Drawing: Research, Theory, Practice最新文献_第4页

Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology 眼睛(重新)绘制历史船只涂鸦:用眼睛追踪技术追踪前voto图纸

Drawing: Research, Theory, Practice Pub Date : 2022-10-01 DOI: 10.1386/drtp_00088_1

Matthew Attard

引用次数: 0

Mediators and the vitality of matter in drawing practices 绘画实践中的媒介与物质的生命力

Drawing: Research, Theory, Practice Pub Date : 2022-10-01 DOI: 10.1386/drtp_00090_1

Jemma Naomi Mellor

{"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}

引用次数: 0

SacRE[a]D Vessels 减少一个D船只

Drawing: Research, Theory, Practice Pub Date : 2022-10-01 DOI: 10.1386/drtp_00092_7

Peter J. Baldwin

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Drawing in the wind 迎风而行

Drawing: Research, Theory, Practice Pub Date : 2022-10-01 DOI: 10.1386/drtp_00091_1

C. Shadbolt

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A structural model for drawing: Investigating mark-making through Choreology 绘画的结构模型:通过舞蹈学研究标记制作

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00084_1

Leonora Oppenheim

{"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}

引用次数: 0

Between scribbling and imaginal writing: The line that is on its way 在涂鸦和想象写作之间:这条线在它的路上

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00078_1

Carolien Hermans

{"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}

引用次数: 0

Mapping: An original method of practice and research 制图:一种新颖的实践和研究方法

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00079_1

Irene Fiordilino

{"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}

引用次数: 0

Drawing and performativity 绘画和表演

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00076_2

R. Luzar

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The dynamic and interactive capacity of drawing in dialogue with other artforms, technology and their relationship with its audience 绘画与其他艺术形式、技术及其与观众的关系对话的动态和互动能力

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00077_1

K. Steenhauer

{"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}

引用次数: 0

Performance Drawing: New Practices Since 1945, Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall (2020) 《行为绘画:1945年以来的新实践》，Maryclare fo<e:1>、Jane griswood、Birgitta Hosea和Carali McCall (2020)

Drawing: Research, Theory, Practice Pub Date : 2022-04-01 DOI: 10.1386/drtp_00085_5

Penny Davis

引用次数: 0