This practice-led research identifies parallels between drawing and writing as tools that wonder, articulate and remark experiences. The research devises a drawing/writing hybrid Drawing Vignettes that interweaves wonder and its articulation through various methods of remarking by bringing together four methods; drawing/writing, the use of sound, phenomenological bracketing and ekphrasis. In both theory and practice Drawing Vignettes unites drawn and written conventions, and appears in the thesis text as a drawing/writing hybrid. Through practice-led explorations the research questions the relationship between theory and practice, the nature of understanding and interpretation by fusing reading and looking activities through the Drawing Vignettes outputs. The research challenges writing and drawing conventions as distinct forms of theory and practice, and asks if by redrafting the boundaries of drawing and writing an original vocative poetic practice can emerge. The research aims to make explicit the relationships between the knower and the known by examining what is readable, understandable and how Drawing Vignettes is presented as a practice-led methodology that fosters the acquisition of knowledge through the participant s experience(s) and interpretation(s) allowing understanding to emerge via these exchanges. The research privileges Philip Fisher s (1998) wonder as a poetics of thought and Martin Heidegger s assertion of poetry as a projective utterance (1935) to examine how wonder impacts upon our observation(s), articulation(s) and interpretation(s) of experience(s) as a type of open-ended poetic dialogue. This investigation utilises debates from Nicolas Davey s theoria (2006) that revises the dualism of theory and practice, maintaining they are mutually engaged in dialogue. This research engages in various poetic dialogues to redraft theory practice boundaries, evaluating Drawing Vignettes as a critical revision that query s how philosphical exploartions can interpreate histories and contexts in various verbalised forms. Wonder is evaluated through this practice-led research as inherentley dialogic. It is reviewed as interweaving amongst hermenuitics, ambiguity, doubt and poetics. It is associated with knowledge generation through the hermeneutic circle , as a type of dialogue that circles back and forth between presumption and surprise and renders knowledge structures as incomplete. The research revises the embodied tacit knowledge generated through Drawing Vignettes, and philosophising is argued as an event that engages in wonder as both pensive and participatory. The embodied and autobiographical nature of inscribing, fundamental to a hybrid practice is employed as a method that allows the self to emerge, as a type of activity that traces life amplifying a sense of being in the act of viewing/speaking. The poetic attitude is a term developed by the research to describe a type of dialogic occurrence where an encounter with wonder takes place becomes projected using drawing/writing methods and relocated in the practice outcomes. The research asserts the four methods of Drawing Vignettes enables and perpetuates the poetic attitude where vocative practice outputs can be understood as a type of phenomenological text that revisits presuppositions by enveloping, documenting, analysing and perpetuating wonder. In turn Drawing Vignettes is reasoned as fostering understanding, as it articulates and traces experiences by describing and mapping their structures, empowering die sachen or matters to arise.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:689539 |
| Date | January 2016 |
| Creators | O'Donnell, Lucy |
| Publisher | Loughborough University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | https://dspace.lboro.ac.uk/2134/21927 |
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