{"id":3855,"date":"2012-05-03T14:17:10","date_gmt":"2012-05-03T19:17:10","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3855"},"modified":"2016-06-23T19:50:43","modified_gmt":"2016-06-24T00:50:43","slug":"navigational-perception","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2012\/05\/03\/navigational-perception\/","title":{"rendered":"Navigational Perception"},"content":{"rendered":"
\"\"<\/a>

Marshall Islands stick chart, a map of islands, ocean swells, and currents, original source of photo unknown<\/p><\/div>\n

Synchronicity<\/a> is a concept describing how seemingly unrelated things take on meaning by being experienced concurrently.\u00a0 Years ago a friend gave me the Fall 1991 issue<\/a> of the magazine \u201cWhole Earth Review<\/a>\u201d.\u00a0 It is 144 pages densely filled with a wide variety of articles on technology, ecology, and human potential \u2013 the promo on the inside front cover starts, \u201cMayans, Hawaiians, and Tibetans.\u00a0 Virtual reality, psychedelic alchemy, neuro-tarot.\u00a0 Youth culture and elder care.\u00a0 Teaching lumber companies not to trespass.\u00a0 Radio as anarchic medium.\u00a0 A grandmother\u2019s advice on childrearing.\u00a0 Zines.\u00a0 Independent music producers.\u00a0 Lucid dreams.\u201d<\/em>\u00a0 Lots of interesting thoughts and speculations there.<\/p>\n

There were two articles within that issue that stuck with me and that have informed my thought and my creative process ever since.\u00a0 The magazine draws no particular connection between the two articles – it puts them in separate sections – but both have to do with developing special perceptual skills for purposes of moving through the world.\u00a0 If I hadn\u2019t encountered these articles in the same place, they might not have made such an impression on me, but their alignment opened a door for me about how we can train and expand our perception of the world, not through drugs or mystical experiences, but through simple practice.<\/p>\n

For me, artistic development is about learning to perceive more deeply, to notice beauty that most miss.\u00a0 Mass commercial culture is all about bombarding people with sensations, pushing their buttons and pulling their strings.\u00a0 By appreciating subtle things and enjoying all the fantastic phenomena the world gives us for free, we can liberate ourselves from commercial mind control.\u00a0 But even if you don\u2019t care about all that and just read this blog for the drawing tips, there\u2019s no technique more powerful than learning to see more when you look.<\/p>\n

So, back to \u201cWhole Earth Review\u201d \u2013 both of the articles I\u2019ll be talking about are available in full online, and you\u2019ll find a list of links at the bottom of this post.<\/p>\n

\"\"<\/a>

Cover of “Whole Earth Review”, Fall 1991 issue<\/p><\/div>\n

\u201cNightwalking: Exploring the Dark with Peripheral Vision<\/a>\u201d tells of its authors Zink and Parks\u2019 experiments in enhancing peripheral vision.\u00a0 The human eye contains two types of light sensitive receptor cells.\u00a0 Cones, densely packed in the center of the visual field, see color and fine detail.\u00a0 Rods predominate in the outer circle of the visual field.\u00a0 They see neither color nor fine detail, but are far more sensitive than the cone cells in dark conditions.\u00a0 The visual cortex uses this peripheral rod vision for orientation and to notice movement happening away from our point of focus.\u00a0 (See my earlier post, \u201cExercising Perception<\/a>\u201d, or my guest post<\/a> on Daniel Maidman\u2019s blog<\/a> for more detail on all this.)<\/p>\n

Peripheral vision is usually a subconscious process.\u00a0 Zink and Parks found that they could expand their conscious attention into the peripheral visual field by locking their central vision on the end of a stick attached to a hat and extending about a foot in front of their eyes.\u00a0 When the focal point is immobilized, awareness is free to move elsewhere.\u00a0 They practiced hiking in the desert, over very uneven terrain, this way, and found that they were able to move smoothly and sure-footedly, avoiding obstacles and pitfalls without looking at them.<\/p>\n

Even before I read this article I had been doing perceptual experiments on my own.\u00a0 I had often tried walking around the city with my eyes crossed, which is essentially the same thing Zink and Parks were doing, and had discovered the fascinating ability to watch things happening far away from my line of sight, even simultaneous things on opposite sides of me.<\/p>\n

