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4-9-2019

Framing Questions and Modes of Inquiry in Illustration Process Framing Questions and Modes of Inquiry in Illustration Process

and Critique and Critique

Robert Brinkerhoff Rhode Island School of Design, rbrinker@risd.edu

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Part of the Art Education Commons, and the Illustration Commons

Recommended Citation Recommended Citation Brinkerhoff, Robert, "Framing Questions and Modes of Inquiry in Illustration Process and Critique" (2019). Faculty & Librarian Work. 6. https://digitalcommons.risd.edu/faculty_work/6

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FramingQuestionsandModesofInquiryinIllustrationProcessandCritique

ByRobertBrinkerhoff,ProfessorofIllustrationandDeanofFineArts,RhodeIslandSchoolofDesign,USA

Abstract:Every creative act begins with a question—whether consciously orunconsciouslyformed—and illustratorsmayenhancetheirapproachestovisual problems by framing a line of critical inquiry that invigoratesconceptualization. While inventories and lists of questions are suitableways to begin, there exist many different modes of questioning—verbalandnon-verbal,manualandcognitive,linearanddiscursive,intuitiveandrational, integrative and deconstructive. This chapter explores diversemethods for inquiry in problem definition and resolution, describing avariety of models and incorporating observations by professional artist-educatorstoexposedifferentstrategiesforillustrators.Key Words: Socratic Dialogue, Socrates, Critical Thinking, Questioning,Question,CreativeProcess,Illustration

“The role of the artist is to ask questions, not answer them.” —Anton Chekhov “The unexamined life is not worth living.” —Socrates Introduction:InterrogativeStirringsWefirstquestionoursurroundingsasinfants,ourmouthsformingnotinquisitivewordsbutplaygroundsforsensoryexploration.Welickandtaste,feelwithourlipsandtongues,smellwiththenostrilsthathoveraboveourmouths.Astinyhumans,everythinggoesintoourmouthsinwhatisprimarilyaquestforsustenance,butwhichalsoprovestobeaveryefficientmeansofunderstandingonthemostbasicleveltheinnumerablestimuliengulfingussincebirth.Othersensesarelikewiseimportant.Ourcapacityforlanguage—thecomplexsystemswhichlabelanddefinewithexquisitespecificitytheworldaroundus—isprecededbytaste,hearing,touch,smellandseeing.JohnBergeropenshis1972bookWaysofSeeingbyexaltingvisualperception:“Seeingcomesbeforewords.Thechildlooksandrecognizesbeforeitcanspeak.”(Berger,1973)Oursensesprovideaninitialperceptualframeworkforallthatsurroundsus.Oursensesask,albeitunconsciously,“Whatisthis?”andtheanswerscomefromcontactwiththecomplexmassofnerveendingsinourmouthsinthosefirstmonthsoflife.Butismouthingamarbleorabladeofgrasstrulyakintoquestioning?ThefirstdefinitionofferedintheMerriamWebsterDictionary

indicatesthataquestion(andquestioning)neednotbelimitedtolinguisticinterrogativeexpressions:

(1) :aninterrogativeexpressionoftenusedtotestknowledge(2):aninterrogativesentenceorclause.(Webster,2016)

Notetheuseoftheword“expression”inthefirstdefinition.Moreimportantly,however,itishelpfultorecognizethedistinctionbetweenthefirstandseconddefinitions.Theinclusionofareferencetolanguage—thewords“sentenceorclause”—appearsinonlyoneofthem(definition2).Thischapterinvestigatestraditionalandhighlystructuredmodesofquestioning,andyettouchesonsomedefinitionsthatmaynotinvolvewordsatall,atleastnotinapredominantcapacity.Inquiryvs.Research:Instinct,ImpulseandInquisitivenessOneofthegreatconundrumsfacingAmericanschoolsofartanddesignishowthepracticingartist-cum-professormaybestrespondtothecodifieddefinitionof“research”thathasbeenmodeledontraditionalacademicdisciplinesandsoinextricablyboundtothepursuitofconclusionsdrivenbyahypothesis.In2011atRhodeIslandSchoolofDesign,theDivisionofFineArts(tendepartmentsoperatingundertheauspicesofasingledivisionandledbyitsActingDeanDeborahBright—Ceramics;Film,AnimationandVideo;Glass;Illustration;JewelryandMetalsmithing;Painting;Photography;Printmaking;SculptureandTextiles)developedapositionpaperonthenatureofstudioresearchinthefineartsthatputforthtwentypotentstatements.Amongthiscompendiumofassertionswereseveralthatresistedspecificallythetraditionalmodelofscholarlyresearchestablishedinthehumanities,sciencesorsocialsciences,tacitlyassertingthatpursuitofintuition,instinctandinquiryitselfisamodeofresearch.Statements15-18ofthedocument,“FineArtsNow—20Statements,”summarizethefacultystanceonthisissue:15.“Researchforthefineartistisnotthesameasresearchorscholarshipinthehumanities,sciencesorsocialsciences;norisitthesameastheapplicationofadvancedtechniquesor‘designthinking’tosolvegivenproblems.Anartist’sresearchisself-directed,open-ended,andoftenproceedsinanon-linearfashion,withoutaclearlydefinedend-goalorpredeterminedmeasureofsuccess.”16.“Anartist’sresearchengagesmultiplediscursivepracticesthatmayinclude:experimentswithmaterialsandtheirproperties;historicalandculturalresearchtoilluminatethemeaningsandcontextstheworkengages;travelandextendedresidenciestodevelopthework;scholarly/criticalwritingtoworkoutideasintellectuallyandcreatenewcontextsforthework’sreception;aggregationandpublishingofresearchresultsforusebyothers;teachingandworkingwithotherstoinvestigatesetsofissuesthattheartistengagesaspartofhisorherpractice.”

