This research examines drawing practice in its impacts on and through perception, by elaborating on drawing’s capacity to record elements of the interior experience of vision. Particular focus is directed towards drawing’s potential to grasp and recount something of perception—over and above the nominal subject matter reproduced and immediately apparent on its surface. It is established that the study and construction of drawing—as acquired expressive skill—coalesces around specific rules that reposition the reception and application of visual data, and it is this repositioning that allows for the ‘honest’ representation of the seen to be recorded as result. The aim of this research is to consider what additional aspects of perception can become discerned and revealed into the visible, within both process and enduring artefact of drawing. There are subtle and transient emanations unfolding along side more dominant perceptual inputs of waking visual life; emanations not confined to perception and accounting through drawing. These take form as dreams, imagination, reverie and/or other fluctuations within the nervous system, and are all manifestations within the range of the bodily perception. There is always more available than can be extracted from the flash of each temporal moment—remaining unnoted unless some adaptive mode in the posture of looking is brought to bear. This study proposes and demonstrates that drawing adjusts, and even slows, the sensory process of seeing, so that it is possible to absorb and convey other traces elements of the visual into exterior clarification. Though this project commenced in the stated intention of applying drawing in conversation with sleep and dreaming life, such oneiric interests were not driven by concern for psychological analysis of dream content – but rather from curiosity around the mechanisms of image generation and whether such generative processes within dreaming correspond to diurnal image-based constructions—like drawing. Even sleep itself, as ephemeral yet ordinary event in embodied existence, may correspond to potent gaps and intervals that animate the more tangible portrayals of the fabricated worlds of drawing. It is possible—even likely—that the transcriptive activity of drawing evolves from the perceptual promptings of other subtle pathways within vision. The content interest of this practice-as-research has since broadened to embrace and regard how adaptations in application of perception, specific to and requisite for drawing, are themselves a modality of perception that serves to shift attention away from more normative receptive strategies in approach to the visual field. This act of reconfiguration affords an expanded reflection on the observable, and it is this expanded sensibility that is investigated and chronicled here through drawing practice. The other sensory events documented by drawing within this study include visual indications from organic hallucinatory source—as in migraine aura and occlusions—along with traces of visual memory, imagination and dreaming. Such inputs edge into consciousness from the further reaches of the temporal frontier – or from what philosopher Paul Crowther calls the ‘spatio-temporal elsewhere’. Through drawing practice, the research establishes how unseen or barely seen phenomena can be rendered perceivable through drawing—from both the activity and as a resultant trace. It is this awareness of extra-visual elements that is central to my practice and this research – documented from an experience that these factors only surfaced into realization through the altered dispositions or postures of looking within operations like that of drawing.

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This thesis is a meta-commentary that accompanies a portfolio of artworks produced over the course of the research project; one that explores tracing and the traced as a creative process in drawing. Despite the fact that there is notable information regarding tracing’s preparatory role within the history of drawing (Bambach, 1999), there is little research regarding the shift of its role towards an independent and creative end in drawing today. Consequently, I see tracing as a process for drawing that is continually open to question and exploration. The research takes the view that the reworking of pre-existing cultural products and models arguably now replaces the idea of originality and the new (in the sense of starting from zero) (Bourriard, 2002), a perspective which suggests that there are only specific re-readings and no originative readings. (Derrida, 1976) Within this context, I suggest that tracing in drawing has now, by way of its character, become an exemplary process which can challenge a long standing dialectic: that of the measure of the eye and its judgment, contrasted with mechanical means and the execution of the hand. I believe that this offers up an argument for speculation on a centrality of tracing within drawing now. Overall, the writing addresses a central question, namely what can account for a consideration of tracing as a creative agent in drawing today? It also gives the theoretical means needed to understand the underlying reasoning, preoccupations, and concerns behind the submitted work and provides supplementary information about the drawings and paintings developed as part of this research, thereby offering up a new perspective of tracing’s cultural assumptions for those involved with the history and practice of drawing.

