aut.researcher	Douglas, Carl Weston
dc.contributor.author	Douglas, C
dc.date.accessioned	2011-10-18T19:48:58Z
dc.date.accessioned	2011-10-18T19:49:10Z
dc.date.accessioned	2011-10-18T19:53:01Z
dc.date.accessioned	2011-10-18T19:53:47Z
dc.date.available	2011-10-18T19:48:58Z
dc.date.available	2011-10-18T19:49:10Z
dc.date.available	2011-10-18T19:53:01Z
dc.date.available	2011-10-18T19:53:47Z
dc.date.copyright	2009-11-14
dc.date.issued	2009-11-14
dc.description.abstract	This paper explores the proposition that architectural drawing can be analysed as a collective formation, in a sense derived from sociologist Gabriel Tarde, who wrote of collective formations like crowds that individual elements, "soldiers of those various regiments, provisional incarnations of their laws, pertain to them by one side only, but through the other sides, they escape from the world they constitute." He describes individual elements as always having "other leanings, other instincts coming from previous enrolments" and as being comprised "only of sides and facades of beings" (38). A drawing's lines, marks or gaps may be enrolled into figures, but this enrolment does not exhaust them. They are unruly, they compete and collaborate, have other allegiances, enrolments, potentials. Bruno Latour argues that acting is not an exclusively human capacity. A glass 'holds' water, a balustrade 'prevents' falling, a line on a page 'divides' it—and saying so is not merely engaging in anthropomorphic metaphor (71). According to Latour, describing any state of affairs is tracing a network of interactions between actors. A drawing, then, could be understood as an active, intensive field of interacting actors rather than a static transcription of thoughts residing elsewhere. The paper makes close readings of a drawing by Preston Scott Cohen, Rectilinear Spiraculate (1998), and a drawing by Enric Miralles of his Apartment Calle Mercaders (1995). The drawings are crowded. Projection planes are fragmented: elements of Miralles's plan are elevated in place, while Cohen's nominally perspectival drawing is a mess of vanishing points and picture planes. A drawing, according to Cohen, is a scene for calculating and resolving contingencies. The two drawings will be examined for the traces of this contingency and unruliness which expose the drawing as a crowd of active participants. Bruno Latour (2005). Reassembling the Social. An Introduction to Actor-Network-Theory. Oxford: Oxford University Press. Gabriel Tarde (2002). Monadologie et Sociologie. Retrieved 29 March 2009 from http://classiques.uqac.ca/classiques/tarde_gabriel/monadologie/Monadologie_et_socio.pdf
dc.identifier.citation	Oral presentation at the Interstices Under Construction Symposium: The Traction of Drawing, Auckland, NZ
dc.identifier.uri	https://hdl.handle.net/10292/2370
dc.publisher	Interstices
dc.relation.replaces	http://hdl.handle.net/10292/2367
dc.relation.replaces	10292/2367
dc.relation.replaces	http://hdl.handle.net/10292/2368
dc.relation.replaces	10292/2368
dc.relation.replaces	http://hdl.handle.net/10292/2369
dc.relation.replaces	10292/2369
dc.relation.uri	http://intersticesjournal.wordpress.com/2009/10/10/2009-the-traction-of-drawing-symposium/
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dc.rights.accessrights	OpenAccess
dc.subject	Architecture
dc.subject	Architectural drawing
dc.subject	Representation
dc.subject	Actor network theory
dc.subject	Bruno Latour
dc.subject	Gabriel Tarde
dc.subject	Preston Scott Cohen
dc.subject	Enric Miralles
dc.title	Previous Enrolments. Drawing as Collective Formation
dc.type	Conference Contribution
pubs.organisational-data	/AUT
pubs.organisational-data	/AUT/Design & Creative Technologies
pubs.organisational-data	/AUT/PBRF Researchers
pubs.organisational-data	/AUT/PBRF Researchers/Design & Creative Technologies PBRF Researchers
pubs.organisational-data	/AUT/PBRF Researchers/Design & Creative Technologies PBRF Researchers/DCT A & D Other

Previous Enrolments. Drawing as Collective Formation

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