This paper describes the salient features of a hybrid drawing process driven by techno-human relations. The project consists in the tracing of historical ship graffiti with my eye movements while wearing a contemporary eye-tracking headset. It forms part of my ongoing artistic practice of drawing with my eyes with an eye-tracking device, adapting and adopting an attitude of drawing-with the technology. The practice takes shape by means of an interdisciplinary approach looking at the transformative capacities of human–nonhuman relations, as the agency of off-the-shelf technology contributes to the drawing process. Eye-tracking data is developed into virtual drawings and consequently pen-plotted onto slabs of globigerina limestone. The project specifically looks at ship graffiti found on the facades of wayside chapels on the Mediterranean island of Malta, where the tradition of etching ships in stone as ex-votos can possibly date back to the 1500s. Thus, the outcome of the project bridges historical imagery with contemporary drawing, resulting in a multifaceted interpretation through a play on words while converging interdisciplinary dialogues.
{"title":"Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology","authors":"Matthew Attard","doi":"10.1386/drtp_00088_1","DOIUrl":"https://doi.org/10.1386/drtp_00088_1","url":null,"abstract":"This paper describes the salient features of a hybrid drawing process driven by techno-human relations. The project consists in the tracing of historical ship graffiti with my eye movements while wearing a contemporary eye-tracking headset. It forms part of my ongoing artistic practice of drawing with my eyes with an eye-tracking device, adapting and adopting an attitude of drawing-with the technology. The practice takes shape by means of an interdisciplinary approach looking at the transformative capacities of human–nonhuman relations, as the agency of off-the-shelf technology contributes to the drawing process. Eye-tracking data is developed into virtual drawings and consequently pen-plotted onto slabs of globigerina limestone. The project specifically looks at ship graffiti found on the facades of wayside chapels on the Mediterranean island of Malta, where the tradition of etching ships in stone as ex-votos can possibly date back to the 1500s. Thus, the outcome of the project bridges historical imagery with contemporary drawing, resulting in a multifaceted interpretation through a play on words while converging interdisciplinary dialogues.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"29 11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80562882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Materials are a vital collaborator in building human and non-human worlds and yet are often cast as simply assistants or props in art practice. This project report looks at an experimental drawing exercise, which gives non-traditional drawing materials a crucial position in the drawing and mark-making discipline. This exercise is part of a larger methodology that seeks to give materiality a more central role in wider arts practice in order to bring individual material or object into a closer working relationship with the artist. Through such practices we can learn more about our material collaborates, from how matter reveals itself when used as a mark marker to how tacit and sensorial knowledge can be developed between material and artist. The drawing exercise, which is explored in this report, utilizes alternatives to the traditional tools of drawing practices (e.g. pens, pencils or brushes) to explore how material can be used as both illustrator and illustrated to develop a deeper relational knowledge of the materials which surround us. In recent theoretical, political and technological fields, through movements such as New Materialism, the role of materials in research is being re-examined and this report applies this call for a more collaborative relationship with the material world specifically to art and design pedagogies. This approach has the potential to transform our knowledge of specific materials through personal sensorial experience and an acknowledgement of material’s own vitality, and I have already witnessed something of the realization of this in my own practice.
{"title":"Mediators and the vitality of matter in drawing practices","authors":"Jemma Naomi Mellor","doi":"10.1386/drtp_00090_1","DOIUrl":"https://doi.org/10.1386/drtp_00090_1","url":null,"abstract":"Materials are a vital collaborator in building human and non-human worlds and yet are often cast as simply assistants or props in art practice. This project report looks at an experimental drawing exercise, which gives non-traditional drawing materials a crucial position in the drawing and mark-making discipline. This exercise is part of a larger methodology that seeks to give materiality a more central role in wider arts practice in order to bring individual material or object into a closer working relationship with the artist. Through such practices we can learn more about our material collaborates, from how matter reveals itself when used as a mark marker to how tacit and sensorial knowledge can be developed between material and artist. The drawing exercise, which is explored in this report, utilizes alternatives to the traditional tools of drawing practices (e.g. pens, pencils or brushes) to explore how material can be used as both illustrator and illustrated to develop a deeper relational knowledge of the materials which surround us. In recent theoretical, political and technological fields, through movements such as New Materialism, the role of materials in research is being re-examined and this report applies this call for a more collaborative relationship with the material world specifically to art and design pedagogies. This approach has the potential to transform our knowledge of specific materials through personal sensorial experience and an acknowledgement of material’s own vitality, and I have already witnessed something of the realization of this in my own practice.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75758937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I am proposing that a sound can exist as a drawing in its own right. How can sound be seen and could drawing be used to render it visible? Could a drawing be made of an invisible residue, for example, of a sound created by the wind? I have asked these questions through making ‘sound bows’ – a series of devices activated by air currents to enable a connection to environment and weather through sound. The reasoning for the project evolves from the narrative of journal entries made during research in an island landscape. It begins with the use of kites as interfaces with the medium of the air. Then, due to adverse conditions, sound bows are built from local materials and used as ‘connecting devices’ to the wind. After initial trials with phone recordings of the noises emitted by the bows, a method of recording and experiencing sound by hand-drawing is developed which does not rely on digital machines. The project aims to analyse the equation between movement and form through drawing. Translating sound into another medium such as drawing can only be rendered as an equivalence, but the experience of attempting to do this through hand-drawing enables me to know how it feels to be the wind.
