE IS NO EVIDENCE that any language forbids its speakers to think anything, we must look in an entirely different direction to discover how our mother tongue really does shape our experience of the world. Some 50 years ago, the renowned linguist Roman Jakobson pointed out a crucial fact about differences between languages in a pithy maxim: “Languages differ essentially in what they must convey and not in what they may convey.” This maxim offers us the key to unlocking the real force of the mother tongue: if different languages influence our minds in different ways, this is not because of what our language allows us to think but rather because of what it habitually obliges us to think about.

Consider this example. Suppose I say to you in English that “I spent yesterday evening with a neighbor.” You may well wonder whether my companion was male or female, but I have the right to tell you politely that it’s none of your business. But if we were speaking French or German, I wouldn’t have the privilege to equivocate in this way, because I would be obliged by the grammar of language to choose between voisin or voisine; Nachbar or Nachbarin. These languages compel me to inform you about the sex of my companion whether or not I feel it is remotely your concern. This does not mean, of course, that English speakers are unable to understand the differences between evenings spent with male or female neighbors, but it does mean that they do not have to consider the sexes of neighbors, friends, teachers and a host of other persons each time they come up in a conversation, whereas speakers of some languages are obliged to do so.

On the other hand, English does oblige you to specify certain types of information that can be left to the context in other languages. If I want to tell you in English about a dinner with my neighbor, I may not have to mention the neighbor’s sex, but I do have to tell you something about the timing of the event: I have to decide whether we dined, have been dining, are dining, will be dining and so on. Chinese, on the other hand, does not oblige its speakers to specify the exact time of the action in this way, because the same verb form can be used for past, present or future actions. Again, this does not mean that the Chinese are unable to understand the concept of time. But it does mean they are not obliged to think about timing whenever they describe an action.

When your language routinely obliges you to specify certain types of information, it forces you to be attentive to certain details in the world and to certain aspects of experience that speakers of other languages may not be required to think about all the time. And since such habits of speech are cultivated from the earliest age, it is only natural that they can settle into habits of mind that go beyond language itself, affecting your experiences, perceptions, associations, feelings, memories and orientation in the world.

BUT IS THERE any evidence for this happening in practice?

Let’s take genders again. Languages like Spanish, French, German and Russian not only oblige you to think about the sex of friends and neighbors, but they also assign a male or female gender to a whole range of inanimate objects quite at whim. What, for instance, is particularly feminine about a Frenchman’s beard (la barbe)? Why is Russian water a she, and why does she become a he once you have dipped a tea bag into her? Mark Twain famously lamented such erratic genders as female turnips and neuter maidens in his rant “The Awful German Language.” But whereas he claimed that there was something particularly perverse about the German gender system, it is in fact English that is unusual, at least among European languages, in not treating turnips and tea cups as masculine or feminine. Languages that treat an inanimate object as a he or a she force their speakers to talk about such an object as if it were a man or a woman. And as anyone whose mother tongue has a gender system will tell you, once the habit has taken hold, it is all but impossible to shake off. When I speak English, I may say about a bed that “it” is too soft, but as a native Hebrew speaker, I actually feel “she” is too soft. “She” stays feminine all the way from the lungs up to the glottis and is neutered only when she reaches the tip of the tongue.

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connecting tissue

by Henk ter Heide on Sunday April 18, 2010

I started this color hatching sketch. It was meant as a kind of top view of a road through the forest. But as I was drawing it soon became clear that something was very wrong with this drawing.
I just couldn’t figure out why I was doing this. Drawing something of which I know it’s wrong.
But cycling to the fitness center to do my weekly workout it dawned on me.

When I tell people that I have a photographic memory, they often think that means that I never forget any thing. But that’s not the case. Never forgetting any thing is called a Eidetic memory. I do forget things.
I call it a photographic memory because the pictures in my mind have a photographic quality to them.

But as I am finding out. They are not complete.
It’s like I have these photographic plates in my mind that have to be exposed to an object to get a clear memory. But if I don’t look long enough to some detail of that object I don’t have a picture of it in my mind.

It’s like studying for an exam.
While you’re reading the book you feel like you know it by heart.
But on your exam you find that you have forgotten a few details. Usually the details aren’t very important. But sometimes they are the connecting tissue you need to make your argument.

