Mia/Thesis

The cocoon

guidelines thesis outline

1. THESIS THEME (see below - what do you see?)

2. 5 CORE TEXTS (OR STARTING POINTS)

• Vilem Flusser: Towards the Philosophy of Photography

Flusser analyses the distinction between technical images, i.e. photographs, and traditional images (such as drawings and paintings). The latter are, according to him, primary abstractions, because we abstract them directly from the concrete world before us. Contrary, technical images are abstractions of third order, because they signify texts, which are abstracted from traditional images which abstract from concrete world. Flusser states that technical images are images, produced by 'apparatuses'. The camera and the person operating it form a complex which directly conditions the outcome. Moreover, the camera acts as a black box – its operator can control its input and knows how to manipulate it to produce specific output, but what exactly happens in-between, remains hidden. The actual encoding of technical images takes place in this very mechanism we cannot fully understand.

• Susan Sontag: On Photography (Chapter Photographic Evangels) + Martin Jay: Photography and the Mirror of Art

Sontag and Jay disclose that photography as a medium is valuable in the context of art because it subverted the very tradition it became a part of. Sontag also touches on painting’s relation to photography, which is reciprocal – the two informed one another in terms of technical, aesthetic, and conceptual influences throughout history. Both Jay and Sontag emphasise photography’s inherently hybrid status in which they find its very potential and value.

• Deanna Petherbridge: The Primacy of Drawing: Histories and Theories of Practice The Primacy of Drawing pdf

The book provides an extensive analysis of drawing's fundamentals and its different modes from 15th century to the present. The author shows that drawing is not only an (artistic) medium, but is a way of externalising the first thoughts (the mode of sketch). She touches on its primality, straightforwardness and sensitivity, this instant(aneous) nature of drawing and its position in western art. Petherbridge also analyses the changing role of drawing in relation to contemporary and conceptual practice.

• Philip Rawson: Drawing

The author offers a close analysis of what drawing actually is as a process as well as an (artistic) object and how is it understood as an artform. He breaks it into constituting parts and discusses kinetic, ctructural, contextual aspects of any drawing, based on numerous historical as well as modern examles of drawings. He explains the theoretical basis, technical methods and materials and subject matters on different modes of drawing ranging from Far Eastern tradition to examples of Western art and design. The parts most relevant for my thesis include the first chapetr (The Theoretical Base) as I wish to inspect the basis of drawing as a gestural mode of expression and relate it to photography However, I also find some details and examples from other chapters interesting, as Rawson intelligibly describes certain modes of drawing I recognise in my own work (e.g. 'the blob') or calls attention to symbolic and historical meanings of certain materials.

3. Other potential texts

• Marcel Duchamp: The Creative Act
• Hans Belting: An Anthropology of Images - Picture, Medium, Body
• Rosalind Krauss: A Voyage on the North Sea: Art in the Age of Post-Medium Condition
• John Berger: Berger on Drawing
• Jackson Pollock: Drawing into Painting
• Jonas Storsve: Cy Twombly (Pompidou exhibition catalogue)

Thesis statement

17.10. 2019

1st draft:

The element of gesture in my recent practice exposes the bridge between drawing and photography. I understand the gesture as a recording of a hand or material itself in movement and as such a constitutive element of drawing. At first, photography as a contemporary? medium for producing technical images, may seem to have little space for/connection with such gesture and thus appears very different from drawing and painting practice. However, having a close look at the historical development of both mediums, I realise they are tightly related and in fact share some of the conceptual bases. They both emerge from the urge to leave a trace. The need to make a record of an event or existence is, I believe, in the very human nature and is the motivation for image-making in general. I wish to bring awareness of this bridge because the image itself is not a static entity tied to a specific medium, but is constantly in flux. Therefore, I can outline the reciprocal relationship between the two mediums that lead from early-photography to the contemporary post-mediality. Theoretically but also through my practice, I explore the gesture as a space for expressing the tight relation.

2nd draft:

The element of gesture in my recent practice reveals the bridge between drawing and photography. I understand the gesture as a recording of a hand or material itself in movement and as such a constitutive element of drawing. At first, photography as a medium for producing technical images may seem to have little space for such gesture and thus appears very different from drawing and painting practice. However, having a close look at the historical development of both mediums, I realise they are in fact sharing some of the conceptual bases. Both originate from the urge to leave a trace. The need to make a record of an event or existence is, I believe, in the very human nature and suggests the motivation for image-making in general. Through the following text but also through my recent practice, I explore the gesture as a space for expressing the tight relation between photographic and drawing principles of image-making. I outline the reciprocal relationship between the two mediums that emerges in early-photography and leads to the contemporary post-mediality. I wish to bring awareness of the link between the two because the image itself is not a static entity tied to a specific medium, but is constantly in flux.

3rd draft:

The element of gesture in my recent practice reveals the bridge between drawing and photography.

I understand the gesture as a recording of a hand or material itself in movement and as such a constitutive element of drawing. At first, photography as a medium for producing technical images may seem to have little space for such gesture and thus appears very different from drawing and painting practice. However, having a close look at the historical development of both mediums, I realise they are in fact sharing some of the conceptual bases. Both originate from the urge to leave a trace. The need to make a record of an event or existence is, I believe, in the very human nature and suggests the motivation for image-making in general. Through the following text I outline the reciprocal relationship between the two mediums that emerges in early-photography and leads to the contemporary post-mediality. Through the prism of theory as well as through my recent practice, I explore the gesture as the space for expressing the tight relation between photographic and drawing principles of image-making. I wish to bring awareness of the link between the two because the image itself is not a static entity tied to a specific medium, but is constantly in flux.

First PRE-draft of the thesis outline

• File:Thesis outline Mia Paller.pdf
• http://pzwiki.wdka.nl/mw-mediadesign/images/2/24/Thesis_outline_Mia_Paller.pdf