Having its roots in cinematic modes of presentation and spectatorship as well as in scientific simulation, data visualisation and statistics, the development of animation has been influenced by the paradigms deriving from these fields. Contemporary forms of animation enable an evolutionary endogenic design that is complex, transitory and emergent. The ‘spaces’ that are generated, differ from the outworn model of Cartesian space, that is, of a stable, ordered, inert, neutral and void space that is fully controllable through the use of Cartesian co-ordinates. Essentially therefore, the ‘spaces’ emerge from the fields of cymatics & Quantum Physics, the contexts of informationalism and connectivity.

The new kinds of space emerge through informational fields & flows, they are dynamically multi-causal, nonlinear, relational, irreducible and incidental, as constants have been substituted with variables. Consequently those spaces conform neither to the notions of ‘ground zero’, singularity and objecthood, nor and the norms of Modernist abstraction and disciplinary autonomies.

The architectural designer, theorist and academic Greg Lynn’s work is based on a creative investigation of the ways in which digital animation can be adapted as a tool for architectural design, through an in-depth engagement with the dialogue between architecture and animation and the ways the one changes the other. As we can see in Lynn’s work, Computer Aided Design provides the opportunity to “retool and rethink” architecture, as “calculus-based design” is introduced. Such a digital tool enables the creation of spaces of emergence, through non-linearbehaviour (interaction) and new kinds of geometry such as “motion or action” geometry, as termed by Lynn.

Please see Digimag online magazine for the full articles. There are two articles in this series. You can also see the Archives for Dr Eugenia Fratzeskou. Also available in Italian.

Visit SARCHA Associates  for more research updates.

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Drawing on the move

Sketchbook Pro – download this useful drawing app for your Smartphone

Drawing Physics Games

Numpty Physics 2D Drawing Game – interesting drawing physics game for download
Crayon Physics Drawing Game – this is an excellent example of a drawing physics game

Drawing with Brushes

Watercolour Brushes for Photoshop – something for your digital experiments

Drawing with Fractals

Canvas Drawing – great for creating backgrounds [use screendump]

Drawing with Light

Drawing by Tracing [Rotoscope]

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I have heard of the cyber field referred to as digital paper, yet I think there is a big difference between cellulose and electric cells of a jell screen. The drawing at the head of this article does use photographs of paper. I should explain that  these are  meaningful to me as they are approximating  a sensation  existing from my handling of certain sketchbooks. In  the process of creating  these books I cut each page so that the overlapping view of the shapes were something like a an architects elevation model, and drew through the book so the images coexist as I went along. In this cyber drawing I used the computer realm in a very different way but something of the feeling remains. That it does so indicates my sympathy for the idea of constructing a pseudo paper wall in computer space,  and so show form through a spatial poetic of  the contrast, like shacks built in museums. Here, the computer is showing overlays of scrolling.

The material sensation of my work in considered  terms of  the question “does abstract drawing propose a meta material?” derives its answer from Asian housebuilding forms that I abstract. The open spaces of joinery forms that provide my image construct maintain for me a traditional sculptural incisiveness of the drawing impulse but the material is something closer to sandstone than marble, it is no known material but it is resistant to the learning curve of my assimilation of the joinery vocabulary.

My art is just drawing but it is more than just marks and seeks the justice of some sense of context to my choice of abstraction – much of this comes out of drawing sensation and intuition, even in an abstract realm.

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The very roots of the concept of interstitiality and interstitial space can be found in Plato’s definition of Χώρα (Chôra) that set the foundations of the concept of spatiality, place, and placing, while the influence of Plato’s cosmology is evident even in contemporary science. Alongside ‘Models/Ideals’ and their ‘imitations’, Chôra is defined as an ‘invisible and formless receptacle… of all becoming’ where ‘Forms’ are materialised, in a sense close to space.

The most important characteristic of Chôra [1] is that its relationship with its contents is a dynamic one, as Chôra interacts with its contents, while being simultaneously distinct from them in an “unexplainable and complicated way”. [2]

A continuous becoming takes place, as asymmetry causes motion and change. Chôra is full of unbalanced and heterogeneous forces; she is both “shaken and shaking”. [3] Shapes are created through ideas and numbers. In such creation of the universe, the elementary triangles of the elements are restructured. For instance, during the transitional phases of this creation process, cubes may be disorganised by been cut either at their edges or at the primary triangles from which they have originally derived, resulting in floating flat shapes. Diverse elements are “bonded” with each other through the use of mathematical analogies, so that, “intermediate definitions” are connected. [4] In such a way, a mathematical matrix characterises the Platonic Chôra and enables the ‘birth’ of forms. [5]

Please see Digicult magazine online for the full articles. There are three articles in this series. You can also see the Archives for Dr Eugenia Fratzeskou. Also available in Italian.

