Despite recent technological changes that have digitized many forms of artistic creation, the practice of drawing, in the traditional sense, has remained constant. However, many publications about this subject rely on discipline-dependent distinctions to discuss the activity’s function. Drawing: The Enactive Evolution of the Practitioner redefines drawing more holistically as an enactive phenomenon, one reliant on motor responses, and makes connections between a variety of disciplines in order to find out what happens when we draw. Instead of the finite event of producing an artifact, drawing is a process and an end in itself. By synthesizing enactive thinking and the practice of drawing, this volume provides valuable insights into the creative mind, and will appeal to scholars and practitioners alike.
Table of Contents
Figure Credits
Acknowledgements
Introduction
Part I: Theorising about Thinking and Drawing: The Limitations of Theory-led Research to the Practitioner
Chapter 1: About Thinking and Drawing—The Process Rather than the Artefact
Chapter 2: Moving from Theory to Practice—The Methodological Problem
Chapter 3: The Relevance of Enactive Cognition to the Practice of Drawing
Chapter 4: Accessing Enactive Knowledge Through the Lived Experience of the Practitioner
Part II: The First Phase of Methodology—Using the Experience of Others as Subject: The Limitations of a Third Person Methodology
Chapter 5: Experiential Accounts of the Activity of Drawing by Others—Marion Milner and
Frederick Franck
Chapter 6: Interviewing Drawing Practitioners about How They Think
Chapter 7: Making the Decision to Use Drawing to Investigate Thinking: Methodological Issues
Part III: The Second Phase of Methodology—Using My Own Experience as the Subject of a First Person Enquiry: About the Nature and Form of Knowledge that Emerges from the Experience of Drawing
Chapter 8: Can I Embody Another Artist’s Thinking Process by Copying His Drawing?—
Familiarisation with the Method of Copying
Chapter 9: The Case Studies of Richard Talbot and Oliver Zwink
Chapter 10: Four Narratives About the Experience of Re-enacting Talbot’s Drawing Glass
Chapter 11: Observations about the Method of Enactive Copying
Chapter 12: Where Does One go from Here?
Bibliography