17.“Artresearchmaytakemanyforms.Sometimes,theresearchprocessisthefinalcontentofthework;othertimes,researchisallofthepreparatoryactivitythatleadstothefinishedworkbutremainsinvisible.Sometimes,awork’sresearchcanonlyberecognizedassuchafterthefact.”18.“Thepedagogyofartschools,bynecessity,isself-reflective,dynamicanddialogical.Theartistlearns,overtime,howtomakedecisionssimultaneouslyonmanyperceptualandconceptuallevels.Thedecision-makingprocessisalwaysconstrainedbythebalancebetweenformalchoicesandidea;thepropertiesofthematerialsandtechnologiesused;thehistoricalandculturalmeaningsofthematerials,arrangements,andiconographychosen;thedifferentcontextsinwhichtheworkismadeandreceived.”(Bright,2011)Ultimately,inavoidingpersistentattemptstoconflate“research”inthefineartswith“research”inthehumanities,sciencesandsocialsciences,RISD’sFineArtsfacultyhavecome(ratherunofficially,butcomfortably)torefertoresearchas“inquiry,”awordwhichreferencesmoredirectlythequestioningnatureofartisticprocesswithoutpresumptionofa“solution”oran“answer”astheultimatemeasureofsuccess.Inquiryemphasizesaninvestigativeprocess,ratherthanasolution;itistheinquisitivepath,asopposedtoitsconclusion.Rigorousinquiry—questioning,investigating,criticallyapprehending—isfundamentaltohealthystudiopractice,whethertheartistisanarchitectorgraphicdesigner,anillustratororpainter.Studiopractice—evenforillustrators,whoseworkisdrivenbyextrinsic,communicativeneed—isnotfullyconstrainedbyproblemsolvingandthedesiretofindtheanswer.Rather,immersionininquisitiveactivitypropelledbyintuitionandinstinctplayasignificantroleincreativeprocessfortheillustrator,poeticallybalancingthelogicalandrationalquestionsthatarebuiltintoanypracticalapproachtoartmaking.ConsciousQuestioning:TheNeedforCriticalThinkingTheFoundationforCriticalThinkinginTomales,CAisdedicatedtoadvancingconscious,criticalinquiryandtheyoffersolidtechniquestoguidepeople,nomatterwhatdiscipline,towardconscious,fullengagementwithideas.AttheforeoftheCenter’sworkisthepromotionof“essentialquestions”asfundamentaltoallcriticalthought,whetherscientistorartist,poetorpolitician.Amongtheirpublicationsisaremarkablypotentlittlebookletthatsummarizesthebuildingblocksofgoodquestioning.TheMiniatureGuidetoTheArtofAskingEssentialQuestions,byDrs.LindaElderandRichardPaulbeginswiththefollowingboldstatement:“Itisnotpossibletobeagoodthinkerandapoorquestioner.Questionsdefinetasks,expressproblemsanddelineateissues.Theydrivethinkingforward.Answers,ontheotherhand,oftensignalafullstopinthought.Onlywhenananswergeneratesfurther

questionsdoesthoughtcontinueasinquiry.Amindwithnoquestionsisamindthatisnotintellectuallyalive.”(ElderandPaul,2006)Thestatementabovemayremindcollegeartprofessorsofhowchallengingitistoawakenyoungmindstothevalueofquestionsoveranswers.Thelatterareimportant,andyetitistheprocessofactive,consciousquestioningthatilluminatesthepathstogratifyingcreativeresponse.Afrequentcomplaintinacademiaisthat,ratherthanenteringacreativeventureinquisitively,fledglingartistsanddesignersexpressadesireto“knowwhattheprofessorwants.”Butperhapstheproblemisnotinthestudents’desiretojumptotheanswers.Rather,itmaybeanexpressionoffrustrationinresponsetocreativechallengespresentedwithoutguidance,andparticularlywithnogroundinginconsciousquestioning.Theteacher’sprimaryresponsibility,ifnothingelse,istohelpthestudentestablishahabitofconsciouslyposingmeaningful,productivequestionsaspartoftheircreativeprocess.ElderandPaulidentifythreeessentialsystemsforapproachingquestions:questionsofprocedure,inwhichanexistingsystemfordeterminingananswerisfollowed,suchas“howarepigmentsboundtogetherinoilpaint?”;questionsofpreference,necessitatingsubjectivity,suchas“whichcolorslookbestwhencombined?”;andquestionsofjudgment,inwhichtheremaybemultipleconflictingyetrationalviewpoints,suchas“whichsketchbestrepresentsthecentralidea?”(ElderandPaul,2006)Consciousquestioningisfundamentaltodefeatingassumptions,andourheadsarefullofthem.InTheStormofCreativity,architectandprofessorKynaLeskiwrites,“Questionshavearemarkablepowertoundopreconceivedchoices,disruptassumptions,andturnyourattentionawayfromthefamiliar.Alltheseleadtoamoreopenmind.Insteadofchoosingwherethewindowshouldbe,Imight,asanarchitect,ask,Howistheinsideconnectedtotheoutside?”(Leski,2015)Ithelpstowitnesstheimpactofconsciousquestioningonasimpleproblem.Forexample,ifIchallengemyselftoelucidatewhy“consciousquestioning”isimportanttocreativeprocess,Imaybeginwithadeliberatelyphrasedquestion:

Whatisconsciousquestioningandwhyisitavitalaspectofcreativeprocess?Consciousquestioningisinquiryinvolvingfullawareness,withtheaidofclearlyarticulatedinterrogativestatementsandactionsthatbothlimitandexpandpossibleconclusions.