{"title":"Drawing in the wind","authors":"C. Shadbolt","doi":"10.1386/drtp_00091_1","DOIUrl":"https://doi.org/10.1386/drtp_00091_1","url":null,"abstract":"I am proposing that a sound can exist as a drawing in its own right. How can sound be seen and could drawing be used to render it visible? Could a drawing be made of an invisible residue, for example, of a sound created by the wind? I have asked these questions through making ‘sound bows’ – a series of devices activated by air currents to enable a connection to environment and weather through sound. The reasoning for the project evolves from the narrative of journal entries made during research in an island landscape. It begins with the use of kites as interfaces with the medium of the air. Then, due to adverse conditions, sound bows are built from local materials and used as ‘connecting devices’ to the wind. After initial trials with phone recordings of the noises emitted by the bows, a method of recording and experiencing sound by hand-drawing is developed which does not rely on digital machines. The project aims to analyse the equation between movement and form through drawing. Translating sound into another medium such as drawing can only be rendered as an equivalence, but the experience of attempting to do this through hand-drawing enables me to know how it feels to be the wind.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85929219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A structural model for drawing articulates the elements that come together to produce mark-making. This model was inspired by Choreology, the study of movement initiated by dance artist and educator Rudolf Laban in the first half of the twentieth century. Laban developed theories for movement to help dancers better understand the expressive potential of their bodies. His analysis, together with subsequent scholars, defines how the human body moves in space. In the way dancers and choreographers gain analytical skills and greater awareness of their movement choices through studying Choreology, so visual artists can gain a new understanding of mark-making and its relationship to the body by looking at drawing through the lens of movement theory. This project was carried out during my research in Creative Practice at Trinity Laban Conservatoire of Music and Dance, 2017–19. In the process of developing the model for drawing, I created a palette of marks by testing out a range of movements with different mark-making tools such as pens, pencils, watercolours and paint sticks. These marks correspond to Laban’s Effort Actions, a list of eight physical actions the body can make. The resulting artworks have a particular energy and visual language to them. Their creation is driven by the way the mark-maker moves their whole body in a choreographed drawing performance. Through physical actions, the mark-maker becomes aware that specific movements make specific marks. The appearance of these marks is influenced by the form and the effort of the physical movement, by the surface material, its orientation, and by the mark-making instrument and its colour. Designing a structural model for drawing has given me a deeper insight into the process of embodied drawing and performance, enabling me to make informed choices about the visual traces I create through moving my body in different ways.
{"title":"A structural model for drawing: Investigating mark-making through Choreology","authors":"Leonora Oppenheim","doi":"10.1386/drtp_00084_1","DOIUrl":"https://doi.org/10.1386/drtp_00084_1","url":null,"abstract":"A structural model for drawing articulates the elements that come together to produce mark-making. This model was inspired by Choreology, the study of movement initiated by dance artist and educator Rudolf Laban in the first half of the twentieth century. Laban developed theories for movement to help dancers better understand the expressive potential of their bodies. His analysis, together with subsequent scholars, defines how the human body moves in space. In the way dancers and choreographers gain analytical skills and greater awareness of their movement choices through studying Choreology, so visual artists can gain a new understanding of mark-making and its relationship to the body by looking at drawing through the lens of movement theory. This project was carried out during my research in Creative Practice at Trinity Laban Conservatoire of Music and Dance, 2017–19. In the process of developing the model for drawing, I created a palette of marks by testing out a range of movements with different mark-making tools such as pens, pencils, watercolours and paint sticks. These marks correspond to Laban’s Effort Actions, a list of eight physical actions the body can make. The resulting artworks have a particular energy and visual language to them. Their creation is driven by the way the mark-maker moves their whole body in a choreographed drawing performance. Through physical actions, the mark-maker becomes aware that specific movements make specific marks. The appearance of these marks is influenced by the form and the effort of the physical movement, by the surface material, its orientation, and by the mark-making instrument and its colour. Designing a structural model for drawing has given me a deeper insight into the process of embodied drawing and performance, enabling me to make informed choices about the visual traces I create through moving my body in different ways.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81421451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a series of tiny artistic experiments, I explore the relationship between drawing writing and performing in close collaboration with children and professional dancers. I examine the tight relationship between drawing and writing on the one hand, and the process of sensorial (non-linguistic) sense-making on the other hand. Professional dancers and children engage in the act of imaginal writing. The aim is to come to an embodied understanding of drawing and writing as gestural re-enactments of the line (Ingold 2016). In this paper, I first describe the scribbling of young children, as the exploration of the line in terms of rhythm, movements and affects. Then, the tight relationship between drawing and writing is discussed. It is argued that both drawing and writing use the line as its medium, since ‘the same sort of line which writes also draws’ (Gray in Ingold 2016: 132). This brings me to imaginal writing, i.e. a form of writing that is not concerned with the semantic content of words but instead takes the quality and dynamic of the line as its departure point. Imaginal writing is a form of draw-writing that taps straight into the lived experience. It is an embodied activity that takes movement as the main vehicle for the sense-making process. This process is illustrated by the draw-writings of both children (my own daughter as well as other children) and professional dancers.
