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In an era which has seen many forms of artistic creation becoming digitized, the practice of drawing, in the traditional sense, has remained constant. However, many publications about the relationship between drawing and thinking rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, and makes connections between a variety of disciplines in order to find out how drawing helps us understand the world. Instead of the finite event of producing an artefact, drawing is a process and an end in itself, through which the practitioner might gain self-awareness.By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.

PART I: THEORISING ABOUT THINKING AND DRAWING

About thinking and drawing - the process rather than the artefact

Moving from theory to practice - the methodological problem

The relevance of Enactive Cognition to the practice of drawing

Accessing enactive knowledge through the lived experience of the practitioner

PART II: THE FIRST PHASE OF METHODOLOGY – USING THE EXPERIENCE OF OTHERS AS SUBJECT

Experiential accounts of the activity of drawing by others - Marion Milner and Frederick Franck

Interviewing drawing practitioners about how they think

Making the decision to use drawing to investigate thinking

PART III: THE SECOND PHASE OF METHODOLOGY – USING MY OWN EXPERIENCE AS THE SUBJECT OF A FIRST PERSON ENQUIRY

'Can I embody another artist’s thinking process by copying his drawing?' - Familiarisation with the method of copying

The case studies of Richard Talbot and Oliver Zwink

Four narratives about the experience of re-enacting Talbot’s drawing 'Glass'

Observations about the method of Enactive Copying

Where does one go from here?

