Drawing is a "State of Consciousness"....it is the only thing that is nessary for us to draw-"This State must be achieved to Draw"
"The change in awareness or consciousness that occurs in drawing"....the aim which one seeks,it isn't what one creates(the end result,something which can be judged by the artists themselves or by others is secondary the the "State of Consciousness" the individual reaches(maybe the highest state a human being can achieve as a human being-free of the chaos of everyday life,free of the monkey chatter of the mind).-ME
What we must over come...The Idea of Drawing as Some thing that is in-teachable,un-attainable,sure it is magical,maybe also a State of Consciousness as the highest Spiritual State
Drawing as a magical ability
As a result, few people are skilled at drawing in 21st century American culture. Since it is rare now, many people regard drawing as mysterious and even somewhat magical. Artists who can draw often do little to dispel the mystery. If you ask, “How do you draw something so that it looks real—say a portrait or a landscape?” an artist is likely to reply, “Well, it is hard to explain. I just look at the person or the landscape and I draw what I see.” That seems like a logical and straightforward answer, yet, on reflection, doesn’t explain the process at all, and the sense persists that drawing is a vaguely magical ability.
This attitude of wonder at drawing skill does little to encourage individuals to try to learn to draw. Often, in fact, people sometimes hesitate to take a drawing class because they don’t already know how to draw. That is like deciding that you shouldn’t take a Spanish class because you don’t already speak the language. Moreover, because of changes in the today’s art world, a person who has never learned to draw nevertheless can become a successful university art student or even a famous artist.
Currently my research is focused on Blind Contour/Contour drawing..as the beginning process which leads a person into the State of Consciousness nessary to draw
Prose and Poetry...some believe also is the way to this "high state of Consciousness"..I must agree
Julia Cameron,writes about achieving this state of mind,methods
"I have learned,through writing,that writing has a plan of it's own.I start to write and the writing leads me forward"-Julia Cameron
"In order to write well,I must first be willing to write badly"-Julia Cameron.......I believe to applies as much to drawing,and so many other aspects of life
Leaping Beyond Reason
"The years that I was pursuing my inner images were the most important in my life - in them everything essential was decided." ~ Carl Jung
Drawing can be a form of meditation where you can choose to allow your inner imagery to emerge spontaneously from your unconscious mind. Since our reasoning, judging mind guards against deeper self-knowledge, free association pastel drawings can be used to access the "energy patterns" of hidden aspects of self.
Free association was used by Sigmund Freud to access subconscious and unconscious levels of the mind. Emptying the mind of its conscious agenda invites the subconscious to take intuitive leaps to new levels of personal meaning. Symbols come through our authentic self, and they effort to communicate our higher potentials to our conscious, rational mind.
Free association helps to surprise us out of our familiar preference for maintaining the status quo. Freud wrote, "Where there is a creative mind - reason - so it seems to me - relaxes its watch upon the gates, and the ideas rush in pell-mell." In free association drawings the rational left-brained mind can surrender control, and another way of right-brained intuitive knowing can come through.
Drawing as a form of meditation
For most people meditation brings up images of austere monks sitting in barren rooms in hours of silence. While this is perfectly useful for some individuals, it is certainly not the only way to meditate. As an artist and a Buddhist I have been very interested in creative ways to focus energy. Afterall, meditation is nothing more than a technique to do exactly that. If just seeing someone sitting on the floor in a lotus posture fills your head with thoughts of pain and discomfort then traditional meditation may not be for you. When your mind is distracted by such thoughts you have already begun self-defeat. The key to successful meditation is getting and staying "in-the-zone" for extended periods of time. That particular trigger will be different depending on who you are. Meditative states can be achieved through any activity. I am particularly adept at drawing, so I would like to share my knowledge about methods relating to drawing specifically for anyone else who may have similar preferences.
When you decide to draw as meditation you first need to be clear on what exactly you're trying to achieve (or not trying to achieve). Let me explain: There are numerous reasons to meditate and or draw (I'll refer to that partnership as draw/meditate from here on out). One very popular reason people draw/meditate is to reduce stress. Some people are just looking for balance in their lives. Other people meditate to find solutions to problems. Still others, are looking for enlightenment. Why do you need to draw/meditate at this particular time in your life? Once you answer this question for yourself you can begin to follow some of the techniques I'll explain.
