{"title":"Cloth as pattern: The visual language of weave for print design","authors":"Kate Farley","doi":"10.1386/DRTP.4.1.109_1","DOIUrl":"https://doi.org/10.1386/DRTP.4.1.109_1","url":null,"abstract":"","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89409016","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 extrapolates material from participation in a project titled ‘A line made by walking without marking the earth’ (2011) which fed into ‘Walking through the field’, part of my practice as research (PAR) Ph.D. titled ‘Site-specific performance and the mechanics of becoming social’ (2018). ‘Walking through the field’ is reworked in this text to present an imbricated drawing ontology that is composed from, and understood through, a process of layering materials generated whilst walking, sharing personal histories and being tracked by satellites. A chaotic assemblage of personal thoughts and memories is layered with the ordering capabilities of the satellites which track movements in space to create drawings from the traces, lines and patterns these technologies generate. The methods used to bring together these traces, lines, patterns and memories seek to articulate a sense of what social scientist Doreen Massey refers to as ‘throwntogetherness’ and speak to what Massey might describe as an ‘ever-shifting constellation of trajectories’. An imbrication of micro and macro events of space and place speak to a purposeful disruption of stable definitions of site, connecting a multiplicity of people, events and specificities to create an imbricated drawing ontology.
本文从参与一个名为“不标记地球的行走所形成的线”(2011)的项目中推断出材料，该项目被纳入“穿过田野”，这是我作为研究(PAR)博士的实践的一部分，名为“特定场地的表演和成为社会的机制”(2018)。“穿过田野”在这篇文章中被重新设计，以呈现一个砖砌的绘画本体，该本体由行走、分享个人历史和被卫星跟踪时生成的分层材料的过程组成，并通过这个过程来理解。个人思想和记忆的混乱组合与卫星的排序能力分层，卫星跟踪空间运动，并根据这些技术生成的痕迹、线条和图案绘制图纸。将这些痕迹、线条、模式和记忆结合在一起的方法，试图阐明一种社会科学家多琳·梅西(Doreen Massey)所说的“聚在一起”(throwntogetherness)的感觉，并与梅西可能描述的“不断变化的轨迹群”(constellation of trajectories)对话。空间和地点的微观和宏观事件的叠加，有目的地破坏了场地的稳定定义，连接了多种人物、事件和特性，创造了一个叠加的绘画本体。
{"title":"An imbricated drawing ontology: Economies of pattern, chaos and scale","authors":"Steve Fossey","doi":"10.1386/DRTP.4.1.121_1","DOIUrl":"https://doi.org/10.1386/DRTP.4.1.121_1","url":null,"abstract":"This paper extrapolates material from participation in a project titled ‘A line made by walking without marking the earth’ (2011) which fed into ‘Walking through the field’, part of my practice as research (PAR) Ph.D. titled ‘Site-specific performance and the mechanics of becoming social’ (2018). ‘Walking through the field’ is reworked in this text to present an imbricated drawing ontology that is composed from, and understood through, a process of layering materials generated whilst walking, sharing personal histories and being tracked by satellites. A chaotic assemblage of personal thoughts and memories is layered with the ordering capabilities of the satellites which track movements in space to create drawings from the traces, lines and patterns these technologies generate. The methods used to bring together these traces, lines, patterns and memories seek to articulate a sense of what social scientist Doreen Massey refers to as ‘throwntogetherness’ and speak to what Massey might describe as an ‘ever-shifting constellation of trajectories’. An imbrication of micro and macro events of space and place speak to a purposeful disruption of stable definitions of site, connecting a multiplicity of people, events and specificities to create an imbricated drawing ontology.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"204 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82089390","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}
Seeking out the patterns of constituent violence, in order that these patterns might be understood and reordered, lies at the heart of Ariella Azoulay’s discursive project, the ‘Unshowable Photographs: Different Ways Not to Say Deportation’ (2012). The photographs in question capture scenes from the mass movement of Palestinians after the establishment of the state of Israel. In response to archival restrictions, she enacts an apparently simple gesture, that of making drawings of these ‘unshowable’ photographs. The resulting works operate to reposition the viewer as an active interpreter, suggesting a practice that is both aesthetic and political. These terms are examined for their ability to cast light on Azoulay’s key concepts of civil imagination and the civic gaze. Her critique of the archive is also considered, particularly archival mechanisms for setting and repeating divisive, diachronic patterns whose impacts are not contained in the past but continue to work on the present. However the archive can also be a generative source of potential histories, occluded patterns of life and possibilities that were suppressed or overlooked. Azoulay approaches photography as an event that is ongoing and multiple, renewed in each encounter with a viewer. The drawings, as a form of graphic witnessing, intensify the ethical relation to the image. I will argue that the act of drawing seeks to bind rather than separate, bringing us in to a relation with the image that the photograph could not. From here it is possible to glimpse the emergence of a civil imaginary that resists familiar aesthetic and political categories, one that obliges viewers to reconsider their agency as citizens. Recognising this, new patterns of being-with others may become possible.
