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Distributed for Intellect Ltd


The Enactive Evolution of the Practitioner

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.

294 pages | 134 illustrations | 7 x 9 | © 2010

Art: Art--General Studies

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Table of Contents

List of Figures
Figure Credits

Part I: Theorising about Thinking and Drawing: The Limitations of Theory-led Research to the Practitioner
Chapter 1:   About Thinking and DrawingThe Process Rather than the Artefact
Chapter 2:   Moving from Theory to PracticeThe 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 MethodologyUsing the Experience of Others as Subject: The Limitations of a Third Person Methodology
Chapter 5:   Experiential Accounts of the Activity of Drawing by OthersMarion 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 MethodologyUsing 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?


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