Special Issue Call for Papers
Volume 10, Issue 1
‘Listening - Drawing - Sounding’
Guest editor: Ben McDonnell (Norwich University of the Arts [NUA])
Deadline: 1 December 2023
There is a wonderfully rich and complex intertwining of drawing/image-making and music/sound, forming a rhizome that comprises (but is not limited to) traditional European musical notation, graphic scores, scientific sound analysis, contemporary and modern art, dance, and digital imaging techniques. Graphic music notation is often associated with composers of the 50’s and 60s such as John Cage, Alison Knowles, and Cathy Berberian, but it has also moved into contemporary art practice with artists such as Samson Young’s Sound Drawings that consider the banality of the sounds of conflict; or Christine Sun Kim’s large-scale drawings which question how sound operates in society. Other forms of technical drawing have been used to portray sound as a means of analysis (the front cover of Joy Division’s Unknown Pleasures (1979) album, for example) with contemporary digital drawing of sound such as wave form visualisations and spectral analysis becoming part of an established ‘look’ of sound.
As well as the material explorations of mark making and sound, contemporary theory also draws on this relationship. Gilles Deleuze and Pierre-Félix Guatarri’s A Thousand Plateaus (1987) starts with an illustration of Sylvano Bussoti’s score for Five Pieces for Piano for David Tudor before discussing assemblages and lines of flight. Henri Lefebvre’s Rhythm Analysis (1992) looks at the ‘verticality-horizontality’ of written music as a spatial expression of sound; and Salome Voegelin explores the relation between voice and hands in her recent book Uncurating Sound (2023).
This special issue seeks to initiate a contemporary survey of the multiplicity of ways of working between drawing and sound and invites contributions from all disciplines and fields of research and practice that investigate, expand, and complicate these relationships, as well as papers that propose new ways of exploring drawing and sound.
Drawing: Research, Theory, Practice places particular emphasis on original papers on drawing theories, practices, methods, processes, and research that adopt inventive interpretations of drawing. Papers should not be under consideration by other publications. Submissions can take the form of:
1.Articles (5000 words, 1–6 images)
2.Research Projects or Project Reports (3000 words, 1–4 images)
3.Critical Essays (3000 words, 1–4 images)
4.Profiles (1500 words, 1–2 images)
5.Exposés (1500 – 2000 words, 1–2 images)
6.Featured Drawings (1–2 images and 1000 words)
Papers can be uploaded via the 'Submit' tab above, and a copy of the submission should be emailed to the principal editor.
Volume 9, Issue 1 and Volume 9, Issue 2
Deadline: 30th September 2023
Drawing and Knowledge
Drawing is widely appreciated as a means of knowing, a route to knowledge, as testified to in a wide range of practices, fine art practices as well as such practices as botanical, geological and other scientific drawing, for example. Persistent too, from early modern art education and before, are anxieties regarding the epistemic worth of drawing. These anxieties most commonly relate to drawing as praxis, more specifically the situated, embodied and enactive nature of drawing. The distrust of the body as aid in the attainment of knowledge is audible in some of Plato’s dialogues, just as it is in the disputes of the first Florentine academy. We detect a deep-seated apprehension within theories of disegno proposed by artists and theorists such as Giorgio Vasari and Federico Zuccaro. They sought to elevate drawing to the status of an overarching principle, ensconced firmly within the theoretical domain, a strategy that both privileged drawing as a paragon, while paradoxically distancing it from lowly association with the crafts and the taint of manual labour. We can detect the same apprehension and distrust in the Duchampian disparagement of skill and retinal art, the retina too is a body part. These phenomena have more recently been diagnosed in terms of deskilling the artist, reflecting a wider societal division; the elevation of symbolic labour over productive labour, reflective of an all too familiar hierarchy.
Recent research, however, rooted in Phenomenology, American Pragmatism and cognitive science, offers a new perspective, which challenges these apprehensions and hierarchies. Somaesthetics and situated cognition theory assert the essential embodied, extended, enactive and aesthetic (esthetic) dimensions of cognition (the ‘4E model’). Combined, they offer an account of cognition that envisions the practices of drawing not merely as a path to knowledge but perhaps the high road. It is within this context that the following questions are posed. How do we attain knowledge through drawing practices? How do we address and overcome the distrust of the body as an aid to knowledge? How do recent insights regarding the embodied, extended, enactive and aesthetic dimensions of cognition impact our understanding and practice of drawing?
How do disciplines outside the fields of art and design value and assess the knowledge generating potential of embodied and situated drawing practices?
This special issue of DRTP invites contributors to address these questions through the scope of their artistic, pedagogical, technical, or scientific research. We invite authors to criticize, actualize and renew our understanding of the material and conceptual tools related to drawing and knowledge.
