PART I: THEORISING ABOUT THINKING AND DRAWING

About thinking and drawing - the process rather than the artefact

Moving from theory to practice - the methodological problem

The relevance of Enactive Cognition to the practice of drawing

Accessing enactive knowledge through the lived experience of the practitioner

PART II: THE FIRST PHASE OF METHODOLOGY – USING THE EXPERIENCE OF OTHERS AS SUBJECT

Experiential accounts of the activity of drawing by others - Marion Milner and Frederick Franck

Interviewing drawing practitioners about how they think

Making the decision to use drawing to investigate thinking

PART III: THE SECOND PHASE OF METHODOLOGY – USING MY OWN EXPERIENCE AS THE SUBJECT OF A FIRST PERSON ENQUIRY

'Can I embody another artist’s thinking process by copying his drawing?' - Familiarisation with the method of copying

The case studies of Richard Talbot and Oliver Zwink

Four narratives about the experience of re-enacting Talbot’s drawing 'Glass'

Observations about the method of Enactive Copying

Where does one go from here?

Patricia Cain is an artist and Honorary Research Fellow of the Humanities Advanced Technology and Information Institute, University of Glasgow.