Hi Sylvia and anyone else interested in this
I have no problems with Duchamp - quite the contrary . But I have a
problem with the way he got abused and misused/misrepresented. I don't
personally equate conceptualism of his calibre with the way
bureaucrats, and linear logical thinkers with little capacity for
understanding lateral thinking (some I suspect with borderline autism
spectrum when it comes to single minded obsessive organisation) have
undermined the ethos of art school thinking.
best wishes
Doris
On 9 May 2010, at 14:38, sylvia cornet wrote:
>
> NOTE ABOUT DUCHAMP 's correct estimation.
>
> Grounding of my speech : Logicians works about the linguistics as Noam
> Chomsky ;
> S. Pieirce ( HARVARD) ; L. von Wittgenstein...
>
> Example of appliances of DUCHAMP 'S DEPTH : The bicycle 's wheel
>
> Shape : the sun ( with rays )
>
> Poetry : bicycling in the sun
>
> Figure of style : Metaphor ( which proceeds from analogies ) ; also
> designing a bicycle by a part of it
> constitutes another style figure called synecdoque ( in french ).
>
> Word game ( sorry it's in french )
> Door / Wheel
> because
> 1) Doors open with " GONDS " that turns on the side to open and close
>
> 2) Wheels are fixed by rays. Those rays describe angles.
> Angles ; in french are measured by unit called Grades or Radians or
> ancient word
> forgotten : GONS .
>
> Thus our BICYCLE /// WHEELS /// DOOR /// SUN
>
> Ethnological reference in Hieroglyphs : the sun is a door. Drawing is
> 2 concentric circles
> as a bicycle wheel has : one in metal ; one in rubber. There are
> others many " spiritual " games
> with the idea of the sun whose rays are terminated by hands and the
> humorous idea that rays of bicycle are as " hands " stuck to the wheel
> and allowing to roll...or that wheels of bicycle are as
> widows - doors as in boats the list is infinite..
>
>
> You could find also equivalent explanation to others Masterpieces of
> Duchamp. This also correspond to the analysis of french genius writer
> André Malraux ( also a minister for Culture ) who defined the
> work of Art as METAMORPHOSIS... ( including all myths about PROTEUS )
>
> Thus is DUCHAMPS ' FIELD correctly estimated to my humble view.
>
>
> thanks for attention.
> best to all
>
> :)
>
>
> > Date: Sun, 9 May 2010 14:47:47 +0200
> > From: [log in to unmask]
> > Subject: Re: DRAWING-RESEARCH Digest - 6 May 2010 to 7 May 2010
> (#2010-82)
> > To: [log in to unmask]
> >
> > Doris,
> > I read your email with interest as I have been teaching in an art
> school
> > (Mulhouse) in France for over 16 years (where's the medal?) and had
> assumed
> > the most tortured questions concerning text/image etc. etc. were a
> > speciality of the French Inquisition. What your email seems to imply
> is
> > that the headache is widespread. In my opinion, within the context
> of the
> > French institutional system, it could well be that the importance of
> someone
> > like Marcel Duchamp is over-rated (dare I say) and the importance of
> someone
> > like Cézanne or Matisse underestimated? As Sean Scully recently
> said, the
> > French seem to have made a choice and maybe it wasn't the right one.
> Too
> > bad! Not many people seem to have noticed the gap which, to my mind,
> > resembles the Pacific Ocean, between theory and practice. An
> obsession with
> > rhetoric and the capacity to "explain" one's work often seems to
> take the
> > place of the "work" itself. This trend, (I suppose we could call it)
> is
> > probably general in Europe, and is a reflection of the climate which
> > dominates in that small world people call "the art world", wherein
> artists
> > or art students are increasingly supposed to function like smooth
> operators
> > .... making rational and strategic choices in a very competitive
> fish tank.
> > Good luck! From one fish to another.
> > Yours,
> > Barrie Hastings.
> > NB: I sent this email on behlaf of Barrie due to his computer
> problems. (Jan
> > Stevens)
> >
> >
> >
> > ----- Original Message -----
> > From: "Doris Rohr" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Sunday, May 09, 2010 2:06 PM
> > Subject: Re: DRAWING-RESEARCH Digest - 6 May 2010 to 7 May 2010
> (#2010-82)
> >
> >
> >
> > Tom, a great summary, and I am full agreement with your argument.
> > Indeed the splitting of the manual from the mental was already
> > reflected in medieaval ages through the concept of the mechanical and
> > liberal arts (see Harrison/Wood Art in Theory 1648-1815 - though the
> > concept precedes those centuries to Italian medieval period). The
> > divide goes back a long time in our culture or the roots of our
> > cultures, and therefore is ingrained.
> >
> > I am relieved to hear someone cautioning practitioners from
> responding
> > rather too enthusiastically to pressures justifying practice through
> > humanities theories and discourses. Furthermore, art education (and
> > design and technology education) has been sold out from my point of
> > view (and I know I am not alone in thinking this) by having become
> > co-opted into university systems. Offering education to visually
> > intelligent, lateral thinkers who might indeed 'think with their
> hands'
> > has been jeopardised by undue demands to follow puritanically minded
> > concept 'theology' .
> >
> > From my professional experience many gifted visual practitioners
> > learners at undergraduate level of art/design education spend too
> much
> > time with their history and theory modules (which are of use and not
> > without validity but need different formats of delivery and
> assessment
> > which would reflect the more typical learner types found in art and
> > design education more favourably). Students are trying to cope with
> > linear logical research task like traditional essay writing tasks, to
> > the detriment of spending time researching, testing ideas for their
> > studio practice and to the detriment of free experiment and play. So
> it
> > is not uncommon to see whole studios empty the weeks prior to hand in
> > date for essay or dissertation, yet these components are usually
> rated
> > half the module value of studio practice, or make up about 20% of the
> > overall course in terms of weighting. Although it seems rational to
> > then say, from a student's perspective : 'let's focus on the part of
> > the course I am good at, and I have come here for to study', more
> > often than not the difficulty of coping with such aspects of
> education
> > makes students overcompensate their weaknesses. I would like a return
> > to independent specialist education, as once provided by the
> technical
> > colleges. In Germany Werkkunstschule and Akademie still offer
> > independent pathways from universities, however, the splitting of the
> > 'fine arts' from the so called 'applied arts' is not something I am
> > personally in favour of. Japan is a good example for why good craft
> and
> > design has same status or why that divide need not be pursued - once
> > upon the time the Bauhaus tried to aim for integrated specialist
> > education as well (but this is another debate all over again). Gosh
> but
> > I am sick of old style and new style university modular systems
> > becoming imposed on art and design education.
> >
> >
> > Doris Rohr
> > Associate Lecturer Painting
> > FIne and Applied Art
> > University of Ulster
> > School of Art and Design
> > Belfast Campus
> > York Street
> > Belfast
> > BT15 1ED
> >
> > http://www.ulster.ac.uk
> > [log in to unmask]
> >
> >
> > On 8 May 2010, at 18:58, T JONES wrote:
> >
> >> Hello Chris and Jac,
> >>
> >> This debate is bringing all sorts of issues to light, one of which
> could
> >> be taken further.
> >> The idea of the reflective practitioner (Donald Schon, The
> Reflective
> >> Practitioner, 1983) is particularly useful. Schon regards
> >> reflection-in-action as a key element in the creative process by
> >> distinguishing it from 'technical rationality'. This latter concept
> is at
> >> the root of many problems surrounding our social and cultural
> values and
> >> needs to be examined.
> >> In summary, technical rationality is the long-established idea that
> >> practice is essentially a secondary hand-based activity and does
> not have
> >> the same primary status as pure, mind-based disciplines, such as
> >> mathematics. The reason given for this is that practice does not
> itself
> >> develop knowledge but applies previously developed knowledge to the
> >> needs of every day life. For example, physics and chemistry are
> applied
> >> in the ceramic industry.
> >>
> >> Whilst this idea might seem far-fetched, its effects are deeply
> embedded
> >> in our culture. It lies at the traditional root of the UK class
> system:
> >> educated people think, go to university and become managers,
> ordinary
> >> people are 'good with their hands', attend vocational courses,and
> become
> >> employed. This is why Victorian art schools in the UK developed
> outside
> >> the university system: knowledge acquiring disciplines (history,
> >> mathematics, philosophy) were taught in national universities but
> how to
> >> apply this knowledge for the benefit of industry was taught in local
> >> colleges. Technical rationality has been so influential that art
> schools
> >> themselves introduced the idea into their own field as 'fine and
> applied
> >> art'.
> >>
> >> Furthermore, I suggest that current artists also adopt a technical
> >> rationality approach when they feel constrained to discuss their
> work in
> >> terms of how it reflects the ideas of, say, structuralism or some
> other
> >> philosophical discipline. Indeed, they almost seek to justify their
> work
> >> by reference to such academic disciplines of knowledge. I believe
> that
> >> this devalues creative practice.
> >>
> >> The value of Donald Schon's idea is that he offers artists an
> >> alternative. He constructs the activities of creative professionals
> as a
> >> knowledge developing process in its own right. He does so by
> referring to
> >> the discipline they employ as 'reflection -in-practice': practice
> >> generates reflection which then informs further practice and so on.
> In
> >> this view, the act of producing, say, a drawing becomes a continuous
> >> developmental dialogue between hand and mind, and - Schon would
> claim -
> >> justifies it as a knowledge originating activity.
> >>
> >> In short and using the idea of the 'reflective practitioner, I
> believe
> >> we are genuinely and justifiably researching as we draw: the act of
> >> drawing can be research in its own right. With this approach, a
> role for
> >> the DRN could be to provide a space for reflecting upon our
> differing
> >> processes and for communicating to others what we do.....with the
> crucial
> >> next stage of acting on the outcomes in order to develop our own
> >> practices.
> >>
> >> Tom
> >> --- On Sat, 8/5/10, DRAWING-RESEARCH automatic digest system
> >> <[log in to unmask]> wrote:
> >>>
> >>> From: DRAWING-RESEARCH automatic digest system
> <[log in to unmask]>
> >>> Subject: DRAWING-RESEARCH Digest - 6 May 2010 to 7 May 2010
> (#2010-82)
> >>> To: [log in to unmask]
> >>> Date: Saturday, 8 May, 2010, 0:01
> >>>
> >>> There are 5 messages totaling 7258 lines in this issue.
> >>>
> >>> Topics of the day:
> >>>
> >>> 1. DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010 (#2010-78)
> (3)
> >>> 2. DRAWING-RESEARCH Digest - 6 May 2010 (#2010-81)
> >>> 3. Research not chat!
> >>>
> >>>
> ----------------------------------------------------------------------
> >>>
> >>> Date: Fri, 7 May 2010 08:10:02 +0200
> >>> From: Jac Saorsa <[log in to unmask]>
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>
> >>>
> >>> Hi Chris
> >>> You wrote; 'Perhaps this points to the extended possibilities of
> >>> drawing as
> >>> communication i.e the 'process' is greater than an individual
> piece of
> >>> work?'
> >>>
> >>> Yes...I think you have a very sound point. I hope that others may
> want
> >>> to follow up with this as I think that the concept of process,
> albeit
> >>> not necessarily new, is nevertheless also a very productive line of
> >>> discussion. I am also very interested in 'integrity' and wonder
> how you
> >>> would define this.
> >>> Good luck with you exploration ...is any of your work online? I
> would be
> >>> interested to see it.
> >>> Best wishes to all
> >>> Jac
> >>>
> >>>
> >>> _________________________________________________________________
> >>> Hotmail: Trusted email with Microsoft’s powerful SPAM protection.
> >>> https://signup.live.com/signup.aspx?id=60969
> >>>
> >>> ------------------------------
> >>>
> >>> Date: Fri, 7 May 2010 09:57:20 +0100
> >>> From: Garry Barker <[log in to unmask]>
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>
> >>> Jac raises several questions as to types of focus. Perhaps we need
> to
> >>> set up some more threads.
> >>>
> >>> The way a drawing can be read, interpreted or how it forms a
> document of
> >>> a process is a huge field. From the layering of time (impressions
> and
> >>> traces) from which we can decode actions and meanings, (usually by
> >>> looking and developing an interpretation). However this area of
> thinking
> >>> can again be sub-divided. Certain other disciplines train
> observers in
> >>> the interpretation of their observations. Archaeologists are
> however
> >>> trained differently to criminologists. What types of critical
> >>> observational thinking could be therefore identified within an
> expanded
> >>> field of drawing?
> >>>
> >>> The type of reasoning with which we approach a reading , be it
> >>> abductive, inductive or deductive could be unpicked, as well as the
> >>> issue of audience and the death of the author.
> >>>
> >>> This brings us to Jac's question as to who are we drawing for? How
> work
> >>> is received is of course important.
> >>>
> >>>
> >>>
> >>> If we are looking at drawing as a type of communication system we
> can on
> >>> the one hand use communication theories to instigate a debate
> >>> surrounding how effective different types of drawing is when
> trying to
> >>> communicate with different audiences. However, as there is no
> single
> >>> unifying theory, one could divide the field into the seven
> traditions ;
> >>> Cybernetic or Information Theory , (the Transmissional theories)
> and
> >>> Semiotics, the Phenomenological , Rhetorical, Socio-Psychological,
> >>> Socio-Cultural or Critical Theory (the constitutive traditions).
> >>>
> >>> If on the other hand we are looking at some form of self
> expression,
> >>> perhaps we could open out and refresh older debates such as
> whether or
> >>> not there can be a private language or we could be drawing upon the
> >>> experience of art therapy?
> >>>
> >>> All of the various stages of involvement could be either seen as
> part of
> >>> a series of connecting nodes or perhaps stages that move from
> making to
> >>> interpreting. The reflective practitioner as a model is fine, but
> >>> perhaps the details of how reflection is established could
> highlight how
> >>> different disciplines of thinking embed their own possibilities and
> >>> restrictions. Again these could become nodes of focus.
> >>>
> >>>
> >>>
> >>> It would be interesting to have someone like Tufte to then provide
> a
> >>> diagrammatic representation of the field.
> >>>
> >>>
> >>>
> >>> It would be a pity if the area started to lose its usefulness
> because
> >>> people were not participating. Christine's point about revealing
> process
> >>> is a useful one.
> >>>
> >>>
> >>>
> >>> Garry
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> From: The UK drawing research network mailing list
> >>> [mailto:[log in to unmask]] On Behalf Of Christine
> Turner
> >>> Sent: 06 May 2010 17:06
> >>> To: [log in to unmask]
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>
> >>>
> >>>
> >>> Hi,
> >>>
> >>> Thanks Jac, I think this consolidates my comment nicely. For me at
> >>> present the drawing process is certainly a personal exploration
> the aim
> >>> being to determining an integrity in my work. Once I feel more
> confident
> >>> about this though, I will certainly want to share my ideas and
> findings
> >>> and as a researcher reevaluate through critical discourse, so the
> >>> process will become communal, if only toward my own ends. But
> discourse
> >>> feeds other research...we are back to the rhizome here. Perhaps
> this
> >>> points to the extended possibilities of drawing as communication
> i.e the
> >>> 'process' is greater than an individual piece of work?
> >>>
> >>> Chris
> >>>
> >>> On 6 May 2010, at 15:39, Jac Saorsa wrote:
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> Hi all
> >>> Thanks to those who have responded - and so quickly! Just to say
> that I
> >>> think my use of the term 'documentation' may have led to a
> >>> misunderstanding. I am certainly not talking only about
> 'observational'
> >>> drawing as such and discounting 'inspiration' or critical
> participation,
> >>> indeed, quite conversely, I very much believe that these things
> are what
> >>> gives the drawing life and energy. My point is mainly that the
> drawing
> >>> process itself 'documents' all of this spontaneity, sentiment etc
> as
> >>> well as the subject - be it figurative or non-figurative, and once
> the
> >>> process ends - when we finish the drawing - some of that energy
> must
> >>> necessarily dissipate, only to regenerate in the next piece. The
> >>> viewer's interpretation of our drawing is out of our control in
> many
> >>> ways but does this matter (and if so how and why?)in terms of the
> >>> drawing act itself....Maybe another question I could throw out
> is... for
> >>> whom are we drawing?
