Triptych: ‘∆’: Reflecting on Drawing
Practice as Knowledge ‘∆’/∞ Page 1
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you, me and
us: ‘∆
∞
Hi,
‘Phil might for example
reflect upon the
discrepancies and
inconsistencies
between his expressed
intentions and what he
actually does. His
intention will be to
improve his awareness
including his
relationship to the
collaborative context
whilst simultaneously
informing others of the
illogicalities and
discrepancies in his
practice’!
It occurred to me that if we are to
assume the you, me and us, in
whatever
format, it may be useful to keep a
record of individual thoughts, from now,
as well as the collaborative, 'this is the
response to'. I guess I’m thinking
it could prove useful in the final 'outputs'
to have three separate
dialogues?? if that makes sense? A
'commentary' for want of a better word,
which informs the process from three
differing perspectives??
Just some Friday thoughts!
D.
On
Second
thoughts
3.
•
Have you discussed this piece of
work/process with anyone else in
Triptych while carrying out the work?
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1
Triptych: ‘Δ’: Reflecting on Drawing
Practice as Knowledge
BOUNDARY
‘a line which marks the limit of an area; a limit of something
abstract.’ 1
Testing the boundaries of working practice.
Comparison and compromise, standards, values. Negotiating the
boundary to collaborate effectively.
You:Me:Us?
1
Soanes, C. & Stevenson, A. (Ed) Oxford Dictionary of English, (second edition) 2005 p. 201
1
Triptych: ‘∆’: Reflecting on Drawing Practice
as Knowledge ‘∆’/∞ Page 2
∆’
… the fascination
and the fear of the
1
white page …
∞
… to draw is never a transcription of thought (in the
2
sense of writing) …
‘∆
Reflexivity requires an awareness of the researcher’s contribution to the
construction of meaning throughout the research process, and an
acknowledgement of the impossibility of remaining ‘outside of’ ones subject matter
3
while conducting research .
I think the fascination and the fear of the white page is the site in which one
enacts differentiation as soon as a mark or sign is made. It changes the nonness and establishes a place of action. As soon as that act occurs the paper
becomes something. 1
1
Avis Newman/Catherine de Zegher ‘Conversation’, The Stage of Drawing; Gesture and Act,
Selected from the Tate Collection, Tate Publishing and the Drawing Centre, New York 2003 –
2004, p. 237
To draw is never a transcription of thought (in the sense of writing) but rather
a formulation or elaboration of the thought itself at the very moment it
translates itself into an image. 2
Reflexivity
requires
awareness
‘∆
us
Used to refer to an indefinitely
specified person; one:
Used to refer to the one or
ones being addressed:
The objective form of we
Used as the direct object of a
verb:
Used as the indirect object of a
verb:
Used as the object of a
preposition:
The objective case of I
Used as the direct object of a
verb:
Used as the indirect object of a
verb:
Used as the object of a
preposition:
of the researcher's contribution to the construction of meanings throughout the
research process, and an acknowledgment of the impossibility of remaining
'outside of' one's subject matter while conducting research. Reflexivity then,
urges us to explore the ways in which a researcher's involvement with a
particular study influences, acts upon and informs such research. 3
2
Jean Fisher (written with Stella Santacatterina), ‘On Drawing’, The Stage of Drawing;
Gesture and Act, Selected from the Tate Collection, Tate Publishing and the Drawing Centre,
New York 2003 – 2004, p. 222
3
Nightingale and Cromby, 1999, p. 228
There are two types of reflexivity: personal reflexivity and epistemological
reflexivity. ‘Personal reflexivity’ involves reflecting upon the ways in which our
own values, experiences, interests, beliefs, political commitments, wider aims
in life and social identities have shaped the research. It also involves thinking
about how the research may have affected and possibly changed us, as
people and as researchers. ‘Epistemological reflexivity’ requires us to engage
with questions such as: How has the research question defined and limited
what can be 'found?' How has the design of the study and the method of
analysis 'constructed' the data and the findings? How could the research
question have been investigated differently? To what extent would this have
given rise to a different understanding of the phenomenon under
investigation? Thus, epistemological reflexivity encourages us to reflect upon
the assumptions (about the world, about knowledge) that we have made in
the course of the research, and it helps us to think about the implications of
such assumptions for the research and its findings. 4
you
between us
∆?’
us
between you and
me
4
me
don’t you
Carla Willig, Introducing Qualitative Research in Psychology, 2001, p. 10
Triptych: ‘Δ’: Reflecting on Drawing
Practice as Knowledge
Any choice is a response ‘to’;
‘Δ’
the ‘me’ absorbed into the ‘us’?