Whilethisexplanationmayatfirstsoundpedantic,itsevolutioninthespanoffiveminuteshasenabledmetobothbroadenandconstrainmyunderstandingofthesubject.BythetimeIfinishedcraftingthatsentenceIhadgrownfairlycertainofwhatisandisn’tmeantbythephrase“consciousquestioning.”Idecidedthatanappropriatesynonymfor“questioning”is“inquiry,”informedbymyearlieragreementwiththeRISDFineArtsfacultypositionpaper.Ibecameconfidentthat

“fullawareness”wouldbeahelpfulwaytodefinethenatureofconsciousness.Byemphasizingtheneedfor“cleararticulation”Idecidedlyeliminatedlinguisticvaguenessasafeatureofconsciousquestioning.PerhapsthemostgratifyingconclusionIreachedindefiningthetermisthatconsciousquestioningboth“limitsandexpandspossibleconclusions.”InthisphraseIconcludedthataconsciousattempttodefineasubjectbothdilatesone’sconsiderationofitandultimately—asisthenatureoflanguage—limitsthedefinition.InreviewingthedefinitionIcrafted,Iamledtoanotherlineofinquiry,promptedinparticularbythephrase“thatbothlimitandexpandpossibleconclusions.”Whatismeantbythiscrypticoxymoron?It’saprovocativewaytosaythatconsciousquestioninguseslanguagethatexpandsourthinkingaboutalimitedsetofissues.Thecomplexquestionposedattheoutsetledtoaseriesofsmallerquestions,allofwhichwereweighedinthecourseofcraftingthedefinition.Todemonstratethevalueofconsciousquestioninginthecriticalevaluationofanillustratedwork(anactivitythatisasthecenterofillustrationstudiodiscourse),aconcreteexampleisuseful.Intheimagebelow—acoverillustrationbyEllenWeinsteinforNautilusMagazine(fig.1).—Weinsteinevokesmanykeyideaswithsubtlemetaphor,bothfigurativeandformal.Inherownwords,“thesubjectwasaseriesofarticlesaboutobservingnatureandthepossibilitythatnaturealsolooksbackatus.Theissuewastheirsummerquarterly,whichcalledforabright,summeryfeelandwastitled“OutsideLookingIn.”

Fig.1:EllenWeinstein,“OutsideLookingIn.”CoverforNautilusMagazine,Summer2014.Withthishelpfulcontexttoopencriticaldiscussion,questionsmaytakeshape,buttheymustbewell-formedandprovocativequestions,craftedconsciouslytoelicitdeeperdiscussion.Lethargic,generalizedinquiryisunproductive.Insteadofasking,“Whatdoyouthink?”abetterquestionmaybe“Howistheconceptof‘thefamiliarmadestrange’usedinthisillustration?’”Questionslikethispossessspecificityyetopennessforanarrayofresponses,andthismaypropelmoreproductiveconversationaboutimportantconceptsofvisualcommunication.Somereallearningaboutuniversalideascantakeplace,asopposedtomundanediscussionofhowtheredsandoranges“pop.”Hereisaquestionthatmaypromptgoodcriticaldiscussion:“Isthisanoriginalidea?”Thiswillleadtoanassessmentoftheillustration’srelativeingenuity,anddiscussionmayturnalternatelycriticalandsupportive.Afollow-upquestion:“Ifthisisanoriginalidea,andweconsiderthatagoodthing,whatdowevalueabout

originality?Whyisitimportanttotheworkwedo?Isittiedprimarilytoegoandaccomplishment?”Questionslikethesesteerthegroupawayfromthetypicaldiscussionsofformalonethatoftenneglectconcept.History:SocratesandHisMethodConsciousquestioningmayhaveitsmostnotablebeginningsinAncientGreece.TheAthenianphilosopherSocrates(470/469–399BC)iscreditedwithdevelopingamodeofcriticaldiscoursethatremainseverybitaspotent—ifnotwidelyused—today.(Indeed,ifitwerepracticedbyallcitizensasacriticalthinkingtool,wewouldnotsocarelesslyallowslipperypoliticianstolinguisticallyevadethetruth).TheSocraticMethodusestheartofquestioningasameansofstimulatingexhaustivecriticalthinkingandilluminatingtruths.Byengagingtheinterlocutorinchallenging,inquisitiveconversationandinstillingapowerfulsenseofownershipofthecriticalthinkingprocess,thisformofinterrogativedialogueisessentiallydesignedtodeconstructhypotheses,oftenleadingto—ifnotthetruth—disprovalofpresumptions.(Wilberding,2014)Socratesremainsasomewhatmythicfigure.OurprimaryportraitsofhimcomefromPlato,whoseRepublicfeaturessizabledialogicsegmentsinwhichSocratesguidesfollowersfromsmugprofessionsofknowledgetostatesofaporia,orahigherlevelofignorance.Socrateshimselfclaimedthathisonlyintellectualadvantagewasknowingthatheknewnothing,whilemostotherlearnedmenclaimedsuperiorawareness.(Evans,2014)