This practice based research examines ways of working in local everyday places that enable shifts from the ‘non–place’ to the rediscovery of the particular in everyday places, amplifying and enhancing ways of knowing and sensing through presencing place. A series of forty-five gestures, expanded art practices, form the enquiry. These gestures have a phenomenological and holistic outlook that highlight the potential of small actions to confirm and enhance the quality of our connections with the world we are part of and through which we can experience a sense of interconnectiveness. Most take place close to my home in Reading, UK. Gestures include: standing in a local water meadow with others to witness dawn Gesture 19 Dawn Walk 6.30am; walking through two periods of abrupt climate change 183ma (million years ago) and our current time, Gesture 28 Intersections of time; or gilding the shadow of a small weed with gold leaf at solar noon, Gesture 45 Solar Noon Shadows. The commentary introduces the territory of presencing place with reference to Otto Scharmers Theory U and a creative approach of letting come born out of Heidegger’s central concern Being or ‘Dasein’. The approaches to practices are then described through methods of tuning into place, the potential for a better place that is embodied in the field of social sculpture and the possibilities of liminal knowing to connect in place. Processes of engaging with others and getting into a position where the world conspires to help you are considered with the work of carefully selected artists. The gestures focus on three areas of enquiry: first, into the physicality of place, secondly, into the non-physicality of place and, thirdly, finding ways of shaping an experience of place with and for others. The gestures become understood as moments of compassionate connection in the poetic action of a small stitch, an act of loving the world. The research concludes by discussing the gestures as a family of strategies and methods that offer ways of presencing place that enhance possibilities of connection in place through expanded art practices. It will be of use to those interested in public facing work and place.

What happens when we draw? How do we transform the visible into lines, and how does drawing the lines transform our perception? The research explores these questions through analysis of physical behaviour in observational drawing, specifically the communication between eye and hand in time and space. By connecting new scientific models of expert drawing behaviour with enactive perception theory (Noë 2004), observational drawing practice and pedagogy, the thesis concludes that drawing is both an action and a form of perception, finely-tuned for detail by the coupling of the movements of the eye with those of the hand. One draws for perception, not from perception. The contribution of the thesis is the development of an enactive observational drawing method, based on the orchestration of eye and hand. While observational drawing is often viewed as more to do with looking with the eye than moving the body, this novel method teaches students to attend to coordination and timing, and its perceptual role. Students learn to draw by learning the dance of the eye and the hand, by developing rhythm. The thesis positions observational drawing as a dynamic embodied engagement with the world; ‘drawing with life’ or ‘drawing life’, rather than drawing from life. The drawing method is defined as presentation (distinct from representation) recognising that perception is transformed by the action of drawing and entailing that it cannot be re-presented, given that it only exists as it emerges. Perception is understood to happen within the movements of drawing. Drawing is described as a two-way conversation between eye and hand, whereby the eye learns from the hand, and develops a slower ‘hand-like’ way of looking, that enables drawing. The drawing method teaches students to move the eye in a slower more detailed way, scanning an object, to allow a fine-grained presentation. The project explores the use and potential of drawing in this way as a research tool, and develops methods for future study of the articulation of the body for observational drawing, and of the complex relationship between perception and action. The conclusion reached is that drawing requires orchestrated movements of eye and hand, and that due to the reflexive nature of drawing, with the action of the hand elucidating vision and in turn influencing the behaviour of the eye, drawing is itself a perceptual process. One perceives from drawing, rather than draws from perception.

