el origen del dibujo: pathos o formalización (fidelidad & invención)

camino es anterior al campo (la línea anterior a la superficie?)
mesa redonda Representación CEAC-UTDT

origen del dibujo, mito pintado por David Allan en 17.. y por K.F.Schinkel 18..: la escena interior nocturna de-a-2 se transforma en exterior diurna de a varios, el modelo-amado masculino en mujer, y la amante-dibujante en pastor que recibe órdenes... de una mujer.. bueno¡ (gracias CEAC, grax Leo)
http://es.scribd.com/doc/76055317/Evans-Traducciones-Del-Dibujo-a-La-Construccion-1986

architecture historian Robin Evans, in his essay “Translations from Drawing to Building”, makes an astute observation regarding the Schinkel version shown above. In comparing it to David Allan’s rendition, he notes that Schinkel, an architect, is the only of his contemporaries to depict the shadow as cast by the sun. Allen and others use the point source of a lamp. Evans uses this discrepancy to explain the two major paradigms of projection: parallel (orthography) and centric projection. The artist uses the converging lines to make enlargements and reductions in the scale of the image, by changing the physical relationships between light, subject, and wall. The architect requires precision in scale for transmission of information. The sun provides this control, so it doesn’t matter where the subject is; the sun’s rays are parallel, guaranteeing a precise same-scale reproduction when the shadow reaches its screen. 

 Oechslin’s interpretation shifts the locus of creative invention to the figure that Evans named a “muscular shepherd”. The obviously female figure, which Evans takes for Diboutades, Oechslin describes as a “helpful girlfriend”,while the sitter is now a young girl being taught to “maintain a quiet pose”, rather than a
young man about to leave for war. Where Evans interpreted Schinkel’s altered version in
terms of the architect as director; Oechslin’s description retrieves it in terms of the
conventional gendering of artist and model, of subject and object.... similarity is made pertinent through cultural ascription.Architectural drawings, then, are always potentially unfaithful (this is where their power
for invention may lie), but they are read as if they are faithful.
 http://instituteformodern.co.uk/2011/01             http://arquepoetica.azc.uam.mx/escritos/dibujo_visualizacion.html

rocktectura: mind controls body integrados en el reflejo del espejo, imagen que, a su vez, integra la proyección en video de lo que ocurre en la sala con 6 minutos de retraso, lo que hace estallar “el aquí y el ahora” del concierto al introducir un tiempo pasado. Aunque muchos críticos consideren Rock my religion una obra alejada del trabajo anterior de Graham en realidad se trata de todo lo contrario. Es a partir del análisis sobre la visión y la percepción del espectador que hace en sus anteriores trabajos de video o performance y de su interés por la arquitectura vernácula americana y por la periferia urbana que crea su historia del rock. 

T.Emin, biodrama, ready-made, etc  :  http://www.federicobaeza.com.ar/articulos