We intend to justify the confluence of drawing in art and design and their formal difference, that is, drawing for art or for design.
Is drawing for art different to that of drawing for design? This is the stimulating issue we propose to debate so as to interpret the relationship between drawing and design for art.
1. Drawing as a subject that conceptualises an idea will be seen as a descent of Western culture, especially in its renascence affirmation period. Thus we can consider its origin to be in the disegno Florentine culture of the Italian renascence period, where the first drawing² academy is established. This enables a better understanding of our proposal since drawing was the subject that was able to bring together the various arts designated as drawing (arti del disegno).
The path of its renascent heritage is first of Classical Greek influence and then of Roman. Thus, it is poiesis the way of «knowing how to do» arising from the Greek domain of techné resulting in project construction and the creation of the object. In Renascence disegno frees itself from its liberal artisan approach and instils itself as a subject deriving from theoria; the abstract intellectual knowledge acquired through contemplative observation. However, it is also praxis ,in its practical virtue, where drawing expresses itself as a being-object in view of the cultural traditions that bear a moral, ethical and political wisdom.
From the 18th century drawing as an artistic action starts to conquer autonomy in tandem with the desire for freedom that art aspires.
Drawing liberates itself from its project function to art (in the disegno tradition) and asserting its autonomy by abiding by its own internal rules.
In the second half of the 20th century the conquest of modern artistic autonomy resides on the presumption of the artistic objects as irreconcilable manifestations of the artistic «thing». In the 1st half of the 20th century Duchamp and Malevitch are ironically examples of absence of the artistic function in art and in the 70s Beuys embraces absence with transcendental charm.
Drawing motivated by the action of desire abandons the artistic necessity and becomes an object of art. Drawing is neither history through memory of its past (classical drawing), nor the revelation of the invisible through the visible (modern drawing), but simply the figure which presents real art. Therefore, drawing is no longer represented symbolic sign but a symptom.
In this context drawing is represented in art as belonging to art.
2. Does design, as it is know today in its disciplinary autonomy with its Industrial Revolution bearing and acquiring affirmation with Modernism, take over the functional space left by drawing?
“The paradigm of design as an operative function of interface design, aspires to be a self-representation of cultural dimension. Thus, design is the drawing of artefacts of cultural interface” resulting from the interaction between author-program-technology. [Providência in Calvera, 2003,199]
As result of this interaction design, is via the author, an instrument of reflection that aspires the freedom of art, yet conditioned by a constructor program that provides the work/artefact a content of truth through its formal realisation.
That is, design is still a Greek derivate of technés, while poiesis, the creative «knowing how to do» through theoria and praxis.
Can design be a way of interpreting and fulfilling the artistic function through drawing; while the latter is, in an autonomous form, a domain of art?
In the condition of existing for…, drawing exists as a function that gives form to a project.
Drawing (pre)exists as a multidisciplinary function: the triangular correlation between classification, representation and imagination. This triangular correlation derives from the one described by Vitrúvio as utilitas, firmitas, venustas.
In an attempt to articulate the triangle described as the result of a project in design: author-program-technology with drawing via which the project is fulfilled, described as classification-representation-imagination. This would result in a figure whose authorship would arise from the interval between representation-imagination, the program from the interval between representation-classification, and technology between classification-imagination.
Considering the representation of the project in design as the relationship between these two triangles, then design is closer to science-engineering by the representation of the semi-circles defined by peripheral movement between the representation and technology touching the vertices of program and classification. Nonetheless, it is closer to art when it comes to authorship and imagination; the peripheral movement of the semi-circle. Thus we could within the circle define diametrically opposite movements, such as, imagination-program , representation-technology and authorship-classification.
In tandem with the text “More than a hélice” we belive that design “among other subjects, if not the only one, is the most legitimate heir to the title «artistic»” [Providência in Calvera, 2003, 212].
Thus from this conceptual resume we will seek to interpret the current instrumental paradigm that drawing is to design, and clarifying the issue that permeates this text.
Bibliography:
Calvera, Anna (ed.) – Arte? diseño? Barcelona: Gustavo Gili, 2003
Didi-Huberman, Georges – Devant l’image. Paris: Les Éditions de Minuit, 1990
Dienato Partenone (ed.) – Nel disegno – Materiali di un Corso di Disegno e rilievo della Facoltà di Architettura di Roma, 1984-1990
Vasari, Giorgio – Le Vite dei piu eccelenti architetti, pittori, scultori. Fratelli Melita, 1987
Vitta, Maurizio – Il progetto della bellezza. Il design fra arte e tecnica, 1851-2001. Torino: Einaudi, 2001
Wajcman, Gérard – L’object du siècle. Verdier, 1998
Co-authoring: Magalhães, Graça; Pombo, Fátima.
