Drawing to See by Nathan Goldstein

By Nathan Goldstein

Progressing logically from the basics of drawing to its extra particular aspects—this textual content addresses the choices, demanding situations, and methodologies of drawings topics comparable to nonetheless lifestyles, determine, panorama, and estimated photographs. The textual content techniques the educating of drawing within the similar method artists strategy the growing of drawings: by way of continuing from the overall to the categorical and providing a piece in an geared up and cost-efficient demeanour.

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Sample text

These are placed at particular points of the lines; on the drawings below they lead to a coherent pattern which forms a virtual hexagon and which at first suggests that in each of these very different shapes the points touch lines arranged in the same way on each sheet. From this, combined points generate the description. The next sheet (---+Fig. 09-07) would certainly be the one on which the greatest number of shared structural characteristics can be detected: here there are honeycomb or cell-like hexagons; there are clusters of points which expand in dimension, arranged one underneath the next.

11 -: r~ ~ .... , ;.. ,.. l' 1... t ~ ~ ~ $1 " " \ ·1~ Fig. POI-OI 56 Hypothesis #2 (---+ Fig. PO 1-0 1 -05) Fig. 05-09 have a not exactly anthropomorphic but certainly creature-like form as the centrepoint: surrounded by vector systems, connecting lines, progressions and permutations, as well as by the diagrammatic image of optical calculations, we encounter the heraldic animal of the Enlightenment: a composite creature indeed, how could it be otherwise? It is the popular ambiguous figure of a hare's and/or duck's head, and 1 no longer know where 1 saw it first: in a schoolbook?

Fndgame: Facing the J)iagram, in: Fva Hesse f)rawing, ed. Catherine de Zegher, New York, New Haven: The Drawing Center, Yale University Press, 2006, pp. 117-150, here: p. 122. SusaJme Leeb - A Line with Variable Direction, which Traces No Contour, and Delimits No Form 39 Fig. 07-00 40 Hypothesis #1 Fig. e. not confined to the chance appearance ofthings; instead they were to comprehend this appearance in its constructive-functional principles, a penetrating view reserved for male pupils only. For the question of modern subjectivity this demand was decisive, the demand that technical drawing be trained until it became an unconscious process, "d'une manif:re inconsciente, machinale",24 - a highly consequential connection of machine and unconscious, reaching from surreal automatism by way of the "machine in the studio"25 to the abstract machines of Deleuze and Guattari.

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