TheSocraticMethodisdialectic,usinginductivequestioningtosystematicallytestthelimitsoftheinterlocutor’sassumptions.IntheRepublic,forexample,PlatostagesanencounterbetweenSocratesandEuthyphro,whohasarrivedattheCourtofAthenstobringchargesofmurderagainsthisownfather.Goadinghimintodialogue,SocratesquestionsthepresumptuousEuthyphroonhisclaimstoauthorityoverpiety.“Whatispiety?”asksSocrates,andwe’reoff!FourtimesEuthyphroattemptstodefinetheideaofpiety,butiscompelledaftereachroundtoreconsiderhisdefinition,ultimatelyabandoningtheconversation.ItisimportanttonotethatthegoalofthisformofSocraticdialogueistheaforementionedstateof“higherignorance”—aporia.(BrickhouseandSmith,1983)

QuestioninginArtisticProcess:TheSocraticMethodinArtSchoolWhiletheSocraticMethodhasbeeninstrumental(andquiteeffective)ineducatingthelikesoflawyers,scientistsanddivinityscholars,thereisscantevidenceofitsuseinstudiodiscourse,atleastnotinthepurestsense.Artists(andmostdesigners)seemtoenjoyguidancebyinstinctoverreason,butcanhighlyrationalmodesof

questioningplayintostudiopracticeandcriticality?Perhapstheresistancetolineardiscussion—hammeringawayatassumptionsindialectictoandfro,withexquisitespecificity—isnecessarytocreativepractice.JamesElkins,inhiscontroversialanddeeplycommittedbook,WhyArtCannotBeTaught,admitsopenlytheinherentconflictintheintersectionofteachingartandexhaustivedialectics:“…Whenteachersorstudentssitaroundatableandtalk,theyrarelypursueonetopicrighttoitsconclusion.Theveryopen-endednessofournormalconversationsiscentrallyimportant,andIwanttoacknowledgethathere…Ourinformalwaysoftalking,Iwillargue,arewaysofnotcomingtotermswithanumberoffundamentaldifficulties.It’snotpolitetopresstoohardonanissue,sincealunchtimeconversationorastudiochatisnotsupposedtobeaformaldebate,anditisalsoawayofacknowledgingthattheissuesarenoteasilyresolved.”(Elkins,2001)Elkins’lastpointisparticularlyinteresting,sincetheSocraticMethodinitspurestformleadsultimatelytoacceptanceofastateofuncertainty,whichisinitselfaformofintellectualenlightenment.Itwouldappearthatalackofresolveistheanticipated(andaccepted)outcomeinboththemodernartschoolandAncientGreece.Itisdoubtfulthatalinearformofreasoningwouldbehelpfultotheillustratorassherollsuphersleevestowork.Theintuitiveorchestrationofsensing,knowingandaction—acooperative,symbioticactinvolvingeye,mindandhand—isabsolutelyvitaltocreativeinquiry,andonewouldbehardpressedtofindanillustratorwhosemethodsofcomingtogripswiththeworktheyareundertakinginvolvesthesortoflinear,relentlessattackonassumptionsthatisdemandedbytheSocraticMethod.Intuitionisthesacredcowofartisticprocessandshouldbeunderstoodasalegitimatecomplementtoreason.InSevenDaysinTheArtWorld,SarahThorntondedicatesanentirechaptertoobservingthenebulousdialogueespousedbyCaliforniaInstituteofTheArts’(CalArts)critculture,andonecourseinparticular,thelateMichaelAsher’s“PostStudio”graduatecritique,isthesettingforheraccount.ThepurelyconceptualframeworkoftheCalArtsprogramdispenseswithwhatitconsidersthelimitsofmaterialdisciplinesandinsteadplumbsthedepthsofartisticcriticalthinking.Itisdifficulttoimaginehowanyformofdeductivereasoningwouldcomeintoplayinthissortofenvironment,butAsherevidentlypossessedarelentlessspiritofinquiry,asrememberedbyartistChristopherWilliamsina2011interviewwithFionaConnerforTheExperimentalImpulse:“Hehadanendlesssupplyofquestionsforanyonestudent,andtheduration…Iwouldn'twanttosaythatitwouldbreakyoudown,butatacertainpoint,bullshittingwouldbemuchharder."Soundfamiliar?WhilethehighlystructuredlineofquestioninggermanetoSocraticdialogueisperhapsemphaticallyconvergent,thereisneverthelessadetectableefforttohonethinkingthroughinterrogationintheclass.(Thornton,2009)