For our purposes the drawings/meditations will serve one of the two basic purposes:1) To empty your mind or 2) To focus your mind. However',with practice you will soon see that one achieves the other just as effectively. As you read through the experiences you will probably "get it" intellectually. Don't confuse understanding theory with actually having the experience first hand. THEY ARE NOT THE SAME THING! Drawing/Meditation is something you do. The importance of actually going through the experiences yourself cannot be stressed enough.
First of all, why would someone want to empty his/her mind? Easy answer: We carry around so much baggage as a result of our conditioning that in order to live with a free spirit and tap into our creative potential we first have to rid ourselves of all the filters we carry around. Grab a small sheet of paper, a pen and follow these instructions.
Preparation: 1) find a place alone and 10 minutes of uninterrupted time. The Process: 1) Begin moving your pen on the paper. Don't try to draw anything specific. Just continue to move your pen slowly and let whatever comes off the tip flow onto the paper. Don't analyze it. Don't stop to evaluate it. Don't judge it in any way. It's more than likely going to look pretty abstract, but occasionally images may suggest themselves as you draw, if they do go with it until you feel something else, then follow that stream of conscienceness. Continuosly draw/meditate for 10 minutes (set a timer ahead of time so you don't interrupt yourself by looking at the clock). Some people like to have some gentle instrumental music playing, but nothing too drastic. Some people just prefer silence. Either way is ok.
The point of this drawing/meditation is the experience, not the outcome of the drawing. In fact, it's probably best to just toss out the finished drawing when you're finished so that you're not tempted to go back and critique it later, thus unravelling all of your efforts.
Enjoy the peace you feel after completing this experience. With practice you can maintain this state of drawing/meditation for an hour +
I came across this writing this morning,I think it pertains to "the meditative value of drawing for memory"
"Memory and Thinking"
Remembering activities do not simply change as the child grows older; the role of these activities in the system of psychological functions also changes. Nonmediated memory takes place in the context of psychological operations that may have nothing at all in common with the psychological operations that accompany mediated remembering; consequently, experimental results may make it appear that some psychological functions are replaced by others. In other words, with a change in developmental level there occurs a change not so much in the structure of a single function (which, for example, we may call memory) as in the character of those functions with the aid of which remembering takes place; what changes is the interfunctional relations that connect memory with other functions.
The memory of older children is not only different from the memory of younger children; it also plays a different role in the older child’s cognitive activity. Memory in early childhood is one of the central psychological functions upon which all the other functions are built. Our analyses suggest that thinking in the very young child is in many respects determined by his memory, and is certainly not the same thing as the thinking of the more mature child. For the very young child, to think means to remember; at no time after very early childhood do we see such a close connection between these two psychological functions.
I will give three examples. The first is the definition of concepts in children, which are based on their recollections. If you ask a child to tell you what a snail is, he will say that it is little, it slithers, and it sticks out its foot; if you ask him to tell you what a grandmother is, he is likely to reply, “She has a soft lap.” In both cases the child gives a very clear summary of the impressions which the topic has made upon him and which he recollects. The content of the thinking act in the child when defining such concepts is determined not so much by the logical structure of the concept itself as by the child’s concrete recollections. It is syncretic in character and reflects the fact that the child’s thinking depends first of all on his memory.
Another example is the development of visual concepts in very young children. Investigations of children’s thinking when they are required to transpose a relation learned with one set of stimuli to a similar set have shown that their transfer is nothing more than remembering with respect to isolated instances. Their general representations of the world are based on the recall of concrete instances and do not yet possess the character of an abstraction.-"Mind and Society" by Lev Vygotsky
Many schools have traditionally held a transmissionist or instructionist model in which a teacher or lecturer ‘transmits’ information to students. In contrast, Vygotsky’s theory promotes learning contexts in which students play an active role in learning. Roles of the teacher and student are therefore shifted, as a teacher should collaborate with his or her students in order to help facilitate meaning construction in students. Learning therefore becomes a reciprocal experience for the students and teacher.