> >>> Jac
> >>>
> >>> ________________________________
> >>>
> >>> Date: Thu, 6 May 2010 15:22:25 +0100
> >>> From: [log in to unmask]
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>> To: [log in to unmask]
> >>>
> >>> Hello Jac and all,
> >>>
> >>>
> >>>
> >>> I am embroiled in a reflexive practice that has lead to the
> process and
> >>> my critical participation in it being more imperative than any
> drawing
> >>> or painting produced.So yes, at present the drawings are less
> >>> interesting than the process but precisely because the
> >>>
> >>>
> >>>
> >>> process regenerates and invigorates the personal practice. My
> personal
> >>> debate has in part become (nothing new here!) between
> representation and
> >>> the abstract nature of drawing and painting, chance elements
> playing a
> >>> big part. I am however mindful of not
> >>>
> >>>
> >>>
> >>> including a viewer in this process.
> >>>
> >>> Chris
> >>>
> >>>
> >>>
> >>> On 6 May 2010, at 14:40, Jac Saorsa wrote:
> >>>
> >>>
> >>> Hi Tom
> >>> I want to say that I am in total agreement...I wonder if perhaps
> the
> >>> some of the 'conversational' messages we have all been party to
> over the
> >>> last few days might have been better shared privately between those
> >>> concerned, not because what is being said is not valid, more that
> it is
> >>> not necessarily valid on a list where the priority is research.
> >>> Maybe I can change the subject a little and offer a perhaps
> >>> controversial idea that is of long interest to me and that maybe
> could
> >>> start a discussion?
> >>>
> >>> Documentation is never exclusively oriented to the thing
> documented,
> >>> since the process by which documentation is carried out must
> >>> necessarily be inherent in the result. Accordingly, in the case of
> >>> visual documentation, the drawing process becomes through its very
> >>> nature an intrinsic part of the drawing, or series of drawings,
> that it
> >>> generates. Precisely as a self-generating continuum of consecutive
> >>> drawing acts, the drawing process is therefore representative of
> both
> >>> the subject towards which it is directed, and of its own
> development,
> >>> and the result profits from a form of double indemnity in respect
> to its
> >>> documentary role. Just as the energy of rhizome (both natural, and
> as in
> >>> Deleuze's conceptual construct) surpasses the necessity for it
> either to
> >>> grow in any one direction, or indeed ever stop growing at all,
> could it
> >>> be that drawings themselves are of less interest, than the manner
> in
> >>> which they came to be?
> >>>
> >>> Thoughts...just thoughts...anybody interested in pursuing them?
> >>>
> >>> Jac
> >>>
> >>>
> >>>
> >>> ________________________________
> >>>
> >>>
> >>> Date: Thu, 6 May 2010 12:30:10 +0000
> >>> From: [log in to unmask]
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>> To: [log in to unmask]
> >>>
> >>> Hello,
> >>>
> >>>
> >>>
> >>> Research ?
> >>>
> >>>
> >>>
> >>> Many recent contributions to the DRN have been vehicles for
> promoting,
> >>> expressing
> >>>
> >>> or asserting views about drawing - more or less comprehensibly.
> >>> Accepting this activity as a function of any network, it
> nevertheless
> >>> raises the question of how it supports research - reasonably
> definable
> >>> as 'systematic enquiry in order to achieve wider understanding' ?
> >>>
> >>>
> >>>
> >>> Further thoughts on this point were prompted by coming across the
> >>> welcome - if unexpected - phrase ' elegance of thinking' in one
> recent
> >>> contribution and taking it to mean 'thinking that is fit for
> purpose'.
> >>>
> >>>
> >>>
> >>> The Drawing Research Network has the potential of creatively
> re-defining
> >>> what 'drawing as research' might mean. It could do so through
> >>> practitioners individually reporting on their intentions and
> methods,
> >>> critically reflecting on the implications of their activities, and
> >>> engaging in constructive dialogue about them with others. However,
> the
> >>> DRN can only achieve this potential if 'elegance of thinking'
> underpins
> >>> the correspondence involved.
> >>>
> >>>
> >>>
> >>> Though not necessarily requiring the use of traditional English
> >>> phraseology and perfectly correct grammar, elegance of thinking
> implies
> >>> that the writer's ideas form a coherent and constructive narrative.
> >>> Furthermore, the narrative needs to be sufficiently comprehensible
> for
> >>> it to generate informed discussion by others, and thus for it to
> >>> contribute to an evolving re-definition of 'drawing as research'.
> >>>
> >>>
> >>>
> >>> This is an argument neither for censoring DRN contributions, nor
> for
> >>> requiring that they be phrased in prescribed forms and language;
> it is
> >>> not a matter of personal taste with regard to the content of
> >>> contributions, nor is it a wish to impose alien values on others.
> It is
> >>> however, a request for much more elegant thinking than in recent
> months.
> >>>
> >>>
> >>>
> >>> Tom
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> --- On Thu, 6/5/10, DRAWING-RESEARCH automatic digest system
> >>> <[log in to unmask]> wrote:
> >>>
> >>>
> >>> From: DRAWING-RESEARCH automatic digest system
> <[log in to unmask]>
> >>> Subject: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> (#2010-78)
> >>> To: [log in to unmask]
> >>> Date: Thursday, 6 May, 2010, 0:15
> >>>
> >>> There are 8 messages totaling 1636 lines in this issue.
> >>>
> >>> Topics of the day:
> >>>
> >>> 1. drawing research (7)
> >>> 2. TRACEY Call for Papers - Deadline
> >>>
> >>>
> ----------------------------------------------------------------------
> >>>
> >>> Date: Wed, 5 May 2010 16:38:05 +0000
> >>> From: lynne langton <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]> >
> >>> Subject: Re: drawing research
> >>>
> >>> bonjour i have read what you have written and thought about it i
> do not
> >>> understand i feel the world is full of interesting things places
> art for
> >>> example the German Expressionist show in Leicester Briget RILEY in
> >>> Birmingham and so on the rudeness of people when i began on this
> site
> >>> was primarily from England as i emailing everyone instead of the
> >>> individual people in Europe were ploite and emailed me so i guess
> i am
> >>> not into streets of dog poo but Cezanne and try and i am polite
> and it
> >>> is okay to be pedantic if anyone so chooses with regard
> >>> Lynne Langton
> >>>
> >>>
> >>>
> >>>
> >>> ________________________________
> >>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>> Subject: drawing research
> >>>
> >>> Is this pedantic or old
> >>>
> >>> please have a look
> >>>
> >>> You walk in a pleasant street and then a dog has applied his
> metabolism
> >>> anywhere.
> >>>
> >>> Sentences are the same. Beautiful words and elegance of thinking
> >>> are as flowers in well kept meadows.
> >>>
> >>> But of course everyone knows " teens " enjoy bad talkings.
> >>> When this teens are concerned this is their level
> >>>
> >>> But how feel right when a society has everybody talking
> >>> as teens...
> >>>
> >>> Once again i do not try to judge
> >>> but to apply a thinking of the Art History.
> >>>
> >>> Magritte drawed a pipe and wrote this is not a pipe.
> >>> Of course this was a representation of a pipe.
> >>>
> >>> Thus if you " see " the words in your mind...
> >>> Don't you see the objet...
> >>>
> >>> Just compare viewing
> >>> arcadian landscapes to
> >>> doggy streets...
> >>>
> >>>
> >>>
> >>> ________________________________
> >>> Acheter en ligne en toute sécurité ? Internet Explorer
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>> From: Venantius J Pinto <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>> Hi Lynne, Hi Sylvia, Hi All-
> >>> A few thoughts for what they are worth: Individuals have very
> >>> different concerns, and this is dictated to some degree with ones
> >>> environmental constructs - relationship with people and place;
> which
> >>> then opens up to include the immediate outside (out of ones group,
> >>> philosophies, day-to-day realities, including those perceived
> slights
> >>> and true joys); later widening the ambit in seeing those even
> further
> >>> and further away in terms of various manners of distancing (near
> and
> >>> far) whether they be attitudes, levels of politeness, élan,
> elegance.
> >>> From the Self to the World.
> >>>
> >>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>> parents. As with most people we too different in appearances as
> also
> >>> the way Indians see one another across a range of categories. So
> >>> seeing is complex in various individuals, groups, clumps of
> villages,
> >>> etc. The way a true cosmopolitan Indian see the world outside
> India,
> >>> see the outside world in India is layered too. I used to tell my
> >>> students at F.I.T. many years ago - see me not only as an Indian
> >>> standing in front of you. Listen to what I say, the analogies I
> make,
> >>> the thoughts I put out, the idioms I use.
> >>>
> >>> Then there is the the other Seeing - how the non-Indian sees the
> >>> Indian they encounter whether in India or outside India, The
> >>> distinctions needless to say would be many; dovetail that with
> >>> individual biases, comprehensions, cultural imprints and we begin
> to
> >>> get a glimpse of our complex faculties. My Indian passport often
> makes
> >>> travel a bit difficult for me. That may just be the nature of
> >>> bureaucracy or individual attitudes on part of the Immigration
> >>> officers I encounter. But I am not going to blame individual
> counties.
> >>>
> >>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> If I
> >>> am invited I show up; keep doing my thing. But I have learnt
> something
> >>> which to me is helpful, and a bit amusing - I am hardly given the
> time
> >>> of day by those same people who are very reasonable in their
> thoughts,
> >>> ideas, lived aesthetics. In time they too will/ may change, have
> more
> >>> fulfilling experiences. Drawing can do that to you - give you
> >>> gravitas. From time to time someone opens or point to a path;
> Damian
> >>> Fennell and Steve Garner being two via DRN. Others** did not and
> they
> >>> are individuals to reckon with (Note: I am not saying its my
> right).
> >>> Although one is not being boorish or banal, people make decisions
> on
> >>> their perceptions and presumably if interests coincide. Even things
> >>> like whether you are cool/ appear Cool, plays a part. That is one
> >>> strand in modernity, and we have to accept that, but keep going.
> As I
> >>> ready my self for some large works I keep this in mind.
> >>>
> >>> Besides, and its not a joke - it would take the work of the
> **latter
> >>> to another level for sure. We are not all equal in sheer skill, but
> >>> will gain or achieve very different things and on/ at different
> >>> levels. And this is not arrogance. Its obvious, and is common
> sense.
> >>>
> >>> In appreciation,
> >>> venantius j pinto
> >>>
> >>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>> bonjour i have read what you have written and thought about it
> >>> i do not
> >>>> understand i feel the world is full of interesting things
> >>> places
> >>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>> RILEY in Birmingham and so on the rudeness of people when i
> >>> began on
> >>>> this site was primarily from England as i emailing everyone
> >>> instead
> >>>> of the individual people in Europe were ploite and emailed me so
> >>> i guess i
> >>>> am not into streets of dog poo but Cezanne and try and
> >>> i am
> >>>> polite and it is okay to be pedantic if anyone so chooses
> >>> with
> >>>> regard
> >>>>
> >>>> Lynne Langton
> >>>>
> >>>> ________________________________
> >>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>> Subject: drawing research
> >>>>
> >>>> Is this pedantic or old
> >>>>
> >>>> please have a look
> >>>>
> >>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>> anywhere.
> >>>>
> >>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>> are as flowers in well kept meadows.
> >>>>
> >>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>> When this teens are concerned this is their level
> >>>>
> >>>> But how feel right when a society has everybody talking
> >>>> as teens...
> >>>>
> >>>> Once again i do not try to judge
> >>>> but to apply a thinking of the Art History.
> >>>>
> >>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>> Of course this was a representation of a pipe.
> >>>>
> >>>> Thus if you " see " the words in your mind...
> >>>> Don't you see the objet...
> >>>>
> >>>> Just compare viewing
> >>>> arcadian landscapes
> >>>> to
> >>>> doggy streets...
> >>>>
> >>>>
> >>>>
> >>>> ________________________________
> >>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>> gratuitement !
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 20:03:07 +0200
> >>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>>
> >>> Hi Venantius Hi All
> >>> thanks for your very interesting message.
> >>> getting to know other cultures is a marvellous gift of life our
> >>> societies allows.
> >>> Frogive me my english is not so well written : as a french :)
> >>> The topic is whether language should be elegant and possibly with
> no
> >>> mistakes
> >>> I just suggested to compare :an arcadian landscape ( used as a
> symbol of
> >>> beautiful language )
> >>> and
> >>> a doggy street ( used as a symbol of some vernacular language
> people
> >>> use)
> >>> That was the purpose of up education...
> >>> My purpose was not to judge people nor art...Just try people to "
> view "
> >>> that sometimewords also represent objects...
> >>> By the way i really appreciate Bridget Rileyand also Sol le Witt
> as a
> >>> mathematician in arts :)
> >>> thanks and best
> >>> Sylvia CORNET
> >>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>> From: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>
> >>>> Hi Lynne, Hi Sylvia, Hi All-
> >>>> A few thoughts for what they are worth: Individuals have very
> >>>> different concerns, and this is dictated to some degree with ones
> >>>> environmental constructs - relationship with people and place;
> which
> >>>> then opens up to include the immediate outside (out of ones group,
> >>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>> and further away in terms of various manners of distancing (near
> and
> >>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>> From the Self to the World.
> >>>>
> >>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>> parents. As with most people we too different in appearances as
> also
> >>>> the way Indians see one another across a range of categories. So
> >>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>> see the outside world in India is layered too. I used to tell my
> >>>> students at F.I.T. many years ago - see me not only as an Indian
> >>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>> the thoughts I put out, the idioms I use.
> >>>>
> >>>> Then there is the the other Seeing - how the non-Indian sees the
> >>>> Indian they encounter whether in India or outside India, The
> >>>> distinctions needless to say would be many; dovetail that with
> >>>> individual biases, comprehensions, cultural imprints and we begin
> to
> >>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>> travel a bit difficult for me. That may just be the nature of
> >>>> bureaucracy or individual attitudes on part of the Immigration
> >>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>
> >>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>> If I
> >>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>> which to me is helpful, and a bit amusing - I am hardly given the
> >>> time
> >>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>> fulfilling experiences. Drawing can do that to you - give you
> >>>> gravitas. From time to time someone opens or point to a path;
> Damian
> >>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>> are individuals to reckon with (Note: I am not saying its my
> right).
> >>>> Although one is not being boorish or banal, people make decisions
> on
> >>>> their perceptions and presumably if interests coincide. Even
> things
> >>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>> strand in modernity, and we have to accept that, but keep going.
> As
> >>> I
> >>>> ready my self for some large works I keep this in mind.
> >>>>
> >>>> Besides, and its not a joke - it would take the work of the
> **latter
> >>>> to another level for sure. We are not all equal in sheer skill,
> but
> >>>> will gain or achieve very different things and on/ at different
> >>>> levels. And this is not arrogance. Its obvious, and is common
> sense.
> >>>>
> >>>> In appreciation,
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>> bonjour i have read what you have written and thought about it
> >>> i do not
> >>>>> understand i feel the world is full of interesting things
> >>> places
> >>>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>>> RILEY in Birmingham and so on the rudeness of people when i
> >>> began on
> >>>>> this site was primarily from England as i emailing
> >>> everyone instead
> >>>>> of the individual people in Europe were ploite and emailed me so
> >>> i guess i
> >>>>> am not into streets of dog poo but Cezanne and try and
> >>> i am
> >>>>> polite and it is okay to be pedantic if anyone so chooses
> >>> with
> >>>>> regard
> >>>>>
> >>>>> Lynne Langton
> >>>>>
> >>>>> ________________________________
> >>>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>> Subject: drawing research
> >>>>>
> >>>>> Is this pedantic or old
> >>>>>
> >>>>> please have a look
> >>>>>
> >>>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>>> anywhere.
> >>>>>
> >>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>> are as flowers in well kept meadows.
> >>>>>
> >>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>> When this teens are concerned this is their level
> >>>>>
> >>>>> But how feel right when a society has everybody talking
> >>>>> as teens...