ReasonandIntuition:TheScienceofHemisphericitySincethe1970’satidymodelofneurologyhasguidedpopularunderstandingaboutcreativeandrationalthinking.Hemisphericity—atheorydividingleftandright-brainedcerebralactivityintotwomajorclasses:rationalandcreative—wascodifiedbythelayman,andsoonenoughartistsandmathematicianswerelayingclaimtobeing“right-brained,”or“left-brained,”theresultofanoversimplifiedinterpretationoftheresearch.Intruth,whilemuchworkhasbeendonetoprovethehemisphericaldivisionofthebrain’sfunctions,thereisabsolutelynoproofthatthetwohalvesofourmindsworkindependentlyofoneanother,andjustaboutanycognitivetaskrequiresbothreason(convergentthinking)anditsmorefree-wheeling,associativecounterpart(divergentthinking).(Beaumont,YoungMcManus,1984)Thesameistrueforart-making,despitetheoccasionalresistanceofstudentsofartanddesign,whosometimesshieldthemselvesfromdeepinquiryfromtheirprofessorsandpeersbyclaimingthesanctimoniousrighttosubjective,artisticexpression.Artstudentsneedtorecognizetheirconscious,rationalcontributionstotheworktheyproduce,inconcertwiththeirmoreintuitive,unconscious,creativeimpulses.Ihadastudentseveralyearsagowhodevisedanexquisiteprojectinvolvingfoundphotographs.Sheoutlinedtherationalebehindtheworkbeautifully,andourconversationsleadingtoitsexecutionwerelacedwithinterrogativebanteraboutherintentionsandpotentialinterpretations.Thecloserwecametofinishingthissemester-longendeavor,themoreexcitedIgrewinanticipationofawell-conceived,well-realizedproject.Butwhenshearrivedforcritsometechnicalaspecthadgoneawryandshewasn’tabletorealizeherinitialidea,insteadpresentingthesamematerialinaweakerincarnationthatwasunrelatedtoheroriginalplan.Perhapsmoredisappointingthantheabandonmentoftheoriginalideawasherwillingnesstoshrugoffthelossof12weeks’worthofconceptualdevelopment.Sheseemedsurprisedbymydisappointment,assurprisedasIwasaboutherlanguidwillingnesstoletgoofagreatidea,whichwastheproductofbothhemispheresofherbrainteaminguptomakesomethingprofound.Rationalandintuitivethinkingarebothvitaltoartisticprocess,andtheformerofteninvolvesconsciousquestioningasideastakeshape.ArgumentsAgainsttheSocraticMethodDespitethemeandering,ponderousandsometimesaimlessnatureofsomeartschoolcritiques,dialecticinquiry—withitscontractingexactitudeandrelentlesshoningin—isn’tnecessarilythewaytoconductapropercrit.Indeed,thereexistrespectableargumentsagainsttheSocraticmethodasatoolforteachinganything,muchlessthehighlysubjectiveevaluationofart,orasanintegralpartofartisticprocess.Ina2011studypublishedinMind,BrainandEducation,scientists

replicatedSocrates’lineofinquiryfromPlato’sMeno(repeatingthefiftyquestionstheGreekphilosopheraskedaslaveboyintheconstructionofageometricfigure),usingcontemporaryhighschoolstudentsastheirsubjects.Itmusthavebeenexcitingtodiscoverthattheanswersthestudentsprovidedtothequestionsreplicatedpreciselythoseoftheslaveboy.Accordingtotheauthors,thisfindingsuggestedthat“Socraticdialogueisbuiltonastrongintuitionofhumanknowledgeandreasoningwhichpersistsmorethantwenty-fourcenturiesafteritsconception.”Buttherewasanequallysurprisingandperhapsdisappointingdiscovery:today’sstudentswereunabletograsptherelevanceofthequestionsintryingtoachievetheintendedresult:drawingasquarewithanareatwicethesizeofoneshowntothem.(Paul,2011)Whileuniversallyintuitivereasoningseemstotranscendmillennia,cultivatingabroader,deeperunderstandingthroughdialecticinquirydoesn’tseemtogelwithcontemporarywaysofthinking.AportionofthisdialoguefromMenomaybereadbelow:

SOCRATES:Tellme,boy,doyouknowthatafigurelikethisisasquare?BOY:Ido.SOCRATES:Andyouknowthatasquarefigurehasthesefourlinesequal?BOY:Certainly.SOCRATES:AndtheselineswhichIhavedrawnthroughthemiddleofthesquarearealsoequal?BOY:Yes.SOCRATES:Asquaremaybeofanysize?BOY:Certainly.SOCRATES:Andifonesideofthefigurebeoftwofeet,andtheothersidebeoftwofeet,howmuchwillthewholebe?Letmeexplain:ifinonedirectionthespacewasoftwofeet,andintheotherdirectionofonefoot,thewholewouldbeoftwofeettakenonce?BOY:Yes.SOCRATES:Butsincethissideisalsooftwofeet,therearetwicetwofeet?BOY:Thereare.SOCRATES:Thenthesquareisoftwicetwofeet?BOY:Yes.SOCRATES:Andhowmanyaretwicetwofeet?Countandtellme.BOY:Four,Socrates.SOCRATES:Andmighttherenotbeanothersquaretwiceaslargeasthis,andhavinglikethisthelinesequal?

BOY:Yes.SOCRATES:Andofhowmanyfeetwillthatbe?BOY:Ofeightfeet.SOCRATES:Andnowtryandtellmethelengthofthelinewhichformsthesideofthatdoublesquare:thisistwofeet—whatwillthatbe?BOY:Clearly,Socrates,itwillbedouble.SOCRATES:Doyouobserve,Meno,thatIamnotteachingtheboyanything,butonlyaskinghimquestions;andnowhefanciesthatheknowshowlongalineisnecessaryinordertoproduceafigureofeightsquarefeet;doeshenot?MENO:Yes.SOCRATES:Anddoeshereallyknow?MENO:Certainlynot.SOCRATES:Heonlyguessesthatbecausethesquareisdouble,thelineisdouble.MENO:True.(ExcerptFrom:Plato.“Meno.”iBooks.https://itun.es/us/o2tUD.l)

