 Now I want to move away from motor to skills a little higher up. So this is middle management in your corporation, people who know how to get the widgets out in some way. They're not the planners, and they're not the micro-technicians that actually make the widget, but they get the lines working. So we have a great deal of individual differences in this region of our brains that some of us are much more skillful in one way than in another. So there isn't a general, this is the key thing, there isn't a general skill capacity that you have. It's much like when we talked with the recognition cortex. You've got a garden. Some of you have a very big tomato part of your garden and a small lettuce part. Same here in expression. You're going to have varying amounts of your tissue devoted to different kinds of skills. So let me, let's play with this a little bit. And this will go to, because we're going to talk about assessment in the next session, so I want to prep a little bit for that. Here's an assessment of what a individual, this is one who has Williams syndrome. And here's the question was, what do you know about an elephant? And so he was asked to draw the elephant. And here's his drawing of the elephant. So from this, you would clearly conclude this is an individual who's retarded, I'm using the negative word, because it doesn't seem like he knows much about elephants. But what I want to show you is that the means of expression is critical, because here is his verbal description. If he draws, if you say draw an elephant, he doesn't seem to know much. If you say express it verbally, Williams syndrome, here's what he says. What an elephant is, it is one of the animals. And what an elephant does, it lives in the jungle. It can also live in the zoo. And what it has, it has long gray ears, fan ears, ears that can blow in the wind. It has a long trunk that can pick up grass or pick up hay. If they're in a bad mood, it can be terrible. If the elephant gets mad, it could stomp, it could chart. Oh my God, this kid knows a ton about elephants. But if I asked him, draw me an elephant, that's not where his cortex is devoted, in case with Williams, are not good at spatial relation drawing. But it's a mistake to make a judgment on what he knows about elephants by saying, can you draw me an elephant? Ask him, can you tell me an elephant? You find out that he knows a lot. So we have to be very careful as educators that we don't mistake the means of expression for what kids know. Many means. If we want to really know what kids know, we have to be very careful about providing enough means. Just like with a music guy, we can't assume he can't do music just because he doesn't have the physical properties. We've got to know. I think I said that. Some individuals who have disabilities are incredibly good at some aspects of drawing and in fact can often be better than you are and you've probably seen things like this. But we were criticized for not talking about students with autism enough, so I wanted to just do at least a little bit of this. Okay, so here's someone's drawing. This is a person who has autism. He didn't speak his first words. N sort of paper, and then he was spying. When he was 11, he drew a perfect aerial view of London after only one helicopter arrived. Even the number of windows in all the major buildings in his drawing was correct. For this time, we're testing the living camera in Rome. Seen has never seen the eternal city for a while before. After only a 45-minute helicopter flight, we'll ask him to draw a five-and-a-half-yard panoramic picture of the historic city centre without a single glance at it. Seen has three days. In these three days, Seen will have to give thousands of detail in his head. Do you remember, colleagues, the tiny, winding streets, all the balconies, windows, the endless array of houses, and each and every column and window should have grown in stage size. From the patio to the pizza, to the concierge. I just want to make sure you got the setup. He's getting one flight over the entire city of Rome, and he's going to be asked to draw it. Not a grid map. He's going to be asked to draw a Rome. Half yards of paint will look scaringly empty. He has made some things. Seen starts the drawing as we would with a chance of completion. There are so many sketches. We're rocking out to the space of the drawing. It's as if the panorama already existed within his head, with all the proportions, all the roads, all the details. At the end of the second day, Seen has gone halfway through his creation. I'm sorry it's not quite clear enough. It's very sharp. In the last three days of his drawing environment, even Seen Wiltsch had started to tire. He has filled in all the five yards of paper in fine pencil. He has been restlessly aligning windows to window, and house to house. Because Seen loves to be of glory for his art. In the left corner, he's finally reached the ruins before the Romano. Seen's assistant in that is rejoicing him. He's made it. Obviously, he's pleased with his work. Yet I've answered the question if he'll remain. How precise is Seen's ability to memorize? Is it really true that you can only see a single curve of the tiger from above? We started to compare the accuracy of the drawing with a real thing. Is Seen such a sub-piece's couple of tits on it? Here again, white with a curve of the tiger. Seen is frighteningly right. Hills will probably stand out more in Seen's Romano. But again, Seen has seen it best. From a thousand feet up, the hills are optically almost 11. In the county, Seen has found some minor inaccuracies on the roof. I'm about to remember the poem. Okay, I'm just worried about time. You can play this on your own. And there's dozens of these kind of things. Okay, so I don't like the way they call him a camera. This is not a camera. He's drawing. And he's drawing better than you do, by far. More accurately and it's actually beautiful and all of that. And it's important for us to know that when we look at students. So here's an individual who has some areas where he doesn't have much in his garden in the social sphere, for example. But where he's got an enormous investment and devotion to being able to draw in this way and be able to remember and that that trade-off is what's typical of humans is that we are trading off one kind of ability for another, each of us. And it's important for us to see that variability rather than just see the things he can't do.