Undergraduate, Interactive Games Design (IGD) courses offered by technical universities in the UK recruit students who are not required to have art or design backgrounds. However, they need to be able to represent their creative ideas. Observations at the University of Gloucestershire have shown that many students find difficulties in expressing their ideas in a visual manner as they do not have adequate drawing skills and eventually some focus on coding and some withdraw. This thesis investigates the links between game design and drawing skills, examining concepts of creativity, learning, design communication and education. To establish the basis of this problem, it was necessary to gain an insight into students‘ and tutors‘ viewpoints and interpretation of this course. Using an interpretive philosophical framework, a mixed method approach was chosen to allow for greater opportunity to understand the phenomenon. Within an action research paradigm, the research was carried out in an evolutionary manner. The extent of the problem was established by eliciting tutors‘ insight from other institutions both arts and technical based. A case study was set out to study two cohorts of students. This identified the problems reported by students and the impact of these on students‘ attitude and motivation. The nature and necessity of drawing skills for sketching storyboards were explored by gaining views of students, tutors and industry professionals. The effect of the tutor-led Art interventions at UoG was investigated. The research identified criteria to assess the quality of storyboard communications and finally a framework for an e-learning object to develop storyboard communication skills was specified. This study revealed that obtaining visual skills is fundamental in order to be able to draw or use rapid prototyping techniques for storyboarding. This needs to be addressed in a specified module or several sessions. It appeared that the design of an art intervention (tutor-based or e-learning object) for IGD students, needs to address the issues of confidence and teamwork alongside with the learning materials in a constructive and gamified style and as interactive as possible in a structured goal-based manner. It would also benefit from Active learning teaching style.

Le dessin industriel est lié aux contrariétés artistiques et techniques, craintes des dessinateurs, lieux d’enseignement. Dynamique sociale, œuvres caritatives des Écoles alsaciennes et lorraines chevauchent données historiques, industrielles et artistiques. Les Arts and Crafts opposant vernaculaire et académisme en 1861, les architectures scolaires s’ouvraient à l’utilitaire du dessin, sociologie technique, monde, l’histoire de l’art à la spiritualité et l’anthropologie. Médiocrité et perfection reliant dessin et enseignement en 1970. Avec l’académisme et la fusion des arts du Moyen Âge, les industriels de 1919 portent les mutations culturelles, sociales, politiques et économiques. En Alsace, les Kœchlin, Dollfus, de Dietrich forment les dessinateurs. Perfection, simplicité, humanité industrielle, difformités du dessin, fusion art-vie font jaillir l’humanité du design en 1960-1970, commençant par la transformation des écoles en 1960. En 1975, arts plastiques au lieu du dessin, professeurs, administrations disent les difficultés en France. De 1861 à 1975 les établissements s’écartent des environnements et de l’individualité. En France les concours d’Écoles d’ingénieurs montrent l’explosion de la formation commune. L’intérêt pour l’aspect utilitaire du dessin (technique) ne s’efface pas ; environnements, simplicité du dessin de bricoleur transforment l’attention au dessin noyé en 1969 dans l’industrial design. Mal-fait dissipant peine, travail et risque. / Industrial design is connected to artistic and technical conflicts, designers’ fears, educational facilities. Social dynamic, offers, charities of Alsace and Lorraine Schools overlap historical, industrial and artistic data. Arts and Crafts confronting vernacular and academicism in 1861, school buildings opened to utilitarian design, technical sociology,world, history of art, spirituality and anthropology. Mediocrity and perfection joining drawing and teaching in 1970. With the academicism and the merger of arts of the Middle Ages, the1919’s manufacturers carried the cultural, social, political and economic transformations, like the Kœchlin, the Dollfus or the de Dietrich who trained designers in Alsace. Perfection, simplicity, industrial humanity, design de formities, fusion of art and life produce the humanity of design in the 1960’s and 1970’s, beginning with the transformation of schools in the1960’s. In 1975, arts plastiques instead of drawing, professors and administrations reveal the difficulties in France. From 1861 to 1975 institutions deviate from environment and individuality. In France, Engineering Schools’ competitive exam shows the explosion of general education. The interest in the utilitarian aspect of the (technical) design does not disappear; environment, simplicity of bricoleur’s drawing transformed the attention to drawing encased in the industrial design in 1969. Poorly done, dispelling effort, work and risk.

