PART I: THEORISING ABOUT THINKING AND DRAWING
About thinking and drawing - the process rather than the artefact
Moving from theory to practice - the methodological problem
The relevance of Enactive Cognition to the practice of drawing
Accessing enactive knowledge through the lived experience of the practitioner
PART II: THE FIRST PHASE OF METHODOLOGY – USING THE EXPERIENCE OF OTHERS AS SUBJECT
Experiential accounts of the activity of drawing by others - Marion Milner and Frederick Franck
Interviewing drawing practitioners about how they think
Making the decision to use drawing to investigate thinking
PART III: THE SECOND PHASE OF METHODOLOGY – USING MY OWN EXPERIENCE AS THE SUBJECT OF A FIRST PERSON ENQUIRY
'Can I embody another artist’s thinking process by copying his drawing?' - Familiarisation with the method of copying
The case studies of Richard Talbot and Oliver Zwink
Four narratives about the experience of re-enacting Talbot’s drawing 'Glass'
Observations about the method of Enactive Copying
Where does one go from here?
Patricia Cain is an artist and Honorary Research Fellow of the Humanities Advanced Technology and Information Institute, University of Glasgow.
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