在一系列微小的艺术实验中，我与儿童和专业舞者密切合作，探索绘画、写作和表演之间的关系。我一方面考察了绘画和写作之间的紧密关系，另一方面考察了感官(非语言)意义的形成过程。专业舞者和孩子们参与想象写作的活动。目的是对绘画和写作的具体理解，作为对线条的手势再现(Ingold 2016)。在本文中，我首先将幼儿的涂鸦描述为对线条在节奏、动作和影响方面的探索。然后，讨论了绘画与文字的紧密关系。有人认为，绘画和写作都使用线作为媒介，因为“写的线也画的线”(Gray in Ingold 2016: 132)。这让我想到了想象写作，即一种不关心单词的语义内容，而是以线条的质量和动态为出发点的写作形式。想象写作是一种直接进入生活经验的绘画写作形式。它是一种具体化的活动，以运动为主要载体进行意义形成过程。这个过程通过孩子们(我自己的女儿和其他孩子)和专业舞者的绘画作品来说明。
{"title":"Between scribbling and imaginal writing: The line that is on its way","authors":"Carolien Hermans","doi":"10.1386/drtp_00078_1","DOIUrl":"https://doi.org/10.1386/drtp_00078_1","url":null,"abstract":"In a series of tiny artistic experiments, I explore the relationship between drawing writing and performing in close collaboration with children and professional dancers. I examine the tight relationship between drawing and writing on the one hand, and the process of sensorial (non-linguistic) sense-making on the other hand. Professional dancers and children engage in the act of imaginal writing. The aim is to come to an embodied understanding of drawing and writing as gestural re-enactments of the line (Ingold 2016). In this paper, I first describe the scribbling of young children, as the exploration of the line in terms of rhythm, movements and affects. Then, the tight relationship between drawing and writing is discussed. It is argued that both drawing and writing use the line as its medium, since ‘the same sort of line which writes also draws’ (Gray in Ingold 2016: 132). This brings me to imaginal writing, i.e. a form of writing that is not concerned with the semantic content of words but instead takes the quality and dynamic of the line as its departure point. Imaginal writing is a form of draw-writing that taps straight into the lived experience. It is an embodied activity that takes movement as the main vehicle for the sense-making process. This process is illustrated by the draw-writings of both children (my own daughter as well as other children) and professional dancers.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77159922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to expose mapping as an original method of practice and research, striving to reveal its inherent performativity; to demonstrate its many possible applications within a creative process; and to open a line of enquiry on the production of signs (where the term sign is used in its broader sense as anything that conveys a meaning which is not contained in the sign itself). Mapping is here considered a particular instance of drawing: employed to portray the movement of bodies in space within the specific context of my choreographic practice and performance-oriented projects. My recent performance Invisible Cities is used as a case study to analyse mapping as a performative device and draw important conclusions on the meaning of performativity. The paper aims to show how this method has evolved over time from its original scope of documenting my creative process into a source of cyclical scores. The text outlines some practice-based, preliminary findings on maps as an object and on mapping as a process, using cognitive and anthropological theories that informed the method. It shows how the theory of metaphors and the notion of vitality affects influence the formation of signs in both processes of mapping/looking at maps, and moving/looking at movement. Finally, this method is suggested as a valuable approach to a wider category of practice and research related to drawing and performance.
