Drawing as a non-verbal communication

Traditionally, teaching drawing has been mainly centered on an artistic (stylistic) approach. Drawing teachers base their work on methods similar to those used in the fine arts. Notions such as composition, style and expressiveness are primary in the transmission of knowledge to the class. Because of this approach, when learning drawing students sometimes find themselves not quite grasping what they are being taught. This can be doubly true when students have not been trained in the techniques and materials of drawing, or if the main goal of drawing in their education is to provide a tool for other types of artistic creations. I have conducted research within the classroom for the past years in the context of research for my doctoral thesis, collecting and organizing drawings. These studies took place in an environment in which drawing is meant to serve as a functional tool or language for new media artists and technicians. Most students have little or no previous knowledge of drawing, and often experience severe difficulties when confronted with even the simplest of tasks. A questionnaire was used to provide information, such as correlations between age and drawing skills, and common mistakes in the representation of simple objects. This data lies at the basis of the attempt to catalogue and analyze main categories of errors in these students' drawings; and to provide new educational tools for the drawing teacher.

A presente dissertação pretende demonstrar de que forma o livro de actividades que desenvolvemos como objecto de estudo para este trabalho, contribui para fomentar a prática do desenho e contribui para o leitor melhor se conhecer e a melhor conhecer o que o rodeia. Tendo em conta que o livro de actividades apresentado tem como objectivo principal incentivar o leitor a um registo diário do desenho, tivemos como referência, por serem exemplos paradigmáticos, diários gráficos de diferentes artistas que, apesar de distintos, têm em comum o facto de representarem processos artísticos que antecederam e acompanharam determinada obra, vivências e/ou pensamentos intrínsecos ao carácter auto-reflexivo e auto-biográfico deste tipo de registos.

Uniforms play a key role in the description of occupational margins and the formation of professional identity in healthcare. The aim of this research study is to explore student nurses' perceptions of their uniform on their professional image at the College of Health Sciences. The goal is to investigate the findings of this study to recommend a revision of the dress code policy that would intensively support students' professional identity, promote safety, and offer satisfaction. This is a qualitative interpretive research study, which data collection is done through semi-structured qualitative interviews. Three interviews were conducted with the student nurses registered at the College of Health Sciences in the UAE. Thematic analysis was followed to analyze the collected data. The main finding of the study is that uniforms have positive influence on the student nurses' appearance as health care professionals. Interviews raised issues in the area of cultural perspectives. Since this study shows the importance of uniform to students, uniforms need to reflect the professional image and culture as presented in the recommendation section.

Charismatic authority, as Max Weber originally conceived it, is predicated on followers’ perceptions that their leader possesses superhuman or extraordinary powers. This article points to a novel link between silence and charismatic authority by examining the new religious movement (NRM) led by John de Ruiter and showing the important role that interpersonal silence plays in the social construction of his superhuman status. Specifically, de Ruiter's management of three distinct aspects or qualities of interpersonal silence allows him to perform seemingly miraculous feats for his devotees. Firstly, the projection-eliciting aspect, of interpersonal silence fosters the belief within devotees that de Ruiter has the ability to speak to the specific personal needs of people whom he has never met. Secondly, the punitive aspect of silence enables de Ruiter to perform superhuman displays of power over others at meetings. Thirdly, de Ruiter's use of silence fosters the belief that he has a miraculous ability to form intimate bonds with complete strangers, simply by gazing at them. To familiarize readers with this NRM, the article begins with a description of the group's culture, belief system, form of worship, methods of generating revenue, and recruitment strategies.

Throughout the thesis I take symbolic communication and visual metaphors as starting points for developing a contemporary picture of diverse Craft practices in a small corner of Scotland. As a result, this thesis is both an ethnography of Craft and a craft object, explicitly made to be a theory-laden object of material culture.

