Ione Sagasti Alegria, Maitane Echevarria Aguirre, Alfonso Berroya Elosua, José Antonio Morlesín Mellado
This paper explores the connections between drawing, the body and technology, relating them to the notions of the cyborg-body, the transhuman and performance art, looking for a phenomenological approach to virtual reality technology in drawing experience. Recent developments in virtual reality oriented to visual creativity offer new ways of approaching drawing. In this regard, virtual reality users can experience its practice by expanding their movements through both artificial and physical spaces, in contrast to more traditional seated postures that limit the whole body’s expressivity. Such an embodiment of drawn strokes can be considered from the perspective of performativity. Following exploratory research, the paper identifies connections between drawing, performativity and virtual reality in the field of art. It also explores the possibilities offered by contemporary technology, observing how drawing using virtual reality and performativity is being experienced worldwide by artists and creators.
{"title":"Drawing, performativity and virtual reality in art: Identifying connections and creative possibilities","authors":"Ione Sagasti Alegria, Maitane Echevarria Aguirre, Alfonso Berroya Elosua, José Antonio Morlesín Mellado","doi":"10.1386/drtp_00081_7","DOIUrl":"https://doi.org/10.1386/drtp_00081_7","url":null,"abstract":"This paper explores the connections between drawing, the body and technology, relating them to the notions of the cyborg-body, the transhuman and performance art, looking for a phenomenological approach to virtual reality technology in drawing experience. Recent developments in virtual reality oriented to visual creativity offer new ways of approaching drawing. In this regard, virtual reality users can experience its practice by expanding their movements through both artificial and physical spaces, in contrast to more traditional seated postures that limit the whole body’s expressivity. Such an embodiment of drawn strokes can be considered from the perspective of performativity. Following exploratory research, the paper identifies connections between drawing, performativity and virtual reality in the field of art. It also explores the possibilities offered by contemporary technology, observing how drawing using virtual reality and performativity is being experienced worldwide by artists and creators.","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":"74362518","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}
For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that exemplify the act of mark making through processes of encountering intense states of the body, ‘Trace and catharsis: Embodied drawing’ explores the concept of drawing as the residue of performance. I will investigate catharsis as a performative gesture in itself – the release of internalized distress through acts of externalization and exertion. This gesture – immediate, impulsive and compulsive in nature – draws a direct relationship to Aristotle’s notions of catharsis and the bodily manifestations of anxiety that Sigmund Freud describes. Through Amelia Jones’s and Catherine de Zegher’s ideas of mark making, I will examine how traces produced by this gesture can be performative in its materiality and evocation of the artist’s body.
在过去的十年里，我的艺术研究实践一直在探索绘画的表现性方面。最近，我开始意识到表演过程是如何作为一种宣泄的体验发挥作用的。“痕迹与宣泄:具体化绘画”通过考察我的实践作品，Cassils, Louise Bourgeois, Ana Mendieta和Tracey Emin，这些作品体现了通过遇到身体的强烈状态来制造标记的行为，探索了绘画作为表演残余的概念。我将研究宣泄本身作为一种表演姿态——通过外化和努力的行为来释放内化的痛苦。这种姿势——本质上是直接的、冲动的和强迫性的——与亚里士多德的宣泄概念和西格蒙德·弗洛伊德所描述的焦虑的身体表现有直接的关系。通过Amelia Jones和Catherine de Zegher的标记制作思想，我将研究这种手势产生的痕迹如何在其物质性和对艺术家身体的唤起方面具有表现性。
{"title":"Trace and catharsis: Embodied drawing","authors":"Brooke Leigh","doi":"10.1386/drtp_00080_1","DOIUrl":"https://doi.org/10.1386/drtp_00080_1","url":null,"abstract":"For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that exemplify the act of mark making through processes of encountering intense states of the body, ‘Trace and catharsis: Embodied drawing’ explores the concept of drawing as the residue of performance. I will investigate catharsis as a performative gesture in itself – the release of internalized distress through acts of externalization and exertion. This gesture – immediate, impulsive and compulsive in nature – draws a direct relationship to Aristotle’s notions of catharsis and the bodily manifestations of anxiety that Sigmund Freud describes. Through Amelia Jones’s and Catherine de Zegher’s ideas of mark making, I will examine how traces produced by this gesture can be performative in its materiality and evocation of the artist’s body.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85507167","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}
Through analysis and codification of some images created by a 2-year-old child, the authors discuss the performative aspect of drawing as an embodied form of thinking that creates cognitive objects rather than images. We consider an enactive form of knowledge, based on the idea that the practitioner learns and understands while doing, while executing a movement. The ‘objects’ that are obtained in such process, which are constitutive of any graphic practice, would also need the totality of the body for its understanding.