In the same way I have a lot of pictures of tree trunks in my mind. Which isn’t strange. While cycling I get to see a lot of tree trunks.
I have several pictures of leaves and flowers in my mind. But I have hardly any pictures the point of the tree where the branches grow. That’s not the most interesting part of a tree. So I assume that I don’t look at it very much.

You know the feeling of needing a word that you can’t quit remember but you have it on the tip of your tongue? People suggest words but although you still can’t remember the word you need, you know that the suggestion is wrong.
I have something like that while doing a sketch like this.
I know it’s wrong, but I don’t know what I should change to correct it.

color hatching sketch
color hatching sketch

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Speed

by Henk ter Heide on Saturday April 17, 2010

Sometimes I get reminded of all the stupid things I was taught when I was a child. Things like it’s better to quite an activity then not to finish the project you’re working on right now.

The purpose of this sketch was to find out if it’s possible to get these nice color mixes with color hatching while at the same time retaining some control over the color.
As it turns out, that is possible.

Because it’s easier to color between the lines I had helped myself by drawing some random lines.
But by doing so it felt as though this was supposed to be a real drawing.
So after I had colored a few panels and felt that I had nothing more to learn from this sketch and I wanted to put it on this site and move on.

But then I heard the very angry voice of my mother in my head. “You never finish anything!”. “You should finish what you start!”. “You are always procrastinating”. And drawing lost all of it’s fun.
That was how it used to be some 40 years ago.
At one point I took up dancing. Which was fun apart from the fact that I was the only guy present. (Which is fun when you’re 16 but not when you’re 13 and all the girls are better dancers then you are.)
You wouldn’t believe how mad my mother became when I announced that was going to quit.

After Mr. “nobody’s” comment I started thinking again and remembered that this sketch only has a limited goal.

Thinking about this some more I did realize one thing though. What is missing from my current way of working is speed. Since my best drawings where kind of accidental there is not much purpose to my thinking about what I’m doing on a drawing by drawing base.

I do realize that figurative drawings would sell much better then abstract. Drawing abstract is a way of experimenting with techniques without having the straight jacked of having to draw objects that are prospectively correct. (If nothing else I’ll always be a perfectionist).
I do want to go back to drawing more recognizable shapes. But only if I can find a way to draw the complicated world in which I’m living.

color hatching sketch
color hatching sketch

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The end of a path

by Henk ter Heide on Sunday January 3, 2010

It’s a good thing that keeping a new years resolution is a process and not an act. Otherwise I would have failed it already. Yesterday I did draw for more then an hour but I didn’t come around to writing this article :(
Ah well. Here it goes.

As my regular readers will have noticed, I haven’t done anything for some three months.
I had found that I couldn’t make the pictures I wanted with color pencil and had decided that I would start painting.
I had bought oil paints, an easel, a pallet and the lights I needed to photograph my paintings. I had even painted a few test panels.
And then everything halted.
It just stop.
I didn’t feel like painting any more.

I assumed that I would start painting again at some point. So I just waited.

The thing is that I have had this happening before. Often even.
I have had a lot of times that I am in the middle of some activity and for some reason just don’t feel like finishing it.
It used to annoy the hell out of my mother. She thought it meant that I was too lazy to finish my chores. (Although I never quite understood why she thought that joining a tennis club would be considered a chore.)

Over the years I learned that halting some activity for no apparent reason and then picking it up again a few weeks or months later, or figuring out what is wrong with it, is just part of being me.
So I waited.

The only thing that had me slightly worried was this blog.
This blog is linked to drawing and I felt that couldn’t keep all of you just hanging there. Not knowing what had happened.
I hate it when I’ve followed a blog for a few months or even years and it just stops. And I never find out what happened to the author.
Did he move on to other activities? Did he die?

A few weeks ago I started thinking that I should write some kind of brief explanation about why I wasn’t writing anymore. But a funny thing happened.
While I was thinking about how I should explain that this happens to me some times. That I didn’t know why I had stopped and didn’t know whether I would ever continue. I figured out why I had stopped.

Even better.
After I had realized why I had stopped, new ideas started flowing. And before I knew it I was drawing again.