Both in its analysis and its subject matter, this thesis aims to question a variety of epistemological regimes found not only in anthropology, but also in the North-East of Scotland. The main argument of this thesis is that in order to understand something about Craft and the experiences of its makers it is important to have an understanding of the ways in which they create that world as meaningful: that is, an understanding of the thirdness (or symbolism) that is an active, generative force in that world. In the following chapters I argue two interwoven points: one, that a stash (collection) is a collection of stash (craft materials) and is also a site of thirdness in which symbolic thought and action are vital. And two: that, as such, stash and the craft world in which it is embedded are well served by an approach to visual anthropology that takes seriously a study of semiotics in which poetics become more than a subject of analysis; poetics are also allowed to develop into a method(ology) of engaging both informants and audience in a meaningful dialogue of knowledge production.

By using images to contextualize ethnographic evidence and by making these previous points not only with words, but also through imagery, I aim to convince the reader of the integrity of my ethnographic analyses as well as that theories of visual anthropology are as useful for analysing anthropological subjects as for communicating ourselves.

7 Scientific botanical illustrations in pen & ink commissioned by F. Verloove, Botanic Garden of Meise, for his article : "A conspectus of Cyperus s.l. (Cyperaceae) in Europe (incl. Azores, Madeira and Canary Islands), with emphasis on non-native naturalized species"

Hold On, We’ve Lost The Thirteenth Century!

Twenty years ago Capitalism basked under the belief, that with the fall of Communism, the West had effectively won the Cold War and henceforth, all the various forms of economic models, ranging from the German, Scandinavian to the Anglo Saxon, as practiced by the United Kingdom and the United States of America, could have free reign.

Under the spell of this moment of exuberance, the various regulatory controls of the ‘Free Market’, accrued since the Great Depression of the 1930’s; the Bretton Woods Agreement, the Glass–Steagall Act etc. were consigned to the dustbin of history by the principle world economies. As the consensus was at the time, that Capitalism had won and so no longer needed to be constrained by the various regulatory frameworks designed to regulate the financial market.

Since the time of the Big Bang therefore, Capitalist economies around the world have increased their Gross National Product to a degree largely unknown before (global wealth doubled between 2000-2006 from $36 trillion to $70 trillion) and the golden boy of all economies, the financial sector, increased in size exponentially, as the new freedoms, under what was described at the time as ‘light touch regulation’, allowed vast profits to be made.

In 2008 however, we all watched in amazement at how quickly this edifice of unassailable wealth and prosperity appeared almost overnight to start to crumble, into what most economists tend now to agree was the worst financial crisis since the Great Depression of the 1930’s.

This is not the place to attempt to explain either why this state of affairs came about or even to suggest possible ways forward. But I think it safe to say that nevertheless, these events have created within the established and new Capitalist democracies (mainly drawn from former East European states), a deep sense of unease as to why the various forms of democratic accountability, that had won the ideological war with Communism, were nevertheless unable to control and regulate the economy, so as to avert such a financial disaster?

Perhaps then the West had not won after all, but had only managed to outlast the various forms of autocratic rule by chance or by simply muddling through? If we accept that this may indeed be the case, we may have to review how we see ourselves, and our future under a new light. Should we carry on as before? If not what are the alternatives? And how are we to judge ourselves without the mirror of Communism?

Such questions are perhaps best put to one side, for in the end we are but Architects who neither have the economic nor ideological expertise to intervene in such discussions.

Nevertheless, as this years research task was to design an archive building to house the various Parliamentary Acts and discussion papers that enshrine our democracy in Vellum, some important questions needed to be asked by each researcher, on the state of Liberal Democracy before pen was simply put to paper.

For it is clear I would suggest, that if we had been asked to design a Parliamentary Archive immediately after the fall of Communism, a certain flag waving would have been in order and so forgiven, as most Architects I believe would have sought to express the exuberance of this moment through the various forms and materials at their disposal. Can we though still act in such a manner today? Is it still clear to us that the democratic tradition is without fault? Is flag waving still appropriate?

To answer these questions, each of the Parliamentary Archive proposals described within, all radically explore in their own innovative and kooky ways, how Architecture can be used to both parody, deconstruct and perhaps ultimately extend the death throes of the Democratic Project.

Gordon Shrigley, 2014

This paper will address how the activity book "Livro (de actividades) para Massajar a Imaginação" ("(Activity) Book For Massaging Imagination"), which was developed as a final project for the Masters in Illustration and Animation, helps to encourage drawing and how it helps the readers to know more about themselves and their surroundings. When the interactive digital book seems to gather more and more attention, the printed book must create mechanisms that will also capture the readers' attention, either by using different materials and printing techniques, new forms of bookbinding or new editorial concepts, or by designing different ways to interact.

