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DRAWING-RESEARCH  July 2009

DRAWING-RESEARCH July 2009

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Subject:

Re: FMRIs and Visual memory

From:

Lisa Roberts <[log in to unmask]>

Reply-To:

The UK drawing research network mailing list <[log in to unmask]>

Date:

Fri, 3 Jul 2009 08:07:35 +1000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (240 lines)

Cecile,

My experience as an animator accords with your words:

 'Working directly from the model, time and memory linked with
 action in space. There was no time to be  conscious of memory but
 without memory this drawing could not have been made. 



Body memory, or recall, is involved in the gestures we make when we
draw, dance, and animate. 


Perhaps some early, and not widely known, research by Exiner and Watts
may interest you. Both build research by Rudoph Laban, who worked in the
1920's. Reference to him is easy to find in Google.  

Elizabeth Watts (Watts, 1977, p. 66) suggests that we can read meanings
into children's gestures through empathic inner rapport. When we
observe a gesture, she says, we 'understand something of the feelings
expressed in those movements because we are able to see what we
ourselves have felt (by means of visual/kinesthetic recall)...' (Watts,
1977, p. 66) She suggests that 'as sensitive observers' we can identify
the cause or intention of some gestures as '...practically universal -
inviting, rejecting, pleading, with-holding, embracing, aspiring,
submitting...' (Watts, 1977, p. 66)


Exiner and Kelynack (Exiner and Kelynack, 1994, p. 43) call this ability
'kinetic identification', explaining that,

'All observation is accomplished by means of kinetic empathy. Naturally
we perceive motion through our eyes, but unless we let this perception
flow into the body so that we experience it kinetically, we cannot
identify with it.' 

Watts has also observed that, 

...in comparative stillness, one may imagine the feeling of falling, or
turning, or or stretching, or jumping, and such imagery is usually
accompanied by some faint muscular trace of those movements; this
'movement memory' is a necessary basis to the dancer's skill. (Watts,
1977, p. 65)







On
Thu, 2 Jul 2009 11:32:58 -0400 Andrea Kantrowitz
<[log in to unmask]> wrote:

> A related finding:
> 
> Functional MRIs have recently revealed that long term visual memories
> are stored in the visual cortex, the same place current visual
> perceptions are processed,  It surprised researchers, who expected to
> find working memory and long term memory in two different places in
> the brain but turns out it isnĀ¹t so.  Probably more efficient when
> you think about it, since you need to easily access past experience
> to make sense of the present.  I can look up the citation if you need
> it.
> 
> Best
> Andrea Kantrowitz
> 
> ---------------------------------------------------------
> http://AndreaKantrowitz.com
> Blog at http://Zyphoid.com
> 914.712.9681 
> 
> 
> On 7/2/09 9:43 AM, "Cecile Elstein" <[log in to unmask]> wrote:
> 
> > Dear Steve,
> > This is an important research project, so pleaded to hear about it
> > through the network. 
> > Regards,
> > Cecile
> > -----Original Message-----
> > From: Cecile Elstein [mailto:[log in to unmask]]
> > Sent: 02 July 2009 14:27
> > To: [log in to unmask]
> > Subject: E-mailing: IMG_0674 copy
> > 
> >   
> > Your message is ready to be sent with the following file or link
> > attachments:
> > 
> > IMG_0674 copy
> > 
> > 
> > A picture for you.
> > 
> > Dear Gilly,
> > 
> > Memory is of great interest to me. I would like to speak with you to
> > understand the methodology of your study.
> > My interest is in the experiential that includes constant flux and
> > change. As we use various parts of the brain to respond to this
> > changing experience, both tacit and explicit pathways to
> > understanding memory are necessary.
> > 
> > From my experience in visual art, memory plays a much more
> > important role than I first understood, and it is linked to action
> > in time.
> > 
> > For example 1.(attachment IMG 0674) 2008 I made a portrait of my
> > son who had died 10 years previously. I was aware of the role of
> > memory when not remembering him precisely.
> > Yet as I worked on this portrait I knew if the action had been
> > false and conversely when there had been a right action, I knew
> > immediately that my memory had remembered.
> > 
> > Example 2.(attachment a picture for you) In this drawing the model
> > was in motion every minute. Working directly from the model, time
> > and memory linked with action in space. There was no time to be
> > conscious of memory but without memory this drawing could not have
> > been made. 
> > You have a very interesting project. Let me know if you wish to
> > discuss this further.
> > All good wishes,
> > Cecile Elstein
> > [log in to unmask]
> > www.cecileelstein.com
> > 
> > 
> > 
> >   
> > You have been sent 1 picture.
> > 
> > Time and Space - Charcoal and coloured pencil drawing drawing
> > 05-05-2008 15-04-26 2334x3160 05-05-2008 15-04-27.jpg
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> > 
> >     
> > 
> > 
> > 
> > 
> > 
> > From: GILLIAN LACEY <[log in to unmask]>
> > To: [log in to unmask]
> > Sent: Monday, 22 June, 2009 8:23:35 PM
> > Subject: The affects that the memory has on drawing.
> > My body of work is a series of drawings from an original figure
> > drawing.I have not looked at the subject again but drawing it
> > periodically, the same drawing ,and from this I analyse the
> > outcomes.I have done over 26 drawings of the same and the images
> > vary immensely.I think that the last set of drawings came out as
> > prior knowledge but the first set from which I did many showed not
> > so much as loss of memory but finding the memory. Do you have any
> > similar experiences or do you know someone doing the same sort of
> > research. We are looking here for how we corrupt our memories,that
> > the memory is made up of many things that will influence the
> > work.What sort of memory are we working with here,multiple types of
> > memory?The work at the moment is riddled with pre-conception.
> > Regards Gilly Lacey
> > 
> > 
> > From: GILLIAN LACEY <[log in to unmask]>
> > To: [log in to unmask]
> > Sent: Monday, 22 June, 2009 8:13:35 PM
> > Subject: 
> > 
> >  Dear Simon,
> > I am looking at memory and how the marks change with the memory of
> > the subject therefore I draw the subject and pose over and over
> > again refering to the same days later.Mapping the loss of the
> > memory interests me but its not only the memory of the artist that
> > intrigues me,I have thoughts on the model and the gaze of someone
> > whose memory is fading the two way parallel.My immediate thoughts
> > are with the former research however the later may have triggger
> > some ideas. Regards Gilly Lacey
> > MA Research
> > 
> > 
> > From: Simon Grennan <[log in to unmask]>
> > To: [log in to unmask]
> > Sent: Sunday, 21 June, 2009 6:05:50 PM
> > Subject: 
> > 
> > Dear Gilly
> > An aspect of my research looks at the relationship between the
> > (historic) time in which a drawing is made and subsequent readings
> > of the drawing, which may (or may not) overlap with your subject.
> > 
> > How are you approaching memory/drawing?
> > Regards
> > Simon Grennan
> > 
> > 
> > On 21/6/09 16:32, "GILLIAN LACEY" <[log in to unmask]> wrote:
> > 
> >> Dear Researcher,
> >>  
> >> I am researching memory and drawing,Is there anyone doing any
> >> similar research?
> >> Gilly Lacey
> >> 
> > 
> > 
> 
> 


--------------------------- 

Lisa Roberts

www.lisaroberts.com.au
www.antarcticanimation.com

Post:-
Suite 326,
353 King Street
Newtown, NSW,  2042

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