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Publié par	Intellect Books Ltd
Date de parution	27 avril 2011
Nombre de lectures	0
EAN13	9781841503950
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Drawing
Drawing
The Enactive Evolution of the Practitioner
Patricia Cain
First published in the UK in 2010 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2010 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2010 Intellect Ltd
All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose Copy-editor: Michael Eckhardt Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-325-7 / EISBN 978-1-84150-395-0
Printed and bound by Gutenberg Press, Malta.
Contents
List of Figures
Figure Credits
Acknowledgements
Introduction
PART I: Theorising about Thinking and Drawing: The Limitations of Theory-led Research to the Practitioner
Chapter 1: About Thinking and Drawing - The Process Rather than the Artefact
Chapter 2: Moving from Theory to Practice - The Methodological Problem
Chapter 3: The Relevance of Enactive Cognition to the Practice of Drawing
Chapter 4: Accessing Enactive Knowledge Through the Lived Experience of the Practitioner
PART II: The First Phase of Methodology - Using the Experience of Others as Subject: The Limitations of a Third Person Methodology
Chapter 5: Experiential Accounts of the Activity of Drawing by Others - Marion Milner and Frederick Franck
Chapter 6: Interviewing Drawing Practitioners about How They Think
Chapter 7: Making the Decision to Use Drawing to Investigate Thinking: Methodological Issues
PART III: The Second Phase of Methodology - Using My Own Experience as the Subject of a First Person Enquiry: About the Nature and Form of Knowledge that Emerges from the Experience of Drawing
Chapter 8: Can I Embody Another Artist s Thinking Process by Copying His Drawing? - Familiarisation with the Method of Copying
Chapter 9: The Case Studies of Richard Talbot and Oliver Zwink
Chapter 10: Four Narratives About the Experience of Re-enacting Talbot s Drawing Glass
NARRATIVE 1 - COPYING A SECTION FOR COMPARISON
NARRATIVE 2 - IDENTIFYING KEY STAGES OF TALBOT S THINKING THROUGH ACETATE DRAWINGS
NARRATIVE 3 - MINING THE ELEMENTS OF TALBOT S PROCESS THROUGH SKETCHBOOK DRAWINGS
NARRATIVE 4 - THE WALL DRAWINGS - TAKING WHAT I KNEW BACK INTO MY OWN PRACTICE
Chapter 11: Observations about the Method of Enactive Copying
Chapter 12: Where Does One go from Here?
Bibliography
List of Figures
Introduction
1. Patricia Cain St. John s in the Vale 2003 Pastel 204 x 150 cm.
2. Patricia Cain Cuillin 2004 Pastel 204 x 150 cm.
Chapter 1
3. Examples of conventional and gestural mark-making in drawings in architecture and fine art.
a. Alan Dunlop Elevation drawing of St Pancras 2009 Ink on Tracing Paper 594 x 841 mm.
b. Toby Paterson Suburban Church 2003 Installation view from New Fa ade Exhibition, CCA Glasgow.
c. Frederick Kiesler Endless House Sketch 1958 Pencil on Paper.
d. Claude Heath Head 103 1995 Biro on paper 70 x 50cm.
4. Descriptions of writing as discovery by expert writers selected from Murray in Galbraith 1999: 138.
5. Entry from the Author s journal dated 20.10.05.
Chapter 2
6. Graph showing the number of ideas (measured as a proportion of ideas produced before writing) plotted as a function of self-monitoring and type of planning (Galbraith 1999: 153).
7. Schematic drawing by the Author making connections about learning, knowledge and practice.
8. Schematic drawing by the Author showing the cyclical nature of her subject matter during the process of researching.
Chapter 3
9. Diagrams of the interactions of the autopoietic entity copied by the Author from images shown in the film Monte Grande (2004).
Chapter 4
10. The basic cycle of epoch copied by the Author from Depraz et al. 2003: 25.
Chapter 5
11. Examples of Milner s written and drawn descriptions of the differences between the narrow focus and the wide focus (adapted by the Author from Milner 1971: 9-13).
12. Entry from the Author s journal dated.
13. Franck s drawing exercise to practice the way of seeing/drawing (adapted by the Author from Franck 1993: 49-77).
14. Examples of descriptions of the relational effect by Milner and Franck.
Chapter 6
15. Examples of Oliver Zwink s work.
a. Block 2000 Felt pen on tracing paper 29.7 x 42 cm.
b. Zora 1999/2000 Felt pen on plastic sheet 140 cm x 613 cm.
c. View 2002 Mixed media on paper (Four Parts) commissioned for Drawing on space 42 x 118 cm.
16. Examples of Richard Talbot s drawings.
a. Floating Pencil and ink on paper 1.2 x 1.2 m.
b. Missing the Target Pencil 11.4x 0.8m.
c. RandomMoves Pencil and ink on paper 1.2x1.2 m.
d. Stepupstepdown Pencil and ink on paper 1.2 x1.2 m.
17. The Author s diagram showing the change in shape of the methodological phases of her investigation.