{"title":"Mayautics","authors":"L. Gibellini, Ricardo Horcajada González","doi":"10.1386/drtp_00083_1","DOIUrl":"https://doi.org/10.1386/drtp_00083_1","url":null,"abstract":"Through analysis and codification of some images created by a 2-year-old child, the authors discuss the performative aspect of drawing as an embodied form of thinking that creates cognitive objects rather than images. We consider an enactive form of knowledge, based on the idea that the practitioner learns and understands while doing, while executing a movement. The ‘objects’ that are obtained in such process, which are constitutive of any graphic practice, would also need the totality of the body for its understanding.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82203553","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}
Aspects of Edmund Husserl’s Egological phenomenology and James J. Gibson’s ecological visual perception theory are construed dialectically for the purpose of informing the teaching of drawing, with an emphasis on understanding relationships between viewer positions and objects in the environment as represented through geometric projection systems. Such a grounding is conducive to a drawing practice capable of insights leading to new knowledge of our relationships with our environment, both egological and ecological, in an art school curriculum currently distorted by neo-liberal trends from the core study of visual perception and communication.
埃德蒙·胡塞尔(Edmund Husserl)的自我现象学和詹姆斯·j·吉布森(James J. Gibson)的生态视觉感知理论的各个方面被辩证地解释，目的是为绘画教学提供信息，强调通过几何投影系统来理解观众位置和环境中物体之间的关系。这样的基础有利于绘画实践，能够洞察我们与环境的关系，无论是生态学还是生态学，在目前被新自由主义趋势扭曲的艺术学校课程中，从视觉感知和交流的核心研究中获得新的知识。
{"title":"Egological meets ecological: Drawing aspects in perspective(s)","authors":"Howard Riley, R. Newell","doi":"10.1386/drtp_00067_1","DOIUrl":"https://doi.org/10.1386/drtp_00067_1","url":null,"abstract":"Aspects of Edmund Husserl’s Egological phenomenology and James J. Gibson’s ecological visual perception theory are construed dialectically for the purpose of informing the teaching of drawing, with an emphasis on understanding relationships between viewer positions\u0000 and objects in the environment as represented through geometric projection systems. Such a grounding is conducive to a drawing practice capable of insights leading to new knowledge of our relationships with our environment, both egological and ecological, in an art school curriculum currently\u0000 distorted by neo-liberal trends from the core study of visual perception and communication.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84721414","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 this paper, art historian Sanneke Huisman and curator Sven Schlijper-Karssenberg discuss Jorrit Paaijmans’s drawing practice based on his recent performance installation Radical Drawing Device (RDD). Huisman and Schlijper-Karssenberg show the important role notions of physicality and craftsmanship play in Paaijmans’s hyperdrawing practice and demonstrate the ways in which Paaijmans uses these notions to question mechanization and craftsmanship in relation to the artistic practice and discipline of drawing. RDD, the case study of this text, is a tattoo machine made by Paaijmans that can only perform one action: applying a straight line onto the artist’s arm. The authors argue that with RDD, Paaijmans continues his research into physicality, as well as reflects on the status of drawing in relation to technology, time and the passage of time. The paper further shines light on the ways in which the work encourages reflection on being human in a technological society.
