Ola Rachel,
Yes, of course there must be an infinite lot there, but I was thinking about
drawing and the specific kind of communication system/artistic expression it
is, where the self is present in several ways.
“Nihil est in intelectus quod prius non furit in sensu.” Condillac
“Sed intelectus ipse.” Berkley.
What fascinates me more is that we draw more then we know, I mean there is a
lot more in a drawing then what is explicit, and probably that is what makes
it such a universal thing.
If internal images are thoughts or not becomes near the process of drawing
in the way that: is drawing a way of thinking?
Myself I think it is a process of thinking that is outside words but may
have equivalent complexity to thoughts or discourse with words, with the
convenience of being a process that is not coded, so much freer and open to
self expression and self interpretation, (in the case of the observer of
drawing).
Nice to know you've been here.
Fundação de Serralves is an institution that has a very intense cultural
activity, it has a good collection of modern art, and also it organises very
important (in the sense of high artistic quality) Art and architecture
exhibitions. It is in the north of Portugal, Porto.
Myself, I live in Lisbon and the relation I have with the institution is
just that of a visitor of exhibitions.
Yours
Ana Leonor
Rachel Pearcey <[log in to unmask]> escreveu:
> Ola Ana
> What about the stuff which is there but is not drawn, what about the choice
s
> made in excluding stuff?
> Rachel (I used to live in Carcavelos and Lisbon a long long time ago with m
y
> Parents)
> Do you know anything about the Fundacao de Serralves near Porto?
>
>
> On 27/11/05 11:24 am, "Ana Leonor Rodrigues" <[log in to unmask]> wrote:
>
> > Hello Maulfry,
> > Yes, I agree again.
> > In fact these ideas touch what interests me most in drawing (when I think
> > about it, not when I‚m drawing) which is an understanding of the world
> > through the eyes that is active and personal and which at the same time
> > becomes equally understandable (again in a personal way) to the observer
of
> > the drawing, both in a sensible and in a cognitive way.
> > This idea of images from the inside is usually disturbing to those that
> > think of the self as purely interactive. Myself I tend agree with you, as
I
> > have been around these thoughts for long, and because of that I once foun
d
> > in the net a paper from Paul Grobstein "From genomes to dreams"
> > http://serendip.brynmawr.edu/gen_beh/Dreams.html, 1996 (quickly said) an
> > investigation about the brain and if we make from new or not.
> > He gave the example of dreams as thoughts and images that come from the
> > inside.
> >
> > Back to definitions, I understand the importance of them, but they tend t
o
> > close the possibilities of comprehend thinks if they are taken too
> > seriously. For me a definition of drawing is just a beginning of a discou
rse
> > or a conversation about drawing, as it is happening here which is very
> > interesting and agreeable.
> > Yours
> > Ana
> >
> >
> >
> > Worthington <[log in to unmask]> escreveu:
> >
> >> Thanks Ana
> >>
> >> I like your reference to 'this mixture of precision and clarity in what
is
> >> presented to the eyes
> >> and at the same time a kind of imprint from the self': would you agree
> > that
> >> drawing is also
> >> some kind of imprint of what is thought of - or visualised in the brain?
> >>
> >> I'm thinking here that many drawings are not of something one sees - so
> > must
> >> draw on some
> >> internal (perhaps only partly formed) images.
> >>
> >> Maulfry
> >>
> >> Maulfry Worthington & Elizabeth Carruthers
> >> Children's Mathematics Network
> >> Phone: 01392 682 643
> >> Email: [log in to unmask]
> >> [log in to unmask]
> >> Web: www.e-magine.org.uk
> >>
> >>
> >>
> >>
> >> ----- Original Message -----
> >> From: "Ana Leonor Rodrigues" <[log in to unmask]>
> >> To: <[log in to unmask]>
> >> Sent: Saturday, November 26, 2005 11:34 AM
> >> Subject: Re: Fw: polyadic and Bakhtin -what does it mean to be original?
> >>
> >>
> >>> Hi Maulfry
> >>> I do agree so much with what you say. I also think that some of the
> >>> aspects
> >>> that make drawing so unique as an expression and as a communication
> > system
> >>> is this mixture of precision and clarity in what is presented to the ey
es
> >>> and at the same time a kind of imprint from the self that is always
> >>> directly
> >>> related to the person in a kind of remains and vestiges of bodily
> >>> communication (that the subject may be aware or unaware vide: the
> >>> intensity
> >>> of a line for increasing drama or the trembling of a hand caused by
> >>> tiredness).
> >>>
> >>> Ana Leonor
> >>>
> >>>
> >>> --
> >>> Ana Leonor M. Madeira Rodrigues
> >>> Faculdade de Arquitectura - Universidade Técnica de Lisboa
> >>> home: Av. Gago Coutinho, 25- 2º Esq.
> >>> 1000-015 Lisboa
> >>> T.00 351 218492924
> >>>
> >>>
> >>
> >>
> >>
> >
> >
>
--
Ana Leonor M. Madeira Rodrigues
Faculdade de Arquitectura - Universidade Técnica de Lisboa
home: Av. Gago Coutinho, 25- 2º Esq.
1000-015 Lisboa
T.00 351 218492924
|