, especially in certain artistic and scientific fields -
Dyslexia is a complex disorder, and there is much that is still not understood about it. But a series of ingenious experiments have shown that many people with dyslexia possess distinctive perceptual abilities. For example, scientists have produced a growing body of evidence that people with the condition have sharper peripheral vision than others. Gadi Geiger and Jerome Lettvin, cognitive scientists at the Massachusetts Institute of Technology, used a mechanical shutter, called a tachistoscope, to briefly flash a row of letters extending from the center of a subject’s field of vision out to its perimeter. Typical readers identified the letters in the middle of the row with greater accuracy. Those with dyslexia triumphed, however, when asked to identify letters located in the row’s outer reaches.
Intriguing evidence that those with dyslexia process information from the visual periphery more quickly also comes from the study of “impossible figures,” like those sketched by the artist M. C. Escher. A focus on just one element of his complicated drawings can lead the viewer to believe that the picture represents a plausible physical arrangement.
A more capacious view that takes in the entire scene at once, however, reveals that Escher’s staircases really lead nowhere, that the water in his fountains is flowing up rather than down — that they are, in a word, impossible. Dr. Catya von Károlyi, an associate professor of psychology at the University of Wisconsin, Eau Claire, found that people with dyslexia identified simplified Escher-like pictures as impossible or possible in an average of 2.26 seconds; typical viewers tend to take a third longer. “The compelling implication of this finding,”
wrote Dr. Von Károlyi and her co-authors in the journal Brain and Language, “is that dyslexia should not be characterized only by deficit, but also by talent.”…
ion miles and yet we still see no New Stars in[DEED]. Having been born a left-handed mirror-writing, right-brained visual thinker, I have been particularly fortunate to have had an educationally stimulated journey of life, which has resulted in my own personal development of being able to manipulate multidimensional space/time in my head and having long-since promoted the Art of the Possible of so-called Dyslexic Artists, whilst practising the art of Taichiquan, I am now a great supporter of Daniel Keown's very own concept of the Spark in the Machine, which [IT]self refers to the
Art of Acupuncture and it's very connection to the gravitational field, which prevents us flying off into space, as we've travelled that 240 trillion miles.
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https://www.facebook.com/michael.grove.98/posts/4089687177726169
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ndparents, however, ensured that I didn't even realise that I was dyslexic, until my meeting with the female dyslexic designer of the first Silicon Graphics desk-top 3D cad-cam system in the USA. [IT] was she who told me about the dyslexic Thomas West and his book In the Mind's Eye, which resulted in my involvement with an exhibition of the works of dyslexic artists at the Mall Galleries.
The birth of Leonardo coincided with that of the printing press, and [IT] was of course Oxford University Press [OUP], who established their own, and published their very first book in 1478, just two years after Caxton set up the first printing press in England. Track forward several centuries, and following an invite by Nuneham Ladies College in Cambridge to demonstrate my first BBC Micro based Interactive Multimedia system, two senior members of OUP invited me to come and work as a consultant to Rex Beddis, who was the author of the Sense of Place Series three-book course for lower secondary school.
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an change the world. Indeed, it is the only thing that ever has.”
As Elisabet Sahtouris has said in - Ecosophy: Nature’s Guide to a Better World
In this truly cosmic model, the Greeks believed that if we knew how
the greater cosmos was organized, we would know how to organize
our human cosmos. The greater cosmos came out of chaos, which was
not seen as the disorder for which we use the word chaos, but as the
unpatterned no-thing-ness of the universal source, the infinite
potential (chaos, more as in today’s chaos theory) within which all
arises. Thus, the matter of how cosmos-as-order arose and functions
is of supreme importance for human life.
Although ‘The Great Wave’ is often seen as typically Japanese, in fact
it mixes influences from both east and west. Hokusai’s imagination
had been captured in his youth by his discovery of European-style
perspective. Now, aged about seventy, he adapted European
perspective in a very inventive way, playing games in the image
between the relative sizes of the large storm wave in the foreground
and tiny Mount Fuji in the distance. Japanese prints such as 'The Great Wave' influenced Western artists
such as Whistler, van Gogh and Monet. During the 20th century and
beyond, the image has spread even more widely into popular culture
and has been frequently replicated and adapted. It is even painted as
a mural on a house in Camberwell, South London. This British
Museum Exhibit is a unique opportunity to delve into the story
behind this iconic work, learn how Hokusai made ‘The Great Wave’,
and discover how the print has become a truly global inspiration.
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eel like giving up.
So, the question is, where are you in your spiritual growth process? Are you willing to put forth the effort to tighten up your life? Are you still attached to controlling the outcome? Do you meditate a little every day on your heart chakra in order to cultivate balance? Do you hassle the details?
If you want to become impeccable, you must clean and polish your being. Clean and polish. Clean and polish. Until it shines like a diamond.
And once it is perfect, you throw it away." - Luce Rene
PERCEPTION IS indeed THE MEDIUM
Bridget Riley is about the changes - progressive, sometimes abrupt, sometimes apparently disastrous - that can take place in a given situation.
The situation is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…