{"title":"The performing machine","authors":"Sanneke Huisman, Sven Schlijper-Karssenberg","doi":"10.1386/drtp_00069_3","DOIUrl":"https://doi.org/10.1386/drtp_00069_3","url":null,"abstract":"In this paper, art historian Sanneke Huisman and curator Sven Schlijper-Karssenberg discuss Jorrit Paaijmans’s drawing practice based on his recent performance installation Radical Drawing Device (RDD). Huisman and Schlijper-Karssenberg show the important role notions of\u0000 physicality and craftsmanship play in Paaijmans’s hyperdrawing practice and demonstrate the ways in which Paaijmans uses these notions to question mechanization and craftsmanship in relation to the artistic practice and discipline of drawing. RDD, the case study of this text, is a tattoo\u0000 machine made by Paaijmans that can only perform one action: applying a straight line onto the artist’s arm. The authors argue that with RDD, Paaijmans continues his research into physicality, as well as reflects on the status of drawing in relation to technology, time and the passage\u0000 of time. The paper further shines light on the ways in which the work encourages reflection on being human in a technological society.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"338 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80714831","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 this paper we analyse the impact of the COVID-19 measures on teaching the conceptual drawing course at the Architecture and Urbanism Faculty of the Federal University of Rio de Janeiro (FAU/UFRJ). The remote model of teaching followed from July 2020 determined many changes in our methodology, these being essentially practical rather than theoretical. This adaptive process resulted in what we called ‘pandemic drawings’, proved to be a useful tool for expanding drawing skills and confined senses. The outcomes were surprisingly positive and pointed out that these ‘pandemic drawings’ could become a hybrid model of drawing in the following post-pandemic years.
{"title":"‘Pandemic drawings’: Are we still teaching conceptual drawing?","authors":"Andréa de Lacerda Pessôa Borde, Alexandre Pessoa","doi":"10.1386/drtp_00072_1","DOIUrl":"https://doi.org/10.1386/drtp_00072_1","url":null,"abstract":"In this paper we analyse the impact of the COVID-19 measures on teaching the conceptual drawing course at the Architecture and Urbanism Faculty of the Federal University of Rio de Janeiro (FAU/UFRJ). The remote model of teaching followed from July 2020 determined many changes in our\u0000 methodology, these being essentially practical rather than theoretical. This adaptive process resulted in what we called ‘pandemic drawings’, proved to be a useful tool for expanding drawing skills and confined senses. The outcomes were surprisingly positive and pointed out that\u0000 these ‘pandemic drawings’ could become a hybrid model of drawing in the following post-pandemic years.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"99 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74991031","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: Drawing Power: Children of Compost, curated by Joana P. R. Neves, Drawing Lab, Paris, France, 26 June‐30 September 2021 and Frac Picardie, Amiens, France, 4‐10 July 2021
{"title":"Drawing Power: Children of Compost, curated by Joana P. R. Neves, Drawing Lab, Paris, France, 26 June‐30 September 2021 and Frac Picardie, Amiens, France, 4‐10 July 2021","authors":"Joana P. R. Neves","doi":"10.1386/drtp_00073_5","DOIUrl":"https://doi.org/10.1386/drtp_00073_5","url":null,"abstract":"Review of: Drawing Power: Children of Compost, curated by Joana P. R. Neves, Drawing Lab, Paris, France, 26 June‐30 September 2021 and Frac Picardie, Amiens, France, 4‐10 July 2021","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82140572","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 this article we reflect on a line traced by Julia. Julia is an undergraduate student in a class that includes a project entitled ‘Lives of Lines’. As part of the activities of this project, the students were asked to draw continuously for a minute with a white marker on a black page, without lifting the marker, and without trying to represent anything in particular. We analyse Julia’s tracing of the line as a kind of improvisation ‐ the same type of improvising that occurs in conversations, music playing, hiking, dancing and countless other activities. We characterize the improviser as a daydreamer immersed in a reverie: an open field of reciprocating forces, desires, surprises and recollections playing themselves out as some of them encounter their way forward free to proceed, and others do not. The improviser becomes an arena in which body, hand, pen, paper, chair, other bodies, traces, words and sounds mutually displace and attract on their own.