Architecture is a form of cultural practice that classically bridges between the disciplines of Fine Art and what we have come to understand as the Social and Physical Sciences, and hence in previous epochs, the tension between these two very different ways of looking at the world has been creatively maintained within the theory and practice of architecture.

Sadly however, after the heroic period of modern architecture, when the more experimental architects practiced as mixed media artists, the discipline of architecture has been subject to the murderous influence of the social scientist alone, who managed to convince a whole generation that our role was to re-engineer the human soul, not through poetry, painting or the conflagrant rhetoric of the manifesto, but only via the dead hand of the clipboard. This has resulted in a profession that is more technocratic in nature than artistic, that values the grey horizons of the middle manager over the wild anarchic free play of the avant-garde and that sees everyday life as something to be mapped, observed, analysed and ultimately controlled.

Why is this important? Why bring such a sense of melodrama to our well-tended gardens?

Simply because the Faustian bargain we chose as architects to make also entailed that we agreed to forever think of the language of architecture, simply the language of line, as no more important than a line that traces in a graph the Gross National Product of the latest Five Year Plan. Yes, line was recoded as if a tool, as an ideationally transparent medium, that is well suited to the job in hand, but is certainly not worthy of attention in and of itself.

Such willed blindness towards the very medium that makes architecture possible has also entailed that architects still hold to an essentially 19th century bourgeois idea of the subject in relation to language i.e. I have an idea in my head and I use line to express it. This way of understanding the world of the linear, employs line as mere utility as opposed to thinking how lineature structures the space of the imagination, yes, how it creates the sense of the possible.

The language of architecture has on the whole therefore throughout the 20th century consciously set itself apart from the radical theories of language as developed within the disciplines of Linguistics, Semiotics, Anthropology and Post Structuralism, so leaving us, at the beginning of the 21st century, a rotting infantile corpse of a discipline that is only now, recognizing its intellectual paucity.

What is the alternative? How are we to reestablish what is particular to our profession? How are we to radically rethink line? Through the eyes of another discipline? Or can we, as the masters of line, think what it is to have wedded ourselves to lineature, in a mode of address, a new lexicon, that is a result of the analysis of drawing practice and not from a desire to gain the respectability rightly due to others, by crudely appropriating their language. Yes we need to found new readings of lineature, a new plurality, with its own terms of reference, ways of speaking and sense of permanent revolution.

It is with these thoughts in mind that each student researcher starts the year by experimenting with a style of drawing developed by another artist, for example the work of Albrecht Dürer, Hanne Darboven, Francisca Goya, Peter Roehr, Jorinde Voigt, Robert Oppenheim and Georges Seurat, so as defamiliarise their relationship to the very act of expression itself.

Initial graphic studies are then applied to a series of architectural propositions that seek to test the limits of each student’s experimental language, framed within this year’s research theme:

Popular memory and the deep structures of lineature.

Gordon Shrigley, 2013

Rue Des Martyrs [revisited].

To enter the world of drawing is to give up an element of grounding, in what we understand to be day to day reality.

The authorial activity that is able to translate simple marks upon the picture plane into coded relational lines within the picture plane, is a process whereby the author moves slowly into the simultaneous reality of the space of the drawing, a space which paradoxically knows no hard and fast borders or a sense of its own mortality. This is not a representation, this is simply the true condition of architectural drawing.

To draw then is to both dream through line and to use line as a simple mimetic code. One involves a partial surrender, so as to let line follow its own path and the other holds onto the physical world, attempting to translate complex phenomenon into a universal language that is readable across time and space.