Andsoon.Whatpersistentinterrogation!Socraticdiscoursesetsouttorevealessentialtruths,butinmanywaysthequestforsuchphilosophicalHolyGrailcontradictstheverynatureofartisticinquiry,whichdelightsinthenebulous,thediscursive,andinlooselyconstrainedavenuesofinterpretation,understandinganddiscovery.Chekhovsaid,“Theroleoftheartististoaskquestions,notanswerthem.”But,whatabouttheartofillustration,whoseprimaryconcernistheconveyanceofideaswithvaryingdegreesofspecificity,withatleastsomehelpfulconstraintofinterpretivepossibilitiesprovidedintheinitialbrief?Isn’ttheillustratoroftenconcernedwithbothpositingandansweringquestionsintheworksheconstructs?Doesn’tsheformasortofdialoguewithanaudience,and—integraltocreativeprocess—withherself?Despitesuchnecessarylevelingandsharpening,theillustrator’swaysofmakingwouldinnotimebebleddryofitspreciouslifeforceofintuition,andwouldinsteadbecometetheredtologicandreasoniftheyweretobecomesoextrinsicallyguidedbyaconscious,narrowinglineofinquiry.WhenIwasinvitedtocontributetothisbook,InaivelyproposedatopicaboutwhichIhadsomepreviouslycrystallizedobservations,butnoempiricalevidenceapartfrommyownself-awarenessafterthreedecadesofpractice.Myfundamentalquestionwasthis:inwhatwaysdoillustratorsuseconscious,activequestioningintheirapproachtotheirwork?Inmyteaching,aswellasmystudiowork,Ihavealwaysusedwriting—inparticular,thearticulationofpointedquestions—asawayofdefiningcreativeproblems.Fuelingasymbioticengineofmind,eyeandhand

withcarefullyconcoctedquestions,IknewthatIhavealwaysfoundconsciousquestioninginvaluabletomyownunderstandingofwhereIwasheaded.Workingonthishunch(andperhapsmakingsomesilly,egocentricassumptionsabouthowothersmustbeequallyenthralledwithasimilarapproachtoproblemdefinition),Idecidedtoenlistsomefriendsandcolleaguestobetterunderstandhowtheyworkedwithquestions.Iaskedseveralillustratorstodescribeformetheroleofconscious,activequestioningintheircreativeprocesses.Somedidn’tansweratall;manyhadnevergivenitmuchthought.Nevertheless,severalkindlyagreedtoindulgemeinrespondingtosomequestions,andIlearnedabitaboutthevaryinglevelsofconscious,up-frontinquirymanyillustratorsintegrateintheirwork.Manyoftheseillustratorsarealsoeducators,sodiscussioninvolvesnotonlytheirownwork,buttheirmethodsofguidingstudentsintheircreativeendeavors.VarietyofApproach:ConsciousQuestioningAmongIllustratorsSimplyput,questionspromptinquiry,andthat’swhatthecreativeprocessisallabout—thesometimesenigmaticinvestigationofmaking,involvingeye,mindandhand.Asanillustrator,IconsciouslyframeandarticulatequestionsasIapproachvisualcommunicationproblems,andmostoftenIdothisinthemosttraditionalmanner:aninterrogativesentenceendingwithaquestionmark.Sometimes,however,Ienergizemyprocessbydevelopingalooseruseofwordsthatmaybelistsofconsiderations,matricesorfreeassociativemappingofverbal/conceptualrelationships.Inallcasesthepartnershipbetweenwordandimage,betweenthevisualandtheverbal,playssignificantlyinshapingmyapproach.AndreaDezsöisavisualartistwhoseexpansiveportfolioofworkdisplaysanimblecreativeprocess,traversingabroadrangeofmediums,marketareasandfabricationprocesses.AsanassociateprofessorofartatHampshireCollegeinMassachusetts,shereceivedbothaBFAandMFAfromMoholy-NagyUniversityofArt&DesigninBudapest,Hungary.Dezsöhaslecturedaroundtheglobeandhastaughtinnumerousprestigiousinstitutions.Onthesubjectofwhetherandhowsheintegratesconsciousquestioninginherprocesssheoffersthefollowing:

Ido.Sometimesinwritingandalwaysinmymind.Alistofquestions,considerations,words.Ialsodiscussideaswithmyhusband,AdamGurvitch,whoisinvolvedinmanyofmyprojects.Heasksreallygreat,originalquestionsandthat’swonderful.

Enlistinganothermindinthispreparatoryphase,assheattemptstoapprehendtheessentialdimensionsoftheworkathand,addsanotherlayerofinquirytotheprocess,enrichingandexpandingpossibilities.Collaborativequestioningissomethingstudentsofartanddesignaregenerallynotinclinedtopursueindependently,withoutpromptingfromtheirprofessors,and—asDezsösuggests—itcanleadtosomeunexpectedprovocationandinsights.ThenatureofDezsö’squestioningchangesassheweavesbetweenmultiplemodes

ofworking,growingmorespecificwithshiftsincontext,materialityandpurpose:AsIworkacrossseveralpracticeareasincludingeditorialillustration,permanentpublicartandartthatisshownatgalleriesandmuseums,someofwhichmayhangonwallswhileothersaresite-specificinstallations,thesequestionstendtobespecifictothoseareas.WhenIstartworkingonanillustrationmyfirstquestionoftenis“Whatistheheartofthisstory?”Fromthatquestionothersmightfollowincluding:whatisthemostappropriatemedium,approach,format.etc.?