Guest-editor: Tom McGuirk, University of Chester
Contact:
Dr Adriana Ionascu, Principal Editor: a.z.ionascu@gmail.com
Drawing Disobedient Bodies
Drawing is a rudimentary physical necessity to life – we ‘draw’ the first breath on our entry into the world, into an autonomy of being, we breathe the same air. As such, drawing serves as a means of both connection and separation; it can delineate boundaries, marking territory by drawing a line between points, or creating a barrier like drawing a curtain. In this embodied paradox, we are simultaneously drawn together and apart. As we strive for autonomy, our bodies become receptacles for sensations that demand expression, and drawing can become a performative tool to facilitate this process.
Sometimes, our bodies rebel and deviate from our desires. They can experience ruptures, becoming out-of-sync and causing our senses to go awry. This bodily disobedience creates a rift between our desires and conditions, leading to a lack of alignment. These imbalances fail to synchronize; we find ourselves desiring something detached from our physical experiences, leaving our bodies yearning for expression.
What might be the role of drawing in exploring these contradictory states and interstitial spaces of both conflict and possibility, and in extending our understanding of disobedient bodies? How can drawing express these ruptures? How can drawing contribute to the body’s call to expression? As an apparatus of origin, direction, movement, and vibration, drawing holds vast potential, yet remains contained within its boundaries. It can be at once resolved and in motion, serving as both a conclusion and an introduction.
This issue of DRTP invites contributions that respond to the notion of drawing disobedient bodies in the broadest sense. It considers the role of drawing in examining the relationship between connectivity and separation and calls for an examination of how we can draw from, with, and through these moments that exist between desire and actuality centred around the body. It invites submissions that explore bodily interstitial spaces, their conflicts and possibilities through drawing.
Guest-editor: Gretchen Geraets, Norwich University of the Arts
Contact:
Dr Adriana Ionascu, Principal Editor: a.z.ionascu@gmail.com
All submissions should be original work and must not be under consideration by other publications. Submissions can take the form of:
Articles (5000 words, 1–6 images)
Research Projects or Project Reports (3000 words, 1–4 images)
Critical Essays (3000 words, 1–4 images)
Profiles (1500 words, 1–2 images)
Exposés (1500 – 2000 words, 1–2 images)
Featured Drawings (1–2 images and 1000 words)
Papers can be uploaded via the Drawing: Research, Theory, Practice Intellect webpage, and a copy of the submission should be emailed to the principal editor. All contributions should be original and not exceed 20 Mb.
Please submit the following:
- an anonymised PDF Document with embedded images (72 dpi), captioned, as Name_Surname.doc.
- a Word Document without images as Name_Surname.doc
Drawing: Research, Theory, Practice places particular emphasis on original papers on drawing theories, practices, methods, processes and research that adopt inventive interpretations of drawing. Authors who have been previously published in DRTP may submit to the journal again after a minimum of 2 or 3 issues, as we prioritize new authors and invite new voices to expand the scope of the journal.
General Call for Papers
All articles submitted should be original work and must not be under consideration by other publications.
Drawing: Research, Theory, Practice places particular emphasis on original papers on drawing theories, practices, methods, processes and research that adopt inventive interpretations of drawing. Authors who have been previously published in DRTP may submit to the journal again after a minimum of 2 or 3 issues, as we prioritize new authors and invite new voices to expand the scope of the journal.
Submissions can take the form of:
- Articles (5000 words, 1–6 images)>
- Research Projects or Project Reports (3000 words, 1–4 images)
- Critical Essays (3000 words, 1–4 images)
- Profiles (1500 words, 1–2 images)
- Exposés (1500 – 2000 words, 1–2 images)
- Featured Drawings (1–2 images and 1000 words)
General call for papers other than the current topic is on-going and can be submitted at any time.
Submission Process
Papers can be uploaded via the Drawing: Research, Theory, Practice Intellect webpage.
Please use this link: https://www.intellectbooks.com/submit/drawing-research-theory-practice and make sure you follow the upload instructions.
Please check that the attached zip file is smaller than 24 MB
Please remember to click the reCAPTCHA 'I am not a robot'
A copy of the submission should be emailed to the principal editor.
Please contact:
Dr Adriana Ionascu, principal editor: a.z.ionascu@gmail.com
Please submit the following:
- an anonymised PDF Document with embedded images (72 dpi), captioned, as Name_Surname.doc.
- a Word Document with separate images (300dpi) as Name_Surname.doc
All contributions should be original and not exceed 20 Mb.
Submissions will be double-blind peer-reviewed.
All contributors should submit the Metadata (see Notes for Contributors)
Authors are responsible for copyright permissions (article [author] and images [artist or institutional copyright / photographer’s permission]). Only copyright forms supplied by Intellect are accepted (hand-signed, scanned and returned as PDF files).
Please refer to the DRTP Notes for Contributors and to the Intellect House Guidelines for details. Authors should ensure guidelines are adhered to; failing to do so leads to delays, and may result in the editor having to return or withdraw the submission.