Yet these two ways of working with line appear as a contradiction. How is it possible to let line dictate both how the composition develops and also to consciously use as if a tool? The answer lies I think in a certain intimacy with the codes, which allow one to employ line without having to constantly ask, how should I use this line to show this or that detail? This may suggest that by working with an abstract language over time, similarly to written language, one develops an ease with its cold structures and internal expectations, to the extent they become deeply ingrained within ones consciousness. The same process therefore which allows me to write these words without having to constantly check my grammar, spelling or if the words are working for me and expressing what I want to say, is the same process whereby I can draw lines which have a direct relation to the material world of objects, without having to constantly check whether the lines are running away with themselves and are describing characteristics to objects which they are not capable of.

The greater the intimacy with the codes of architectural representation therefore, the more one is able to let go of first order intentionality, so as to feel the strength of line seducing you to explore it discrete world, distinct from its character as an instrumental tool. Simply the more one draws, the more ones work is inevitably situated within the realm of desire, of jouissance. For the sooner one leaves simple ideology behind and gives up the attempt to use line to express an external idea, the sooner one realises that to draw is to enter into a tense negotiation between the infantile ordinances of line and the authors particular neurosis. The author may choose to use line as a simple tool, but I think that author will never discover the surprising play of line and will be forever limited in their conceptions. It is our contention therefore that by giving up a certain amount of intentionality, that one is able to start to investigate how line pushes and pulls the architectural imagination. This not a contradiction, but a tension which allows one to fall into the world of line, yet always with one foot placed firmly within the simple mimetic tradition of architectural representation. To choose to explore one path to the exclusion of the other is to step into the field of other related disciplines and so is to give up the hard won title of an architect.

This quality to architectural practice is perhaps unique in that it collapses two seeming opposites, the transcendent and the relational and I think therefore, we should build on this opportunity and try not to deny it by convincing ourselves that it is possible to practice either pure aestheticism or blind instrumentality. For just perhaps, this is one key to a future that can work outside of the easy oppositions, which we are constantly plagued by.

Gordon Shrigley, June, 2011

A detailed study of the language of linear representation within the practice of architectural drawing.

The work offers a detailed analysis of the ideological and physical basis of line through the study of a small selection of drawings by the architects, Hans Schmidt and Paul Artaria, Walter Gropius, Max Bill and Riegler and Riewe.

Published by Solitude Editions, Stuttgart, 1998 in English and German.

This article intends to explore the relationship between semiotic understanding and embodied or gestural drawing practice. A collaboration between a visual semiotician and a practising artist, the investigation is intended as a freestanding argument relating to the drawing practice of one of the present authors. Gesture and embodiment are positioned as an integral process in the production of a body of practical research titled Extended Drawings. It is questioned whether definitions of ‘semiotic’ suggest any fundamental incompatibility with gestural and embodied practice, and a selection of the Extended Drawings is analysed within a semiotic framework. Specifically, a systemic-functional semiotic model based on Michael O’Toole’s 2011 The Language of Displayed Art is introduced and explained. Such a model is shown to enhance and extend meanings generated by the drawings. Subsequently it is concluded that no drawing practice is beyond the realm of the semiotic, and semiotic analysis is universally applicable as a method of generating meaning. The paper demonstrates that a systemic-functional semiotic model continues to be a useful approach to enrich and deepen meanings generated by gestural and embodied drawing.

Fashion and graphic design are commonly associated with gaining employment through prior work experience that is often unpaid, extra-curricula or post-graduation, which provides significant barriers to these professions for students from WP backgrounds.

What is a line? What possibilities does it offer? Is line really a simple tool or does our addiction to drawing and thinking through line, structure the way we see the world in any way?

To start to answer these questions we have invited artists and writers to discuss through words and images how line effects the practice and thinking of their subjects. Depending on who is doing the talking of course, line may be made to signify any number of different material and conceptual processes. Accordingly Spatula has been designed to provide the reader with an extensive range of examples of talking through line, from the deadpan world of science to the carefree irreverence of the cartoon.

Spatula includes work by the following authors:
Monika Aichele, Barry Dainton, Annette Geiger, Dominique Lämmli, Ulrike Noack, Christophe Marchand-Kiss, Gordon Shrigley, Sarah Treadwell, Daniel Welton, Judith Zaugg and Slavoj Zizek.

