Disoriented Methodologies. To Perform Writing Across Drawing
This is a text born from a conversation that opens and unfolds a space-time for an encounter – in-between– the drawn and the written. An encounter that embraces the drawing as the meeting point that allows us to continue exploring, as we both find ourselves in a state of permanent estrangement. This...
| Autores: | , |
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | inglés |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/129951 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/129951 |
| Access Level: | acceso abierto |
| Palabra clave: | 001.891 Investigación basada en la práctica 741 Dibujo en general 7 Arte. Bellas artes. Artes visuales 6201.01 Teoría, análisis y crítica de las Bellas Artes 7.01 Teoría y filosofía del arte 81'42 Escritura como forma de expresión artística Drawing Materialities Disoriented Methodologies To perform Writing Bellas Artes Dibujo 6203 Teoría, Análisis y Critica de las Bellas Artes |
| Sumario: | This is a text born from a conversation that opens and unfolds a space-time for an encounter – in-between– the drawn and the written. An encounter that embraces the drawing as the meeting point that allows us to continue exploring, as we both find ourselves in a state of permanent estrangement. This text splits time into several times: a meeting of words and images, a weaving of stroke and breath that, in the manner of a kipu, enables us to lay lines and address what we do not want to let escape. With Silvia Rivera Cusicanqui (2018) and Elvira Espejo Ayca (2022), we reveal the traces, marks, inscriptions of a ritual nature that help us to articulate a cosmos, to interrelate reading and writing experiences in an attempt to make them vibrate. We have structured the text by considering the opportunities that drawing can have within a methodology that we have called ‘disoriented’ because it embraces the ineffable and the power of hesitation. Specifically, we will dwell on the performativity of words, with the help of Erika Fischer-Lichte (2004). It is a text that seeks to make experience, stroke by stroke, bringing forward statements that perform actions (drawings). The possibility of what we have called ‘listening materialities’ from the drawing and its elements, looking for reflections in Jane Bennett’s (2010) theory as a system of exchange, as propitiatory inscriptions of our capacity of invocation by vibration. It is in the fragment, but also in the drift, where we place these lines of wandering that go from the language to the journey, from the experience that is derived to its graphic translation, now drawing, now looking for words that are actions. Saying them, we are “transforming” a state of things in the world. |
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