{"title":"Mapping: An original method of practice and research","authors":"Irene Fiordilino","doi":"10.1386/drtp_00079_1","DOIUrl":"https://doi.org/10.1386/drtp_00079_1","url":null,"abstract":"The aim of this paper is to expose mapping as an original method of practice and research, striving to reveal its inherent performativity; to demonstrate its many possible applications within a creative process; and to open a line of enquiry on the production of signs (where the term sign is used in its broader sense as anything that conveys a meaning which is not contained in the sign itself). Mapping is here considered a particular instance of drawing: employed to portray the movement of bodies in space within the specific context of my choreographic practice and performance-oriented projects. My recent performance Invisible Cities is used as a case study to analyse mapping as a performative device and draw important conclusions on the meaning of performativity. The paper aims to show how this method has evolved over time from its original scope of documenting my creative process into a source of cyclical scores. The text outlines some practice-based, preliminary findings on maps as an object and on mapping as a process, using cognitive and anthropological theories that informed the method. It shows how the theory of metaphors and the notion of vitality affects influence the formation of signs in both processes of mapping/looking at maps, and moving/looking at movement. Finally, this method is suggested as a valuable approach to a wider category of practice and research related to drawing and performance.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80790175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the dynamic and interactive capacity of drawing in dialogue with other artforms, technology and their relationship with its audience. The drawing evolves live via relatively traditional materials and techniques. Multiple collaborative productions viewed through the mediums of theatre, film and (live) audio-visual installations have put this into practice. Here, live drawing is transposed, presented and integrated through technology. However, technology is also deployed to explore cross-disciplinary relations by means of Artificial Intelligence. Drawing in a performative setting resolves a story in space ‘and’ time and constantly considers audience engagement. A diverse range of artist ability and skill is required, with room and reason for representational (gestural) drawing, conceptual and contemporary ideas, such as dramaturgical drawing. Artist’s competency in dramaturgy, choreography and videography is vital. Several performances with writers, dancers, composers and Artificial Intelligence engineers signify the virtue and artistry of drawing process and product in a live setting. The cross-disciplinary stage production The Shelter is used however as a specific example in demonstrating drawing as a dynamic, interactive temporal, transient and transformational artform.
{"title":"The dynamic and interactive capacity of drawing in dialogue with other artforms, technology and their relationship with its audience","authors":"K. Steenhauer","doi":"10.1386/drtp_00077_1","DOIUrl":"https://doi.org/10.1386/drtp_00077_1","url":null,"abstract":"This paper discusses the dynamic and interactive capacity of drawing in dialogue with other artforms, technology and their relationship with its audience. The drawing evolves live via relatively traditional materials and techniques. Multiple collaborative productions viewed through the mediums of theatre, film and (live) audio-visual installations have put this into practice. Here, live drawing is transposed, presented and integrated through technology. However, technology is also deployed to explore cross-disciplinary relations by means of Artificial Intelligence. Drawing in a performative setting resolves a story in space ‘and’ time and constantly considers audience engagement. A diverse range of artist ability and skill is required, with room and reason for representational (gestural) drawing, conceptual and contemporary ideas, such as dramaturgical drawing. Artist’s competency in dramaturgy, choreography and videography is vital. Several performances with writers, dancers, composers and Artificial Intelligence engineers signify the virtue and artistry of drawing process and product in a live setting. The cross-disciplinary stage production The Shelter is used however as a specific example in demonstrating drawing as a dynamic, interactive temporal, transient and transformational artform.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73177064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Performance Drawing: New Practices Since 1945, Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall (2020) London, New York and Dublin: Bloomsbury Visual Arts, Bloomsbury Publishing Plc, 264 pp., ISBN 978-1-7883-1384-1, h/bk, £85.00
回顾:行为绘画:自1945年以来的新实践，Maryclare fo， Jane griswood, Birgitta Hosea和Carali McCall(2020)伦敦，纽约和都柏林:布鲁姆斯伯里视觉艺术，布鲁姆斯伯里出版公司，264页，ISBN 978-1-7883-1384-1, h/bk, 85.00英镑
{"title":"Performance Drawing: New Practices Since 1945, Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall (2020)","authors":"Penny Davis","doi":"10.1386/drtp_00085_5","DOIUrl":"https://doi.org/10.1386/drtp_00085_5","url":null,"abstract":"Review of: Performance Drawing: New Practices Since 1945, Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall (2020)\u0000London, New York and Dublin: Bloomsbury Visual Arts, Bloomsbury Publishing Plc, 264 pp.,\u0000ISBN 978-1-7883-1384-1, h/bk, £85.00","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75494244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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