> >>>>>
> >>>>> Once again i do not try to judge
> >>>>> but to apply a thinking of the Art History.
> >>>>>
> >>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>> Of course this was a representation of a pipe.
> >>>>>
> >>>>> Thus if you " see " the words in your mind...
> >>>>> Don't you see the objet...
> >>>>>
> >>>>> Just compare viewing
> >>>>> arcadian landscapes
> >>>>> to
> >>>>> doggy streets...
> >>>>>
> >>>>>
> >>>>>
> >>>>> ________________________________
> >>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>>> gratuitement !
> >>>
> >>> _________________________________________________________________
> >>> Découvrez comment SURFER DISCRETEMENT sur un site de rencontres !
> >>> http://clk.atdmt.com/FRM/go/206608211/direct/01/
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 19:09:30 +0100
> >>> From: ana leonor rodrigues <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>> Dear Sylvia, and dear all
> >>> Well, dogs are nice creatures, it's true they defecate a lot around
> >>> the urban environments, but it is part of life, like graffiti or
> >>> homeless beings, unbearable things in grades.
> >>> None of them exit inside arcadean landscapes, but give me the
> warmth
> >>> of beings, the screams of the walls, the struggle of life, which
> I'd
> >>> rather have to the hygienic and boring arcadean landscapes.
> >>> It's true that people are very different, that is what makes life
> >>> fascinating.
> >>> Ana Leonor
> >>>
> >>>
> >>>
> >>> 2010/5/5, Venantius J Pinto <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>:
> >>>> Hi Lynne, Hi Sylvia, Hi All-
> >>>> A few thoughts for what they are worth: Individuals have very
> >>>> different concerns, and this is dictated to some degree with ones
> >>>> environmental constructs - relationship with people and place;
> which
> >>>> then opens up to include the immediate outside (out of ones group,
> >>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>> and further away in terms of various manners of distancing (near
> and
> >>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>> From the Self to the World.
> >>>>
> >>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>> parents. As with most people we too different in appearances as
> also
> >>>> the way Indians see one another across a range of categories. So
> >>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>> see the outside world in India is layered too. I used to tell my
> >>>> students at F.I.T. many years ago - see me not only as an Indian
> >>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>> the thoughts I put out, the idioms I use.
> >>>>
> >>>> Then there is the the other Seeing - how the non-Indian sees the
> >>>> Indian they encounter whether in India or outside India, The
> >>>> distinctions needless to say would be many; dovetail that with
> >>>> individual biases, comprehensions, cultural imprints and we begin
> to
> >>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>> travel a bit difficult for me. That may just be the nature of
> >>>> bureaucracy or individual attitudes on part of the Immigration
> >>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>
> >>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>> If I
> >>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>> which to me is helpful, and a bit amusing - I am hardly given the
> >>> time
> >>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>> fulfilling experiences. Drawing can do that to you - give you
> >>>> gravitas. From time to time someone opens or point to a path;
> Damian
> >>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>> are individuals to reckon with (Note: I am not saying its my
> right).
> >>>> Although one is not being boorish or banal, people make decisions
> on
> >>>> their perceptions and presumably if interests coincide. Even
> things
> >>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>> strand in modernity, and we have to accept that, but keep going.
> As
> >>> I
> >>>> ready my self for some large works I keep this in mind.
> >>>>
> >>>> Besides, and its not a joke - it would take the work of the
> **latter
> >>>> to another level for sure. We are not all equal in sheer skill,
> but
> >>>> will gain or achieve very different things and on/ at different
> >>>> levels. And this is not arrogance. Its obvious, and is common
> sense.
> >>>>
> >>>> In appreciation,
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>> bonjour i have read what you have written and thought about it
> >>> i do
> >>>>> not
> >>>>> understand i feel the world is full of interesting things
> >>> places
> >>>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>>> RILEY in Birmingham and so on the rudeness of people when i
> >>> began
> >>>>> on
> >>>>> this site was primarily from England as i emailing everyone
> >>>>> instead
> >>>>> of the individual people in Europe were ploite and emailed me
> >>> so i guess
> >>>>> i
> >>>>> am not into streets of dog poo but Cezanne and try and
> >>> i am
> >>>>> polite and it is okay to be pedantic if anyone so chooses
> >>> with
> >>>>> regard
> >>>>>
> >>>>> Lynne Langton
> >>>>>
> >>>>> ________________________________
> >>>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>> Subject: drawing research
> >>>>>
> >>>>> Is this pedantic or old
> >>>>>
> >>>>> please have a look
> >>>>>
> >>>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>>> anywhere.
> >>>>>
> >>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>> are as flowers in well kept meadows.
> >>>>>
> >>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>> When this teens are concerned this is their level
> >>>>>
> >>>>> But how feel right when a society has everybody talking
> >>>>> as teens...
> >>>>>
> >>>>> Once again i do not try to judge
> >>>>> but to apply a thinking of the Art History.
> >>>>>
> >>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>> Of course this was a representation of a pipe.
> >>>>>
> >>>>> Thus if you " see " the words in your mind...
> >>>>> Don't you see the objet...
> >>>>>
> >>>>> Just compare viewing
> >>>>> arcadian landscapes
> >>>>> to
> >>>>> doggy streets...
> >>>>>
> >>>>>
> >>>>>
> >>>>> ________________________________
> >>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>>> gratuitement !
> >>>>
> >>>
> >>>
> >>> -- Ana Leonor M. Madeira Rodrigues
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 14:38:45 -0400
> >>> From: Venantius J Pinto <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>> Hi Sylvia-
> >>> My apologies. I understood the topic but was presenting an
> >>> extrapolated analogy.
> >>>
> >>> Again my sincere apologies. In future I will stay within the
> confines
> >>> of the thoughts presented.
> >>>
> >>> venantius j pinto
> >>>
> >>> On Wed, May 5, 2010 at 2:03 PM, sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>> Hi Venantius Hi All
> >>>> thanks for your very interesting message.
> >>>> getting to know other cultures is a marvellous gift of life our
> >>> societies
> >>>> allows.
> >>>> Frogive me my english is not so well written : as a french :)
> >>>> The topic is whether
> >>>> language should be elegant and possibly with no mistakes
> >>>> I just suggested to compare :
> >>>> an arcadian landscape ( used as a symbol of beautiful language )
> >>>> and
> >>>> a doggy street ( used as a symbol of some vernacular language
> >>> people use)
> >>>> That was the purpose of up education...
> >>>> My purpose was not to judge people nor art...
> >>>> Just try people to " view " that sometime
> >>>> words also represent objects...
> >>>> By the way i really appreciate Bridget Riley
> >>>> and also Sol le Witt as a mathematician in arts :)
> >>>> thanks and best
> >>>> Sylvia CORNET
> >>>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>>> From: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>> Subject: Re: drawing research
> >>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>>
> >>>>> Hi Lynne, Hi Sylvia, Hi All-
> >>>>> A few thoughts for what they are worth: Individuals have very
> >>>>> different concerns, and this is dictated to some degree with ones
> >>>>> environmental constructs - relationship with people and place;
> >>> which
> >>>>> then opens up to include the immediate outside (out of ones
> group,
> >>>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>>> and further away in terms of various manners of distancing (near
> >>> and
> >>>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>>> From the Self to the World.
> >>>>>
> >>>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>>> parents. As with most people we too different in appearances as
> >>> also
> >>>>> the way Indians see one another across a range of categories. So
> >>>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>>> see the outside world in India is layered too. I used to tell my
> >>>>> students at F.I.T. many years ago - see me not only as an Indian
> >>>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>>> the thoughts I put out, the idioms I use.
> >>>>>
> >>>>> Then there is the the other Seeing - how the non-Indian sees the
> >>>>> Indian they encounter whether in India or outside India, The
> >>>>> distinctions needless to say would be many; dovetail that with
> >>>>> individual biases, comprehensions, cultural imprints and we begin
> >>> to
> >>>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>>> travel a bit difficult for me. That may just be the nature of
> >>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>>
> >>>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>> If I
> >>>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>>> which to me is helpful, and a bit amusing - I am hardly given the
> >>> time
> >>>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>>> fulfilling experiences. Drawing can do that to you - give you
> >>>>> gravitas. From time to time someone opens or point to a path;
> >>> Damian
> >>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>>> are individuals to reckon with (Note: I am not saying its my
> >>> right).
> >>>>> Although one is not being boorish or banal, people make decisions
> >>> on
> >>>>> their perceptions and presumably if interests coincide. Even
> things
> >>>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>>> strand in modernity, and we have to accept that, but keep going.
> >>> As I
> >>>>> ready my self for some large works I keep this in mind.
> >>>>>
> >>>>> Besides, and its not a joke - it would take the work of the
> >>> **latter
> >>>>> to another level for sure. We are not all equal in sheer skill,
> but
> >>>>> will gain or achieve very different things and on/ at different
> >>>>> levels. And this is not arrogance. Its obvious, and is common
> >>> sense.
> >>>>>
> >>>>> In appreciation,
> >>>>> venantius j pinto
> >>>>>
> >>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>>> bonjour i have read what you have written and thought about it
> >>> i do
> >>>>>> not
> >>>>>> understand i feel the world is full of interesting things
> >>> places
> >>>>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>>>> RILEY in Birmingham and so on the rudeness of people when i
> >>> began
> >>>>>> on
> >>>>>> this site was primarily from England as i emailing
> >>> everyone
> >>>>>> instead
> >>>>>> of the individual people in Europe were ploite and emailed me
> >>> so i
> >>>>>> guess i
> >>>>>> am not into streets of dog poo but Cezanne and try
> >>> and i am
> >>>>>> polite and it is okay to be pedantic if anyone so chooses
> >>> with
> >>>>>> regard
> >>>>>>
> >>>>>> Lynne Langton
> >>>>>>
> >>>>>> ________________________________
> >>>>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>> Subject: drawing research
> >>>>>>
> >>>>>> Is this pedantic or old
> >>>>>>
> >>>>>> please have a look
> >>>>>>
> >>>>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>>>> anywhere.
> >>>>>>
> >>>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>>> are as flowers in well kept meadows.
> >>>>>>
> >>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>> When this teens are concerned this is their level
> >>>>>>
> >>>>>> But how feel right when a society has everybody talking
> >>>>>> as teens...
> >>>>>>
> >>>>>> Once again i do not try to judge
> >>>>>> but to apply a thinking of the Art History.
> >>>>>>
> >>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>> Of course this was a representation of a pipe.
> >>>>>>
> >>>>>> Thus if you " see " the words in your mind...
> >>>>>> Don't you see the objet...
> >>>>>>
> >>>>>> Just compare viewing
> >>>>>> arcadian landscapes
> >>>>>> to
> >>>>>> doggy streets...
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> ________________________________
> >>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>>>> gratuitement !
> >>>>
> >>>> ________________________________
> >>>> Envie de naviguer sur Internet sans laisser de trace? La solution
> >>> avec
> >>>> Internet Explorer 8
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 19:03:18 +0000
> >>> From: greig burgoyne <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>> does this need to be sent to everyone..?
> >>>
> >>>
> >>> --- On Wed, 5/5/10, ana leonor rodrigues
> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>
> >>>
> >>> From: ana leonor rodrigues <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>> Date: Wednesday, 5 May, 2010, 19:09
> >>>
> >>>
> >>> Dear Sylvia, and dear all
> >>> Well, dogs are nice creatures, it's true they defecate a lot around
> >>> the urban environments, but it is part of life, like graffiti or
> >>> homeless beings, unbearable things in grades.
> >>> None of them exit inside arcadean landscapes, but give me the
> warmth
> >>> of beings, the screams of the walls, the struggle of life, which
> I'd
> >>> rather have to the hygienic and boring arcadean landscapes.
> >>> It's true that people are very different, that is what makes life
> >>> fascinating.
> >>> Ana Leonor
> >>>
> >>>
> >>>
> >>> 2010/5/5, Venantius J Pinto <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>:
> >>>> Hi Lynne, Hi Sylvia, Hi All-
> >>>> A few thoughts for what they are worth: Individuals have very
> >>>> different concerns, and this is dictated to some degree with ones
> >>>> environmental constructs - relationship with people and place;
> which
> >>>> then opens up to include the immediate outside (out of ones group,
> >>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>> and further away in terms of various manners of distancing (near
> and
> >>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>> From the Self to the World.
> >>>>
> >>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>> parents. As with most people we too different in appearances as
> also
> >>>> the way Indians see one another across a range of categories. So
> >>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>> see the outside world in India is layered too. I used to tell my
> >>>> students at F.I.T. many years ago - see me not only as an Indian
> >>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>> the thoughts I put out, the idioms I use.
> >>>>
> >>>> Then there is the the other Seeing - how the non-Indian sees the
> >>>> Indian they encounter whether in India or outside India, The
> >>>> distinctions needless to say would be many; dovetail that with
> >>>> individual biases, comprehensions, cultural imprints and we begin
> to
> >>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>> travel a bit difficult for me. That may just be the nature of
> >>>> bureaucracy or individual attitudes on part of the Immigration
> >>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>
> >>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>> If I
> >>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>> which to me is helpful, and a bit amusing - I am hardly given the
> >>> time
> >>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>> fulfilling experiences. Drawing can do that to you - give you
> >>>> gravitas. From time to time someone opens or point to a path;
> Damian
> >>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>> are individuals to reckon with (Note: I am not saying its my
> right).
> >>>> Although one is not being boorish or banal, people make decisions
> on
> >>>> their perceptions and presumably if interests coincide. Even
> things
> >>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>> strand in modernity, and we have to accept that, but keep going.
> As
> >>> I
> >>>> ready my self for some large works I keep this in mind.
> >>>>
> >>>> Besides, and its not a joke - it would take the work of the
> **latter
> >>>> to another level for sure. We are not all equal in sheer skill,
> but
> >>>> will gain or achieve very different things and on/ at different
> >>>> levels. And this is not arrogance. Its obvious, and is common
> sense.
> >>>>
> >>>> In appreciation,
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>> bonjour i have read what you have written and thought about it
> >>> i do
> >>>>> not
> >>>>> understand i feel the world is full of interesting things
> >>> places
> >>>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>>> RILEY in Birmingham and so on the rudeness of people when i
> >>> began
> >>>>> on
> >>>>> this site was primarily from England as i emailing
> >>> everyone
> >>>>> instead
> >>>>> of the individual people in Europe were ploite and emailed me so
> >>> i guess
> >>>>> i
> >>>>> am not into streets of dog poo but Cezanne and try and
> >>> i am
> >>>>> polite and it is okay to be pedantic if anyone so chooses
> >>> with
> >>>>> regard
> >>>>>
> >>>>> Lynne Langton
> >>>>>
> >>>>> ________________________________
> >>>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>> Subject: drawing research
> >>>>>
> >>>>> Is this pedantic or old
> >>>>>
> >>>>> please have a look
> >>>>>
> >>>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>>> anywhere.
> >>>>>
> >>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>> are as flowers in well kept meadows.
> >>>>>
> >>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>> When this teens are concerned this is their level
> >>>>>
> >>>>> But how feel right when a society has everybody talking
> >>>>> as teens...
> >>>>>
> >>>>> Once again i do not try to judge
> >>>>> but to apply a thinking of the Art History.
> >>>>>
> >>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>> Of course this was a representation of a pipe.
> >>>>>
> >>>>> Thus if you " see " the words in your mind...
> >>>>> Don't you see the objet...
> >>>>>
> >>>>> Just compare viewing
> >>>>> arcadian landscapes
> >>>>> to
> >>>>> doggy streets...
> >>>>>
> >>>>>
> >>>>>
> >>>>> ________________________________
> >>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>>> gratuitement !
> >>>>
> >>>
> >>>
> >>> -- Ana Leonor M. Madeira Rodrigues
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 22:25:00 +0200
> >>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: drawing research
> >>>
> >>>
> >>> Dear All Dear Venantius
> >>> pls no need to apology aren't we all " open minded " and trying
> toopen
> >>> brains and views also as educators as Artist are opinion leaders...