Partindo da concepción da estrutura tripla básica da comunicación humana de Poyatos (1994a, 1994b) e as
consecuencias teóricas e analíticas que se derivan da mesma, concibo a comunicación humana como un todo indisolúbel
no que a comunicación verbal non se pode separar do comportamento do corpo. Neste artigo analizo as categorías non verbais que se empregan na comunicación oral. O corpus de estudo consiste nunha narración oral en galego na que,
empregando o modelo proposto por Bouvet (2001),  individualizo algúns quinemas (unidades mínimas de movemento corporal con significado) que permitan completar a explicación das categorías non verbais con exemplos tirados da gravación.

Three Five-Part Inventions

A graphic score for two hands and one piano. Gordon Shrigley and John Snijders, 2017.

I was first introduced to the idea of experimental graphic scores during my stay at Academy Schloss Solitude, Stuttgart in 1998, where I first met the composers Marc Sabat, Chiyoko Slavnics and Krystyna Bobrowski, whilst working on an artists’ book on the nature of the graphic line.

During my stay, Christian Wolff also held an open performance workshop and invited artists and musicians to work with him to realise his graphic score ‘Burdocks’. I volunteered as a percussionist, and although I make no claim to any performing expertise, this experience allowed me valuable time to think about the nature of the graphic score that Wolff had invented to realise his work.

Sometime after this, I began to wonder what would it mean for an artist and not a composer to create a score from linear relationships alone, inspired only by the dynamic equilibrium of the drawing, without any thought to the resulting soundscape?

Importantly though, so as to be more than a pretty picture for a performer to react to, such a experiment would also need to mediate between its very ‘pictureness’, and its role as ‘instruction’, so as to inhabit the space somewhere between an aesthetic graphic artefact that is explored in and of itself, and a distinct set of visual codes that could be read by any performer.

It was with such questions in mind that the collaboration between the pianist John Snijders and I began in 2015, which finally resulted, after two year’s work, in the composition ‘Three Five-Part Inventions’.

"In this paper I look into the letters of Dora Carrington, a British artist who lived and worked in the first half on the 20th century in the UK. I am particularly interested in her life-long interest in decorating private spaces and making delightful illustrations of them in her letters. Carrington’s longlife interest in turning lived spaces into works of art went hand in hand with her overall disillusionment with her paintings. The paper discusses the problem of why a young woman artist in the peripheries of the Bloomsbury group had difficulties in devoting herself to her art. This problem I argue has to be considered within what drawing on Foucault I have called the private hypothesis, the long held argument that the private has been socially constructed and experienced as ’a space’ for women. My argument is that for Carrington as for many of her contemporaries it was not the access to the public but the negotiation of solitude and privacy that emerges as a problem. Carrington’s love and passion for private spaces and her epistolary topographies are expressions of spatial technologies of the female self: an artistic intervention in reclaiming solitude and privacy and in reinventing herself.

Keywords: Carrington; Epistolary topographies; Letters; Private hypothesis; Spatial technologies; Women artists"

Scott has used a 'realism continuum' to classify comics characters between the points of realism and iconic abstraction. Before him, other theorists have used this continuum as a means to judge the communicative and instructional potential of pictures as they become more distant from the realistic.

This article intends to explore the relationship between semiotic understanding and embodied or gestural drawing practice. A collaboration between a visual semiotician and a practising artist, the investigation is intended as a freestanding argument relating to the drawing practice of one of the present authors. Gesture and embodiment are positioned as an integral process in the production of a body of practical research titled Extended Drawings. It is questioned whether definitions of ‘semiotic’ suggest any fundamental incompatibility with gestural and embodied practice, and a selection of the Extended Drawings is analysed within a semiotic framework. Specifically, a systemic-functional semiotic model based on Michael O’Toole’s 2011 The Language of Displayed Art is introduced and explained. Such a model is shown to enhance and extend meanings generated by the drawings. Subsequently it is concluded that no drawing practice is beyond the realm of the semiotic, and semiotic analysis is universally applicable as a method of generating meaning. The paper demonstrates that a systemic-functional semiotic model continues to be a useful approach to enrich and deepen meanings generated by gestural and embodied drawing.

