Todays tutorial with Anne was concerned largely with the way in which we - as artists - draw. specifically the communication of what we as observers see in our mind's eye. Anne's work is also concerned with art in the public sphere, referencing the decline in socially relevant 'gallery art' and the rise work being produced as the result of a process - rather than the process of making arising out of a desire to produce marketable work to sell in a gallery. The Latter is now seen as an undesirable, almost shallow way of producing work - similarly, the idea of an artist producing work in a signature style is also considered a negative characteristic in socially engaged art. during the seminar we were urged to consider the way things work and the perspectives from which we view them. The example cited by Anne was from Paul Klee's notebooks, volume 1, the thinking eye. it deals with how we can depict parts of a system in order to emphasise their role within the cycle. Klee postulated that any system/organism/cycle can be broken down into 3 distinct categories: the first being the active organ, the brain, the instigator; another is the passive, the part of the puzzle which actually effects the change; the final component is the middle or median, the bridge between the active and the passive. Each of these components exists as part of the other, and are inextricably linked. what i got from this can be summed up like this: Klee's three-part organism model for drawing allows a person (not neccessarily an artist) to identify information required for an illustration to make sense, or at least the best sense which the administrator of a said drawing can provide. The process is a method of distilling information within a drawing (or rather an iterative series of drawings) and making sure that the imagery used within that drawing is as succint and relevant to what you are trying to portray as possible. all this is fine, except that to me a simpler and better set of rules already exists, the work of bill buxton in 'sketching user experiences' provides us with another mode of thought which states that in order to express your ideas you should at no point be concerned with creating a finished work, you are engaged in the process of sketching, of ideas generation, it is important - in fact - vital to accurately
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