Content of the Courses

 
 

Poem (by Garcia Lorca), "Rechenschaft", 2017, Tomaso Carnetto

Course 1: Constellation of Perception

What does it mean, „to draw“ – in its aesthetic and philosophical dimension?
About the fact that everybody who learned to speak has acquired the ability to draw and how to reactivate this ability.
About the relation between what is seen and the activation of our emotional and physical experience by the seen and how the remembrance involuntarily determines the way we are drawing.

1st day: how to realize the syntax of what to draw by
a) setting constellations,
b) by building geometric structures,
c) adding volumes of movement

2nd day:  analyzing (by drawing) the shapes of the drawings in relation to objects of remembrance (in relation to geometric and volume a short sidestep: Why we are longing to draw the human face and body and how to do so)

3rd day: how to give the drawings (with further drawings) a semantic dimension

 

Rechenschaft, 2017, Tomaso Carnetto

Course II: Perception of the Subject

The topology of subjective perception; the inbetween-space as the space of drawing (generally of designing) and the definition of its outer and inner borders (setting the subjective is an act of demarcation).
About the fact that „becoming a subjective part“ is only possible in relation to another subject and how drawing is an example of how to realise and experience. To understand the relation between subject and subject we work with a meta-topic, for example a paragraph or line of a poem or a set of corresponding motifs.

1st day: how to use different techniques of drawing to define the notations of the subjective perception (of the respective shapes within their time-space-relations); techniques of de-denotation and de-connotation of the signs and shapes which we are using to communicate by writing, reading, copying etc.

2nd day: overlaying the results of graphical de-denotation and de-connotation and giving them a poetical re-denotation and re-connotation by drawing.

3rd day: how to set the relation between the respective re-denotations and re-connotations of each participant and how the definition of the collaborative result (a series of drawing / pictures, printings, objects or combination of the different elements) is given by this.

 

Next to me in the sand (Paul Celan), 2017, Tomaso Carnetto

Course III: The Subjectivity of Narration

Drawing as a local event: about the Aísthēsis of the line which surrounds the „locality“ and therewith the given potential of narrative action.
How by drawing, the consequences of poetical notation (i.e. the narrative action of simultaneously writing and reading the Text of the World) are given immediately and how one Text relates to another Text and how the Texts together are building a constantly shifting network of repetitions and differences.

1st day: how to define, what is „local“; the localization of the subject (the one who draws) in relation to the object by drawing the space between (not primarily the subject / object itself)

2nd day: opening the field (between subject and object) for the  space of narration by adding volumes to the drawing (the  question about tools, material, colour etc)

3rd day: how to build a constantly shifting network of drawings (which are working as Texts) to rebuild the event always anew.


Recommended literature:
1. Sybille Krämer (publisher with Christina Ljungberg), Thinking with Diagrams, The Semiotic Basis of Human Cognition
2. Tomaso Carnetto, Drawings, I Drew a Line and Stumbled
3. Gilles Deleuze, Francis Bacon, The Logic of Sensation
4. Jean-Luc Nancy, The Pleasure in Drawing