\"\"<\/a>

New Mexico Desert at Night, photographer unknown<\/p><\/div>\n

Since the peripheral visual field is dominated by rod cells, noted for their high sensitivity to extremely low levels of light, Zink and Parks decided to try the technique walking in the wilderness in the moonless night.\u00a0 If you\u2019ve tried walking on a moonless (or new moon or crescent moon) night far from artificial light sources, you know how hard it can be to see where you\u2019re stepping or what\u2019s around you.\u00a0 Zink and Parks again used the hat with a stick in front, adding a dot of phosphorescent paint to the end of the stick, and again went hiking in the New Mexico wilds.\u00a0 They found they were able to see all sorts of things one would never see by normal looking in the dark \u2013 rabbits and bats moving around them, the faint bioluminescence of decaying wood.\u00a0 They were able to move swiftly and safely over rocks and ravines.\u00a0 (I wonder if anyone has tried this in a dense forest at night \u2013 that would be much darker than the open desert landscape, even on a moonless night.)<\/p>\n

\"\"<\/a>

Nightwalking participant, from Australian site NLP Cafe Brisbane. This nightwalker’s hat has a glow-in-the-dark plastic heart instead of a dot of phosphorescent paint as described in Zink’s original article. \u00a0Photographer unknown.<\/p><\/div>\n

In my own practice as an artist, I\u2019ve found the ability to move my awareness into the peripheral visual field is a vital skill.\u00a0 I can look at a detail with my sharp central field and still maintain a sense of the whole of what I\u2019m looking at because the peripheral vision is taking it all in.\u00a0 Many observational artists intuitively squint at their subject \u2013 this disables the sharp vision, helping you to see the whole pattern.\u00a0 A deliberate practice of developing peripheral sight can be even more powerful.<\/p>\n

\"\"<\/a>

Centered on the Feet, 2012, watercolor on paper, by Fred Hatt<\/p><\/div>\n

The second article that struck me in the Fall 1991 issue of \u201cWhole Earth Review\u201d was \u201cThe Soft, Warm, Wet Technology of Native Oceania<\/a>,\u201d Harriet Witt-Miller\u2019s piece on the traditional navigation techniques of the peoples of the Pacific islands.\u00a0 Eighteenth-century European explorers were astonished to find that the far-flung islands of the Pacific, widely scattered across thousands of miles of open ocean, had nearly all been settled long ago by people with outrigger canoes who had no sextants or compasses or chronometers. \u00a0How did they cross such distances, and find tiny dots of land in the vast expanse of ocean?<\/p>\n

\"\"<\/a>

Micronesian Proa, still from “The Navigators”, a film by Sam Low<\/p><\/div>\n

These cultures, now tragically threatened by rising sea levels, had highly sophisticated methods of accurate maritime navigation, all based on direct observation rather than on abstract patterns such as latitude and longitude or the geometrical satellite array of the Global Positioning System.<\/p>\n

\"\"

GPS satellites, original source of illustration unknown<\/p><\/div>\n

Traditional Pacific navigators or wayfinders learn to observe very subtle things.\u00a0 They can look at the light reflecting off the bottom of a distant cloud and tell whether it is over green land or over a coral atoll\u2019s crystalline lagoon, thus detecting islands beyond the horizon.\u00a0 They know the stars and the way their arcs of movement change with the hour and the season.\u00a0 They observe the behavior of sea birds and the properties of water and floating debris to determine in what direction lies land.\u00a0 They have a deep understanding of the movement of wind and water currents.\u00a0 They learn to distinguish the constant patterns of ocean swells from the shifting surface waves by sensing the deeper movements with their scrotums resting on the bottom of their boats.<\/p>\n

\"Currents<\/a>

Currents of the Pacific, warm currents in orange, cold currents in green, original source of map unknown<\/p><\/div>\n

The Micronesians map their world with \u201cstick charts<\/a>\u201d, made of palm sticks.\u00a0 According to the caption of the below illustration from Witt-Miller\u2019s article, credited to \u201cExploratorium Quarterly<\/a>\u201d, \u201cCurved sticks showed prevailing wave fronts, shells represented the locations of islands, and threads indicated where islands came into view.\u201d<\/p>\n