I thought it would be best to first do a few drawing, to see if it would stick, and then tell you about my developments. But the drawing I’m doing right now is taking far too much time to do it that way. Although I drawn for more then an hour a day for the last week. I’m still only at about two thirds.

But still I feel curtain that this direction is so rewarding that I won’t stop after just a few drawings. I don’t feel that I have to test myself by finishing yet an other drawing before talking about it.

Why did I stop painting in September?
When I started thinking about it, it turned out to be fairly obvious.
I had lost my direction. I had lost my purpose.

When I started drawing early 2007 and started with this blog I had a very clear purpose.
I wasn’t trying to produce beautiful drawings. I was trying to find a way to express myself via drawings.

Being autistic and having a visual thinking process I find that I have to work very hard at expressing myself.
Before I can tell anybody anything about the people I meet and the places I go. I have to translate from the pictures and movies in my mind to words I can speak.
Although I’ve become quite good at it over the years, it’s still a lot of work.
Which means that I can write an article like this one, which is perfectly understandable.

But sitting on a stool in a bar I can either relax or talk with people. And since I go there to relax I never talk very much.
Lately a few of the costumers of my favorite bar have figured out that I’m quite knowledgeable on some subjects and they question me about them. And when they do, I answer them.
But it always feels like an interview. Never like a conversation.
To me conversation are just to much like work.

Three years ago I thought that since I have this visual thinking process and a photographic memory, it should be very easy to find a way to draw those people and places that I wanted to show the world.

But it wasn’t.
Using color pencil I quickly found that the pictures I drew never looked like the pictures in my mind.
For two reasons.
One of which turned out to be very obvious, when I finally thought about it. The pictures in my mind are of a photographic quality. Pictures I draw never are. Which, I suppose, is the charm of drawings. But it wasn’t what I had in mind.
The other problem is that I have a field of vision of 180 degrees. Just by the size of the paper that I’m using, a drawing is only about 30 degrees. Which is probably why a guy like Stephen Wiltshire draws such detail on such big canvases. It’s the only way to get the world in your drawing.

When I moved to painting I just assumed that I would solve both problems.
Bigger canvas would mean drawing a bigger part of the world. And since you can layer with oil paint you can indeed get more photo realistic pictures.

The one thing I hadn’t counted on was drying time.
With oil paint you can layer different colors on top of each other. But after each layer you have to wait until it’s dry. Otherwise the different layers will mix and everything will turn a foul color of brown.
Drying time can be as much as two or three days.

So imagine what that means.
No doubt you have seen those beautiful portrait paintings where the artist has put a little dot of white paint in the pupil of the each eye to suggest life.
Those two tiny dots of white paint take three days to paint.
That is a few seconds for every dot. And then three days of drying time before varnish can be applied.
(And after that the painting has to dry out for several months before it can be used.)

There is no way that I can work that way.
Most painters work either from postcards or from sketches they have made.
I didn’t want to do that. I wanted to draw/paint the pictures and movies in my mind.
I started out with the pictures because it seemed easier to learn. But to really show the world what I’m all about I have to draw/paint the movies.
But of course they change over time.
There is no way for me to keep an image in my mind for the several months it would take to finish the painting.

The first painting I wanted to do was a simple one of an apple tree in bloom in an English landscape.
I’ve been wanting to do a picture like that for as long as I’ve been drawing. I could never find a way to do it with color pencils.
But even such a simple idea keeps changing:
Will I put the tree in the foreground or the background. On a hill? Against a blue sky or a stone wall?

And that are only the questions I ask myself.
The color arrangement also changes. But that isn’t something I consciously think about. It’s just the way the world around me changes.
When the sun shines the pictures in my mind have all kinds of bright colors. When it’s an dreary day the pictures in my mind change to low hanging fog. And then at night I “see” a lot of greys and blues.

There is no way I can show my world using paint.
But even if there was. It’s far the much work. I was looking for an easier way to show my world then by translating the pictures in my mind.
This is far to difficult.

So without realizing what was wrong, I had reached the end of this path.
 
 

This is turning into a very long article.
Tomorrow I will tell you about this new direction I have found

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Processing abstract information

by Henk ter Heide on Wednesday June 17, 2009

Thinking about my thinking process.