{"title":"Patterns of civil imagination: Drawing the Unshowable Photographs","authors":"J. Boyd","doi":"10.1386/DRTP.4.1.145_1","DOIUrl":"https://doi.org/10.1386/DRTP.4.1.145_1","url":null,"abstract":"Seeking out the patterns of constituent violence, in order that these patterns might be understood and reordered, lies at the heart of Ariella Azoulay’s discursive project, the ‘Unshowable Photographs: Different Ways Not to Say Deportation’ (2012). \u0000The photographs in question capture scenes from the mass movement of Palestinians after the establishment of the state of Israel. In response to archival restrictions, she enacts an apparently simple gesture, that of making drawings of these ‘unshowable’ photographs. The resulting works operate to reposition the viewer as an active interpreter, suggesting a practice that is both aesthetic and political. These terms are examined for their ability to cast light on Azoulay’s key concepts of civil imagination and the civic gaze. \u0000Her critique of the archive is also considered, particularly archival mechanisms for setting and repeating divisive, diachronic patterns whose impacts are not contained in the past but continue to work on the present. However the archive can also be a generative source of potential histories, occluded patterns of life and possibilities that were suppressed or overlooked. \u0000Azoulay approaches photography as an event that is ongoing and multiple, renewed in each encounter with a viewer. The drawings, as a form of graphic witnessing, intensify the ethical relation to the image. I will argue that the act of drawing seeks to bind rather than separate, bringing us in to a relation with the image that the photograph could not. From here it is possible to glimpse the emergence of a civil imaginary that resists familiar aesthetic and political categories, one that obliges viewers to reconsider their agency as citizens. Recognising this, new patterns of being-with others may become possible.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85425360","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}
{"title":"Pattern at the boundaries of order","authors":"L. Ward, F. Flicker","doi":"10.1386/DRTP.4.1.55_1","DOIUrl":"https://doi.org/10.1386/DRTP.4.1.55_1","url":null,"abstract":"","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"275 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76414578","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}
{"title":"Figures of speech: Can conversation be a democratic mode of drawing?","authors":"S. Felmingham","doi":"10.1386/drtp.4.1.71_1","DOIUrl":"https://doi.org/10.1386/drtp.4.1.71_1","url":null,"abstract":"","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86046431","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 engage resources in Daoist philosophy as a means for critically investigating theories of drawing in contemporary arts practice. The aims of this article are twofold. First, we highlight the problematic metaphysical assumptions that inform contemporary drawing practice and its theorization around ‘performance’. In particular, we criticize the tendency to conceive such performance in terms of transcendent or mystical expression, and relatedly, through notions of unthinking or pre-conceptual bodily practice. We suggest that such practices, and their corresponding theories, problematically bifurcate between ‘thinking’ and ‘unthinking’ action, thereby reinforcing a substance-based metaphysics. Second, in response to this problem, we begin to outline how Daoist philosophies of action might provide a more robust theorization for undertaking such practices. We consider the philosophical implications of what Hans-Georg Moeller has termed ‘the Dao Scenario’, as a model for critical practice that can avoid such problematic mysticism.
{"title":"Drawing the Dao: Reflections on the application of Daoist theory of action in contemporary drawing practice","authors":"S. Flavel, R. Luzar","doi":"10.1386/DRTP.4.1.11_1","DOIUrl":"https://doi.org/10.1386/DRTP.4.1.11_1","url":null,"abstract":"In this article, we engage resources in Daoist philosophy as a means for critically investigating theories of drawing in contemporary arts practice. The aims of this article are twofold. First, we highlight the problematic metaphysical assumptions that inform contemporary drawing practice and its theorization around ‘performance’. In particular, we criticize the tendency to conceive such performance in terms of transcendent or mystical expression, and relatedly, through notions of unthinking or pre-conceptual bodily practice. We suggest that such practices, and their corresponding theories, problematically bifurcate between ‘thinking’ and ‘unthinking’ action, thereby reinforcing a substance-based metaphysics. Second, in response to this problem, we begin to outline how Daoist philosophies of action might provide a more robust theorization for undertaking such practices. We consider the philosophical implications of what Hans-Georg Moeller has termed ‘the Dao Scenario’, as a model for critical practice that can avoid such problematic mysticism.","PeriodicalId":36057,"journal":{"name":"Drawing: Research, Theory, Practice","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75779141","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：