{"title":"‘Taking a line for a walk’: On improvisatory drawing","authors":"R. Nemirovsky, Tam Dibley","doi":"10.1386/drtp_00064_1","DOIUrl":"https://doi.org/10.1386/drtp_00064_1","url":null,"abstract":"In this article we reflect on a line traced by Julia. Julia is an undergraduate student in a class that includes a project entitled ‘Lives of Lines’. As part of the activities of this project, the students were asked to draw continuously for a minute with a white marker\u0000 on a black page, without lifting the marker, and without trying to represent anything in particular. We analyse Julia’s tracing of the line as a kind of improvisation ‐ the same type of improvising that occurs in conversations, music playing, hiking, dancing and countless other\u0000 activities. We characterize the improviser as a daydreamer immersed in a reverie: an open field of reciprocating forces, desires, surprises and recollections playing themselves out as some of them encounter their way forward free to proceed, and others do not. The improviser becomes an arena\u0000 in which body, hand, pen, paper, chair, other bodies, traces, words and sounds mutually displace and attract on their own.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88009546","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 focuses on the close correlation between drawing and writing in the architecture of Vittorio Gregotti, in order to understand how both constitute symbiotic tools for his praxis, and showing how the practice of architecture and theoretical thought in Gregotti are to be understood as one. Drawing and writing constitute inscriptions of his ideas, a calligraphy that expresses his understanding of architecture as a conceptual reality, regardless of its later physical construction. It is therefore essential to comprehend how theoretical thought in Gregotti is materialized in the architectural project. For this purpose, based on Gregotti’s drawings and writings, this paper aims to underline the deep importance of drawing and writing as complementary processes related to the symbiotic connection between theory and praxis in his work. Considering both tools as a mechanism for visualizing the author’s ideas, we intend to prove that drawing and writing are close components of his expression and the development of a thought that, in the process of being materialized, acquires physical shape, strength and coherence, becoming perceived by others.
{"title":"Calligraphy of the thought: Drawing and writing in Vittorio Gregotti","authors":"Mariana Amado Trancoso, Bárbara Coutinho","doi":"10.1386/drtp_00068_3","DOIUrl":"https://doi.org/10.1386/drtp_00068_3","url":null,"abstract":"This paper focuses on the close correlation between drawing and writing in the architecture of Vittorio Gregotti, in order to understand how both constitute symbiotic tools for his praxis, and showing how the practice of architecture and theoretical thought in Gregotti are to be understood\u0000 as one. Drawing and writing constitute inscriptions of his ideas, a calligraphy that expresses his understanding of architecture as a conceptual reality, regardless of its later physical construction. It is therefore essential to comprehend how theoretical thought in Gregotti is materialized\u0000 in the architectural project. For this purpose, based on Gregotti’s drawings and writings, this paper aims to underline the deep importance of drawing and writing as complementary processes related to the symbiotic connection between theory and praxis in his work. Considering both tools\u0000 as a mechanism for visualizing the author’s ideas, we intend to prove that drawing and writing are close components of his expression and the development of a thought that, in the process of being materialized, acquires physical shape, strength and coherence, becoming perceived by others.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73551309","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}
Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.
{"title":"The Autobiographical Hinge: Revealing the self in architectural drawing","authors":"J. Craig","doi":"10.1386/drtp_00065_1","DOIUrl":"https://doi.org/10.1386/drtp_00065_1","url":null,"abstract":"Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this\u0000 repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through\u0000 a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical\u0000 hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved\u0000 agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74451724","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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