Over the last few years, I have become increasingly interested in how the material power of dust can be explored through the affective process of drawing to generate a new way of looking at the inevitable disintegration of the material world around us. This paper will discuss a body of drawings and prints that show how art and science have very different ways of investigating and communicating with the world around us. I am looking to science to provide an image, a particular view of the world, generating otherwise inaccessible information, but I then use a material art practice to incorporate things that are beyond the reach of science, things that science cannot engage with – the emotional, irrational, imaginative and historical ways in which we live. The body of work under discussion emerges from a research project undertaken in collaboration with an expert in the field of scientific imaging and analysis to examine particles of dust. The project considers dust as an overlooked and valuable material archive that can speak in a new way about human history and our material lives. Using state-of-the-art scientific technologies, I am able to make visible otherwise invisible particles of dust, the material that persists and remains, the omnipresent evidence of past existence. Key to the project is how the technological image that emerges from scientific analysis looks unlike anything we ordinarily see around us. The technology used to produce the scientific image creates something that seems distant, disconnected from our experience. It is this disconnection that drives me to use the slow pace and the tactile, material body of graphite drawing to transform the image using the eye and the hand in order to reconnect it with a more human, understandable way of knowing about the world.
{"title":"Drawing dust","authors":"Johanna Love","doi":"10.1386/drtp_00032_1","DOIUrl":"https://doi.org/10.1386/drtp_00032_1","url":null,"abstract":"Over the last few years, I have become increasingly interested in how the material power of dust can be explored through the affective process of drawing to generate a new way of looking at the inevitable disintegration of the material world around us. This paper will discuss a body of drawings and prints that show how art and science have very different ways of investigating and communicating with the world around us. I am looking to science to provide an image, a particular view of the world, generating otherwise inaccessible information, but I then use a material art practice to incorporate things that are beyond the reach of science, things that science cannot engage with – the emotional, irrational, imaginative and historical ways in which we live. The body of work under discussion emerges from a research project undertaken in collaboration with an expert in the field of scientific imaging and analysis to examine particles of dust. The project considers dust as an overlooked and valuable material archive that can speak in a new way about human history and our material lives. Using state-of-the-art scientific technologies, I am able to make visible otherwise invisible particles of dust, the material that persists and remains, the omnipresent evidence of past existence. Key to the project is how the technological image that emerges from scientific analysis looks unlike anything we ordinarily see around us. The technology used to produce the scientific image creates something that seems distant, disconnected from our experience. It is this disconnection that drives me to use the slow pace and the tactile, material body of graphite drawing to transform the image using the eye and the hand in order to reconnect it with a more human, understandable way of knowing about the world.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85754097","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}
By accepting that an ageing body and its memories are simply a conglomerate of materials moving from one state to another and that drawing materials can be thought of as operating in parallel to this acceptance, drawings are made that can be read as visualizations of the ageing process. The experience of the ‘self-feeling’ of ageing is entangled with Deleuze’s idea of ‘the fold’ in order to develop a personal understanding of how one’s own thought can be taken ‘into’ the thought of another and how a conversation can enter the mind of others as a material entanglement.
{"title":"Drawing age","authors":"Garry Barker","doi":"10.1386/drtp_00043_1","DOIUrl":"https://doi.org/10.1386/drtp_00043_1","url":null,"abstract":"By accepting that an ageing body and its memories are simply a conglomerate of materials moving from one state to another and that drawing materials can be thought of as operating in parallel to this acceptance, drawings are made that can be read as visualizations of the ageing process. The experience of the ‘self-feeling’ of ageing is entangled with Deleuze’s idea of ‘the fold’ in order to develop a personal understanding of how one’s own thought can be taken ‘into’ the thought of another and how a conversation can enter the mind of others as a material entanglement.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80218733","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 article describes the development of artificial intelligence (AI) techniques that monitor a painting or drawing evolving in real time and produce musical notes that relate to the individual elements of art as the artwork develops on the canvas. The article describes the practical approach required to capture the artwork unfolding in real time and then describes the framework used to develop the correlations between visual art and music. The AI technique exploits these areas of similarity within the two distinct artforms in order to respond to the live-painted elements and produce musical notes that reflect the development of the evolving artwork. A prototype of this system was implemented in a live stage performance at Aberdeen May Festival 2019 whose narrative centred on the question Is AI good or bad? Other outputs of this project are a 20-minute film and a body of (tangible) visual artwork for digital platforms and gallery environments informed and inspired by AI. The integration of these disciplines through AI transforms a static artform into one that is dynamic, interactive, transformational, transient and temporal.
