Note book page, ink & pencil, 17x22cm
Drawing & its Relationship with Language (continued)
Richard Gregory in his seminal “Eye & Brain” says “…visual & other perception is intelligent decision making from limited sensory evidence”. And goes on “We now think of the brain as representing (visual perception), rather as the symbols of language represent characteristics of things, although the shapes and sounds of of language are quite different from whatever is being represented. Language requires rules of grammar (syntax) and meanings of symbols (semantics). Both seem necessary for processes of vision: though its syntax and semantics are implicit, to be discovered by experiment.”
I like the “limited sensory evidence”. The human eye is not that great an information gatherer in comparison to some other species. But what we do lack in optical quality we make up for in processing power.
If we accept that a baby, new born, is adrift in a sea of sensations, unmapped; that understanding only comes about by relating one visual sensation against another and that that can only take place within the context of the memory of all previous sensations; then we have to accept that visual perception can only take place within a framework, a system where sensation interacts with memory, with relationships, with everything else in an individuals life.
This is where the visual, and more especially visual representation, develops something akin to language. Representation can be said to have a syntax: edge, centre, soft, sharp, strong, faint, pattern etc. And it is easy to see that visual representation can be a carrier for meaning in ways formal and symbolic.
But does the visual operate through an actual “language”?
Language pre-supposes at least a two way exchange. Originally between child and carer; between child and other children and so on. Language starts with a social exchange and develops into enabling conciousness and thought- it could be said to exist on the surface of the mind, where the discrete individual interacts with others.
The visual, on the other hand, is initially private. Seeing is the processing of information going directly into the dark space of the brain. Although influenced by social interchange, one does not need anyone else to learn to see; this is achieved, as stated above, through experiment.
Gregory also says “Two and a half millennia ago Greek philosophers thought that light shoots out of the eyes, to touch objects as probing fingers”. Anyone who draws knows that there is a truth in this. We probe and test, try out and criticise the results of our inadequate foray into the outside world; then return with the knowledge gained to try again, this time to try better.
Language, as words, is great and I love all forms of writing, I love talking (too much). But I get weary of the ability it too often gives to dissemble, to evade and obscure. More than anything it’s disgust at the dishonest rubbish I talk sometimes.
This is where I find drawing so unique, so exciting. Despite visual representation being a social act, the visual is nevertheless secret, dark, unknown. This is where drawing becomes so important as ,despite (perhaps, because of) it’s inadequacies and stuttering inaccuracies, it manages to reveal so much about the mysterious inner workings of another’s being. And, honestly done, provides access to an experience of a world you’ve never seen yourself.
Giorgio Morandi Flowers, 1959, pencil & watercolour, 22x21cm