JRP Submission ID#170

Title: Where to Begin? Eye-Movement When Drawing: A Collaborative Study in the [Laboratory]
Category: Research Design
Submitted: June 3, 2009
Size: About 3,800 words
 
ABSTRACT
 
For over a century, drawing from observation, at least at the introductory level, has been integral to many secondary and most post-secondary art school programs in Europe and North America. Its place in such programs is understood to develop an ability to see and interpret on a flat surface the real, three-dimensional world; this skill, in turn, provides support to related mental processes such as memory, visualization and imagination. Where an artist looks when drawing from observation may not be arbitrary and can be observed, quantified and analyzed. Our interest in examining the first few minutes of the drawing process takes its lead from the novice’s question ‘where should I begin? Attempting to understand these first few minutes led to a collaborative study between Art educators and Cognitive-Perceptual psychologists: the former interested in implications for practical pedagogy; the latter in applying expertise in eye movement and scientific methodology in service of a specific real-world question. The stated purpose of the study notwithstanding, competing histories and practices in art and science provided contexts for discussion beyond the collection and interpretation of data. This paper seeks to report upon and further such discussion.

 

Keywords: attention; drawing; observation; interdisciplinary collaboration

 

 

EXCERPTS

 

Much is written about the cultural convergence of art, science and technology . . . but the notion of the artist as researcher is relatively new. . . .

 

Like the artists, the scientists in our collaboration were interested in what the artist sees when drawing from observation. . . .

 

However, we did not attempt to measure attention and perception directly in our collaboration. In contrast to the British Empiricists, contemporary psychologists put action at least on an even footing with perception. . . .

 

The design of the task sought to examine the kinds of basic challenges normally experienced by a person making a line drawing from observation . . .

We are interested only in the behavior of eye and hand as overt indicators of the mechanics of process, a process that appears to evolve and a process about which educators strive to enlighten their students. . . .

 

As interdisciplinary researchers, we are beginning to learn that traditional paradigms, prejudices and practices do not have to function in opposition. . . .

 

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Reviewers familiar with the notions and practices of inquiry in art and science may kindly respond.

 

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DP
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