Why was the student in the example who initially drew Picasso's Stravinsky right side up less successful than when he drew it upside down the next day?
Explanation
The example of the student's two drawings is a powerful illustration of the book's central thesis. The poor quality of the right-side-up drawing demonstrates the interference of the L-mode's symbol system. The high quality of the upside-down drawing demonstrates the brain's inherent ability to draw accurately once that interference is removed, allowing the R-mode to process the visual information purely.
Other questions
What is the primary purpose of the 'Vase/Faces' exercise as described in the chapter?
In the 'Vase/Faces' exercise, which specific instruction is designed to strongly 'plug in' the verbal system (L-mode) of the brain?
What is the primary purpose of the 'Upside-Down Drawing' exercise featuring Picasso's portrait of Igor Stravinsky?
What is the recommended amount of uninterrupted time for the upside-down drawing exercise?
What crucial instruction must be followed throughout the upside-down drawing exercise until it is completely finished?
According to the analogy in the chapter, how does the native Trukese sailor navigate, and which brain mode does this represent?
What is meant by the art term 'foreshortening'?
Which of the following is described as a characteristic of being in the R-mode state while drawing?
What does the author define as the 'artist's gambit'?
When drawing the second profile in the 'Vase/Faces' exercise, which type of questions are characteristic of R-mode thinking?
What is the predicted outcome for the 'most difficult' or foreshortened parts of the upside-down drawing?
Paradoxically, what does learning to draw mean, according to the chapter?
What does the author suggest about using an eraser while learning to draw?
When the L-mode drops out during the upside-down drawing exercise, what does the author claim the visual system (R-mode) does?
What is the second insight gained from the upside-down drawing exercise, according to the author?
How is the moment of shifting between L-mode and R-mode described?
If you are trying to do the upside-down drawing and someone asks you a question, why might it break your concentration?
What does the author suggest is a key benefit of shifting to R-mode, beyond the ability to draw well?
At what age is brain lateralization, the consolidation of functions into one hemisphere, usually complete, according to the end of the chapter?
What is one of the ways mentioned to solve the mental paralysis that can occur during the 'Vase/Faces' exercise?
What kind of mental 'talk' is recommended if you talk to yourself at all during the upside-down drawing exercise?
What happens when an image is turned upside down that makes it a good subject for an R-mode drawing exercise?
According to the author, why do forgers turn signatures upside down when copying them?
What is the author's final advice to do after completing the main upside-down drawing exercise?
In the 'Vase/Faces' exercise, what does the author suggest might happen when you get to the forehead or nose of the second profile?
What does the author suggest is the reason that learning to see things differently has many uses in life aside from drawing?
How many steps are listed in the 'What you'll do' section for the upside-down drawing exercise?
What is the key difference in the thought process of a European navigator versus a native Trukese navigator, as used in the chapter's analogy?
What is the author's response to the idea that R-mode is pleasurable because it is like meditation or self-induced altered states of consciousness?
When beginning the 'Vase/Faces' drawing, what is the instruction for right-handed individuals?
In the upside-down drawing exercise, why is it recommended not to draw the entire outline of the form and then 'fill in' the parts?
What does the author state is one of the great joys of drawing, which is discovered by working from line to adjacent line?
When you successfully shift to R-mode while drawing, what is the term the author uses to say what you are doing?
What is the primary reason the author gives for why the verbal system (L-mode) rejects the task of 'reading' upside-down images?
What is the author's stated aim in the final section, 'Recalling the art of your childhood'?
What does the author suggest you might want to write on the back of your drawing after the 'Vase/Faces' exercise?
Realistic drawing of a perceived image is said to require the visual mode of the brain, which is most often mainly located in which hemisphere?
What material is listed as needed for the 'Vase/Faces' exercise but not for the upside-down Picasso drawing?
Why does the author predict that you will be pleased with your upside-down drawing?
The author suggests that a surgeon unable to name an instrument during an operation might be experiencing a shift from which mode to which other mode?
What does the text suggest is a potential, though unhelpful, strategy for some students when doing the upside-down drawing?
What physical feature of the Picasso drawing, mentioned in the context of the student example, is particularly difficult and serves as a good test of drawing what you see?
What is the author's stated reason for including the section 'A review of R-mode'?
The author compares the pleasure of quieting the L-mode to the goal of which centuries-old practice?
What is the final, concluding thought in the chapter regarding childhood art and the task of drawing?
What is the purpose of the 'Vase/Faces' optical-illusion drawing in the context of the chapter's exercises?
In the upside-down drawing exercise, how does the author describe the state of mind when one is 'really drawing'?
What does the author claim is the main goal of the lessons presented in the chapter?
After completing the upside-down drawing, the author states that 'a logical box for L-mode' is created. What is the puzzle that the L-mode must now consider?