Visit http://www.sarcha.gr/ViewAssociate.aspx?associateID=134 for more research updates.

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Mel Strawn presents his second collection of drawings that can be viewed through is ebook (see link below).  Both representational and abstract drawings are included; many of the drawings are sketchbook, working drawings and some are integral to prints and paintings-reflecting a working life as an artist.

View Drawing2_MelStrawn

For more information visit Mel Strawn’s website: www.strawn-art.com or blog: www.melsbrush.blogspot.com

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Drawing Dialogues is a series of events including talks, seminars, workshops and conversations. Organised by Beth Heaney and Kate Smith, both artists who draw, the initial idea came about as it appeared there was a space for artist focused events and to fill a gap, outside of the educational environment, for dialogue and discussion. Our initial project was a Drawing Dialogue at QUAD, Derby in October 2010. The next initiative (starting in January 2011) will be an informal monthly or bi-monthly session at The Crompton, Derby where someone will put forward a reading or proposition which will start off the conversation.This can be something which has direct relevance to work being produced or just be something of interest which the initiator thinks worthy of discussion. The only rule is that it must be drawing related (and not too long!). All participants will read this before the meeting; the initiator will start of the conversation (referring to examples of their own work if they wish) and a dialogue/ debate will then hopefully develop. Participants will take it in turns to put forward a reading/ proposition giving a varied programme and encouraging people to think outside their own practice. Initially we’re looking for expressions of interest, (either Beth or Kate will provide the reading for the first meeting) so if it’s something you would like to be involved in let us know….you can find more info at www.drawingdialogues.blogspot.com

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The imbedding of ideas in rhizome and trope as drawings designo dessin dassein as I have indicated is a topography of indication excavation and quarrying such as a carving states and in my work the vocabulary of archaric timber framing is mode, modified, scrolled, but all to a language of drawing that is a kind of pidgin, subsuming other languages in its learning interests but really on its own course, like the lonely asteroid its form so resembles in its lonely launch and circuit upon a geological culture could nevertheless in certain circumstances alite upon popular culture.

In Dururs print series of the Life of The Virgin there is expressed likewise the transition to vernacular culture from the original component of a Byzantine landscape tradition of earth as god temple to  a siting of the Virgins life in the age of mechaninical reproduction, the printing press, as an emblazoning of a renewed artscape.

Turning to drawing texts, the visuality of “Drawing On the Left Side of The Brain” has all its moments of planting visualization, but an older text ” The Natural Way To Draw” is a modus operendi I think worth excavating and quarrying in the digital realm.

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The aim was to create a visual record of the objects which are important to us now, in 2010 – a kind of people’s encyclopedia.  The original call recieved a fantastic response.  The drawings recieved have been sent by all ages, and all abilities, and whilst the project has proved very enabling for the participants, the end result and the juxtaposition of all kinds of drawing styles portraying all kinds of objects is very powerful, and very telling. Because of AccessArt have extend the deadline, and to continue to invite audiences to contribute over a much longer period of time, and to let the project grow.

AccessArt are now looking for a partner to help us maximise upon this exciting project. They had originally intended to create an online gallery of the drawings, which they still intend do this, although the cost of doing this has obviously grown as the response from participants has escalated. Additionally they would also like to investigate the possibility of working with a partner to curate a physical exhibition of the images, and/or a publication.

Anyone out there interested in partnering with AccessArt to help us reach new audiences?

Please contact Paula Briggs, Director of AccessArt on 01223 262134, or by email: paula@ACCESSART.ORG.UK

For more information  about the project please visit: www.accessart.org.uk/?p=1564
To join the Studio Project: www.accessart.org.uk/studioproject/

For more information about AccessArt please visit the following websites:
Visual arts teaching and learning resources: www.accessart.org.uk/
Inspiring and enabling the use of sketchbooks in schools: www.accessart.org.uk/sketchbook/
Sketchbooks in Informal Learning: www.accessart.org.uk/sketchbookspace/

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