L’axe principal de cette thèse intitulée « La pratique du dessin et la cognition » concerne le rapport entre la perception de l’artiste et son geste graphique, tout en limitant la portée de la recherche aux productions picturales réalistes. En ce sens, la thèse pose deux questions fondamentales. Premièrement : Comment l’artiste voit-il le monde ? Et deuxièmement : dans quelle mesure la manière dont l’artiste voit le monde détermine sa pratique et son résultat ? La thèse présente les différentes approches qui ont tenté d’expliquer le regard de l’artiste lors de la réalisation d'œuvres picturales. Englobant ces points de vue dans deux théories générales sur la perception de l’artiste, la thèse présente Gombrich et Ruskin comme les représentants de cette divergence. Trouver des rapports entre ces théories, les observations et les expériences personnelles est une des motivations initiales de cette thèse qui regroupe les différentes expériences de pratique du dessin dans deux approches, une holistique et l’autre régit par le principe de détail. Les caractéristiques principales de ces différents types de pratique sont examinées par une approche expérimentale de la cognition, tout en essayant de redéfinir l’activité du dessin sur le plan cognitif. La thèse se compose de trois parties. La première partie retrace la problématique dans un champ qui intègre l’expérience personnelle ainsi que les idées historiques et esthétiques sur le dessin. La deuxième partie comprend une initialisation du même sujet dans le domaine cognitif, où la question de la perception est détaillée dans ses mécanismes basiques. Ces apports conduisent à la synthèse de la thèse, objet de la troisième partie. / The principal axis of this thesis entitled "The Practice of Drawing and Cognition" refers to the relationship between the perception of the artist and his graphic gesture, limiting the scope of the research to the realistic pictorial productions. In this sense, the thesis poses two fundamental questions. First: How the artist sees? And secondly, to what extent the manner in which the artist sees determines (his) its practice and its result. The thesis presents the different approaches that have attempted to explain the vision of the artist during the execution of pictorial works. Incorporating these viewpoints in two general theories on the perception of the artist, the thesis presents Ruskin and Gombrich as representatives of this divergence. Finding relationships between these theories, personal observations and experiences is one of the initial motivations of this thesis that comprises the various experiments in practice of drawing two approaches- a holistic and the other by the principle of detail. The principal characteristics of these different types of practice are examined by an experimental approach to cognition, trying to redefine the activity of drawing on the cognitive level. The thesis consists of three parts. The first part traces the problematic in a field that integrate personal experience and the historical and a esthetic ideas on drawing. The second part contain initialization of the same subject in the cognitive domain, where the issue of perception is detailed in its basic mechanisms. These efforts lead to the synthesis of the thesis, the subject of the third part.

Ce travail concerne l’étude de la nanostructuration de membranes polymère/métal, réalisées par génération in situ. Nous avons précisé les paramètres chimiques et physicochimiques influant sur la nanostructure de films à matrice alcool polyvinylique et polyétherimide nanostructurés par des nanoparticules d’argent et de palladium, à partir de différents précurseurs et différents solvants de préparation. Nous avons dégagé l’influence des voies de réduction (thermique, radiolytique et chimique) sur la morphologie et sur les propriétés fonctionnelles des films nanocomposites. Globalement, les conditions de nanostructuration employées ont eu un fort impact à la fois sur les tailles des nanoparticules générées et sur leur répartition au sein du film. L’impact de la morphologie a été évalué à son tour sur les propriétés fonctionnelles, c'est-à-dire dans notre cas sur les propriétés mécaniques et sur les propriétés de transport de gaz. L’analyse fine de ces deux types de propriétés nous a permis de préciser les effets de dispersion et le rôle des interfaces nanoparticules/polymère. Nous avons également montré que le transport dans les films nanocomposites polymère/palladium pouvait être analysé et interprété en termes de transport actif. / This work deals with the study of the nanostructuration of polymer/metal membranes, realised by in situ generation. We specified the chemical and physico-chemical parameters influencing the nanostructure of polyvinyl alcohol and polyetherimide matrix films nanostructured by silver and palladium nanoparticles, thanks to different precursors and different preparation solvents. We showed the influence of the nanostructuration processes (thermal, under irradiation and chemical) on the morphology and on the functional properties of the nanocomposite films. On the whole, the nanostructuration conditions had a high impact both on the generated nanoparticles sizes and their organisation in the film thickness. The morphology’s impact was then evaluated on the functional properties, i.e. in our case on the mechanical properties and on the gas transport properties. The analysis of these two types of properties allowed us to specify the dispersion effects and the role of the nanoparticles/polymer interfaces. We also showed that the transport in the polymer/palladium nanocomposite films could be analysed and construed as active transport.