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In each of the cases presented here, researchers hoped to access the contents of the mind and observe its processes by asking subjects to draw many of them believed that drawings could produce better evidence than linguistic modes of response, such as speech or writing. This confluence allowed the application of similar methods to different subject groups, revealing the uses and limitations of drawing tasks for researchers.
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3 At the same time, drawing as a practice of cognitive and manual discipline became integrated into primary and secondary education systems in the United States and Europe. 2 Disciplinary boundaries between philosophy, psychology, neurology, pathology, and psychiatry were established, but still permeable, allowing for the proliferation of intermediate or marginal areas of investigation such as child study and psychical research. Source: Godwin-Austen, ‘A case of visual disorientation’, Journal of Neurology, Neurosurgery and Psychiatry, 28, 5 (1965), 456.ĭrawing as a tool for the investigation of thought emerged simultaneously in multiple areas around the turn of the twentieth century, a period when the sciences of mind and brain were very much in flux. This essay examines the epistemology of direct access through drawing as a phenomenon intertwined with methodological deployments of different types of drawing subject. Methodological conventions around drawing in the mind sciences developed from the convergence of practices that fall under this special issue’s purview – the apparatus of paper, pencil, hand and brain served as a ‘soul catcher’, fixing developmental, supernormal and pathological aspects of the self in a material form. Researchers managed the complexity of this relationship in ways that asserted their ability to directly access the mind through the hand. Taken together, they raise a new question about how research in the mind sciences has dealt with the relationship between thinking, drawing and subjectivity. While movements such as psychoanalysis and art therapy would embrace the narrative interpretation of patient art, neuropsychology continued to utilise drawings as material traces of cognitive functions.ĭoes a child’s drawing ability correspond with his or her overall cognitive development? Is it possible to transmit a drawing from one mind to another outside of the recognised sensory channels? Does visualisation change in characteristic ways when an artist suffers from a neurological disorder? Figures 1, ,2, 2, and and3 3 held clues to each of these questions, respectively, and, for this reason, they appeared as evidence in very different scientific publications. Despite significant shifts in the theoretical and disciplinary organisation of the mind sciences in the early twentieth century, researchers attempted to stabilise the use of subject-generated drawings as evidence by controlling the contexts in which drawings were produced and reproduced, and crafting subjects whose interiority could be effectively circumscribed. I begin with the use of drawings as data in the child study movement, move to the telepathic transmission of drawings in psychical research and conclude with the development of drawing as an experimental and diagnostic tool for studying neurological impairment. Between 18, drawings gained currency as a form of scientific evidence – as stable, reproducible signals from a hidden interior. This essay presents three episodes that trace the emergence of drawing as an instrumental practice in the study of the mind. Researchers in the mind sciences often look to the production and analysis of drawings to reveal the mental processes of their subjects.