> >>> as Steve said : aren't we a community kind ofwho tryes to exchange
> views
> >>> on facts related to
> >>> DRAWING RESEARCH
> >>> the logical proposal expressed as
> >>> WORD = IMAGE = OBJECT
> >>> SLANG WORD = WHICH IMAGE & WHICH OBJECT IN THE " SPACE " OF SPEECH
> AND
> >>> THOUGHTSthus without judging but asking to which mental level /
> age /
> >>> maturation spirit this may refer to
> >>> EDUCATED WORDS = WHICH IMAGE & WHICH OBJECTS IN THE " SPACE " OF
> SPEECH
> >>> AND THOUGHTS
> >>>
> >>> is a logical intersting question to be debated
> >>> and many various disciplines may get linked to this proposal
> >>> thanks for attentionbest
> >>> :)
> >>>
> >>>> Date: Wed, 5 May 2010 14:38:45 -0400
> >>>> From: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>
> >>>> Hi Sylvia-
> >>>> My apologies. I understood the topic but was presenting an
> >>>> extrapolated analogy.
> >>>>
> >>>> Again my sincere apologies. In future I will stay within the
> >>> confines
> >>>> of the thoughts presented.
> >>>>
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 2:03 PM, sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>> Hi Venantius Hi All
> >>>>> thanks for your very interesting message.
> >>>>> getting to know other cultures is a marvellous gift of life our
> >>> societies
> >>>>> allows.
> >>>>> Frogive me my english is not so well written : as a french :)
> >>>>> The topic is whether
> >>>>> language should be elegant and possibly with no mistakes
> >>>>> I just suggested to compare :
> >>>>> an arcadian landscape ( used as a symbol of beautiful language )
> >>>>> and
> >>>>> a doggy street ( used as a symbol of some vernacular language
> >>> people use)
> >>>>> That was the purpose of up education...
> >>>>> My purpose was not to judge people nor art...
> >>>>> Just try people to " view " that sometime
> >>>>> words also represent objects...
> >>>>> By the way i really appreciate Bridget Riley
> >>>>> and also Sol le Witt as a mathematician in arts :)
> >>>>> thanks and best
> >>>>> Sylvia CORNET
> >>>>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>>>> From: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>>> Subject: Re: drawing research
> >>>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>>>
> >>>>>> Hi Lynne, Hi Sylvia, Hi All-
> >>>>>> A few thoughts for what they are worth: Individuals have very
> >>>>>> different concerns, and this is dictated to some degree with
> ones
> >>>>>> environmental constructs - relationship with people and place;
> >>> which
> >>>>>> then opens up to include the immediate outside (out of ones
> group,
> >>>>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>>>> and further away in terms of various manners of distancing (near
> >>> and
> >>>>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>>>> From the Self to the World.
> >>>>>>
> >>>>>> Now a bit about me: I am of Indian origin, born in Mumbai of
> Goan
> >>>>>> parents. As with most people we too different in appearances as
> >>> also
> >>>>>> the way Indians see one another across a range of categories. So
> >>>>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>>>> see the outside world in India is layered too. I used to tell my
> >>>>>> students at F.I.T. many years ago - see me not only as an Indian
> >>>>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>>>> the thoughts I put out, the idioms I use.
> >>>>>>
> >>>>>> Then there is the the other Seeing - how the non-Indian sees the
> >>>>>> Indian they encounter whether in India or outside India, The
> >>>>>> distinctions needless to say would be many; dovetail that with
> >>>>>> individual biases, comprehensions, cultural imprints and we
> begin
> >>> to
> >>>>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>>>> travel a bit difficult for me. That may just be the nature of
> >>>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>>>
> >>>>>> I know where I stand in Drawing, but do not make a hoo-hah of
> it.
> >>> If I
> >>>>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>>>> which to me is helpful, and a bit amusing - I am hardly given
> the
> >>> time
> >>>>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>>>> fulfilling experiences. Drawing can do that to you - give you
> >>>>>> gravitas. From time to time someone opens or point to a path;
> >>> Damian
> >>>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>>>> are individuals to reckon with (Note: I am not saying its my
> >>> right).
> >>>>>> Although one is not being boorish or banal, people make
> decisions
> >>> on
> >>>>>> their perceptions and presumably if interests coincide. Even
> >>> things
> >>>>>> like whether you are cool/ appear Cool, plays a part. That is
> one
> >>>>>> strand in modernity, and we have to accept that, but keep going.
> >>> As I
> >>>>>> ready my self for some large works I keep this in mind.
> >>>>>>
> >>>>>> Besides, and its not a joke - it would take the work of the
> >>> **latter
> >>>>>> to another level for sure. We are not all equal in sheer skill,
> >>> but
> >>>>>> will gain or achieve very different things and on/ at different
> >>>>>> levels. And this is not arrogance. Its obvious, and is common
> >>> sense.
> >>>>>>
> >>>>>> In appreciation,
> >>>>>> venantius j pinto
> >>>>>>
> >>>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>>> <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>> wrote:
> >>>>>>> bonjour i have read what you have written and thought about it
> >>> i do
> >>>>>>> not
> >>>>>>> understand i feel the world is full of interesting
> >>> things places
> >>>>>>> art for example the German Expressionist show in
> >>> Leicester Briget
> >>>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>> i began
> >>>>>>> on
> >>>>>>> this site was primarily from England as i emailing
> >>> everyone
> >>>>>>> instead
> >>>>>>> of the individual people in Europe were ploite and emailed me
> >>> so i
> >>>>>>> guess i
> >>>>>>> am not into streets of dog poo but Cezanne and try
> >>> and i am
> >>>>>>> polite and it is okay to be pedantic if anyone so
> >>> chooses with
> >>>>>>> regard
> >>>>>>>
> >>>>>>> Lynne Langton
> >>>>>>>
> >>>>>>> ________________________________
> >>>>>>> From: sylvia cornet <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>>>>>> To: [log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>>> Subject: drawing research
> >>>>>>>
> >>>>>>> Is this pedantic or old
> >>>>>>>
> >>>>>>> please have a look
> >>>>>>>
> >>>>>>> You walk in a pleasant street and then a dog has applied his
> >>> metabolism
> >>>>>>> anywhere.
> >>>>>>>
> >>>>>>> Sentences are the same. Beautiful words and elegance of
> thinking
> >>>>>>> are as flowers in well kept meadows.
> >>>>>>>
> >>>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>>> When this teens are concerned this is their level
> >>>>>>>
> >>>>>>> But how feel right when a society has everybody talking
> >>>>>>> as teens...
> >>>>>>>
> >>>>>>> Once again i do not try to judge
> >>>>>>> but to apply a thinking of the Art History.
> >>>>>>>
> >>>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>>> Of course this was a representation of a pipe.
> >>>>>>>
> >>>>>>> Thus if you " see " the words in your mind...
> >>>>>>> Don't you see the objet...
> >>>>>>>
> >>>>>>> Just compare viewing
> >>>>>>> arcadian landscapes
> >>>>>>> to
> >>>>>>> doggy streets...
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>> ________________________________
> >>>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>> protège
> >>>>>>> gratuitement !
> >>>>>
> >>>>> ________________________________
> >>>>> Envie de naviguer sur Internet sans laisser de trace? La solution
> >>> avec
> >>>>> Internet Explorer 8
> >>>
> >>> _________________________________________________________________
> >>> Découvrez comment SURFER DISCRETEMENT sur un site de rencontres !
> >>> http://clk.atdmt.com/FRM/go/206608211/direct/01/
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Wed, 5 May 2010 22:13:17 +0100
> >>> From: Maria João Durão
> >>> <[log in to unmask] <[log in to unmask]" target="_blank">http:[log in to unmask]>>
> >>> Subject: Re: TRACEY Call for Papers - Deadline
> >>>
> >>> Dear Deborah Harty,
> >>>
> >>> I am professor of drawing at the Lisbon Faculty of Architecture. It
> >>> happens that I am also a researcher in the Space Architect
> Committee of
> >>> the AIAA American Institute of Aeronautics and Astronautics
> >>> www.fa.utl.pt
> >>> www.spacearchitect.org
> >>>
> >>> where Im presently developing a VIRTUAL project based on an older
> idea
> >>> that dealt with the interior of the Destiny module of the
> International
> >>> Space Centre, with digital means. My experience is with hand
> sketching
> >>> but virtual technologies are a completely diferent tool altogether
> and
> >>> does not implicate with hand drawing in any sense, according to my
> >>> experience. In weightless space this technology allows one to
> "see" the
> >>> world from angles only possible in 0 -micro gravity.
> >>>
> >>> I intended to send you a paper dealing with this topic by the 23rd
> May,
> >>> but hve just realized that it is the 23rd April.
> >>> I am sending you some material for you to analyse in case you are
> >>> interested in publishing my work, somewhere . The abstract I am
> sending
> >>> you is just a way to inform about the nature of the virtual
> experience
> >>> and the just sufficient to carry the message.
> >>> Please be free to contact me for further information.
> >>> Kind regards,
> >>> Maria Joao Durao
> >>>
> >>>
> >>> Quoting Deborah Harty <[log in to unmask]
> >>> <[log in to unmask]" target="_blank">http:[log in to unmask]>>:
> >>>
> >>>> The deadline for TRACEY's latest call for papers is 23rd April
> >>> 2010.
> >>>> Please see below for details.
> >>>>
> >>>> Tracey is a peer reviewed electronic journal dedicated to drawing
> and
> >>>> contemporary issues. It is varied and diverse with a fast growing
> >>>> readership of academics, students and practitioners representing
> a wide
> >>>> range of drawing interests including fine
> >>> art,
> >>>> architectural design, graphics, product design and visual
> >>>> communication, ideally any activity in which drawing is essential.
> >>>>
> >>>> You can see us at
> >>> http://www.lboro.ac.uk/departments/ac/tracey/index.html
> >>>>
> >>>> In this next invitation for submissions, we are focusing on the
> theme
> >>>> of Drawing & Technology, particularly in relation to the following
> >>>> questions:
> >>>>
> >>>> Where are the masterpieces of digital drawing?
> >>>>
> >>>> Does digital drawing dissolve the Albertian Window?
> >>>>
> >>>> Does digital drawing dissolve the boundaries between author and
> >>> viewer?
> >>>>
> >>>> Digital collaboration in drawing â what are the opportunities?
> >>>>
> >>>> Motion capture as pencil in a virtual space?
> >>>>
> >>>> How does drawing in the third and fourth dimension challenge our
> >>>> traditional practices?
> >>>>
> >>>> Can computational modelling advance our understanding of drawing
> >>> processes?
> >>>>
> >>>> What are the benefits of having an intelligent assistant?
> >>>>
> >>>> Does e-paper change anything?
> >>>>
> >>>>
> >>>> A submission may constitute drawings or other visual material,
> >>> texts
> >>>> or research papers that have not been published before or have
> >>> been
> >>>> published in a different context and also texts and images
> combined.
> >>>> There is no word or image limit at this stage.
> >>>>
> >>>> All submissions will be peer reviewed by two members of the peer
> >>>> review panel. Please visit the site to view our guidelines for
> >>>> submissions and a list of our peer reviewers.
> >>>> Submissions should be accompanied by a summary of content and
> italics
> >>>> should be highlighted in colour. If text includes images, send
> images
> >>>> also as separate jpegs. Submissions should be on disc (Zip or CD
> and
> >>>> 300 dpi) or as attachments in MS Word with pictures/images
> separate as
> >>>> jpegs (72dpi). Send to [log in to unmask]
> >>>> <[log in to unmask]" target="_blank">http:[log in to unmask]>
> >>> or c/o Deborah Harty, Loughborough University,
> >>>> School of Art & Design, Epinal Way, Loughborough, Leicestershire
> UK,
> >>>> LE11 3TU no later than the 23rd April 2010.
> >>>>
> >>>>
> >>>> Deborah Harty
> >>>>
> >>>
> >>>
> >>>
> >>> ----------------------------------------------------------------
> >>> This message was sent using IMP, the Internet Messaging Program.
> >>>
> >>> -----------------------------
> >>>
> >>> End of DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> (#2010-78)
> >>>
> ********************************************************************
> >>>
> >>>
> >>>
> >>> ________________________________
> >>>
> >>>
> >>> Hotmail: Powerful Free email with security by Microsoft. Get it
> now.
> >>> <https://signup.live.com/signup.aspx?id=60969>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> ________________________________
> >>>
> >>> Hotmail: Trusted email with Microsoft's powerful SPAM protection.
> Sign
> >>> up now. <https://signup.live.com/signup.aspx?id=60969>
> >>>
> >>>
> >>>
> >>> ------------------------------
> >>>
> >>> Date: Fri, 7 May 2010 10:21:12 +0000
> >>> From: T JONES <[log in to unmask]>
> >>> Subject: Re: DRAWING-RESEARCH Digest - 6 May 2010 (#2010-81)
> >>>
> >>> Hello Jac and others,
> >>> The question 'Who is the drawing is for ?' is a crucial one. Whilst
> >>> there is firstly a central audience of one (the person who makes
> the
> >>> drawing), there is secondly an infinitely varied audience of
> unlimited
> >>> numbers both now and in the future: friends, family, art scene
> peers,
> >>> gallery visitors, dealers, critics, book readers, etc. The
> relationship
> >>> between these two major audience groups connects closely with how
> an
> >>> individual draws. It might help others to identify different
> positions
> >>> on this balance if I briefly describe my own . For me, making a
> drawing
> >>> is a form of an evolving reflection on images, circumstances and
> events
> >>> that resonate with my everyday thinking and feeling. The act of
> drawing
> >>> becomes a way of identifying and understanding that resonance and
> thus
> >>> is centred very much on the first audience: me. In this way,
> drawing
> >>> functions for me in a Ruskinian way: making a drawing is a means of
> >>> understanding the world around me and - because it is me who is
> engaged
> >>> in the process of drawing - coming to understand more about
> myself. I
> >>> hasten to add, that Ruskin would have been horrified by my
> drawings;
> >>> indeed, he would not have recognised them as such.
> >>> Metaphorically, any type of reflection is a form of self-feedback.
> For
> >>> me, this takes the form of an imaginary conversation in which I ask
> >>> myself questions and try to provide satisfactory answers.
> Sometimes this
> >>> involves playing devil's advocate with my own thoughts. On writing
> this
> >>> (an act of reflection again!) I have just come to realise that
> this is
> >>> broadly the process I apply to drawing. The difference however is
> that my
> >>> imaginary interlocutor is the other person who sees the drawing -
> in a
> >>> few minutes, tomorrow, next year or after I am dead. As I draw, the
> >>> constant questions I ask are of the following types: Will this
> person
> >>> understand what I am saying in the drawing ? Am I making it clear
> enough
> >>> for them ? Is there sufficient correlation between what I sense or
> feel
> >>> or think and the marks I put on the paper for this person to get
> onto my
> >>> wave length ? How can I make the breadth and depth of what I am
> >>> understanding, sensing or feeling apparent to this person without
> >>> becoming obscure and private ?
> >>> In short, both types of audience are central to my drawing. I
> cannot
> >>> imagine how I would make a drawing without a balance of
> interactions:
> >>> with one real audience (me) and with one imaginary one (the person
> who
> >>> will see the drawing afterwards). This maybe a simplistic going
> about
> >>> making a drawing but it works for me.
> >>> Tom
> >>>
> >>> --- On Fri, 7/5/10, DRAWING-RESEARCH automatic digest system
> >>> <[log in to unmask]> wrote:
> >>>
> >>> From: DRAWING-RESEARCH automatic digest system
> <[log in to unmask]>
> >>> Subject: DRAWING-RESEARCH Digest - 6 May 2010 (#2010-81)
> >>> To: [log in to unmask]
> >>> Date: Friday, 7 May, 2010, 0:00
> >>>
> >>> There are 7 messages totaling 3022 lines in this issue.
> >>>
> >>> Topics of the day:
> >>>
> >>> 1. Research not chat! (4)
> >>> 2. Fw: Research not chat!