{"title":"Painting Music: Using artificial intelligence to create music from live painted drawings","authors":"A. Starkey, K. Steenhauer, J. Caven","doi":"10.1386/DRTP_00033_1","DOIUrl":"https://doi.org/10.1386/DRTP_00033_1","url":null,"abstract":"This article describes the development of artificial intelligence (AI) techniques that monitor a painting or drawing evolving in real time and produce musical notes that relate to the individual elements of art as the artwork develops on the canvas. The article describes the practical approach required to capture the artwork unfolding in real time and then describes the framework used to develop the correlations between visual art and music. The AI technique exploits these areas of similarity within the two distinct artforms in order to respond to the live-painted elements and produce musical notes that reflect the development of the evolving artwork. A prototype of this system was implemented in a live stage performance at Aberdeen May Festival 2019 whose narrative centred on the question Is AI good or bad? Other outputs of this project are a 20-minute film and a body of (tangible) visual artwork for digital platforms and gallery environments informed and inspired by AI. The integration of these disciplines through AI transforms a static artform into one that is dynamic, interactive, transformational, transient and temporal.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87661480","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 article investigates the ‘performative’ and how this concept is used in drawing today, particularly in using writing, performance and choreography to address relations between self and other as a gender. The investigation starts with the question ‘Who is it that draws and also writes?’ From this, a notion of the performative is investigated further in terms of how gender identities are claimed to be produced (Butler). This deals with deeper questions about who and what kind of subject engages in the drawing, writing and production of gender. The aim is to investigate an underlying problem that deals with where this gendered subject sits within global-market contexts of art and culture, where value is placed on doing, subjectivity and bodily action… when in fact these same relations produce pseudo-activity, alienation and abstraction; as Kunst (2015) asks, what does ‘performative’ mean today when art and capitalism are so closely related? The article concludes with comments about the role of the body in contradictory spaces, where relations between artists and spectators deal with a notion of ‘withdrawing’ and ‘doing less’.
{"title":"Performative problems","authors":"R. Luzar","doi":"10.1386/drtp_00018_1","DOIUrl":"https://doi.org/10.1386/drtp_00018_1","url":null,"abstract":"This article investigates the ‘performative’ and how this concept is used in drawing today, particularly in using writing, performance and choreography to address relations between self and other as a gender. The investigation starts with the question ‘Who is it that\u0000 draws and also writes?’ From this, a notion of the performative is investigated further in terms of how gender identities are claimed to be produced (Butler). This deals with deeper questions about who and what kind of subject engages in the drawing, writing and production of gender.\u0000 The aim is to investigate an underlying problem that deals with where this gendered subject sits within global-market contexts of art and culture, where value is placed on doing, subjectivity and bodily action… when in fact these same relations produce pseudo-activity, alienation and\u0000 abstraction; as Kunst (2015) asks, what does ‘performative’ mean today when art and capitalism are so closely related? The article concludes with comments about the role of the body in contradictory spaces, where relations between artists and spectators deal with a notion of ‘withdrawing’\u0000 and ‘doing less’.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83695339","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}
Abstract The paper champions an articulacy in drawing visualcy as central to a visual arts pedagogy, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the artworld of a relational aesthetics often devoid of perceptual insights is traced through a brief history of the relationships between visual artforms and their sociopolitical contexts, culminating with the shift of emphasis away from the perceptually intriguing and towards the contemporary imperatives of a professional practice defined in terms of the neo-liberal values permeating the UK Higher Education sector since 2010. The text rehabilitates the Formalist notion of enstrangement as a means of revitalizing the primacy of perceptual inquiry over 'looking through language', and is illustrated with drawings by the author.
{"title":"Learning drawing: Sustaining the primacy of visualcy within a neo-liberal artschool curriculum","authors":"Howard Riley","doi":"10.1386/drtp_00009_1","DOIUrl":"https://doi.org/10.1386/drtp_00009_1","url":null,"abstract":"Abstract The paper champions an articulacy in drawing visualcy as central to a visual arts pedagogy, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within\u0000 the artworld of a relational aesthetics often devoid of perceptual insights is traced through a brief history of the relationships between visual artforms and their sociopolitical contexts, culminating with the shift of emphasis away from the perceptually intriguing and towards the contemporary\u0000 imperatives of a professional practice defined in terms of the neo-liberal values permeating the UK Higher Education sector since 2010. The text rehabilitates the Formalist notion of enstrangement as a means of revitalizing the primacy of perceptual inquiry over 'looking through language',\u0000 and is illustrated with drawings by the author.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90574821","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}
Abstract There are highly creative and meticulous elements to both fine art drawing and surgical practices, especially with regard to close observation, use of tools and interaction with materials. Both artists and surgeons have a dynamic, physical interaction with surfaces, as well as an ability to review and select key features from complex structures. Building on my own drawing practice and observations of surgeons' work I have been able to develop a method for comparing and evaluating drawings. Analysing series of images made by students at Kings College Dental Institute, London, I correlated their data from the HapTEL learning system which was used to practice drilling and removing caries from a virtual tooth, and found evidence of a link between drawing aptitudes and a particular surgical skills. My work supports evidence of positive application of arts practices, with the possibility of building future work incorporating drawing and surgical training.