Uniforms play a key role in the description of occupational margins and the formation of professional identity in healthcare. The aim of this research study is to explore student nurses’ perceptions of their uniform on their professional image at the College of Health Sciences. The goal is to investigate the findings of this study to recommend a revision of the dress code policy that would intensively support students’ professional identity, promote safety, and offer satisfaction. This is a qualitative interpretive research study, which data collection is done through semi-structured qualitative interviews. Three interviews were conducted with the student nurses registered at the College of Health Sciences in the UAE. Thematic analysis was followed to analyze the collected data. The main finding of the study is that uniforms have positive influence on the student nurses’ appearance as health care professionals. Interviews raised issues in the area of cultural perspectives. Since thi...

The author gives a rich synthesis of the psychology and psychodiagnostics of drawing and painting, based on a comprehensive literature review (800 references), and his vast experience (more than 1,000 pictures from his collection of 360,000 drawings, scribbles and paintings) and his work in education and training. A fundamental aspect of the book is its holistic point of view, which avoids the isolated interpretation of parts, in preference to a systems thinking approach.
This book is both a textbook and a handbook at the same time: it gives a comprehensive overview of the field of visual expression, primarily for those studying it. It is also of great use to anyone simply interested in the visual world. This book is recommended for psychologists, psychiatrists, teachers and other professionals, who are involved in the psychological aspects of the visual world.

See the book (full text) here: http://www.freado.com/read/11970/a-psychological-interpretation-of-drawings-and-paintings
Those who want to buy it: http://ssca.alexandra.hu"

Robert Brandom holds that what we mean is best understood in terms of what inferences we are prepared to defend, and that such a defence is best understood in terms of rule-governed social interactions. This manages to explain quite a lot. However, for those who think that there is more to making correct/incorrect inferences than obeying/breaking accepted rules, Brandom’s account fails to adequately capture what it means to reason properly. Thus, in an effort to sketch an alternative that does not rely primarily on peer pressure, I draw on the work of C. S. Peirce. Peirce argued that, when we reason, we manipulate abstract diagrams in order to observe what results. Since some manipulations are barred by the self-same nature of the diagrams, I try to show that this qualitative incompatibility, which I dub “contrapiction,” is a good (non-social) reason to regard some reasoning as bad.

‘Co-drawing’ explores architectural drawings as co-authored, cooperative instruments to envision multivalent and collective public space. This situates the architect as the designer of forms of/for public communication, spatial frameworks and tools stimulating multi-stakeholder involvement to visualize, advocate, recapture, and design. In public space design today, collaborations with multiple constituent stakeholders promote evolved architectural protocols and production. For the architect as expert, masterplans and guidelines give way to architectural frameworks for collective action, evolving development strategies, and multivalent designs.

This paper discusses the application of  systemic-functional semiotics in the analysis of visual materials, and, specifically, presents an original systemic-functional model that is intended to facilitate both the analysis and synthesis of drawings in a cross-cultural context. The model is explained as developing from systemic-functional semiotic model for painting (O'TOOLE, 2011) itself an adaptation of systemic-functional semiotic model for language (HALLIDAY, 1973 , HALLIDAY, 1978, HALLIDAY, 1985) The article is illustrated with examples of the authors’ drawing practice, and other works.

This paper advocates the continuing validity of life-drawing as a means of nurturing an ‘intelligence of seeing’ in art students, based on a cognitivist sociological position from which drawing is construed as a powerful means of understanding and structuring our experiences of the world, on a par with the way that the sciences are construed. Nelson Goodman is cited as being a leading proponent of this position, first elaborated in his 1978 book Ways of Worldmaking. The paper revitalises Goodman’s explanation of worldmaking as occurring through a range of five transformational processes, by illustrating how the activity of drawing itself affords the application of all such processes in its capacity for making multiple constructions of our world-experiences. The paper then argues that the potential of drawing as worldmaking is best realised through the development of an intelligence of seeing –  regarded as a central function of art school pedagogy,  one most conveniently and efficiently explored in the life-room.