……when we look, we enter the intimate space of a work that is as close to
an artists thought as one can get.’ 2
you
between us
∆?’
me
us
don’t you
between you and
me
‘Essentially there is in the act of drawing a wish to externalise thought and to
communicate existence. 3
2
Avis Newman/Catherine de Zegher ‘Conversation’, The Stage of Drawing; Gesture and Act, Selected from the Tate Collection,
Tate Publishing and the Drawing Center, New York 2003-2004, p.41
Avis Newman/Catherine de Zegher ‘Conversation’, The Stage of Drawing; Gesture and Act, Selected from the Tate
Collection, p. 41
3
2
Triptych: ‘∆’: Reflecting on
Drawing Practice as Knowledge
‘ ∆’/∞ Page 3
‘∆’ ⅓
help me somebody
1
Research takes place when we reflect on data and structure them into a cogent inquiry…R esearch
involves inquiry that takes place as the researcher works with the data. This cannot take place with
the raw presentation of an interview or the raw presentation of artefacts. It requires inquiry, articulate
2
analysis, and interpretation.
√
=
‘∆’ ⅔
It ’s so high you can ’t get over it and it ’s so wide you
can’t get aro und it 3
I don’t do active research I do passive research. The easier version where you let the research
come to you. C ome on research; come on research (with the telly control). Oh a program about
4
sharks, …and then I know about sharks.
X
=
1
Brian Eno & David Byrne, Help Me Somebody, BMG Songs/Warner Chappell
Music, 2006, Virgin Records
2
Ken Friedman, Raw data as a part of research, DRAWINGth
RESEARCH@JISCMAIL, 30 April 2003
3
Brian Eno & David Byrne, Help Me Somebody, 2006
4
Eddie Izzard, Dress to Kill, Video, Ella Communications Ltd. 1998
1
©
‘∆’
It ’s a slow th ing and there’s no escape from it
5
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la souris est sous la table
∞
Ar i st ot l e s ai d t he s u n go es ro un d t he e ar t h. Wr on g, wr on g. B ut i n h i s d ay
you didn’ t hav e to prove a the or y. N ow adays if you say, “I think soot is the
elixir of life if mixed w ith w ater!” … . W ell then prove it. “ I will prove it with
st r i ng a nd i od i ne a nd a n o t e f r o m m y m ot h er . ” B ut i n A r i st o t l e’ s t i m e y ou
could say the sun w ent r ound the ear th and people said w ell done that’s a
theory, fantastic, and just a few photos all right?
©
5
6
7
Brian Eno & David Byrne, Help Me Somebody, 2006
th
Ken Friedm an, Raw data as a part of research, 30 April 2003
Eddie Izzard, Dress to Kill, Video, 1998
2
7
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6
terms
⅓
⅓
The investigation aims to extend the
considerable knowledge of drawing
practice by testing the boundaries of
the medium in relation to scale and
the subsequent placement/installation
of the works.
∆
Triptych: ‘Δ’: Reflecting on Drawing
Practice as Knowledge
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Triptych: ‘∆’ : Reflecting on Drawing Practice
as Knowledge ‘∆’/ Page 3( .i)
‘∆’
Response triggers some kind of reaction 1
2
Personal reflexivity now that la souris est dans la table
⅓: you
between us:
Practice led?∞
avoidance and
ambiguity!
⅓: me
⅔: us + ⅔
you and me
=1⅓
Shared and
don’t you:
et maintenant
la souris est
dans la table
je suis sur la
branche !
∞The investigation aims to extend the considerable knowledge of drawing practice by testing
the boundaries of the medium in relation to scale and the subsequent placement/installation
of the works. 3
1
Rowlands/Simmons/Missy Misdemeanour Elliott/Tim Mosley/A Richards, ‘Music: Response’,
Surrender, Virgin Records Ltd 1999
2
Deborah Harty and Phil Sawdon, Hinged, Loughborough University, 2006
3
Deborah Harty, Research Proposal, Loughborough University, 2005
3
‘∆ …drawing
is not seeing
5
… i.e. a
definition of the
real in visual
6
terms
⅓
⅓
∆
I cannot stress too strongly that drawing is not seeing. It is one of the
commonest fallacies …… that a work of art is a record of something seen. On
the contrary, works of art are in fact, made; they are artistic constructs, based
on ingrained scanning procedures. 5
Implicit in every drawing style is a visual ontology, i.e. a definition of the real
in visual terms.
