Hdl Handle:
http://hdl.handle.net/10034/559509
Title:
Drawing as situated knowing
Authors:
McGuirk, Tom
Abstract:
This paper will present drawing as a knowledge generating activity that integrates perception, action and cognition. It will do so with reference to a range of theory that champions the epistemic significance of perception in knowledge generation, with particular reference to contemporary theories of ‘situated cognition’, as well as the related work of contemporary theorists like Mark Johnson and Alva Noë. The absorption of art and design education within the broader university presents many advantages, however a principal drawback is a phenomenon the sociologist Pierre Bourdieu recognises as the exclusion of métier, that is “the material determinations of symbolic practices” – including drawing – from such “scholastic universes” (Bourdieu, 2000, p.20). This, it will be argued, is a key factor in what James Elkins describes as “the incommensurability of studio art production and university life” (Elkins, 2009, p.128). Perhaps due to its neophyte status within the university, the discipline of art and design has been remarkably ineffective in countering the negative repercussions of this phenomenon. This paper will argue that it is magnified by a tendency – as outlined by Johnson – within the mainstream of Anglo-American analytical philosophy to “retain an exclusive focus on the conceptual/propositional as the only meaning that mattered for our knowledge of the world” (Johnson, 2007, p.9). This view presents language, and textual argument in particular, as representing the ‘gold standard’ in terms of a model for knowledge generation within the university. By way of counterweight, this paper will present ‘situated cognition’, a theory indebted to both Phenomenology and American Pragmatism, both of these philosophical movements run counter to mainstream epistemology. In short this paper will, in this way, make a case for the rehabilitation of drawing as an important way of knowing.
Affiliation:
University of Chester
Citation:
McGuirk, T. (2014). Drawing as situated knowing. In P. L. Almeida, M. B. Duarte, & J. T. Barbosa (Eds.), Drawing in the university today (pp. 297-304). Porto, Portugal: University of Porto
Publisher:
Research Institute in Art, Design and Society (I2ADS), Faculty of Fine Arts, University of Porto, Portugal
Publication Date:
Aug-2014
URI:
http://hdl.handle.net/10034/559509
Additional Links:
http://www.i2ads.org/dut2013/DUTfolder/duteng1.html
Type:
Other
Language:
en
Description:
This is a text in the proceedings of a conference Drawing in the University Today, held at the at the University of Porto – May 31 & June 1. 2013.
ISBN:
978 989 97856 6 3
Appears in Collections:
Art and Design

Full metadata record

DC FieldValue Language
dc.contributor.authorMcGuirk, Tomen
dc.date.accessioned2015-07-10T13:19:56Zen
dc.date.available2015-07-10T13:19:56Zen
dc.date.issued2014-08en
dc.identifier.citationMcGuirk, T. (2014). Drawing as situated knowing. In P. L. Almeida, M. B. Duarte, & J. T. Barbosa (Eds.), Drawing in the university today (pp. 297-304). Porto, Portugal: University of Portoen
dc.identifier.isbn978 989 97856 6 3en
dc.identifier.urihttp://hdl.handle.net/10034/559509en
dc.descriptionThis is a text in the proceedings of a conference Drawing in the University Today, held at the at the University of Porto – May 31 & June 1. 2013.en
dc.description.abstractThis paper will present drawing as a knowledge generating activity that integrates perception, action and cognition. It will do so with reference to a range of theory that champions the epistemic significance of perception in knowledge generation, with particular reference to contemporary theories of ‘situated cognition’, as well as the related work of contemporary theorists like Mark Johnson and Alva Noë. The absorption of art and design education within the broader university presents many advantages, however a principal drawback is a phenomenon the sociologist Pierre Bourdieu recognises as the exclusion of métier, that is “the material determinations of symbolic practices” – including drawing – from such “scholastic universes” (Bourdieu, 2000, p.20). This, it will be argued, is a key factor in what James Elkins describes as “the incommensurability of studio art production and university life” (Elkins, 2009, p.128). Perhaps due to its neophyte status within the university, the discipline of art and design has been remarkably ineffective in countering the negative repercussions of this phenomenon. This paper will argue that it is magnified by a tendency – as outlined by Johnson – within the mainstream of Anglo-American analytical philosophy to “retain an exclusive focus on the conceptual/propositional as the only meaning that mattered for our knowledge of the world” (Johnson, 2007, p.9). This view presents language, and textual argument in particular, as representing the ‘gold standard’ in terms of a model for knowledge generation within the university. By way of counterweight, this paper will present ‘situated cognition’, a theory indebted to both Phenomenology and American Pragmatism, both of these philosophical movements run counter to mainstream epistemology. In short this paper will, in this way, make a case for the rehabilitation of drawing as an important way of knowing.en
dc.language.isoenen
dc.publisherResearch Institute in Art, Design and Society (I2ADS), Faculty of Fine Arts, University of Porto, Portugalen
dc.relation.urlhttp://www.i2ads.org/dut2013/DUTfolder/duteng1.htmlen
dc.subjectDrawingen
dc.subjectPerceptionen
dc.subjectSituated-Cognitionen
dc.subjectEpistemologyen
dc.subjectPhenomenologyen
dc.titleDrawing as situated knowingen
dc.typeOtheren
dc.contributor.departmentUniversity of Chesteren
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