> >>> 3. DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010 (#2010-78)
> >>> 4. NIGHT OF MUSEUMS // MAY 15 TH NATIONAL ARCHIVES MUSEUM IN PARIS
> THEMA
> >>> :
> >>> THE UNIVERSA EXHIBITIONS... La Nuit des Musées aux Archives
> nationales,
> >>> le
> >>> 15 mai
> >>>
> >>>
> ----------------------------------------------------------------------
> >>>
> >>> Date: Thu, 6 May 2010 15:18:53 +0000
> >>> From: Rowena Payne <[log in to unmask]>
> >>> Subject: Research not chat!
> >>>
> >>> I seem to be getting far too many emails which are socio-chat and
> not
> >>> related to research. Please therefore unsubscribe me
> >>> Many thanks
> >>> Rowen
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 15:35:20 +0000
> >>> From: Rowena Payne <[log in to unmask]>
> >>> Subject: Fw: Research not chat!
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> ----- Forwarded Message ----
> >>> From: Rowena Payne <[log in to unmask]>
> >>> To: [log in to unmask]
> >>> Sent: Thu, 6 May, 2010 16:18:53
> >>> Subject: Research not chat!
> >>>
> >>>
> >>> I seem to be getting far too many emails which are socio-chat and
> not
> >>> related to research. Pleas
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 17:05:12 +0100
> >>> From: Eduardo Corte Real <[log in to unmask]>
> >>> Subject: Re: Research not chat!
> >>>
> >>> Dear Rowena,
> >>> I'm afraid you will have to do it yourself in the JISC Mail
> website.
> >>> I think that news, discussions, proposals on drawing in general are
> >>> within the general theme of the List.
> >>> I think that the duty of making this list a real debate list on
> drawing
> >>> research is up to the contributors.
> >>> It is up to us the ones interested in research to came up with
> research
> >>> stuff and make it the overwhelming majority of the posts and
> ignore what
> >>> they consider to be chats.
> >>> Best,
> >>> Eduardo Corte-Real
> >>> Dr Arch. Ass. Prof. IADE, Lisbon
> >>>
> >>>
> >>> On 06-05-2010 16:18, Rowena Payne wrote:
> >>>> I seem to be getting far too many emails which are socio-chat and
> >>> not
> >>>> related to research.
> >>>> Please therefore unsubscribe me
> >>>> Many thanks
> >>>> Rowena Payne
> >>>>
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 17:06:18 +0100
> >>> From: Christine Turner <[log in to unmask]>
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>
> >>> Hi,
> >>> Thanks Jac, I think this consolidates my comment nicely. For me at
> >>> present the drawing process is certainly a personal exploration
> the aim
> >>> being to determining an integrity in my work. Once I feel more
> confident
> >>> about this though, I will certainly want to share my ideas and
> findings
> >>> and as a researcher reevaluate through critical discourse, so the
> process
> >>> will become communal, if only toward my own ends. But discourse
> feeds
> >>> other research...we are back to the rhizome here. Perhaps this
> points to
> >>> the extended possibilities of drawing as communication i.e the
> 'process'
> >>> is greater than an individual piece of work?
> >>> Chris
> >>> On 6 May 2010, at 15:39, Jac Saorsa wrote:
> >>>
> >>>> Hi all
> >>>> Thanks to those who have responded - and so quickly! Just to say
> that I
> >>>> think my use of the term 'documentation' may have led to a
> >>>> misunderstanding. I am certainly not talking only about
> 'observational'
> >>>> drawing as such and discounting 'inspiration' or critical
> >>>> participation, indeed, quite conversely, I very much believe that
> these
> >>>> things are what gives the drawing life and energy. My point is
> mainly
> >>>> that the drawing process itself 'documents' all of this
> spontaneity,
> >>>> sentiment etc as well as the subject - be it figurative or
> >>>> non-figurative, and once the process ends - when we finish the
> >>>> drawing - some of that energy must necessarily dissipate, only to
> >>>> regenerate in the next piece. The viewer's interpretation of our
> >>>> drawing is out of our control in many ways but does this matter
> (and if
> >>>> so how and why?)in terms of the drawing act itself....Maybe
> another
> >>>> question I could throw out is... for whom are we drawing?
> >>>> Jac
> >>>> Date: Thu, 6 May 2010 15:22:25 +0100
> >>>> From: [log in to unmask]
> >>>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>>> (#2010-78)
> >>>> To: [log in to unmask]
> >>>>
> >>>> Hello Jac and all,
> >>>>
> >>>> I am embroiled in a reflexive practice that has lead to the
> process and
> >>>> my critical participation in it being more imperative than any
> drawing
> >>>> or painting produced.So yes, at present the drawings are less
> >>>> interesting than the process but precisely because the
> >>>>
> >>>> process regenerates and invigorates the personal practice. My
> personal
> >>>> debate has in part become (nothing new here!) between
> representation
> >>>> and the abstract nature of drawing and painting, chance elements
> >>>> playing a big part. I am however mindful of not
> >>>>
> >>>> including a viewer in this process.
> >>>> Chris
> >>>>
> >>>> On 6 May 2010, at 14:40, Jac Saorsa wrote:
> >>>>
> >>>> Hi Tom
> >>>> I want to say that I am in total agreement...I wonder if perhaps
> the
> >>>> some of the 'conversational' messages we have all been party to
> over
> >>>> the last few days might have been better shared privately between
> those
> >>>> concerned, not because what is being said is not valid, more that
> it is
> >>>> not necessarily valid on a list where the priority is research.
> >>>> Maybe I can change the subject a little and offer a perhaps
> >>>> controversial idea that is of long interest to me and that maybe
> could
> >>>> start a discussion?
> >>>> Documentation is never exclusively oriented to the thing
> documented,
> >>>> since the process by which documentation is carried out must
> >>>> necessarily be inherent in the result. Accordingly, in the case of
> >>>> visual documentation, the drawing process becomes through its very
> >>>> nature an intrinsic part of the drawing, or series of drawings,
> that it
> >>>> generates. Precisely as a self-generating continuum of consecutive
> >>>> drawing acts, the drawing process is therefore representative of
> both
> >>>> the subject towards which it is directed, and of its own
> development,
> >>>> and the result profits from a form of double indemnity in respect
> to
> >>>> its documentary role. Just as the energy of rhizome (both
> natural, and
> >>>> as in Deleuze's conceptual construct) surpasses the necessity for
> it
> >>>> either to grow in any one direction, or indeed ever stop growing
> at
> >>>> all, could it be that drawings themselves are of less interest,
> than
> >>>> the manner in which they came to be?
> >>>> Thoughts...just thoughts...anybody interested in pursuing them?
> >>>> Jac
> >>>>
> >>>>
> >>>> Date: Thu, 6 May 2010 12:30:10 +0000
> >>>> From: [log in to unmask]
> >>>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>>> (#2010-78)
> >>>> To: [log in to unmask]
> >>>>
> >>>> Hello,
> >>>>
> >>>> Research ?
> >>>>
> >>>> Many recent contributions to the DRN have been vehicles for
> promoting,
> >>>> expressing
> >>>> or asserting views about drawing - more or less comprehensibly.
> >>>> Accepting this activity as a function of any network, it
> nevertheless
> >>>> raises the question of how it supports research - reasonably
> definable
> >>>> as 'systematic enquiry in order to achieve wider understanding' ?
> >>>>
> >>>> Further thoughts on this point were prompted by coming across the
> >>>> welcome - if unexpected - phrase ' elegance of thinking' in one
> recent
> >>>> contribution and taking it to mean 'thinking that is fit for
> purpose'.
> >>>>
> >>>> The Drawing Research Network has the potential of creatively re-
> >>>> defining what 'drawing as research' might mean. It could do so
> through
> >>>> practitioners individually reporting on their intentions and
> methods,
> >>>> critically reflecting on the implications of their activities, and
> >>>> engaging in constructive dialogue about them with others.
> However, the
> >>>> DRN can only achieve this potential if 'elegance of thinking'
> underpins
> >>>> the correspondence involved.
> >>>>
> >>>> Though not necessarily requiring the use of traditional English
> >>>> phraseology and perfectly correct grammar, elegance of thinking
> implies
> >>>> that the writer's ideas form a coherent and constructive
> narrative.
> >>>> Furthermore, the narrative needs to be sufficiently
> comprehensible for
> >>>> it to generate informed discussion by others, and thus for it to
> >>>> contribute to an evolving re-definition of 'drawing as research'.
> >>>>
> >>>> This is an argument neither for censoring DRN contributions, nor
> for
> >>>> requiring that they be phrased in prescribed forms and language;
> it is
> >>>> not a matter of personal taste with regard to the content of
> >>>> contributions, nor is it a wish to impose alien values on others.
> It is
> >>>> however, a request for much more elegant thinking than in recent
> >>>> months.
> >>>>
> >>>> Tom
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>> --- On Thu, 6/5/10, DRAWING-RESEARCH automatic digest system
> >>>> <[log in to unmask]> wrote:
> >>>>
> >>>> From: DRAWING-RESEARCH automatic digest system
> >>>> <[log in to unmask]>
> >>>> Subject: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>> To: [log in to unmask]
> >>>> Date: Thursday, 6 May, 2010, 0:15
> >>>>
> >>>> There are 8 messages totaling 1636 lines in this issue.
> >>>>
> >>>> Topics of the day:
> >>>>
> >>>> 1. drawing research (7)
> >>>> 2. TRACEY Call for Papers - Deadline
> >>>>
> >>>>
> >>>
> ----------------------------------------------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 16:38:05 +0000
> >>>> From: lynne langton <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>> bonjour i have read what you have written and thought about it
> >>>
> >>>> i do not understand i feel the world is full of interesting things
> >>>> places art for example the German Expressionist show in Leicester
> >>>> Briget RILEY in Birmingham and so on the rudeness of people when i
> >>>> began on this site was primarily from England as i emailing
> everyone
> >>>> instead of the individual people in Europe were ploite and
> emailed me
> >>>> so i guess i am not into streets of dog poo but Cezanne and try
> and i
> >>>> am polite and it is okay to be pedantic if anyone so chooses
> >>>
> >>>> with regard
> >>>>
> >>>> Lynne Langton
> >>>>
> >>>>
> >>>>
> >>>>
> >>>> ________________________________
> >>>> From: sylvia cornet <[log in to unmask]>
> >>>> To: [log in to unmask]
> >>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>> Subject: drawing research
> >>>>
> >>>> Is this pedantic or old
> >>>>
> >>>> please have a look
> >>>>
> >>>> You walk in a pleasant street and then a dog has applied his
> metabolism
> >>>> anywhere.
> >>>>
> >>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>> are as flowers in well kept meadows.
> >>>>
> >>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>> When this teens are concerned this is their level
> >>>>
> >>>> But how feel right when a society has everybody talking
> >>>> as teens...
> >>>>
> >>>> Once again i do not try to judge
> >>>> but to apply a thinking of the Art History.
> >>>>
> >>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>> Of course this was a representation of a pipe.
> >>>>
> >>>> Thus if you " see " the words in your mind...
> >>>> Don't you see the objet...
> >>>>
> >>>> Just compare viewing
> >>>> arcadian landscapes
> >>>> to
> >>>> doggy streets...
> >>>>
> >>>>
> >>>>
> >>>> ________________________________
> >>>> Acheter en ligne en toute sécurité ? Internet Explorer
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>> From: Venantius J Pinto <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>> A few thoughts for what they are worth: Individuals have very
> >>>> different concerns, and this is dictated to some degree with ones
> >>>> environmental constructs — relationship with people and place;
> which
> >>>> then opens up to include the immediate outside (out of ones group,
> >>>> philosophies, day-to-day realities, including those perceived
> >>> slights
> >>>> and true joys); later widening the ambit in seeing those even
> >>> further
> >>>> and further away in terms of various manners of distancing (near
> and
> >>>> far) whether they be attitudes, levels of politeness, élan,
> >>> elegance.
> >>>> From the Self to the World.
> >>>>
> >>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>> parents. As with most people we too different in appearances as
> >>> also
> >>>> the way Indians see one another across a range of categories. So
> >>>> seeing is complex in various individuals, groups, clumps of
> >>> villages,
> >>>> etc. The way a true cosmopolitan Indian see the world outside
> >>> India,
> >>>> see the outside world in India is layered too. I used to tell my
> >>>> students at F.I.T. many years ago — see me not only as an Indian
> >>>> standing in front of you. Listen to what I say, the analogies I
> >>> make,
> >>>> the thoughts I put out, the idioms I use.
> >>>>
> >>>> Then there is the the other Seeing — how the non-Indian sees the
> >>>> Indian they encounter whether in India or outside India, The
> >>>> distinctions needless to say would be many; dovetail that with
> >>>> individual biases, comprehensions, cultural imprints and we begin
> to
> >>>> get a glimpse of our complex faculties. My Indian passport often
> >>> makes
> >>>> travel a bit difficult for me. That may just be the nature of
> >>>> bureaucracy or individual attitudes on part of the Immigration
> >>>> officers I encounter. But I am not going to blame individual
> >>> counties.
> >>>>
> >>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>> If I
> >>>> am invited I show up; keep doing my thing. But I have learnt
> >>> something
> >>>> which to me is helpful, and a bit amusing — I am hardly given the
> >>> time
> >>>> of day by those same people who are very reasonable in their
> >>> thoughts,
> >>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>> more
> >>>> fulfilling experiences. Drawing can do that to you — give you
> >>>> gravitas. From time to time someone opens or point to a path;
> Damian
> >>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>> they
> >>>> are individuals to reckon with (Note: I am not saying its my
> right).
> >>>> Although one is not being boorish or banal, people make decisions
> on
> >>>> their perceptions and presumably if interests coincide. Even
> things
> >>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>> strand in modernity, and we have to accept that, but keep going.
> As
> >>> I
> >>>> ready my self for some large works I keep this in mind.
> >>>>
> >>>> Besides, and its not a joke — it would take the work of the
> **latter
> >>>> to another level for sure. We are not all equal in sheer skill,
> but
> >>>> will gain or achieve very different things and on/ at different
> >>>> levels. And this is not arrogance. Its obvious, and is common
> sense.
> >>>>
> >>>> In appreciation,
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>> <[log in to unmask]> wrote:
> >>>>> bonjour i have read what you have written and thought about
> >>>> it i do not
> >>>>> understand i feel the world is full of interesting things
> >>>> places
> >>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>> RILEY in Birmingham and so on the rudeness of people when
> >>> i
> >>>> began on
> >>>>> this site was primarily from England as i emailing
> >>>> everyone instead
> >>>>> of the individual people in Europe were ploite and emailed me
> >>>> so i guess i
> >>>>> am not into streets of dog poo but Cezanne and try
> >>>> and i am
> >>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>> regard
> >>>>>
> >>>>> Lynne Langton
> >>>>>
> >>>>> ________________________________
> >>>>> From: sylvia cornet <[log in to unmask]>
> >>>>> To: [log in to unmask]
> >>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>> Subject: drawing research
> >>>>>
> >>>>> Is this pedantic or old
> >>>>>
> >>>>> please have a look
> >>>>>
> >>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>> anywhere.
> >>>>>
> >>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>> are as flowers in well kept meadows.
> >>>>>
> >>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>> When this teens are concerned this is their level
> >>>>>
> >>>>> But how feel right when a society has everybody talking
> >>>>> as teens...
> >>>>>
> >>>>> Once again i do not try to judge
> >>>>> but to apply a thinking of the Art History.
> >>>>>
> >>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>> Of course this was a representation of a pipe.
> >>>>>
> >>>>> Thus if you " see " the words in your mind...
> >>>>> Don't you see the objet...
> >>>>>
> >>>>> Just compare viewing
> >>>>> arcadian landscapes
> >>>>> to
> >>>>> doggy streets...
> >>>>>
> >>>>>
> >>>>>
> >>>>> ________________________________
> >>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>> gratuitement !
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 20:03:07 +0200
> >>>> From: sylvia cornet <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>>
> >>>> Hi Venantius Hi All
> >>>> thanks for your very interesting message.
