Dear Karen,
Good to hear from you. I am obviously aware of your drawing journal and I think others would find it of interest.
You are welcome to submit to the call in an alternative format. However, the criteria the peer reviewers use to decide whether a submission is ready for publication means that the research question, methodology and depth of understanding of the research field all need to be evident in the submission.
If you wish to share your journal with a wider audience, without the need for the above, then it may be worth considering creating a post for the Drawing Research Network: https://blog.lboro.ac.uk/tracey/
Please feel free to contact me if you have any further questions about your proposal: [log in to unmask]
Best wishes,
Deborah.
Dr Deborah Harty
Director of Undergraduate Studies
Creative Arts
Loughborough University
Epinal Way
Loughborough
LE11 3TU
co-director of TRACEY <https://www.lboro.ac.uk/research/tracey/>
@DeborahHarty5
On 03/11/2020, 16:36, "The UK drawing research network mailing list on behalf of Karen Wallis" <[log in to unmask] on behalf of [log in to unmask]> wrote:
Dear Deborah
Is this call for papers exclusively for written work?
I ask because of my own experience of keeping a drawing journal during the year when my husband lost his long battle with cancer, and my survival during the following months. It would be possible to write about it but the drawings speak more clearly than any written account. Perhaps it could be in the format of a graphic story / diary.
Best wishes
Karen
Karen Wallis
[log in to unmask]
www.karenwallis.co.uk
Daily drawing journal on Facebook Karen Wallis Artworks
Twitter @KarenArtwork
Instagram karenwallis.art
Ness of Brodgar residency blog
Visiting Fellow in Drawing and Social Engagement
York St John University
> On 3 Nov 2020, at 13:45, Deborah Harty <[log in to unmask]> wrote:
>
> Hi all,
>
> Following several requests we have extended the deadline for our Drawing & Loss call for papers until 30th November 2020. Thank you to everyone who has already submitted a paper.
>
> Drawing and Loss
>
> Drawing is typically imagined as an additive, connective and creative process. Adding marks to paper sets up a mimetic lineage connecting object to hand to page to eye, creating a new and lasting image captured on the storage medium of the page. Or does it? A strand of art historical thought from Pliny to Derrida emphasizes what is lost in drawing, exploring the drawing process as a phenomenon that begins from a point of blindness or looking away and proceeds from a perspective of extreme myopia. Implicit in the myopic movement of the stylus is loss of perspective, direction, intention or foresight, such that drawing can be imagined to proceed in a state of not knowing. This changed perspective can result in the conceptual loss or retreat of the thing being drawn, as it is objectified and even dissected—literally or metaphorically—by the person drawing, who might themselves feel alienated from their object by this process. Finally, the work of paper conservation shows us that the storage medium of the page is anything but stable, and far from storing an image, can suffer damage and loss of its own without monitoring and periodic intervention in the archive.
>
> This special issue aims to reflect upon the dynamic relationship between drawing and loss, taking a multidisciplinary approach to integrate otherwise heterogeneous connections to this often neglected aspect of drawing. Potential contributors might arrive at the subject through fine art, philosophy, conservation, the study of death or memorialization, taking a theoretical, historical or practice-based approach to such issues as:
>
> - The losses and gains brought about by the myopic quality of the drawing process;
>
> - How drawings or drawing processes might mitigate against loss, by memorializing or standing in for the deceased or departed;
>
> - The effect of a drawing upon its object, or the dynamic between the life of the drawing (in process, and once completed) and the life of its object;
>
> - The material, affective or ethical dynamics of learning to draw in the anatomy class or the life class;
>
> - How material loss and damage is approached in conservation, and how this might nuance our understanding of the drawing as a memorial, or of the page as a storage medium.
>
> TRACEY would like to invite the following submissions in response to the theme:
>
> Full academic papers between 4500-5000 words to be submitted through TRACEY’s online submission portal: https://ojs.lboro.ac.uk/TRACEY/about/submissions
> Please ensure that you use the template for your submission, which can be downloaded from the submissions link above.
>
> Deadline for all submissions: 30th November 2020
> Please include the following information for papers:
> Author(s)
> Institutional Affiliation (if appropriate)
>
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>
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