{"title":"Drawing as research: Correlating skills and practices with surgical training","authors":"Jenny Wright","doi":"10.1386/drtp_00006_1","DOIUrl":"https://doi.org/10.1386/drtp_00006_1","url":null,"abstract":"Abstract There are highly creative and meticulous elements to both fine art drawing and surgical practices, especially with regard to close observation, use of tools and interaction with materials. Both artists and surgeons have a dynamic, physical interaction with surfaces,\u0000 as well as an ability to review and select key features from complex structures. Building on my own drawing practice and observations of surgeons' work I have been able to develop a method for comparing and evaluating drawings. Analysing series of images made by students at Kings College Dental\u0000 Institute, London, I correlated their data from the HapTEL learning system which was used to practice drilling and removing caries from a virtual tooth, and found evidence of a link between drawing aptitudes and a particular surgical skills. My work supports evidence of positive application\u0000 of arts practices, with the possibility of building future work incorporating drawing and surgical training.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73270180","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}
Abstract The idea of Illustration Pedagogy initially came out of Transformative Learning Theory a learning theory that incites students to challenge their own assumptions and utilizes ideas of drawing & writing, making & thinking in the learning journeys of our students from the first day that they arrive on the course. This project explores the way, as lecturers, we can approach the design and delivery of taught modules in ways that develop the skills of student illustrators, their knowledge and understanding through critical writing practices which combine drawing and illustration. The projects discussed here are across levels 4, 5 and 6 on the undergraduate BA (Hons) Illustration degree at Plymouth College of Art. Creative education by necessity requires a creative approach to pedagogy, and we have developed the Illustration Pedagogy project using the tools and contexts of illustration itself in the teaching and learning on the programme.
{"title":"Drawing thinking: Illustration as pedagogy","authors":"J. Hirons, Melissa Brown","doi":"10.1386/drtp_00011_1","DOIUrl":"https://doi.org/10.1386/drtp_00011_1","url":null,"abstract":"Abstract The idea of Illustration Pedagogy initially came out of Transformative Learning Theory a learning theory that incites students to challenge their own assumptions and utilizes ideas of drawing & writing, making & thinking in the learning journeys of our students\u0000 from the first day that they arrive on the course. This project explores the way, as lecturers, we can approach the design and delivery of taught modules in ways that develop the skills of student illustrators, their knowledge and understanding through critical writing practices which combine\u0000 drawing and illustration. The projects discussed here are across levels 4, 5 and 6 on the undergraduate BA (Hons) Illustration degree at Plymouth College of Art. Creative education by necessity requires a creative approach to pedagogy, and we have developed the Illustration Pedagogy project\u0000 using the tools and contexts of illustration itself in the teaching and learning on the programme.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87796371","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}
Abstract Contextualized through the writing of Gert Biesta, this research proposes that as both artists and educators we should 'let art teach'. It proposes a position for student and teacher that focuses upon developing a curiosity-driven desire for meaningful dialogue with the world through broader educational and existential experience. In this context, and seen through the lens of drawing artist, musician, educator and postgraduate researcher, the article invites a first-person reflective discussion of two experiments from the author's ongoing practice-led research, which bring together an embodied knowledge of music and drawing practice, to uncover how drawing may be valued as an enactive physical, cognitive and perceptual process of poesis. By moving beyond the self-conscious desire to make an artwork, the experiments using blind drawing, bilateral mark-making and sound engage with ideas of 'unknowing' and Biesta's notion of 'interruption' to explore how drawing may offer access to different types of learning. Standing inside my practice, I understand that in the act of drawing, I can neither fail to generate ideas, escape my own existence, nor leave a mark upon the world.
{"title":"Drawing learning: Letting art teach","authors":"O. Wagstaff","doi":"10.1386/drtp_00005_1","DOIUrl":"https://doi.org/10.1386/drtp_00005_1","url":null,"abstract":"Abstract Contextualized through the writing of Gert Biesta, this research proposes that as both artists and educators we should 'let art teach'. It proposes a position for student and teacher that focuses upon developing a curiosity-driven desire for meaningful dialogue with\u0000 the world through broader educational and existential experience. In this context, and seen through the lens of drawing artist, musician, educator and postgraduate researcher, the article invites a first-person reflective discussion of two experiments from the author's ongoing practice-led\u0000 research, which bring together an embodied knowledge of music and drawing practice, to uncover how drawing may be valued as an enactive physical, cognitive and perceptual process of poesis. By moving beyond the self-conscious desire to make an artwork, the experiments using blind drawing,\u0000 bilateral mark-making and sound engage with ideas of 'unknowing' and Biesta's notion of 'interruption' to explore how drawing may offer access to different types of learning. Standing inside my practice, I understand that in the act of drawing, I can neither fail to generate ideas, escape\u0000 my own existence, nor leave a mark upon the world.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88719468","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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