> >>>> getting to know other cultures is a marvellous gift of life our
> >>>> societies allows.
> >>>> Frogive me my english is not so well written : as a french :)
> >>>> The topic is whether language should be elegant and possibly with
> no
> >>>> mistakes
> >>>> I just suggested to compare :an arcadian landscape ( used as a
> symbol
> >>>> of beautiful language )
> >>>> and
> >>>> a doggy street ( used as a symbol of some vernacular language
> people
> >>>> use)
> >>>> That was the purpose of up education...
> >>>> My purpose was not to judge people nor art...Just try people to "
> view
> >>>> " that sometimewords also represent objects...
> >>>> By the way i really appreciate Bridget Rileyand also Sol le Witt
> as a
> >>>> mathematician in arts :)
> >>>> thanks and best
> >>>> Sylvia CORNET
> >>>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>>> From: [log in to unmask]
> >>>>> Subject: Re: drawing research
> >>>>> To: [log in to unmask]
> >>>>>
> >>>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>>> A few thoughts for what they are worth: Individuals have very
> >>>>> different concerns, and this is dictated to some degree with ones
> >>>>> environmental constructs — relationship with people and place;
> >>> which
> >>>>> then opens up to include the immediate outside (out of ones
> group,
> >>>>> philosophies, day-to-day realities, including those perceived
> >>>> slights
> >>>>> and true joys); later widening the ambit in seeing those even
> >>>> further
> >>>>> and further away in terms of various manners of distancing (near
> >>> and
> >>>>> far) whether they be attitudes, levels of politeness, élan,
> >>>> elegance.
> >>>>> From the Self to the World.
> >>>>>
> >>>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>>> parents. As with most people we too different in appearances as
> >>> also
> >>>>> the way Indians see one another across a range of categories. So
> >>>>> seeing is complex in various individuals, groups, clumps of
> >>>> villages,
> >>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>>> India,
> >>>>> see the outside world in India is layered too. I used to tell my
> >>>>> students at F.I.T. many years ago — see me not only as an Indian
> >>>>> standing in front of you. Listen to what I say, the analogies I
> >>>> make,
> >>>>> the thoughts I put out, the idioms I use.
> >>>>>
> >>>>> Then there is the the other Seeing — how the non-Indian sees the
> >>>>> Indian they encounter whether in India or outside India, The
> >>>>> distinctions needless to say would be many; dovetail that with
> >>>>> individual biases, comprehensions, cultural imprints and we begin
> >>> to
> >>>>> get a glimpse of our complex faculties. My Indian passport often
> >>>> makes
> >>>>> travel a bit difficult for me. That may just be the nature of
> >>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>> officers I encounter. But I am not going to blame individual
> >>>> counties.
> >>>>>
> >>>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>>> If I
> >>>>> am invited I show up; keep doing my thing. But I have learnt
> >>>> something
> >>>>> which to me is helpful, and a bit amusing — I am hardly given the
> >>>> time
> >>>>> of day by those same people who are very reasonable in their
> >>>> thoughts,
> >>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>>> more
> >>>>> fulfilling experiences. Drawing can do that to you — give you
> >>>>> gravitas. From time to time someone opens or point to a path;
> >>> Damian
> >>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>>> they
> >>>>> are individuals to reckon with (Note: I am not saying its my
> >>> right).
> >>>>> Although one is not being boorish or banal, people make decisions
> >>> on
> >>>>> their perceptions and presumably if interests coincide. Even
> >>> things
> >>>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>>> strand in modernity, and we have to accept that, but keep going.
> >>>> As I
> >>>>> ready my self for some large works I keep this in mind.
> >>>>>
> >>>>> Besides, and its not a joke — it would take the work of the
> >>> **latter
> >>>>> to another level for sure. We are not all equal in sheer skill,
> >>> but
> >>>>> will gain or achieve very different things and on/ at different
> >>>>> levels. And this is not arrogance. Its obvious, and is common
> >>> sense.
> >>>>>
> >>>>> In appreciation,
> >>>>> venantius j pinto
> >>>>>
> >>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>> <[log in to unmask]> wrote:
> >>>>>> bonjour i have read what you have written and thought about
> >>>> it i do not
> >>>>>> understand i feel the world is full of interesting
> >>>> things places
> >>>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>>> i began on
> >>>>>> this site was primarily from England as i emailing
> >>>> everyone instead
> >>>>>> of the individual people in Europe were ploite and emailed me
> >>>> so i guess i
> >>>>>> am not into streets of dog poo but Cezanne and try
> >>>> and i am
> >>>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>>> regard
> >>>>>>
> >>>>>> Lynne Langton
> >>>>>>
> >>>>>> ________________________________
> >>>>>> From: sylvia cornet <[log in to unmask]>
> >>>>>> To: [log in to unmask]
> >>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>> Subject: drawing research
> >>>>>>
> >>>>>> Is this pedantic or old
> >>>>>>
> >>>>>> please have a look
> >>>>>>
> >>>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>>> anywhere.
> >>>>>>
> >>>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>>> are as flowers in well kept meadows.
> >>>>>>
> >>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>> When this teens are concerned this is their level
> >>>>>>
> >>>>>> But how feel right when a society has everybody talking
> >>>>>> as teens...
> >>>>>>
> >>>>>> Once again i do not try to judge
> >>>>>> but to apply a thinking of the Art History.
> >>>>>>
> >>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>> Of course this was a representation of a pipe.
> >>>>>>
> >>>>>> Thus if you " see " the words in your mind...
> >>>>>> Don't you see the objet...
> >>>>>>
> >>>>>> Just compare viewing
> >>>>>> arcadian landscapes
> >>>>>> to
> >>>>>> doggy streets...
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> ________________________________
> >>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>>> gratuitement !
> >>>>
> >>>> _________________________________________________________________
> >>>> Découvrez comment SURFER DISCRETEMENT sur un site de rencontres !
> >>>> http://clk.atdmt.com/FRM/go/206608211/direct/01/
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 19:09:30 +0100
> >>>> From: ana leonor rodrigues <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>> Dear Sylvia, and dear all
> >>>> Well, dogs are nice creatures, it’s true they defecate a lot
> around
> >>>> the urban environments, but it is part of life, like graffiti or
> >>>> homeless beings, unbearable things in grades.
> >>>> None of them exit inside arcadean landscapes, but give me the
> warmth
> >>>> of beings, the screams of the walls, the struggle of life, which
> I’d
> >>>> rather have to the hygienic and boring arcadean landscapes.
> >>>> It’s true that people are very different, that is what makes life
> >>>> fascinating.
> >>>> Ana Leonor
> >>>>
> >>>>
> >>>>
> >>>> 2010/5/5, Venantius J Pinto <[log in to unmask]>:
> >>>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>>> A few thoughts for what they are worth: Individuals have very
> >>>>> different concerns, and this is dictated to some degree with ones
> >>>>> environmental constructs — relationship with people and place;
> >>> which
> >>>>> then opens up to include the immediate outside (out of ones
> group,
> >>>>> philosophies, day-to-day realities, including those perceived
> >>>> slights
> >>>>> and true joys); later widening the ambit in seeing those even
> >>>> further
> >>>>> and further away in terms of various manners of distancing (near
> >>> and
> >>>>> far) whether they be attitudes, levels of politeness, élan,
> >>>> elegance.
> >>>>> From the Self to the World.
> >>>>>
> >>>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>>> parents. As with most people we too different in appearances as
> >>> also
> >>>>> the way Indians see one another across a range of categories. So
> >>>>> seeing is complex in various individuals, groups, clumps of
> >>>> villages,
> >>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>>> India,
> >>>>> see the outside world in India is layered too. I used to tell my
> >>>>> students at F.I.T. many years ago — see me not only as an Indian
> >>>>> standing in front of you. Listen to what I say, the analogies I
> >>>> make,
> >>>>> the thoughts I put out, the idioms I use.
> >>>>>
> >>>>> Then there is the the other Seeing — how the non-Indian sees the
> >>>>> Indian they encounter whether in India or outside India, The
> >>>>> distinctions needless to say would be many; dovetail that with
> >>>>> individual biases, comprehensions, cultural imprints and we begin
> >>> to
> >>>>> get a glimpse of our complex faculties. My Indian passport often
> >>>> makes
> >>>>> travel a bit difficult for me. That may just be the nature of
> >>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>> officers I encounter. But I am not going to blame individual
> >>>> counties.
> >>>>>
> >>>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>>> If I
> >>>>> am invited I show up; keep doing my thing. But I have learnt
> >>>> something
> >>>>> which to me is helpful, and a bit amusing — I am hardly given the
> >>>> time
> >>>>> of day by those same people who are very reasonable in their
> >>>> thoughts,
> >>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>>> more
> >>>>> fulfilling experiences. Drawing can do that to you — give you
> >>>>> gravitas. From time to time someone opens or point to a path;
> >>> Damian
> >>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>>> they
> >>>>> are individuals to reckon with (Note: I am not saying its my
> >>> right).
> >>>> > Although one is not being boorish or banal, people make
> >>> decisions on
> >>>>> their perceptions and presumably if interests coincide. Even
> >>> things
> >>>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>>> strand in modernity, and we have to accept that, but keep going.
> >>>> As I
> >>>>> ready my self for some large works I keep this in mind.
> >>>>>
> >>>>> Besides, and its not a joke — it would take the work of the
> >>> **latter
> >>>>> to another level for sure. We are not all equal in sheer skill,
> >>> but
> >>>>> will gain or achieve very different things and on/ at different
> >>>>> levels. And this is not arrogance. Its obvious, and is common
> >>> sense.
> >>>>>
> >>>>> In appreciation,
> >>>>> venantius j pinto
> >>>>>
> >>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>> <[log in to unmask]> wrote:
> >>>>>> bonjour i have read what you have written and thought about
> >>>> it i do
> >>>>>> not
> >>>>>> understand i feel the world is full of interesting
> >>>> things places
> >>>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>>> i began
> >>>>>> on
> >>>>>> this site was primarily from England as i emailing
> >>> everyone
> >>>>>> instead
> >>>>>> of the individual people in Europe were ploite and emailed me
> >>>> so i guess
> >>>>>> i
> >>>> >> am not into streets of dog poo but Cezanne and try and i am
> >>>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>>> regard
> >>>>>>
> >>>>>> Lynne Langton
> >>>>>>
> >>>>>> ________________________________
> >>>>>> From: sylvia cornet <[log in to unmask]>
> >>>>>> To: [log in to unmask]
> >>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>> Subject: drawing research
> >>>>>>
> >>>>>> Is this pedantic or old
> >>>>>>
> >>>>>> please have a look
> >>>> >>
> >>>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>>> anywhere.
> >>>>>>
> >>>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>>> are as flowers in well kept meadows.
> >>>>>>
> >>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>> When this teens are concerned this is their level
> >>>>>>
> >>>>>> But how feel right when a society has everybody talking
> >>>>>> as teens...
> >>>>>>
> >>>>>> Once again i do not try to judge
> >>>>>> but to apply a thinking of the Art History.
> >>>>>>
> >>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>> Of course this was a representation of a pipe.
> >>>>>>
> >>>>>> Thus if you " see " the words in your mind...
> >>>>>> Don't you see the objet...
> >>>>>>
> >>>>>> Just compare viewing
> >>>>>> arcadian landscapes
> >>>>>> to
> >>>>>> doggy streets...
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> ________________________________
> >>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>>> gratuitement !
> >>>>>
> >>>>
> >>>>
> >>>> --
> >>>> Ana Leonor M. Madeira Rodrigues
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 14:38:45 -0400
> >>>> From: Venantius J Pinto <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>> Hi Sylvia—
> >>>> My apologies. I understood the topic but was presenting an
> >>>> extrapolated analogy.
> >>>>
> >>>> Again my sincere apologies. In future I will stay within the
> >>> confines
> >>>> of the thoughts presented.
> >>>>
> >>>> venantius j pinto
> >>>>
> >>>> On Wed, May 5, 2010 at 2:03 PM, sylvia cornet <[log in to unmask]>
> wrote:
> >>>>> Hi Venantius Hi All
> >>>>> thanks for your very interesting message.
> >>>>> getting to know other cultures is a marvellous gift of life our
> >>>> societies
> >>>>> allows.
> >>>>> Frogive me my english is not so well written : as a french :)
> >>>>> The topic is whether
> >>>>> language should be elegant and possibly with no mistakes
> >>>>> I just suggested to compare :
> >>>>> an arcadian landscape ( used as a symbol of beautiful language )
> >>>>> and
> >>>>> a doggy street ( used as a symbol of some vernacular language
> >>>> people use)
> >>>> > That was the purpose of up education...
> >>>>> My purpose was not to judge people nor art...
> >>>>> Just try people to " view " that sometime
> >>>>> words also represent objects...
> >>>>> By the way i really appreciate Bridget Riley
> >>>>> and also Sol le Witt as a mathematician in arts :)
> >>>>> thanks and best
> >>>>> Sylvia CORNET
> >>>>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>>>> From: [log in to unmask]
> >>>>>> Subject: Re: drawing research
> >>>>>> To: [log in to unmask]
> >>>>>>
> >>>>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>>>> A few thoughts for what they are worth: Individuals have very
> >>>>>> different concerns, and this is dictated to some degree with
> >>> ones
> >>>>>> environmental constructs — relationship with people and place;
> >>>> which
> >>>>>> then opens up to include the immediate outside (out of ones
> >>> group,
> >>>>>> philosophies, day-to-day realities, including those perceived
> >>>> slights
> >>>>>> and true joys); later widening the ambit in seeing those even
> >>>> further
> >>>>>> and further away in terms of various manners of distancing (near
> >>>> and
> >>>>>> far) whether they be attitudes, levels of politeness, élan,
> >>>> elegance.
> >>>>>> From the Self to the World.
> >>>>>>
> >>>>>> Now a bit about me: I am of Indian origin, born in Mumbai of
> Goan
> >>>>>> parents. As with most people we too different in appearances as
> >>>> also
> >>>>>> the way Indians see one another across a range of categories. So
> >>>>>> seeing is complex in various individuals, groups, clumps of
> >>>> villages,
> >>>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>>> India,
> >>>>>> see the outside world in India is layered too. I used to tell my
> >>>>>> students at F.I.T. many years ago — see me not only as an Indian
> >>>>>> standing in front of you. Listen to what I say, the analogies I
> >>>> make,
> >>>>>> the thoughts I put out, the idioms I use.
> >>>>>>
> >>>>>> Then there is the the other Seeing — how the non-Indian sees the
> >>>>>> Indian they encounter whether in India or outside India, The
> >>>>>> distinctions needless to say would be many; dovetail that with
> >>>>>> individual biases, comprehensions, cultural imprints and we
> >>>> begin to
> >>>>>> get a glimpse of our complex faculties. My Indian passport
> >>> often
> >>>> makes
> >>>>>> travel a bit difficult for me. That may just be the nature of
> >>>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>>> officers I encounter. But I am not going to blame individual
> >>>> counties.
> >>>>>>
> >>>>>> I know where I stand in Drawing, but do not make a hoo-hah of
> >>>> it. If I
> >>>>>> am invited I show up; keep doing my thing. But I have learnt
> >>>> something
> >>>>>> which to me is helpful, and a bit amusing — I am hardly given
> >>>> the time
> >>>>>> of day by those same people who are very reasonable in their
> >>>> thoughts,
> >>>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>>> more
> >>>>>> fulfilling experiences. Drawing can do that to you — give you
> >>>>>> gravitas. From time to time someone opens or point to a path;
> >>>> Damian
> >>>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>>> they
> >>>>>> are individuals to reckon with (Note: I am not saying its my
> >>>> right).
> >>>>>> Although one is not being boorish or banal, people make
> >>>> decisions on
> >>>>>> their perceptions and presumably if interests coincide. Even
> >>> things
> >>>>>> like whether you are cool/ appear Cool, plays a part. That is
> one
> >>>>>> strand in modernity, and we have to accept that, but keep going.