Paper presented at 4º Congresso da Associação Portuguesa de Ciências da Comunicação, Universidade de Aveiro, Aveiro, Portugal, 20-21 outubro 2005
Graciela Machado, Ana Paula Coutinho
2021
Sílvia Simões, Natasha Antão, Vítor Silva
2020
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2020
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Graciela Machado, Teresa Almeida, Ana Margarida Rocha
2020
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Graciela Machado, Teresa Almeida, Ana Margarida Rocha
2020
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2020
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Susana Lourenço Marques, Vitor Almeida
2020
2184–7991
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2020
978-989-54703-6-5
Português
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2020
978-989-54417-9-2
português, espanhol, inglês
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José Carlos de Paiva, Mário Bismarck, Sílvia Simões
2019
978-989-54703-3-4
Português
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2019
978-989-54417-7-8
English, Portuguese
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2019
978-989-54703-5-8
Portuguese, English
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2019
978-989-54417-3-0
English
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2019
PT
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2019
978-989-54417-5-4
PT
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2019
978-9889-54417-0-9
PT, ES, EN, FR
2019
978-989-54111-7-7
Português, Espanhol
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Domingos Loureiro, Sofia Torres
2018
978-989-54111-8-4
Português
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2018
978-989-54111-3-9
English, Portuguese
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2018
978-989-54111-4-6
Português
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2018
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2018
2183-3524
English, Portuguese
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José Carlos de Paiva, Liliana Alves Couto
2018
978-989-54111-2-2
PT, ES
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2018
PT
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Catarina Almeida, Catarina Martins, José Carlos de Paiva, Tiago Assis
2018
Pt, Es
EPRAE is an international meeting that intends to make public and to discuss ongoing doctoral researches students with invited discussants and a community of students and teachers of arts education. Visit website: http://eprae.fba.up.pt 6th Encounter of Practices of Research in Arts Education
Cláudia Amandi, Joaquim Jorge Marques
2018
978-989-54111-0-8
2018
978-989-99839-4-6
English, Spanish
According to Juan Luis Moraza, art is the form of knowledge that avoided less the articulation of the capacities of knowing, of tasting and appreciating. By making use of the conceptual device saboer instead of knowledge, Moraza actualises knowledge as a process intrinsically defined by material and conceptual sensuality. This relation with subjective recursiveness (and its defence) is likely to be the […]
Mário Bismarck, Paulo Luís Almeida, Vítor Silva, José Manuel Barbosa, José Maria Lopes
2017
1647-8045
PT, Eng
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2017
2183-3524
PT / ENG
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2017
978-989-99839-7-7
Português
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2017
978-989-99839-8-4
EN
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2017
978-989-746-143-9
Pt, Es, Eng
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Sofia Torres, Domingos Loureiro
2017
978-989-99839-6-0
Pt, Es, Eng
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2017
978-989-99839-3-9
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2017
2184-0067
Português
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2017
978-989-99839-0-8
Português, English
Anita Seppä’s “Art as an Act of Love with the Radically Other – The Post-Humanist Art of Terike Haapoja” opens up for the statement that there is a transformative power in opening up. Otherness appears at the centre of this thought in terms of the meanings of sharing, giving, and including. Artistic Research Does #3 […]
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2017
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2017
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Francisco Laranjo, Domingos Loureiro, Sofia Torres, Teresa Almeida
2017
978-989-746-122-4
PT, ES, EN
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2017
978-972-36-1548-7 (Edições Afrontamento), 978-989-746-119-4 (i2ADS)
Português
2016
978-989-98745-9-6
Português, English
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2016
Português, English
Hey presto!, this is not another ant-ology neither aspires being part of one. And we are not tied to defining artistic research neither we intend to spend our and others’ sweat to eventually provide an enlightened state of the art. We are nevertheless quite happy to present a friendly, fancy and laid-back ink and paper […]
2016
978-989-730-050-9
Português
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2015
978-989-730-042-4
English
Texts by Catarina Almeida, Catherine Rosamond, Cristina Mendanha, Eduardo Morais, Joana Mendonça, Leonardo Charréu e Marilda Oliveira, Lígia Lima, Sofia Barreira
Diana Carvalho, Miguel Leal, Dário Cannatà, João Brojo, Felícia Teixeira
2014
978-989-98745-4-1
Português, English
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2014
978-989-730-041-7
English
Derivas is a semestral publication from the Post-Graduation Programs in Arts Education at the Faculty of Fine Arts, University of Porto and the Research Group in Arts Education at the i2ADS – Institute of Research in Art, Design and Society. The aim of the journal is to publish original articles, subject to blind peer review, […]
2014
978-989-97856-6-3
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2014
ISSN: 2183-3524
Português, Espanhol
Derivas is a semestral publication from the Post-Graduation Programs in Arts Education at the Faculty of Fine Arts, University of Porto and the Research Group in Arts Education at the i2ADS – Institute of Research in Art, Design and Society. The aim of the journal is to publish original articles, subject to blind peer review, […]
Miguel Carvalhais, Pedro Tudela
2014
978-989-98745-0-3
English
This volume concerns music, sound arts and sound in the arts and media. It collects reflections on theory and practice, on composition, performance, technique, virtuosity and aesthetics, as well as on publishing strategies and other issues brought about by computational technologies. It tries to traverse a convoluted map of artistic and design practices that are […]
Cláudia Amandi, Graciela Machado, Pedro Maia
2014
978-989-746-035-7
Português
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José Carlos de Paiva, Rita Rainho
2013
978-989-730-031-8
Português, English, Castellano
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2013
978-989-97856-8-7 (PORTUGAL)
978-84-475-3843-0 (ESPANYA)
Português, Català
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2013
1647-8045
Português, Castellano
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Catarina Martins, Manuela Terrasêca, Vítor Martins
2012
978-989-20-3000-5
Português, English
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2012
978-972-98517-7-3
Português, English, Castellano
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José Carlos de Paiva, Catarina Martins
2011
978-972-9171-76-5
Português, English
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2011
Português, English
A compendium of contemporary public art / space thinking. “In the spirit of an exploratory, transdisciplinary object, you may thus find here essays on the mutating codes of landscaping (Laura Castro), a possible topology of media (Miguel Leal), the shifting status of public art (Jeremy Hunt & Jonathan Vickery), and even a graphic novel on non-gravity […]
Fernando José Pereira, Miguel Leal
2007
1646-7388
Português, English
The title MONO becomes relevant in the context of a publication intending to reflect the contemporariness of visual arts, in particular through its inherent connection with the production process – mono is the volume/prototype made by printers to enable the client to check the final work. And in addition because on embodying the notion of […]