\"\"<\/a>

Micronesian stick map, illustration from “Whole Earth Review”, Fall 1991 issue, page 67<\/p><\/div>\n

Western ways of knowledge and technology have often been about superimposing an abstract pattern over the real world, and operating according to the abstraction.\u00a0 For the visual artist, that traditionally means systems of linear perspective<\/a>, canons of human proportion<\/a>, color theories<\/a>, etc.\u00a0 For the contemporary artist it may also include the abstracting analyses of critical theory<\/a> and semiotics<\/a>.<\/p>\n

\"\"<\/a>

Proportions of Man, 1557, by Albrecht D\u00fcrer<\/p><\/div>\n

I understand and use such abstractions \u2013 well, critical theory, not so much \u2013 but in my own practice of observational figure drawing I stay much closer to the Pacific wayfinder\u2019s method, looking at subtleties of reflected light, following the swells and hollows of the model\u2019s body as though I am moving across a territory.\u00a0 I look at the points of inflection, such as nipples or kneecaps, in terms of angular relationships and the flowing patterns that join them, as the sticks connect the shells on a Micronesian sailing chart.\u00a0 My process is tactile.\u00a0 I feel my way along.<\/p>\n

\"\"<\/a>

Hands Reversed, 2012, black watercolor on paper, by Fred Hatt<\/p><\/div>\n

All of these different kinds of observation are happening simultaneously, or in quick succession.\u00a0 Part of my mind is aware of the peripheral view.\u00a0 Part of it is looking at the colors in the shadows or the direction of hairs on the body.\u00a0 Part of it is mapping the points and following the flows.\u00a0 Part of it is focused on my paper, my brush, my colors.\u00a0 It is impossible to coordinate all these factors into a systematic method I could describe or define.\u00a0 The magic that makes it work is intuition, the power of the mind to integrate a torrent of incoming sensations, conscious and not, into a coherent experience.\u00a0 Intuition is trained by practice, not by theory.\u00a0 It must be rigorously exercised, and then it must be trusted.<\/p>\n

As I have pursued my artistic discipline, I have been deeply informed by these ideas of navigational perception.\u00a0 To draw or paint or sculpt from observation is to explore, to discover, to wonder.<\/p>\n

Both the short articles cited here are full of details I haven\u2019t mentioned, and well worth reading for themselves:<\/p>\n

\u00a0\u201cNightwalking: Exploring the Dark with Peripheral Vision\u201d, by Nelson Zink and Stephen Parks<\/a><\/p>\n

\u201cThe Soft, Warm, Wet Technology of Native Oceania\u201d, by Harriet Witt-Miller<\/a><\/p>\n

Both articles were originally published in \u201cWhole Earth Review\u201d No. 72, Fall, 1991<\/a>.<\/p>\n

Other relevant links:<\/p>\n

Nelson Zink’s website\u00a0NavaChing<\/a><\/p>\n

Harriet Witt’s website\u00a0Passenger Planet<\/a><\/p>\n

Exploratorium’s website “Never Lost”<\/a>\u00a0on Polynesian navigation<\/p>\n

Sam Low’s article “A World of Natural Signs”<\/a><\/p>\n

Illustrations here besides my own drawings were found on the web. \u00a0Clicking on a picture will take you to the place where I found it.<\/p>\n","protected":false},"excerpt":{"rendered":"

Synchronicity is a concept describing how seemingly unrelated things take on meaning by being experienced concurrently.\u00a0 Years ago a friend gave me the Fall 1991 issue of the magazine \u201cWhole Earth Review\u201d.\u00a0 It is 144 pages densely filled with a wide variety of articles on technology, ecology, and human potential \u2013 the promo on the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[203],"tags":[272,17,142,128,51,21,22],"class_list":["post-3855","post","type-post","status-publish","format-standard","hentry","category-visual-perception-2","tag-art-and-society","tag-figures","tag-navigation","tag-perception","tag-philosophy","tag-process","tag-technique"],"yoast_head":"\nNavigational Perception - 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