> >>>> As I
> >>>>>> ready my self for some large works I keep this in mind.
> >>>>>>
> >>>>>> Besides, and its not a joke — it would take the work of the
> >>>> **latter
> >>>>>> to another level for sure. We are not all equal in sheer skill,
> >>> but
> >>>>>> will gain or achieve very different things and on/ at different
> >>>>>> levels. And this is not arrogance. Its obvious, and is common
> >>>> sense.
> >>>>>>
> >>>>>> In appreciation,
> >>>>>> venantius j pinto
> >>>>>>
> >>>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>>> <[log in to unmask]> wrote:
> >>>>>>> bonjour i have read what you have written and thought about
> >>>> it i do
> >>>>>>> not
> >>>>>>> understand i feel the world is full of interesting
> >>>> things places
> >>>>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>>> i began
> >>>>>>> on
> >>>>>>> this site was primarily from England as i emailing
> >>>> everyone
> >>>>>>> instead
> >>>>>>> of the individual people in Europe were ploite and emailed me
> >>>> so i
> >>>>>>> guess i
> >>>>>>> am not into streets of dog poo but Cezanne and try
> >>>> and i am
> >>>>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>>>> regard
> >>>>>>>
> >>>>>>> Lynne Langton
> >>>>>>>
> >>>>>>> ________________________________
> >>>>>>> From: sylvia cornet <[log in to unmask]>
> >>>>>>> To: [log in to unmask]
> >>>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>>> Subject: drawing research
> >>>>>>>
> >>>>>>> Is this pedantic or old
> >>>>>>>
> >>>>>>> please have a look
> >>>>>>>
> >>>>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>>>> anywhere.
> >>>>>>>
> >>>>>>> Sentences are the same. Beautiful words and elegance of
> thinking
> >>>>>>> are as flowers in well kept meadows.
> >>>>>>>
> >>>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>>> When this teens are concerned this is their level
> >>>>>>>
> >>>>>>> But how feel right when a society has everybody talking
> >>>>>>> as teens...
> >>>>>>>
> >>>>>>> Once again i do not try to judge
> >>>>>>> but to apply a thinking of the Art History.
> >>>>>>>
> >>>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>>> Of course this was a representation of a pipe.
> >>>>>>>
> >>>>>>> Thus if you " see " the words in your mind...
> >>>>>>> Don't you see the objet...
> >>>>>>>
> >>>>>>> Just compare viewing
> >>>>>>> arcadian landscapes
> >>>>>>> to
> >>>>>>> doggy streets...
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>> ________________________________
> >>>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>>>> gratuitement !
> >>>>>
> >>>>> ________________________________
> >>>>> Envie de naviguer sur Internet sans laisser de trace? La solution
> >>>> avec
> >>>>> Internet Explorer 8
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 19:03:18 +0000
> >>>> From: greig burgoyne <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>> does this need to be sent to everyone..?
> >>>>
> >>>>
> >>>> --- On Wed, 5/5/10, ana leonor rodrigues
> >>>> <[log in to unmask]> wrote:
> >>>>
> >>>>
> >>>> From: ana leonor rodrigues <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>> To: [log in to unmask]
> >>>> Date: Wednesday, 5 May, 2010, 19:09
> >>>>
> >>>>
> >>>> Dear Sylvia, and dear all
> >>>> Well, dogs are nice creatures, it’s true they defecate a lot
> around
> >>>> the urban environments, but it is part of life, like graffiti or
> >>>> homeless beings, unbearable things in grades.
> >>>> None of them exit inside arcadean landscapes, but give me the
> warmth
> >>>> of beings, the screams of the walls, the struggle of life, which
> I’d
> >>>> rather have to the hygienic and boring arcadean landscapes.
> >>>> It’s true that people are very different, that is what makes life
> >>>> fascinating.
> >>>> Ana Leonor
> >>>>
> >>>>
> >>>>
> >>>> 2010/5/5, Venantius J Pinto <[log in to unmask]>:
> >>>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>>> A few thoughts for what they are worth: Individuals have very
> >>>>> different concerns, and this is dictated to some degree with ones
> >>>>> environmental constructs — relationship with people and place;
> >>> which
> >>>>> then opens up to include the immediate outside (out of ones
> group,
> >>>>> philosophies, day-to-day realities, including those perceived
> >>>> slights
> >>>>> and true joys); later widening the ambit in seeing those even
> >>>> further
> >>>>> and further away in terms of various manners of distancing (near
> >>> and
> >>>>> far) whether they be attitudes, levels of politeness, élan,
> >>>> elegance.
> >>>>> From the Self to the World.
> >>>>>
> >>>>> Now a bit about me: I am of Indian origin, born in Mumbai of Goan
> >>>>> parents. As with most people we too different in appearances as
> >>> also
> >>>>> the way Indians see one another across a range of categories. So
> >>>>> seeing is complex in various individuals, groups, clumps of
> >>>> villages,
> >>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>>> India,
> >>>>> see the outside world in India is layered too. I used to tell my
> >>>>> students at F.I.T. many years ago — see me not only as an Indian
> >>>>> standing in front of you. Listen to what I say, the analogies I
> >>>> make,
> >>>>> the thoughts I put out, the idioms I use.
> >>>>>
> >>>>> Then there is the the other Seeing — how the non-Indian sees the
> >>>>> Indian they encounter whether in India or outside India, The
> >>>>> distinctions needless to say would be many; dovetail that with
> >>>>> individual biases, comprehensions, cultural imprints and we begin
> >>> to
> >>>>> get a glimpse of our complex faculties. My Indian passport often
> >>>> makes
> >>>>> travel a bit difficult for me. That may just be the nature of
> >>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>> officers I encounter. But I am not going to blame individual
> >>>> counties.
> >>>>>
> >>>>> I know where I stand in Drawing, but do not make a hoo-hah of it.
> >>>> If I
> >>>>> am invited I show up; keep doing my thing. But I have learnt
> >>>> something
> >>>>> which to me is helpful, and a bit amusing — I am hardly given the
> >>>> time
> >>>>> of day by those same people who are very reasonable in their
> >>>> thoughts,
> >>>>> ideas, lived aesthetics. In time they too will/ may change, have
> >>>> more
> >>>>> fulfilling experiences. Drawing can do that to you — give you
> >>>>> gravitas. From time to time someone opens or point to a path;
> >>> Damian
> >>>>> Fennell and Steve Garner being two via DRN. Others** did not and
> >>>> they
> >>>>> are individuals to reckon with (Note: I am not saying its my
> >>> right).
> >>>>> Although one is not being boorish or banal, people make decisions
> >>> on
> >>>>> their perceptions and presumably if interests coincide. Even
> >>> things
> >>>>> like whether you are cool/ appear Cool, plays a part. That is one
> >>>>> strand in modernity, and we have to accept that, but keep going.
> >>>> As I
> >>>>> ready my self for some large works I keep this in mind.
> >>>>>
> >>>>> Besides, and its not a joke — it would take the work of the
> >>> **latter
> >>>>> to another level for sure. We are not all equal in sheer skill,
> >>> but
> >>>>> will gain or achieve very different things and on/ at different
> >>>>> levels. And this is not arrogance. Its obvious, and is common
> >>> sense.
> >>>>>
> >>>>> In appreciation,
> >>>>> venantius j pinto
> >>>>>
> >>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>> <[log in to unmask]> wrote:
> >>>>>> bonjour i have read what you have written and thought about
> >>>> it i do
> >>>>>> not
> >>>>>> understand i feel the world is full of interesting
> >>>> things places
> >>>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>>> i began
> >>>>>> on
> >>>>>> this site was primarily from England as i emailing
> >>> everyone
> >>>>>> instead
> >>>>>> of the individual people in Europe were ploite and emailed me
> >>>> so i guess
> >>>>>> i
> >>>>>> am not into streets of dog poo but Cezanne and try
> >>>> and i am
> >>>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>>> regard
> >>>>>>
> >>>>>> Lynne Langton
> >>>>>>
> >>>>>> ________________________________
> >>>>>> From: sylvia cornet <[log in to unmask]>
> >>>>>> To: [log in to unmask]
> >>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>> Subject: drawing research
> >>>>>>
> >>>>>> Is this pedantic or old
> >>>>>>
> >>>>>> please have a look
> >>>>>>
> >>>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>>> anywhere.
> >>>>>>
> >>>>>> Sentences are the same. Beautiful words and elegance of thinking
> >>>>>> are as flowers in well kept meadows.
> >>>>>>
> >>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>> When this teens are concerned this is their level
> >>>>>>
> >>>>>> But how feel right when a society has everybody talking
> >>>>>> as teens...
> >>>>>>
> >>>>>> Once again i do not try to judge
> >>>>>> but to apply a thinking of the Art History.
> >>>>>>
> >>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>> Of course this was a representation of a pipe.
> >>>>>>
> >>>>>> Thus if you " see " the words in your mind...
> >>>>>> Don't you see the objet...
> >>>>>>
> >>>>>> Just compare viewing
> >>>>>> arcadian landscapes
> >>>>>> to
> >>>>>> doggy streets...
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> ________________________________
> >>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>>> gratuitement !
> >>>>>
> >>>>
> >>>>
> >>>> --
> >>>> Ana Leonor M. Madeira Rodrigues
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 22:25:00 +0200
> >>>> From: sylvia cornet <[log in to unmask]>
> >>>> Subject: Re: drawing research
> >>>>
> >>>>
> >>>> Dear All Dear Venantius
> >>>> pls no need to apology aren't we all " open minded " and trying
> toopen
> >>>> brains and views also as educators as Artist are opinion
> leaders...
> >>>> as Steve said : aren't we a community kind ofwho tryes to exchange
> >>>> views on facts related to
> >>>> DRAWING RESEARCH
> >>>> the logical proposal expressed as
> >>>> WORD = IMAGE = OBJECT
> >>>> SLANG WORD = WHICH IMAGE & WHICH OBJECT IN THE " SPACE " OF
> SPEECH AND
> >>>> THOUGHTSthus without judging but asking to which mental level /
> age /
> >>>> maturation spirit this may refer to
> >>>> EDUCATED WORDS = WHICH IMAGE & WHICH OBJECTS IN THE " SPACE " OF
> >>>> SPEECH AND THOUGHTS
> >>>>
> >>>> is a logical intersting question to be debated
> >>>> and many various disciplines may get linked to this proposal
> >>>> thanks for attentionbest
> >>>> :)
> >>>>
> >>>>> Date: Wed, 5 May 2010 14:38:45 -0400
> >>>>> From: [log in to unmask]
> >>>>> Subject: Re: drawing research
> >>>>> To: [log in to unmask]
> >>>>>
> >>>>> Hi Sylvia—
> >>>>> My apologies. I understood the topic but was presenting an
> >>>>> extrapolated analogy.
> >>>>>
> >>>>> Again my sincere apologies. In future I will stay within the
> >>>> confines
> >>>>> of the thoughts presented.
> >>>>>
> >>>>> venantius j pinto
> >>>>>
> >>>>> On Wed, May 5, 2010 at 2:03 PM, sylvia cornet <[log in to unmask]>
> >>>> wrote:
> >>>>>> Hi Venantius Hi All
> >>>>>> thanks for your very interesting message.
> >>>>>> getting to know other cultures is a marvellous gift of life our
> >>>> societies
> >>>>>> allows.
> >>>>>> Frogive me my english is not so well written : as a french :)
> >>>>>> The topic is whether
> >>>>>> language should be elegant and possibly with no mistakes
> >>>>>> I just suggested to compare :
> >>>>>> an arcadian landscape ( used as a symbol of beautiful language )
> >>>>>> and
> >>>>>> a doggy street ( used as a symbol of some vernacular language
> >>>> people use)
> >>>>>> That was the purpose of up education...
> >>>>>> My purpose was not to judge people nor art...
> >>>>>> Just try people to " view " that sometime
> >>>>>> words also represent objects...
> >>>>>> By the way i really appreciate Bridget Riley
> >>>>>> and also Sol le Witt as a mathematician in arts :)
> >>>>>> thanks and best
> >>>>>> Sylvia CORNET
> >>>>>>> Date: Wed, 5 May 2010 13:33:52 -0400
> >>>>>>> From: [log in to unmask]
> >>>>>>> Subject: Re: drawing research
> >>>>>>> To: [log in to unmask]
> >>>>>>>
> >>>>>>> Hi Lynne, Hi Sylvia, Hi All—
> >>>>>>> A few thoughts for what they are worth: Individuals have very
> >>>>>>> different concerns, and this is dictated to some degree with
> >>> ones
> >>>>>>> environmental constructs — relationship with people and place;
> >>>> which
> >>>>>>> then opens up to include the immediate outside (out of ones
> >>> group,
> >>>>>>> philosophies, day-to-day realities, including those perceived
> >>>> slights
> >>>>>>> and true joys); later widening the ambit in seeing those even
> >>>> further
> >>>>>>> and further away in terms of various manners of distancing
> >>>> (near and
> >>>>>>> far) whether they be attitudes, levels of politeness, élan,
> >>>> elegance.
> >>>>>>> From the Self to the World.
> >>>>>>>
> >>>>>>> Now a bit about me: I am of Indian origin, born in Mumbai of
> >>> Goan
> >>>>>>> parents. As with most people we too different in appearances
> >>> as
> >>>> also
> >>>>>>> the way Indians see one another across a range of categories.
> So
> >>>>>>> seeing is complex in various individuals, groups, clumps of
> >>>> villages,
> >>>>>>> etc. The way a true cosmopolitan Indian see the world outside
> >>>> India,
> >>>>>>> see the outside world in India is layered too. I used to tell
> my
> >>>>>>> students at F.I.T. many years ago — see me not only as an
> Indian
> >>>>>>> standing in front of you. Listen to what I say, the analogies I
> >>>> make,
> >>>>>>> the thoughts I put out, the idioms I use.
> >>>>>>>
> >>>>>>> Then there is the the other Seeing — how the non-Indian sees
> the
> >>>>>>> Indian they encounter whether in India or outside India, The
> >>>>>>> distinctions needless to say would be many; dovetail that with
> >>>>>>> individual biases, comprehensions, cultural imprints and we
> >>>> begin to
> >>>>>>> get a glimpse of our complex faculties. My Indian passport
> >>>> often makes
> >>>>>>> travel a bit difficult for me. That may just be the nature of
> >>>>>>> bureaucracy or individual attitudes on part of the Immigration
> >>>>>>> officers I encounter. But I am not going to blame individual
> >>>> counties.
> >>>>>>>
> >>>>>>> I know where I stand in Drawing, but do not make a hoo-hah of
> >>>> it. If I
> >>>>>>> am invited I show up; keep doing my thing. But I have learnt
> >>>> something
> >>>>>>> which to me is helpful, and a bit amusing — I am hardly given
> >>>> the time
> >>>>>>> of day by those same people who are very reasonable in their
> >>>> thoughts,
> >>>>>>> ideas, lived aesthetics. In time they too will/ may change,
> >>>> have more
> >>>>>>> fulfilling experiences. Drawing can do that to you — give you
> >>>>>>> gravitas. From time to time someone opens or point to a path;
> >>>> Damian
> >>>>>>> Fennell and Steve Garner being two via DRN. Others** did not
> >>>> and they
> >>>>>>> are individuals to reckon with (Note: I am not saying its my
> >>>> right).
> >>>>>>> Although one is not being boorish or banal, people make
> >>>> decisions on
> >>>>>>> their perceptions and presumably if interests coincide. Even
> >>>> things
> >>>>>>> like whether you are cool/ appear Cool, plays a part. That is
> >>> one
> >>>>>>> strand in modernity, and we have to accept that, but keep
> >>>> going. As I
> >>>>>>> ready my self for some large works I keep this in mind.
> >>>>>>>
> >>>> >>> Besides, and its not a joke — it would take the work of the
> >>>> **latter
> >>>>>>> to another level for sure. We are not all equal in sheer skill,
> >>>> but
> >>>>>>> will gain or achieve very different things and on/ at different
> >>>>>>> levels. And this is not arrogance. Its obvious, and is common
> >>>> sense.
