MTU Library Catalogue

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Drawing as a way of knowing in art and science / Gemma Anderson.

By: Anderson, Gemma [author].
Material type: materialTypeLabelBookPublisher: Bristol, UK ; Chicago, USA : Intellect, 2019Copyright date: ©2019Description: xviii, 275 pages : illustrations (some colour) ; 24 cm.Content type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781789380576 (paperback); 178938057X (paperback); 9781783208104 (hardback); 1783208104 (hardback).Subject(s): Drawing | Drawing -- Technique | Morphology | Mathematics -- Drawings | Natural history -- Drawings | Science -- DrawingsDDC classification: 741.2
Contents:
On drawing as a way of knowing -- On drawing practice in science -- Drawing resemblances and Isomorphology -- Drawing with Goethe's morphology -- Dynamic form: Klee as artist and morphologist -- Mathematics and art: Notes from an artistic collaboration -- Isomorphogenesis: Drawing a dynamic morphology -- The Cornwall Morphology and Drawing Centre.
Summary: "In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson's Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics, and art. Inspired and informed by collaboration with contemporary scientists and Goethe's studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts" - back cover.
Holdings
Item type Current library Call number Status Barcode
General lending MTU Crawford College of Art and Design Library Lending 741.2 (Browse shelf(Opens below)) Available 00231938
Total holds: 0

Enhanced descriptions from Syndetics:

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson's Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics, and art.



Inspired and informed by collaboration with contemporary scientists and Goethe's studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.

Includes bibliographical references (pages 253-268) and index.

On drawing as a way of knowing -- On drawing practice in science -- Drawing resemblances and Isomorphology -- Drawing with Goethe's morphology -- Dynamic form: Klee as artist and morphologist -- Mathematics and art: Notes from an artistic collaboration -- Isomorphogenesis: Drawing a dynamic morphology -- The Cornwall Morphology and Drawing Centre.

"In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson's Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics, and art. Inspired and informed by collaboration with contemporary scientists and Goethe's studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts" - back cover.

Table of contents provided by Syndetics

  • Acknowledgements (p. ix)
  • List of illustrations (p. xi)
  • Introduction (p. 1)
  • Chapter 1 On drawing as a way of knowing (p. 13)
  • Chapter 2 On drawing practice in science (p. 29)
  • Chapter 3 Drawing resemblances and Isomorphology (p. 63)
  • Chapter 4 Drawing with Goethe's morphology (p. 107)
  • Chapter 5 Dynamic form: Klee as artist and morphologist (p. 133)
  • Chapter 6 Mathematics and art: Notes from an artistic collaboration (p. 165)
  • Chapter 7 Isomorphogenesis: Drawing a dynamic morphology (p. 177)
  • Chapter 8 The Cornwall Morphology and Drawing Centre (p. 215)
  • Conclusion (p. 241)
  • Glossary (p. 249)
  • Bibliography (p. 253)
  • Index (p. 269)

Reviews provided by Syndetics

CHOICE Review

This book examines the twin themes of drawing and morphology through an exploration of intuitive and experimental drawing methods. Anderson (research fellow, sociology, philosophy, and anthropology, Univ. of Exeter, UK; instructor of drawing, Falmouth Univ., UK) explains how new approaches to drawing practice can enhance morphological insight in the fields of art, mathematics, and the natural sciences. Her interdisciplinary approach challenges the traditional supremacy of the written word and offers the potential to develop an extra-scientific method of classification complementary to the scientific approach. Anderson conducted much of her practice-based research at London's Natural History Museum, where she had access to researchers, curators, and the permanent collections. Through dialogue, collaboration, and hands-on workshops, she developed a specific set of practices intended to bridge the gap between the differing views and approaches of art and science, along with the creation of a pluralist epistemology for morphology. In the course of her practical and philosophical investigations, the author touches on a number of interesting topics, ranging from Goethe and Klee as morphologists, visualizing the invisible, and molecular aesthetics to mathematical art and the precarious freedom of the artist. This book is quite scholarly in terms of format, and the numerous illustrations include many works by the author. Summing Up: Highly recommended. Graduate students, researchers, faculty, and professionals. --Ralph M. Davis, emeritus, Albion College

Author notes provided by Syndetics

Gemma Anderson is a research fellow at the University of Exeter in the Department of Sociology, Philosophy and Anthropology and the Living Systems Institute, and a lecturer in drawing at Falmouth University. She has been artist-in-residence in the mathematics department at Imperial College since 2011.