Eachofthesequestionsispracticalandnecessary,andwhilesomecanbequitetypicalandexpected,othersmaypromptanalertnessofmindinconsiderationofunanticipatedissues—thingswewouldnothavethoughtimportantuntilproperlyframedinaninterrogativeform.I’vehighlightedbelow(inbold)twoparticularlywell-framedquestionsDezsömayconfront,andtheyappeartohaveonethingincommon:achallengingyethealthydegreeofambiguityachievedbyartfulphrasingandthecarefulselectionofwords:

WhenIprepareapublicartproposalmymainquestionis“Whatkindofartwouldbemostappropriatetothisparticularplace?”Toanswerthatquestion,Ineedtolearnalotabouttheplaceanditsusers.Whowillseethework?Wholivesintheareaandhowdidthecommunitychangeovertime?Whovisitstheareavs.wholivesthere?Whatisthehistoryofthearea?Whousesthepublicspacewheretheworkwillbeinstalledandhowdotheyuseit?Whatarethefunctionsandaspirationsofthespace?Whatisthelightlike?Whatismissing?Whatmaterialsaremostappropriateforthework?Whatkindofmaintenanceistheworklikelytoreceive?Whowillmaintainthework?Whatisthebudget?SomeofthisinformationIcanfindbyresearchingpublicdatabuttoreallygetthefeeloftheplaceIalsohavetobethereinperson,walkaroundintheneighborhood,usethespaceorifit’snotyetbuiltimagineusingit.

“Whatarethefunctionsandaspirationsofthespace?”isanelegantquestionthatcomesclosetopersonifyingthespaceitself,transcendingitsmundanelimitationsasapassiveenvironmentandinsomewaysimbuingthespacewithaspiritofintentionindependentofDezsö’sintervention.Thisisanenchantingwaytobeginthedesignprocess,inwhichthequalitativeaspectsofthequestionarevitaltothecultivationofdeeper,morepoeticthinking.Likewise,asking“Whatismissing?”immediatelythrustsDezsöintoactiveintervention,withasenseofartisticpurposethatisostensiblycalledoutbythespaceitself:“Iammissingsomething,”saysthespace.“Tellmewhatthatis;makemewhole.”Personificationforthesakeofclaritymaysoundquaint,butsuchpoeticallystructuredinquiryenrichesthesenseofimmersionwiththeundertakingandpersonalizestherelationshipbetweenartistandcreativeproblem.

Questioningisnotalwaysexclusivelytetheredtoverbalprompts.Perpetratinganyinquisitiveactionwiththeintentionofcreatingareaction—a“dialogue”ofcauseandeffectwiththeworkinprogress—iseverybitasvalidasamodeofinquiryasistraditionalinterrogationwithwords.Itisindeedactiveinquiry,andanon-verbalapproachisoftenbest.Dezsölucidlyexploresthisherinsightfulcommentsbelow.

Attheheartofmyself-initiatedwork—especiallydrawings,paintingsandartistsbooks(fig.2)—thereisoftensomethingI’mcuriousaboutthatIcanonlyfindtheanswertothroughactuallymakingthework.WhatcanthismaterialdoifI…?IfIcombinethisandthatIwonder…Whatdoesvisualcomplexitylooklike?Isitpossibletosuccessfullycombineblackandwhiteinkdrawingwithvividlycolorfulpainting,printmaking,collage,representationalandabstractimagery,variousmaterialsfromwettodryandcompositionalelementsrangingfromtinytoverylargeintoonecohesivepieceofwork?Whatisitliketomakealargeandcompleximagewithoutanyplan,simplybyimprovising?WhathappensifIdisposeoftheideaofcompositionandviewingdirectionandplacevisualelementsonthesurfaceoftheworkbasedonchanceandavailablespace—whenthespaceisfilled,theworkisdone.Whatisthereisnoclearorderofimportancebetweenelementsinacomposition?Whatifaworkismadewithoutanyconceptorforethoughtoratleastnotanythatcanbeverbalized?HowcanIdisengagethepartofmymindthattalksandarticulatesconcepts,questionsandanswersandallowthevisualdecisionstoemergefromthenon-verbalnon-self-consciousplacethatIbelieveultimatelymakesthework?Wheredoestheenergyinanimagecomefromandwhendoesitgetintothework?

Fig.2:AndreaDezsö,TheIslandComeTrue(PeterPantunnelbook)2015;Japanesehand-madeShojoshipaperHand-cutandsewn,collapsible,multi-layeredone-of-a-kindtunnelbook14.25x11x7inchesExpandingthedefinitionofquestioningisimportantifwearetofullyapprehendwhatgoesoninthecreativeprocessandtobuildonthesignificantrole“pureresearch”playsinartisticdevelopment(asdescribedearlierinthediscussionofRISDFineArtsFaculty’spositionpaperonthetopicofresearchinstudiodisciplines).Andmanyillustratorsnotonlyprefertobenon-verbalintheirinquisitiveinvestigations,theyaresimplymoreadeptatutilizingauniquebrandofvisualintelligencetobuildgoodwork.ArmandoVeve,(fig.4)forexample,isremarkablyfacileinboththetechnicalandconceptualsense,andheassertsthatthis

comesprimarilyfromthoroughengagementinanopen-ended,inquisitivevisualthinkingprocess,withtheuseofwordslimitedtolistsandbrief,provocativestatements.Hiselegantdescriptionofhowheworks—meanderingthroughasortofmenagerieofvisual,arthistoricalandconceptualstimuli—revealsavividimaginationatwork,fueledinlargepartbyanorganicapproachtovisualthinking,inwhichthedestinationisneverpre-determined:

Directexperimentationwithfoundandmadematerialsprovidesmewithsomethingconcretetorespondto.I’mconstantlycollectingreferencematerialsthatI’mdrawnto,whichcomefromaneclecticrangeofsources–theycouldbecartoons,Northernmanneristengravings,andcontemporaryfurnituredesign.Istretchandwarpthemthroughdrawinganddigitalcollageandintheprocesstheybecomeconnectivetissuefornewwork.Adrawingbecomesafrozenaccountofmythinkingprocess.Websofactionsandreactionsenterintothem,areerasedandreplacedovertime.Theyareself-containedecosystemswiththeirowninherentlogic.