The paper proposes the activity of drawing as a methodological strategy within a university research context. It is illustrated with examples from one of the authors’ (Roberts) practice-based PhD research. The paper argues that drawing as a research method can be validated in a manner akin to the more established research methods associated with the range of research paradigms outlined in Denzin and Lincoln’s Handbook of Qualitative Research. It is proposed that visual research methods are unique in their ability to produce experiential knowledge that can be shared through visual media but not easily articulated through language. The paper then argues that drawing’s contribution as a visual research strategy has a more holistic and far-reaching potential within the university than other qualitative and quantitative research methods. In addition, visual research outputs operate as components of findings and conclusive evidence in the form of experiential knowledge that can enrich and extend language-based cognitive knowledge.

Il contributo si sofferma sulle valenze grafiche e percettive di una serie di elementi che sapientemente utilizzati in strutture ospedalieri, specie quelle pediatriche, consentono all’utente una facile leggibilità degli spazi che le connotano.
L’uso del colore, il ricorso a figure note, l’impiego di texture o di disegni
che in qualche modo guidano il percorso possono aiutare i piccoli utenti a orientarsi e conoscere uno spazio, generando così un approccio positivo nei confronti della struttura stessa.

Does the physical act of marking, how a hand variously pushes, pulls and presses a utensil, cause one to think, by this practice of inscription, that I freeze a moment? That such layering of drawing acts, inscribing, re-inscribing, erasing, collaging, parenthetic insertion and the disparate parallelisms that constitute the modes of graphitto-production, allows the inscribing subject to entertain the thought, that by each stroke of their pen, as a line is infinitely extended, that they are able to capture, to fix, an ever-flowing field of delimitation [what it is to be conscious of drifting in the world], simply by dint of a coarse inscription?

Gordon Shrigley, 2011
[Excerpt]

"" The paper proposes the activity of drawing as a methodological strategy within a University research context. It is illustrated with examples from one of the authors’ (Roberts) practice-based PhD research. The paper argues that drawing as a research method can be validated akin to the more established research methods associated with the range of research paradigms outlined in Denzin and Lincoln’s (2005) Handbook of Qualitative Research. It is proposed that visual research methods are unique in their ability to produce experiential knowledge that can be shared through visual media but not easily articulated through language, unlike cognitive knowledge derived from more orthodox methods of research. The paper then argues that drawing’s contribution as a visual research strategy has a more holistic and far-reaching potential within the University than other qualitative and quantitative research methods. In addition, visual research outputs operate as components of findings and conclusive evidence in the form of experiential knowledge that can enrich and extend language-based cognitive knowledge. ""

This edition features contributions developed from selected papers presented at the 2012 Drawing in STEAM symposium held at Wimbledon College of Art, Sep 2012.
Editorial by - Michelle Fava, Andrea Kantrowitz and Angela Brew
Drawing and Mathematics: Geometry, Reasoning, and Form - Gemma Anderson, Dorothy Buck, Tom Coates and Alessio Corti, Dec 2014. ¤
Likeness, Abstraction and Knowledge: What do we know in observational drawing? - Eduardo Côrte-Real, Dec 2014. ¤
Laterality Reviewed: A commentary on a series of drawing and writing experiments in relation to Iain McGilchrist’s research on hemispheric lateralisation - Harriet Edwards, Dec 2014. ¤
A Cycle of drawing in research into life at the molecular level - Kathryn Garner, Dec 2014. ¤
Geometric Reasoning and Drawing: Possible Interconnections Among STEM Subjects and Art - Lynn T. Goldsmith, Seymour Simmons, Ellen Winner, Lois Hetland, Craig D. Hoyle, Candace Brooks, Dec 2014. ¤
Using sketching: to think, to recognise, to learn - David Kirsh, Dec 2014. ¤
Drawing to Aid Recovery and Survival - Mario Minichiello, Liz Anelli and Deirdre Kelly, Dec 2014. ¤
Representational efficacy and error dynamics in observational drawing: A quantitative method for drawing accuracy evaluation - Raquel Pelayo, Dec 2014. ¤
Learning to Perceive: Informing Pedagogic Practice through the Empirical Study of Drawing - Qona Rankin, Howard Riley, Rebecca Chamberlain, Chris McManus and Nicola Brunswick, Dec 2014. ¤
Towards supporting interactive sketch-based visualisations - Jagoda Walny and Sheelagh Carpendale, Dec 2014. ¤