18. Interviewing Richard Talbot.
19. Interviewing Oliver Zwink.
Chapter 7
20. The Author s diagram of the context for her enquiry.
21. Varela speaking at the Art meets Science and Spirituality conference in Amsterdam in 1990.
Chapter 8
22. Sacrifice of Noah.
a. Sacrifice of Noah by Alphonse Legros 1888 Silverpoint on card 27.7 x 21.0 cm.
b. The Author s first copy of Sacrifice of Noah after Legros 4H pencil on paper 49.5 x 34.5 cm.
c. The Author s second copy of Sacrifice of Noah after Legros Felt pen on cartridge paper 42 x 59 cm.
23. Sacrifice of Noah
a. The Author s third copy of Sacrifice of Noah after Legros 2B pencil on cartridge paper 42 x 59 cm.
b. The Author s fourth copy of Sacrifice of Noah after Legros 4B pencil on cartridge paper 42 x 59 cm.
c. The Author s fifth copy of Sacrifice of Noah after Legros 4B pencil on cartridge paper 42 x 59 cm.
d. The Author s sixth copy of Sacrifice of Noah after Legros 4B pencil on cartridge paper 42 x 59 cm.
24. a. Sacrifice of Noah by Michelangelo Buonarroti 1509 Cappella Sistina, Vatican Fresco.
b. Sacrifice of Noah after Michelangelo by Alphonse Legros 1888 Silverpoint on card 27.7 x 21.0 cm.
25. Examples of other work by Legros.
a. Alphonse Legros Ferme de l Abbaye Ink on paper 21.6 x 28.2 cm.
b. Alphonse Legros Les Arbres Au Bord de L eau Ink on paper 17.8 x 18.8 cm.
26. A sequence of copies of Head of a Woman by the Author after Da Pontermo, with the original by Da Pontermo shown first. Jacopo Da Pontormo, Head of a Woman, Sanquine 22.8 x 17.2 cm. Uffizi, Florence, Italy.
27. A sequence of the Author s copies of Study for Abraham and Melchizdek by Peter Paul Rubens with the original shown first. Peter Paul Rubens, Study for Abraham and Melchizedek, black chalk. 42.8 x 53.7 cm. Louvre, Paris.
28. A sequence of copies of Self-Portrait by Danny Ferguson by the Author with the original by Danny Ferguson shown first. Danny Ferguson, Self Portrait 1980. Pencil Conte 51 x 34 cm.
29. A sequence of the Author s copies of Worth Matravers Verso sketch of Cottages after C. R. Mackintosh with a copy of the original by Mackintosh shown first. Worth Matravers Verso sketch of Cottages c. 1921. Pencil on paper 20.3 x 25 cm.
30. Glass Richard Talbot 1998 4H and 3H Pencil on paper 1.1 x 1.1 m.
31. The Author s third copy of Rubens Study for Abraham and Melchizdek.
Chapter 9
32. Glass: copy by the Author after Richard Talbot 1.1 x 1.1 m 3H and 4H pencil on Fabriano.
33. Glass: plan drawing by the Author 1.1 x 1.1 m.
34. Glass: constructing the scaffolding .
35. Glass: trying not to look at the lines of the final form.
36. Ellipse practice study sheet by the Author.
37. The Author s diagram of Talbot s constructive mode of thinking.
38. Wave by Oliver Zwink. Pencil on paper 50.7 x 70.5 cm.
39. Wave: some lines were made by hand whilst others were made with a ruler.
40. Wave: copy by the Author.
41. The Author s diagram of Zwink s sequential mode of thinking.
42. Glasgow Harbour 4 by the Author.
43. Partick Scaffolding 2 by the Author.
44. Images showing the construction of Partick Scaffolding 3.
45. A comparison between Partick Scaffolding 3 and Partick Scaffolding 2.
Chapter 10
Narrative 1
46. A section of Rubens Study for Abraham and Melchizedek compared to a section of Talbot s Glass.
47. The method of taking a section.
48. A Graph showing how the Author identifies her own methods of learning from a comparison of re-enacting drawings by Talbot and Rubens.
Narrative 2
49. The Nine key stages in Talbot s process of making Glass outlined in acetate drawings together with a composite image.
Narrative 3
50. Lines of vision.
51. Assumptions about the relationships of lines in perspective drawing (informed by Gill 1974).
52. Different types of drawn sections (informed by Gill 1974).
53. Projections of related views of 3-dimensional objects in 2 dimensions (based on a diagram from Gill 1974: 14).
54. Viewing the object from different points.
55. Examples of cones of vision (informed by Gill 1974).
56. An example of a view point.
57. The central line of vision and cone of vision in Glass.
58. The picture plane (informed by Gill 1974).
59. The relationship between picture plane and view point - changing the position of the view point (based on a diagram from Gill 1974: 2).
60. The relationship between picture plane and view point - changing the position of the picture plane (based on a diagram from Gill 1974: 2).
61. The central line of vision and picture plane in Glass.
62. The relationship of picture plane to plan in Glass.
63. Intersecting the plan drawing with the picture plane in Glass.
64. The major decisions in setting up the Glass drawing.
65. Lines involving major decisions (compared to repetitive lines which extended an existing idea).
66. Recognising the range of op