ABSTRACT

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers (mainly in the phenomenological tradition). If these intrinsic meanings are explained and further developed, then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space.

chapter |15 pages

Introduction

Drawing and Painting in the Age of Networks

chapter 1|17 pages

The Cognitive Function of the Image

chapter 2|14 pages

Gestural Origins of Drawing and Painting

From Pre-History to Aesthetic Space

chapter 3|32 pages

The Phenomenology of Drawing and Painting

chapter 4|26 pages

Aesthetic Space

Drawing, Painting, and the Meaning of Everything

chapter 5|14 pages

Art’s Eternalization of the Moment

chapter 6|13 pages

Meaning in Abstract Art

chapter 7|22 pages

Conditions of Creativity

Drawing and Painting with Computers

chapter |4 pages

Conclusion

Drawing and Painting at the Limits of Art