Dear Marijke
I have experienced some problems with my emails recently, at my end,
and I am trying to get it sorted. Consequently, my out going emails
have been a little late and therefore a little out of step.
However, I was extremely impressed with the extent of your research. I
was most interested in the differences you discovered between cultures
in their expression, as I am aware that vast differences exist in
visual language between cultures (e.g. concepts of perspective, spatial
orientation and perception), as well as extraordinary similarities
(e.g. narrative styles and creation myths). It must have been very
difficult to arrive at normative conclusions.
I have had similar discussions with regard to colour theories in
healthcare contexts, and in my experience (I have not conducted
'formal' research into this, yet) cultural learning has played an
important, and often unrecognised, part in response to colour. I am,
therefore interested in the correlation between cognitive and cultural
factors in determining a 'notation system of drawing traces that were
void of semantic content and interpretation', or are you proposing that
there may be some drawing/mark-making that is separate from our worldly
experience?
I am currently wrestling with the notion of drawing (at times) being
practised as a metaphor, but I have great difficulty making the leap to
the metaphysical.
Regards
David
On 30 Jan 2005, at 12:15, Marijke Rutten-Saris wrote:
> Hi David Haley
>
> Did you got my text with examples? It has been returned to me
> unprocessed because it appeared to have already been distributed to the
> DRAWING-RESEARCH list. Could you let me know please your e-mail.
> Thanks
> Marijke
>
> -----Original Message-----
> From: The UK drawing research network mailing list
> [mailto:[log in to unmask]] On Behalf Of Marijke
> Rutten-Saris
> Sent: Saturday, January 29, 2005 12:11 PM
> To: [log in to unmask]
> Subject: Re: 050129 Why draw? About 'formal problem'
>
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