  1. Processing abstract information
  2. Finding the limit of my thoughts

In my last post I wrote that I expected that post would be a little further apart in future. This one is taking even more time then I had expected.

On the up side I have figured out that my very annoying habit of talking to myself is actually a symptom of my autism.
Having a visual thinking process means that I can’t think about subjects I can’t visualize. Things like “feelings”, the word “goals”, “business deals” are to abstract to visualize.
I’m not able to think about them except by talking about them.

Accepting that this is a symptom of my autism means a few things.

  1. It means that I have to accept that I will never get rid of this habit.
  2. It means that I’ll have to accept that I can’t draw as much as I would want to. Because I can’t think visual at the same time that I’m processing abstract information.
  3. But it also means that I need a better understanding of this process. There must be a natural boundary. A point where I’ve solved the problem I’m working on and should go back to thinking visually. That’s what I’m working on right now.

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Stop talking to myself!

by Henk ter Heide on Friday May 15, 2009

For the last 20-30 years I’ve been talking to myself. A lot of the time even out loud. Even when I’m outside and people can hear and see me.
It’s a very annoying and distracting habbit that makes me look like some kind of madman.
Over the years I’ve tried many times to break the habbit. I’ve even been in therapy to get off of it but nothing ever seemed to help.

This morning I finally figured out what I’m doing, why I’m doing it and what I should do to stop doing it.

I was laying in bed thinking about the epiphany I had a few days ago. The discovery that I have two modes of looking at drawings. The mode you usually use when looking at a drawing made by some one else. In which you see shades and ridges. And the mode I tend to use when I look at my own work. Where I see a flat drawing with darker and lighter areas.
I was wondering whether the ability to switch from one mode to the other while doing a drawing is something that’s specific for autistics with a visual thinking process or whether anybody could do it.
Then it hit me.

I have two modes of thinking. Two thought process.
I have the natural (autistic) visual thought process and I have the self taught talking thought process.

I started life thinking only in pictures.
For years I didn’t feel the need to talk very much, so I didn’t. Around my 8th or 9th I could get through a week without uttering much more then 3 or 4 sentences.
But by my late teens early twenties I found ever more that I became the bud of less then nice jokes people made. And my inability to response made it all the more frightening.
So at first I spend hours thinking about what I could have answered. Later on I spend hours practicing the answers I could have given. Then I progressed to thinking about the jokes I could have made myself in response to some ones joke. Then thinking about jokes I could make without being provoked. Then….

I’m still practicing.
I’m not completely sure what it is I’m practicing right now but I’m clearly practicing something.

Now I’ve finally figured out what I’m doing I find that I’m not sure whether practicing is a bad thing.
As my life progresses and I find myself facing new challenges, it could be that it is a good thing to practice the different roles I should play in different circumstances.
But it can’t be good that I spend all my time practicing speech. I need a little balance in my live.
My visual thought process used to be very important to me. It still is.
Not thinking in pictures as much as I ones did is something I feel as a big loss.

To get it back I’ll have to work on myself. And now I understand what is going on it’s quite obvious what I have to do.
In essence I’ve been training myself for years to talk to myself. So now I have to train myself to go back to thinking in pictures.

I used to be able to imagine a kind of full color 3 dimensional video. The difference was that I was in the video instead of looking at it through a rectangular window of limited size.
I still can.
Only nowadays it takes an immeasurable amount of concentration to ban the words from my mind. So usually I tend to give up and just think in words.

But of course there’s one rule that applies to every form of training:
The more you try it, the easier it become. The more you not try it, the harder it becomes.

“Not trying” as in starting with something but not finishing it.
In essence you tell yourself that it is too hard. And after a while you start to believe that it’s too hard and stop trying.

Which means that the way to train myself to think visual is to imagine 3 dimensional full color videos. And at first it will be very hard but over time it will become easier.

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Drawing a blanc

by Henk ter Heide on Monday August 11, 2008

Going through a little dip.

About ones a year (I think), I lose my ability to think in pictures. I don’t know why that happens. Whether it has something to do with the season or just with being tiered or something.
When it happens it feels as though my world comes to an end.
I can’t think and I can’t think about doing anything.

