The Pleasure in Drawing
eBook - PDF

The Pleasure in Drawing

  1. 128 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

The Pleasure in Drawing

About this book

Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of formā€”of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions.

Recalling that drawing and design were once used interchangeably, Nancy notes that drawing designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic,filmic, choreographic, poetic, melodic, and rhythmic senses.

If drawing is not reducible to any form of closure, it never resolves a tension specific to itself. Rather, drawing allows the pleasure in and of drawing, the gesture of a desire that remains in excess of all knowledge, to come to appearance. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.

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N
O
T
E
S
T
O
PAG
E
S
6
8
ā€“
1
0
0
ā€˜Communismā€™
to
the
Community
of
ā€˜Existence,ā€™Ā ā€™ā€™
trans.
Tracy
B.
Strong,
Political
Theory
20,
no.
3
(1992):
371ā€“98.ā€”Trans.]
36.
Allow
me
to
refer
here
to
my
book,
Lā€™Ā ā€˜ā€˜il
y
aā€™ā€™
du
rapport
sexuel
(Paris:
Galile
Ā“e,
2001),
forthcoming
in
English
translation
by
Anne
Oā€™Byrne
in
Jean-Luc
Nancy,
Corpus
II:
Writings
on
Sexuality
,
trans.
Anne
Oā€™Byrne
(Fordham,
2013).
37.
Leonardo
da
Vinci,
The
Notebooks
,
ed.
Edward
MacCurdy
(Lon-
don:
Jonathan
Cape,
1938),
1:106.
38.
William
Blake,
ā€˜ā€˜The
Marriage
of
Heaven
and
Hell,ā€™ā€™
in
The
Poems
of
William
Blake
,
ed.
W.
H.
Stevenson
(New
York:
W.
W.
Nor-
ton
&
Co.,
1972),
110.
39.
It
is
not
possible
here
to
address
the
discussion
concerning
the
deļ¬nition
and
limits
of
pornography.
40.
Giorgio
Vasari,
Lives
of
the
Most
Eminent
Painters,
Sculptors,
and
Architects
,
trans.
Gaston
du
C.
de
Vere
(London:
Macmillan
and
Co.
and
the
Medici
Society,
1912ā€“14),
xlii.
41.
Ibid,
72.
42.
No
doubt
there
exist
any
number
of
Stoic
and
Christian
tradi-
tions,
followed
by
Tristan,
Hamlet
and
Romeo,
Racineā€™s
Phaedra,
etc.
43.
See
Jacques
Derrida,
ā€˜ā€˜Desistance,ā€™ā€™
in
Philippe
Lacoue-Labarthe,
Typography:
Mimesis,
Philosophy,
Politics
,
ed.
Christopher
Fynsk
(Cam-
bridge:
Harvard
University
Press,
1989;
rpt.
Stanford,
Calif.:
Stanford
University
Press,
1998),
1ā€“42.
44.
[Drawing
from
the
Latin
apparere
ā€”ā€˜ā€˜to
appear,
come
in
sight,
make
an
appearanceā€™ā€™ā€”in
which
parere
is
ā€˜ā€˜to
come
forth,
be
visible,ā€™ā€™
I
have
translated
Nancyā€™s
variations
on
la
paraı
Ė†tre
or
lā€™apparaıĖ†tre
as
ā€˜ā€˜be-
coming
visible.ā€™ā€™ā€”Trans.]
45.
[The
verb
sā€™enlever
has
the
senses
of
both
ā€˜ā€˜to
rise
upā€™ā€™
and
ā€˜ā€˜to
remove,ā€™ā€™
in
the
sense
of
taking
something
away
from,
as
well
as
ā€˜ā€˜to
detach
something
from
something
else.
ā€˜ā€˜ā€”Trans.]
46.
[To
continue
sur
sa
lance
Ā“e
implies
that
something
continues
to
forge
ahead
or
continues
in
the
same
vein.ā€”Trans.]
47.
Here
one
should
explicate
the
role
of
the
album
or
sketchbook,
drawingā€™s
handheld
transcendental.
116

Table of contents

  1. Cover
  2. Contents
  3. Translatorā€™s Note
  4. Preface to the English-Language Edition
  5. Form
  6. Idea
  7. Formative Force
  8. The Pleasure of Drawing
  9. Forma Formans
  10. From Self Toward Self
  11. Consenting to Self
  12. Gestural Pleasure
  13. The Form-Pleasure
  14. The Drawing/Design of the Arts
  15. Mimesis
  16. Pleasure of Relation
  17. Death, Sex, Love of the Invisible
  18. Ambiguous Pleasure
  19. Purposiveness Without Purpose
  20. The Lineā€™s Desire
  21. Notes

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