In any drawing, therefore, the first thing to do is to decipher what are the
elements of ‘reality’ that the methods seize upon and conceptualise. 6
5
6
Philip Rawson, Drawing, Oxford University Press, 1969, p. 21
Philip Rawson, Drawing, p. 19
Triptych: ‘∆’ : Reflecting on Drawing Practice
as Knowledge ‘∆’/ Page 3( .ii
Epistemological reflexivity shadows the assumption that ‘any choice is a
triggered response to ‘ 1
We (us) reflect/ \tcelfer on
practice. ‘It’ is a contribution to our
assumptions about the knowledge and experience of a series questions and
answers. We are creative practitioners with some drawing expertise and …
… no language, we’ve got flags of our own.
4: Us
Some
knowledge
∞ = 1⅓
3: Reflexive
practices:
Personal and
epistemological
2: ‘∆’: a
question?
1: the delegate
2
I am reminded through ‘∆’ of a reference to the ‘forum on The Function of Criticism’ in the novel Small World by David
Lodge at which leading international literary academics debate The Function of Criticism. After numerous prepared
diatribes one delegate who ‘is not wearing an identification badge’ steps up to the microphone and asks, “What
follows if everybody agrees with you?” The reply from the panel after much consternation is, “The members of the
forum don’t seem to understand your question, sir. Could you re-phrase it?” The delegate responds, “What I mean is
… “What do you do if everybody agrees with you?” The panel agree it is a very good question, ‘a very in-ter-est-ing
2
question’. The delegate replies “I don’t have an answer myself, just the question.”
1
2
Deborah Harty, Triptych collaboration, Loughborough University, 2006 p.2
David Lodge, Small World, Penguin Books UK, 1985, pp. 316-320
3
La souris est sous la table ou la souris est-elle dans la
table? Mon surveillant est sur la branche ? le plus
irregulier !
A practitioner’s reflection can serve as a corrective to over-learning. Through reflection, he can
surface and criticize the tacit understandings that have grown up around the repetitive experiences
of a specialized practice, and can make new sense of the situations of uncertainty or uniqueness
.2
which he may allow himself to experience
The language of French is quite alien to me…apart from the odd school girl necessity have never had the pleasure…as
far as I can remember…and yet it has to be contained within the memory somewhere…how else could I have changed
the sentence? I could understand a misspelling…but to insert the wrong word – a French word and still make sense that
is something else….it highlights the fact that the experiences we have throughout life really do impact and shape the
way we not only think but our responses to external influences. The collaboration has offered the opportunity to
respond to respond to influences and experiences I would never have had whilst highlighting the way in which our
experiences are then fed into our future thinking.
Hinged
3
Collaborating on the project ‘Δ’ has offered the
opportunity to reflect on my process of creative
practice through the comparison of my collaborator.
It has offered the opportunity to be subjected to new
experiences and at times highlighted the limitations
There are those who choose swampy lowlands. They deliberately involve themselves in messy but crucially important problems and, when asked to
of my1practice’
describe their methods of enquiry, they speak of experience, trail and error, intuition, and muddling through.
⅓: you
between us:
Practice led?∞
‘Δ’
Sur la branche? pourquoi?
La souris dans la table vous
dérange-t-elle
que
‘Δ’
Sur la branche ?
beaucoup
?
un
déplacement
pourquoi ? la souris dans
la table pratique
vous derange-tde votre
est très
elle que beaucoup ? un
intrusif,deoui
deplacement
votre?
Unhinged
4
pratique est tres intrusif,
avoidance and
ambiguity!
don’t you:
⅔: us + ⅔ you
and me =1⅓
Shared and
!
⅓: me
oui ?
DraBoundaries
wing, PlacemSearc
ent & h
Ced?
ontext
1
Donald A. Schon, The Reflective Practitioner; How Professionals Think in Action, Hants, UK, 1991 p.43
2 Donald A. Schon, The Reflective Practitioner, 1991
3 Deborah Harty and Phil Sawdon, Hinged, Loughborough University, 2006
4. Deborah Harty and Phil Sawdon, Hinged, 2006