> >>>>>>>
> >>>>>>> In appreciation,
> >>>>>>> venantius j pinto
> >>>>>>>
> >>>>>>> On Wed, May 5, 2010 at 12:38 PM, lynne langton
> >>>>>>> <[log in to unmask]> wrote:
> >>>>>>>> bonjour i have read what you have written and thought about
> >>>> it i do
> >>>>>>>> not
> >>>>>>>> understand i feel the world is full of interesting
> >>>> things places
> >>>>>>>> art for example the German Expressionist show in Leicester
> >>>> Briget
> >>>>>>>> RILEY in Birmingham and so on the rudeness of people when
> >>>> i began
> >>>>>>>> on
> >>>>>>>> this site was primarily from England as i emailing
> >>>> everyone
> >>>>>>>> instead
> >>>>>>>> of the individual people in Europe were ploite and emailed
> >>>> me so i
> >>>>>>>> guess i
> >>>>>>>> am not into streets of dog poo but Cezanne and try
> >>>> and i am
> >>>>>>>> polite and it is okay to be pedantic if anyone so
> >>>> chooses with
> >>>>>>>> regard
> >>>>>>>>
> >>>>>>>> Lynne Langton
> >>>>>>>>
> >>>>>>>> ________________________________
> >>>>>>>> From: sylvia cornet <[log in to unmask]>
> >>>>>>>> To: [log in to unmask]
> >>>>>>>> Sent: Tuesday, 4 May, 2010 18:34:59
> >>>>>>>> Subject: drawing research
> >>>>>>>>
> >>>>>>>> Is this pedantic or old
> >>>>>>>>
> >>>>>>>> please have a look
> >>>>>>>>
> >>>>>>>> You walk in a pleasant street and then a dog has applied his
> >>>> metabolism
> >>>>>>>> anywhere.
> >>>>>>>>
> >>>>>>>> Sentences are the same. Beautiful words and elegance of
> >>> thinking
> >>>>>>>> are as flowers in well kept meadows.
> >>>>>>>>
> >>>>>>>> But of course everyone knows " teens " enjoy bad talkings.
> >>>>>>>> When this teens are concerned this is their level
> >>>>>>>>
> >>>>>>>> But how feel right when a society has everybody talking
> >>>>>>>> as teens...
> >>>>>>>>
> >>>>>>>> Once again i do not try to judge
> >>>>>>>> but to apply a thinking of the Art History.
> >>>>>>>>
> >>>>>>>> Magritte drawed a pipe and wrote this is not a pipe.
> >>>>>>>> Of course this was a representation of a pipe.
> >>>>>>>>
> >>>>>>>> Thus if you " see " the words in your mind...
> >>>>>>>> Don't you see the objet...
> >>>>>>>>
> >>>>>>>> Just compare viewing
> >>>>>>>> arcadian landscapes
> >>>>>>>> to
> >>>>>>>> doggy streets...
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>> ________________________________
> >>>>>>>> Acheter en ligne en toute sécurité ? Internet Explorer 8 vous
> >>>> protège
> >>>>>>>> gratuitement !
> >>>>>>
> >>>>>> ________________________________
> >>>>>> Envie de naviguer sur Internet sans laisser de trace? La
> >>>> solution avec
> >>>>>> Internet Explorer 8
> >>>>
> >>>> _________________________________________________________________
> >>>> Découvrez comment SURFER DISCRETEMENT sur un site de rencontres !
> >>>> http://clk.atdmt.com/FRM/go/206608211/direct/01/
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> Date: Wed, 5 May 2010 22:13:17 +0100
> >>>> From: Maria João Durão
> >>>> <[log in to unmask]>
> >>>> Subject: Re: TRACEY Call for Papers - Deadline
> >>>>
> >>>> Dear Deborah Harty,
> >>>>
> >>>> I am professor of drawing at the Lisbon Faculty of Architecture.
> It
> >>>> happens that I am also a researcher in the Space Architect
> Committee
> >>>> of the AIAA American Institute of Aeronautics and Astronautics
> >>>> www.fa.utl.pt
> >>>> www.spacearchitect.org
> >>>>
> >>>> where Im presently developing a VIRTUAL project based on an older
> >>> idea
> >>>> that dealt with the interior of the Destiny module of the
> >>>> International Space Centre, with digital means. My experience is
> >>> with
> >>>> hand sketching but virtual technologies are a completely diferent
> >>> tool
> >>>> altogether and does not implicate with hand drawing in any sense,
> >>>> according to my experience. In weightless space this technology
> >>> allows
> >>>> one to "see" the world from angles only possible in 0 -micro
> >>> gravity.
> >>>>
> >>>> I intended to send you a paper dealing with this topic by the 23rd
> >>>> May, but hve just realized that it is the 23rd April.
> >>>> I am sending you some material for you to analyse in case you are
> >>>> interested in publishing my work, somewhere . The abstract I am
> >>>> sending you is just a way to inform about the nature of the
> virtual
> >>>> experience and the just sufficient to carry the message.
> >>>> Please be free to contact me for further information.
> >>>> Kind regards,
> >>>> Maria Joao Durao
> >>>>
> >>>>
> >>>> Quoting Deborah Harty <[log in to unmask]>:
> >>>>
> >>>>> The deadline for TRACEY's latest call for papers is 23rd April
> >>> 2010.
> >>>>> Please see below for details.
> >>>>>
> >>>>> Tracey is a peer reviewed electronic journal dedicated to drawing
> >>>>> and contemporary issues. It is varied and diverse with a fast
> >>>>> growing readership of academics, students and practitioners
> >>>>> representing a wide range of drawing interests including fine
> art,
> >>>>> architectural design, graphics, product design and visual
> >>>>> communication, ideally any activity in which drawing is
> essential.
> >>>>>
> >>>>> You can see us at http://www.lboro.ac.uk/departments/ac/tracey/
> >>>> index.html
> >>>>>
> >>>>> In this next invitation for submissions, we are focusing on the
> >>>>> theme of Drawing & Technology, particularly in relation to the
> >>>>> following questions:
> >>>>>
> >>>>> Where are the masterpieces of digital drawing?
> >>>>>
> >>>>> Does digital drawing dissolve the Albertian Window?
> >>>>>
> >>>>> Does digital drawing dissolve the boundaries between author and
> >>>> viewer?
> >>>>>
> >>>>> Digital collaboration in drawing â what are the opportunities?
> >>>>>
> >>>>> Motion capture as pencil in a virtual space?
> >>>>>
> >>>>> How does drawing in the third and fourth dimension challenge our
> >>>>> traditional practices?
> >>>>>
> >>>>> Can computational modelling advance our understanding of drawing
> >>>> processes?
> >>>>>
> >>>>> What are the benefits of having an intelligent assistant?
> >>>>>
> >>>>> Does e-paper change anything?
> >>>>>
> >>>>>
> >>>>> A submission may constitute drawings or other visual material,
> >>> texts
> >>>>> or research papers that have not been published before or have
> >>> been
> >>>>> published in a different context and also texts and images
> >>>>> combined. There is no word or image limit at this stage.
> >>>>>
> >>>>> All submissions will be peer reviewed by two members of the peer
> >>>>> review panel. Please visit the site to view our guidelines for
> >>>>> submissions and a list of our peer reviewers.
> >>>>> Submissions should be accompanied by a summary of content and
> >>>>> italics should be highlighted in colour. If text includes images,
> >>>>> send images also as separate jpegs. Submissions should be on disc
> >>>>> (Zip or CD and 300 dpi) or as attachments in MS Word with
> >>>>> pictures/images separate as jpegs (72dpi). Send to
> >>>>> [log in to unmask] or c/o Deborah Harty, Loughborough
> >>> University,
> >>>>> School of Art & Design, Epinal Way, Loughborough, Leicestershire
> >>>>> UK, LE11 3TU no later than the 23rd April 2010.
> >>>>>
> >>>>>
> >>>>> Deborah Harty
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>> ----------------------------------------------------------------
> >>>> This message was sent using IMP, the Internet Messaging Program.
> >>>>
> >>>> ------------------------------
> >>>>
> >>>> End of DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> (#2010-78)
> >>>>
> ********************************************************************
> >>>>
> >>>> Hotmail: Powerful Free email with security by Microsoft. Get it
> now.
> >>>>
> >>>>
> >>>> Hotmail: Trusted email with Microsoft’s powerful SPAM protection.
> Sign
> >>>> up now.
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 18:31:33 +0200
> >>> From: sylvia cornet <[log in to unmask]>
> >>> Subject: NIGHT OF MUSEUMS // MAY 15 TH NATIONAL ARCHIVES MUSEUM IN
> PARIS
> >>> THEMA : THE UNIVERSA EXHIBITIONS... La Nuit des Musées aux Archives
> >>> nationales, le 15 mai
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> Le samedi 15 mai 2010, de 14 h à 1 h du matin, c'est la
> >>> "Nuit des Musées" aux Archives nationales, 60 rue des
> Francs-Bourgeois,
> >>> 75003 Paris.
> >>>
> >>> Visites, jeux, ateliers pour enfants, conférences, concert de
> musique
> >>> classique, présentation de documents et exposition vous
> attendent...
> >>> sur le thème, notamment, des expositions universelles.
> >>>
> >>> Tous renseignements sur le site des Archives nationales.
> >>>
> >>>
> >>>
> >>>
> >>> --
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> Christiane Demeulenaere-Douyère
> >>>
> >>> Conservateur général du patrimoine
> >>>
> >>> Section du XIXe siècle
> >>>
> >>> Direction scientifique du site de Paris
> >>>
> >>> Archives nationales
> >>>
> >>> 60 rue des Francs-Bourgeois
> >>>
> >>> 75141 Paris Cedex 03
> >>>
> >>> Tél : 01 40 27 62 94
> >>>
> >>> Télécopie :01 40 27 66 47
> >>>
> >>> Exotiques expositions...
> >>>
> >>> Les expositions universelles
> >>>
> >>> et les cultures extra-européennes.
> >>>
> >>> France, 1855-1937
> >>>
> >>>
> >>> Archives nationales
> >>>
> >>> 60 rue des Francs-Bourgeois
> >>>
> >>> 75003 Paris
> >>> 31 mars - 28 juin 2010
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> Envie de naviguer sur Internet sans laisser de trace? La solution
> avec
> >>> Internet Explorer 8
> >>> _________________________________________________________________
> >>> Consultez vos emails Orange, Gmail, Yahoo!, Free ... directement
> depuis
> >>> HOTMAIL !
> >>> http://www.windowslive.fr/hotmail/agregation/
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 16:39:55 -0400
> >>> From: Rachel Clark <[log in to unmask]>
> >>> Subject: Re: Research not chat!
> >>>
> >>> I seem to be getting far too many emails which are socio-chat and
> not
> >>> related to research.
> >>> Please therefore unsubscribe me
> >>> Many thanks
> >>> Rowena Payne AND I SECOND THAT
> >>> THANK YOU
> >>> RACHEL CLARK
> >>> On May 6, 2010, at 11:35 AM, Rowena Payne wrote:
> >>>
> >>>> I seem to be getting far too many emails which are socio-chat and
> not
> >>>> related to research.
> >>>> Please therefore unsubscribe me
> >>>> Many thanks
> >>>> Rowena Payne
> >>>
> >>> -----------------------------
> >>>
> >>> Date: Thu, 6 May 2010 21:00:47 +0000
> >>> From: J BERRY <[log in to unmask]>
> >>> Subject: Re: Research not chat!
> >>>
> >>> me too
> >>> jo berry-please unscribe me
> >>>
> >>>
> >>>
> >>>
> >>> ________________________________
> >>> From: Rachel Clark <[log in to unmask]>
> >>> To: [log in to unmask]
> >>> Sent: Thursday, 6 May, 2010 21:39:55
> >>> Subject: Re: Research not chat!
> >>>
> >>>
> >>> I seem to be getting far too many emails which are socio-chat and
> not
> >>> related to research.
> >>> Please therefore unsubscribe me
> >>> Many thanks
> >>> Rowena Payne AND I SECOND THAT
> >>> THANK YOU
> >>> RACHEL CLARK
> >>> On May 6, 2010, at 11:35 AM, Rowena Payne wrote:
> >>>
> >>> I seem to be getting far too many emails which are socio-chat and
> not
> >>> related to research.
> >>>
> >>> -----------------------------
> >>>
> >>> End of DRAWING-RESEARCH Digest - 6 May 2010 (#2010-81)
> >>> ******************************************************
> >>>
> >>> ------------------------------
> >>>
> >>> Date: Fri, 7 May 2010 12:38:22 +0100
> >>> From: Christine Turner <[log in to unmask]>
> >>> Subject: Re: DRAWING-RESEARCH Digest - 4 May 2010 to 5 May 2010
> >>> (#2010-78)
> >>>
> >>>> Hi,
> >>>
> >>>> Integrity in my practice is defined by sound method that can
> >>>> consistently and discerningly unify visual ideas and
> explorations. With
> >>>> such integrity, more slippery philosophic concepts such as
> realism for
> >>>
> >>>> example, can be examined and 'integrated' into the process.
> >>>
> >>> I'll email some work.
> >>> Thanks
> >>> Chris.
> >>>
> >>> On 7 May 2010, at 07:10, Jac Saorsa wrote:
> >>>
> >>>> Hi Chris
> >>>> You wrote; 'Perhaps this points to the extended possibilities of
> >>>> drawing as communication i.e the 'process' is greater than an
> >>>> individual piece of work?'
> >>>>
> >>>> Yes...I think you have a very sound point. I hope that others may
> want
> >>>> to follow up with this as I think that the concept of process,
> albeit
> >>>> not necessarily new, is nevertheless also a very productive line
> of
> >>>> discussion. I am also very interested in 'integrity' and wonder
> how you
> >>>> would define this.
> >>>> Good luck with you exploration ...is any of your work online? I
> would
> >>>> be interested to see it.
> >>>> Best wishes to all
> >>>> Jac
> >>>>
> >>>>
> >>>>
> >>>> Hotmail: Trusted email with Microsoft’s powerful SPAM protection.
> Sign
> >>>> up now.
> >>>
> >>> ------------------------------
> >>>
> >>> Date: Fri, 7 May 2010 10:51:34 -0500
> >>> From: Lesa Moriarity <[log in to unmask]>
> >>> Subject: Re: Research not chat!
> >>>
> >>> I agree with Eduardo. This list is terrific with respect to
> 'chats', the
> >>> subject line is the indication. Delete them right away and carry
> on.
> >>> Very
> >>> little 'chatting' happens on this list.. so I don't mind it when it
> >>> happens.
> >>>
> >>> Sorry that people are choosing to leave over some rare chatting.
> We will
> >>> miss you.
> >>>
> >>> Lesa.
> >>>
> >>>
> >>>
> >>>
> >>>> Dear Rowena,
> >>>> I'm afraid you will have to do it yourself in the JISC Mail
> website.
> >>>> I think that news, discussions, proposals on drawing in general
> are
> >>>> within the general theme of the List.
> >>>> I think that the duty of making this list a real debate list on
> >>> drawing
> >>>> research is up to the contributors.
> >>>> It is up to us the ones interested in research to came up with
> >>> research
> >>>> stuff and make it the overwhelming majority of the posts and
> ignore
> >>> what
> >>>> they consider to be chats.
> >>>> Best,
> >>>> Eduardo Corte-Real
> >>>> Dr Arch. Ass. Prof. IADE, Lisbon
> >>>>
> >>>>
> >>>> On 06-05-2010 16:18, Rowena Payne wrote:
> >>>>> I seem to be getting far too many emails which are socio-chat and
> >>> not
> >>>>> related to research.
> >>>>> Please therefore unsubscribe me
> >>>>> Many thanks
> >>>>> Rowena Payne
> >>>>>
> >>>>
> >>>
> >>> ------------------------------
> >>>
> >>> End of DRAWING-RESEARCH Digest - 6 May 2010 to 7 May 2010
> (#2010-82)
> >>>
> ********************************************************************
>
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