Although I have had this many times before and it always passes, I never remember that while it’s happening. It always feels as though an important piece of my life will be forever gone.

The strange thing is that activities that are totally unrelated to thinking in pictures also come to a halt.
When I can’t think in pictures I can’t draw. That sounds kind of logical.
Nor can I write. That may sound less logical to people who think in words. But I have to see the story in my mind before I can write it down.
But what I don’t understand is why I can’t do my fitness trainings. Not only does it become utterly boring but I don’t have the energy.

And then it passes.
After a few weeks my ability to think in pictures comes back. But I never notice that it has come back.
I start thinking in pictures again as though I had been doing that all along. Without realizing that it was something that had been missing for a few weeks.
So instead of picking up where I left of I go on doing nothing for a few more weeks.
Nothing as in watching TV and doing video games. Which is fun but it leads to nothing.

Only today I realized that my ability to think in pictures had left me and had come back and that I should resume working on my blog.

I just checked that stats of my RSS feed for the first time in almost a month. I found that although I hadn’t written anything in almost a month I haven’t lost a reader.
So may I extend a warm felt “thank you” to my loyal readers.
Thank you!

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Shortcuts: Thinking and drawing in shorthand (Drawing: Symbol drawings)

by Henk ter Heide on Tuesday December 4, 2007

I’m finally getting some ideas about the difference in thinking processes between autistics and non-autistics.

Some 20 years ago I read somewhere that people who are autistic can’t think in symbols. I didn’t know that I was autistic myself and I didn’t understand what they meant. Don’t autistics understand symbols like the dollar ($) sign and the Euro (€) sign?
When I found out that I’m autistic, last year, I understood even less.

The book about drawing with the right side of your brain was very surprising for me.
I hadn’t expected that there would be such a big difference in the experiences I had and the experiences that were described in the book. I didn’t quite get why the faces/vases drawing would be so hard for non-autistics. But what really surprised me was how hard it apparently is to draw portraits.
I just draw what I see. I might get lost in the details. Maybe I don’t think it’s a very good portrait because the details don’t match, but I don’t make the stupid mistakes most people apparently make.

Last week my employer wanted so speak to my councelor to learn something about autism.
We met in a cramp office with an cheap, old, dented and cracked table which we filled with the arms and hands of four people, 4 plastic coffee cups each with one plastic spoon, one dairy, two notepads and a few odds and ends.
My councelor told my manager and a manager from human resources a little about autism. Hopefully they learned something from it. One of the things my councelor described is how autistics see a lot more detail. He started out by saying “we see a table with a few sheets of paper” and continued with a description of what I saw.
“A table with a few sheets of paper”?????
Is that all that you see?????

Thursday my department at work had to wait a while to get the next order. The supply room kept telling us that we would get the order in a few minutes. So we waited and waited. In the end it took a few hours.
While we waited one of our interns drew a little. This guy is 16 or 17 years old and mentally disabled but he draws very good.
He started out with a cartoon styled St. Sebastian using very strong bold lines.
Then he tried to draw a portrait of me. Before he even started, he told me that he couldn’t draw very well and proceeded with waverly lines to draw something that didn’t even look like a face (or at least in my eyes). But he thought it was quite good.
Then I left to do something else. When I return an hour later he had filled a few sheets of paper with strong confident drawings.

I finally got it.

I think I misunderstood what was meant by symbols. Not only the signs that people use to point out the road to the city or the way to the toilet but the whole condensing of ideas people use to make it easier to observe and think about the world.
I don’t see the condensed world. I see every little detail.
I’m at odds whether condensing the world is an advantage or a disadvantage. But it doesn’t really matter since you can’t choose your thinking process.

The interesting thing is that the same happens when non-autistics look at a drawing. They don’t see all the detail I see. They just see a symbol.
If it has a trunk, branches and roughly the right colors it must be a tree. The shape doesn’t matter that much.

I think that this was what had me frightened.
There is no way I can draw all the detail I see. Not only because I don’t have the skills but, more importantly, I don’t have the patience. But if most people can’t see the details I don’t have to draw them.

