• Drawing||Phenomenology: tracing lived experience through drawing
    Vol 14 No 1 (2019)

    Drawing||Phenomenology: tracing lived experience through drawing

    Drawing||Phenomenology: tracing lived experience through drawing took place on the 19th and 20th September 2017 at Loughborough University. The conference aimed to investigate and consider the role of drawing as a means to explore and trace our lived experience of the world. The theme related to a growing area of research being undertaken by researchers within the Drawing Research Group at Loughborough University. This research stemmed from an interest in what many practitioners/theorists acknowledge as fundamental attributes of drawing: that it is an intimate and immediate process and medium capable of recording the trace of the drawer’s thoughts and bodily movements. The act of drawing is said to reduce the space between the drawer and the drawing, leaving marks on the surface regardless of erasure, subsequently creating a visible trace of both the process of making and the drawer’s thoughts. The conference aimed to discuss and debate these widely accepted attributes of drawing to question whether or how drawing really can be thought of as phenomenology.

    The presenters responded to the following suggestions as starting points in the discussion, as possible themes, prompts and provocations:

    • What is the relationship between the physicality of drawing and lived experience?
    • When viewing drawings, is it possible to trace the movement of a drawer’s mind/body?
    • Are all drawing processes phenomenological?
    • How can drawing trace the physicality of spaces?
    • What are the limitations of drawing?
    • Is materiality a necessity in drawing the trace of lived experience?

    Published peer-reviewed papers in this edition, evidence some of the discussion and propositions raised at the conference, alongside the addition of papers by invited authors interested in the theme.

     

  • Open Call
    Vol 13 (2018)

    2018: Articles published under the TRACEY Open call.

  • Open Call
    Vol 12 (2017)

    2017: Articles published under the TRACEY Open call.

  • Presence
    Vol 11 No 1 (2016)

    Presence

    The TRACEY call under the theme of Presence, poses the following questions:

    • What is the relationship between ‘drawer’ and ‘drawn’ in the moment of drawing?
    • Does drawing enable immediate sensuous presence in relation to its object?
    • How might the sustained attention of drawing be characterized? What is the role of immediacy, mediation, meditation, repetition?
    • What role do empathy, intensity and materiality play in drawing? What role do order, analysis and clarity play in drawing?
    • Is drawing a meaningful activity? If so, in what way? Do drawings have meaning? Is their meaning objective, subjective or both?
    • What does drawing say about desire? Is drawing a form of appropriation, a will-to-possess, a way of taking hold of things? Or does it imply a moment of dispossession, a surrender of ‘self’ in search of a new understanding?
    • Do accident, loss of control and the properties of the medium influence thinking?
    • Does drawing offer a mode of engagement that enables understanding the world in terms of ‘becoming’ rather than ‘being’, in terms of dynamic processes rather than static objects?
    • Does drawing reduplicate the world or can it transform it? Is it a kind of metamorphosis?
  • Open Call
    Vol 11 (2016)

    2016: Articles published under the TRACEY Open call.

  • Open Call
    Vol 10 (2015)

    2015: Articles published under the TRACEY Open call.

  • Thinking
    Vol 9 No 2 (2014)

    Thinking

    Special Edition: Drawing in STEAM

    • How is drawing used within and between STEM disciplines (science, technology, engineering and maths)?
    • What is the relationship between drawing practices in the Arts and in STEM subjects?
    • What is our current understanding of drawing, cognition and learning, and how is it contributing to curriculum development and instructional design in these areas?

    These were the questions posed at Thinking through Drawing 2012: Drawing in STEAM, a three day symposium held at Wimbledon College of Art (University of the Arts London), in association with Loughborough University and Teachers College, Columbia University on the 12-14 September 2012.

    This edition of TRACEY includes a selection of peer reviewed papers by artists and researchers from many disciplines who contributed to the event. They discuss the use of drawing as a tool for visualisation, and for thinking through non-visual problems. Mathematicians demonstrated how a drawing can prove a theory, doctors demonstrated how drawing can enhance communication with patients, and others communicated many more diverse ways in which it can facilitate learning, problem solving and invention. It appears that the way drawing is used by practitioners across disciplines may not always be congruent with how educators deal with the same subjects, but that there is a wealth of innovative practices to be shared and developed.

    Accompanying documentation of the Thinking through Drawing symposium series can be found at www.drawingandcognition.wordpress.com

    Special thanks are extended to Simon Betts and Stephen Farthing of University of the Arts London, to Simon Downs and Russ Marshall from Loughborough University and to Judith Burton and Barbara Tversky, Teachers College, Columbia University for their ongoing enthusiasm and encouragement.

     

  • Drawing In-situ
    Vol 9 No 1 (2014)

    Drawing In-situ

    The TRACEY call under the theme of Drawing In-situ, poses the following questions:

    • How does drawing on site inform the way we think about place and space?
    • Can drawing in the landscape act as a mirror to nature?
    • Does drawing in-situ add authenticity to the visualization of place?
    • In what way is drawing in-situ a phenomenological act? How does it inform our knowledge and understanding of site?
    • Is drawing in-situ a speculative strategy?
    • In contemporary education, how might drawing in-situ be used to challenge and extend a student’s perception and understanding of the site in which they are working? What are the fundamental skills advanced through this activity?
    • In what ways have contemporary approaches to drawing on site challenged existing orthodoxies concerning the depiction of place and space?
    • In a digital age, what are the benefits of real-time engagement with site through drawing on location?
  • Open Call
    Vol 9 (2014)

    2014: Articles published under the TRACEY Open call.

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