Recto Verso -

. .

Résumé :
This volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications.

Biographie:
Angela Bartram works in live art, video, sculpture and published text. Bartram's artwork has been included in a variety of exhibitions, including the Miami International Festival of Performance (2013); and at the gallery Grace Exhibition Space (New York 2012). She is a senior lecturer in fine art at the University of Lincoln. Nader El-Bizri is an Associate Professor in the Civilization Sequence Program, and the Director of the Anis Makdisi Program in Literature at the American University of Beirut. He is also an associated researcher in history of philosophy and science at the Centre National de la Recherche Scientifique in Paris. Douglas Gittens is a researcher and senior lecturer at the Lincoln School of Architecture. He is also an active member of the Architectural Contexts Research Group and the Drawing Research Group at the University of Lincoln, and a member of the Architectural Humanities Research Association (AHRA). His research interests include spatial theory, the phenomenology of architecture, architectural representation and the documentation of architectural memory and lost space.

Sommaire:
Introduction, Angela Bartram, Nader El-Bizri, Douglas Gitten; Chapter 1 By Way of an Overture: Classical Optics and Renaissance Pictorial Arts, Nader El-Bizri; Chapter 2 Parerga - Carnet de Croquis: 'ni oeuvre, ni hors d'oeuvre', Nader El-Bizri; Chapter 3 Palimpsest, John Hendrix; Chapter 4 The Ontological Sketchbook, Robert Clarke; Chapter 5 Plotting the Centre: Bramante's Drawings for the New St. Peter's Basilica, Nick Temple; Chapter 6 The Relationship Between Sketching and Painting in Chinese Traditional Aesthetics, Li Wenmin; Chapter 7 The Design Sketchbook: Between the Virtual and the Actual, Douglas Gittens; Chapter 8 Drawn to Each Other: A Love Affair with Sketches, Rachel Hurst; Chapter 9 One Wound, Two Wounds: The Body as the Site for Writing, Catalina Mejia Moreno; Chapter 10 Let's Draw the Line: The Hidden Pages of Pakistani Artists, Roohi Shafiq Ahmed, Abdullah Muhammad Iyhab Syed; Chapter 11 The Destruction of Ideas: Disregarding and Discarding Sketchbooks and Avoiding Prying Eyes, Angela Bartram; Chapter 12 Curating Sketchbooks: Interpretation, Preservation, Display, Miriam Stewart; Chapter 13 My Arguments with the World, Mario Minichiello; Chapter 14 The Sketchbook as Collection: A Phenomenology of Sketching, Raymond Lucas; Chapter 15 Notebooks and Narratives: The Secret Laboratory of the Architect's Sketchbook, Paul Clarke; Chapter 16 Sketchbook or Reflective Journal? Documenting the Practical PhD, Christine Turner;