Symbol puppets
Symbol puppets

This may seem like a children’s drawing but for me it’s something I’ve never done. I’ve never realized that you can just take a few circles to symbolize eyes and mouth.

Symbol trees
Symbol trees

These trees represent something I’ve been trying ever since I started with drawing.
On route to my work I come passed a lot of trees like these two. Especially now in fall a lot of leafs has fallen off. So on the one hand you see very nice green, yellow and orange colored leafs and on the other you look right through the tree and see a blue and yellow sky in the background.

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The movies in my mind (drawing: Color fountain 1st sketch)

by Henk ter Heide on Wednesday June 27, 2007

Thinking in pictures

One of the strange things of discovering that you have autism is that you get to meet a lot of experts who tell you that you have all kind of problems you never knew you had. Among other I’ve been told that I’ve problems concentrating. When I’m doing something it could very well happen that the softest of sounds would disturb me.
This is strange because it’s not really a problem I’ve been experiencing. On the contrary. People have been telling me for years that I should pay more attention to what happens around me. When I’m doing something I seem to shut out the rest of the world and a war could break out without me noticing it.

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An other problem I’m supposed to have is a problem with seeing the generality. Apparently people with autism are very good at noticing details but they tend to miss the big picture.
This was also a problem were I at first thought that the experts were wrong. I’ve always had the feeling that I’m as good as seeing the big picture as anyone. But after trying to draw the picture in my mind I’ve found that my ideas about how I see the world were completely off.
I’m finding that I don’t see one world. I see something of a collection of little picture that are patched together to form a big picture of the world.
Only thing is that the collection isn’t complete. Of some parts of the world I’ve have hundreds of pictures in my mind and other parts are completely blank.

How to discribe this

I’ve actually read about this phenomenon before I knew that I had autism and I didn’t understand it. I couldn’t imagine the kind of vision of the world people who think in picture would have. Now I’ve found that I’m one of those people who think in pictures I’m starting to understand why description I’ve read where so incomprehensible. I’ve been thinking about it for a long time but I too have found that there is no good way to explain the way I see the world.

To really explain it you should make some kind of movie. But since nobody understands what it is we’re talking about nobody will ever make that movie.
Or will they…
It turns out that Microsoft has been working on a program, Photosynth, that is used to link large amounts of pictures. The program looks for details in the pictures. By linking pictures at overlapping details you get a kind of movie of a building or landscape.

My world

Microsoft has a working demo (IE only) were you can see a building composed of hundreds of pictures.
As you move around this building you’ll get to see the world as I see it.

  • Lots of pictures.
  • Perspective changes from picture to pictures.
  • There are hardly any pictures that give you an over view.
  • There are a lot of pictures with details of the building.
  • You get a real live feeling of the geometry the building.

Color fountain

color fountain 1th sketch
Color fountain 1st sketch

This is horrible.
I don’t understand why there is so much brown in this drawing. This was not what I had in mind.
I’ll have to try to make this drawing some other way.

Link

Do you like elephants? At this site you’ll find drawings of elephants and other zoo animals.

To my regular readers

I’m running into the problem that I can’t maintain a frequence of 5 drawings a week. I’m slowly getting to the point were I want to do more complicated projects and it is very hard to do those if you’re struggling to meet a deadline. To give myself a little breathing room I’ve build a little stock of drawings.
I can produce about three drawings in a week so I’ve dropped the posts frequence.
(I’ve just finished a very nice drawing called “Who’s afraid of yellow, red (and blue)” that you’ll get to see in one and a half week.)

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Cul de sac (drawing: Topographical face final sketch)

by Henk ter Heide on Monday June 11, 2007

It took several sketches before I realized that there was something wrong with the way I use my colors. I make parts of the face darker that should be lighter.
Topographical face final sketch
Topographical face final sketch

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It seems that I have some kind of synthesis between touch and sight. While I look at something I also “feel” it. When I try to remember how something looks the shape is the most powerful memory.

I thought it would be nice to try to draw a face the way I see it in my mind. Like a sort of statue with thicker (darker) and thinner (lighter) parts. But it isn’t. It’s boring to look at. This is the second and final drawing using this concept.

But it has given me some ideas about the relation between landscape and portraits.

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