Fig.4:ArmandoVeve,shortstoryillusytationforTorBooks:“ThisWorldisFullofMonsters,”byJeffVanderMeerSimilarly,EllenWeinstein,whosemetaphoricalillustrationsforeditorialandcorporate/institutionalclientsresultfromveryrigorousexperimentationwithsemioticinquiry,thinksofherexperimentalvisualthinkingprocessesandself-initiatedpromptsasauniqueformofquestioning,inwhichherinquisitivenessismoreimportantthantheansweritself.Herworkisenergizedbyinquiry;that’swhatgivesitlife.“Asacommissionbasedillustrator,”shesays,“Iampaidtoanswerquestionsandsolveproblemsforavarietyofclients.Inworkthatisself-driven,Ineedtoframethequestionsmyself.Theactualprocessofmakingworkthroughconceptandvariousmediaprovidesaquesttoanswerthequestions.Iamnotnecessarilylookingforconcreteanswerstoquestionsinthiswork,it’smoreabouttheprocessandthejourneyofaskingthem.”

Someartist-illustratorsareprofoundlyexhaustiveinlaunchingcomplexintellectualinquiry.TheIllustratorandpainterAlisonByrneshasbuiltaremarkablyfocusedcareerfrompaintinghistory,questioningthecanonsofhistoricalrecordandexaminingtheslippagebetweenwrittenhistoricalaccountsandhowonevisualizesthem.Byrnes’charmingnarrativepaintingsoffamousanimals(fig.3),scientifictheories,andwell-knownIndians,Romans,GreeksandAmericans(includingJohnWayne)aredenselypackedpictorialtableausthataretheresultofconsciousquestioning.Thisismadeevidentinherdiscussionoftheimage-makingprocess:

Asonewhopracticesimage-makingasanembodimentofknowledge,questionsarebothimpliedandovertinmyowncreativepractice.Therearelong-runningquestionsthatarealwaysinthebackgroundofeachpieceIundertake,thatarebuiltupon,orcomplementedwithquestionsofaspecificsubjectmatter,orevenofcompositionandother“art”factors.Theseinclude:Whatisthenatureofknowledge?Howcantheabstractionsofthoughtbeportrayedinaphysicalform/composition?Howdoweunderstandthepastandourplaceinthetrajectoryofhistory?Whatareourimplicitbiaseswhenimaginghistory?Howdoesthestructureofthehumanmindconflictwithacademic,orfactual,understandingsofapersonorevent?Thesearealsospecifictoanindividualpiece:Howdoofficialrenditionsofthispersonpromptourbeliefsabouthimorher?CanthisancientRomanbecomparedtothisEnlightenmentthinker,andwhataretheconflictsinsuchacomparison?IfindthatIneverdiscardanyquestionsinmypractice,butcontinuetoaddmoreandmore,asIbegintounderstandmyownlinesofinquirywithalongerlineageofmyownunderstandingandconcern.

Fig.3:AlisonByrnes,“Pavlov’sDog”oilonsilk,15x12”UnlikemanyoftheartistssurveyedByrnesarticulatesadiscriminatingdefinitionofwhat“questioning”istoher:

Ithinkit’sonlythroughwriting,orreporting/explainingtoothers,thatquestionstakethesyntacticalformofaquestion,inlanguage.Whendoingtheworkitself,Idonotwriteoutquestions.Igetanidea,though,usuallyfromawrittensource,thenreadfurtheronthatsubjectinordertofindoutmyentryintoit,aswellastofindbasicfactsthatIcanportrayinavisualform(whatdidthispersonlooklike?HowcanImakethispersonrecognizablewithcertain‘visualepithets’whilelayeringmyowninterpretationuponher?”)Writingdoesnotcapturethehumanmind:writingisasequentialandimperfectrecreationofthought,whichfunctionsaswebofassociations,knowledge,memories,emotions,andinterpretations.Writingisdominantintheacademy,andalotofwhatIcreateistofollowasimilarresearchprocessthatatraditionalacademiciandoes–findingandreadingmultiplesources,evaluatingthesources,findingmyownideas“inconversation”withtheauthorsofthesources,thenarticulatingthoseideas.Myimagesareanembodimentofknowledge,justaswouldbeachapterorarticle,orbook.Athesisstatement,orscholarly“argument”isaquestionintheformofastatement,andthisiswhatIconsidermyworktobe.

Andyes,eachdecisionintheprocessofmakingisaseriesofmicro-questions.Willthisarrangementofelementsembodymysetofthoughts?Willthiscolorenablethiselementtoworkinharmonywiththeothers?

FredLynchisajournalisticillustratorandAssociateProfessorofIllustrationatRhodeIslandSchoolofDesign.Inhistandemcommitmenttoeducatingyoungillustratorsandpursuinghisownlineofinquiryinthedepictionofarchitecturalandhistoricalplaces,sharessomewell-informedinsights.LikeByrnes,hemakesadistinctionbetweenquestioningandtheverbalstatementswehavecometounderstandasquestions.“Whilequestioningisfundamentaltomyteachingandresearch,Iwouldn'tsaythatwell-articulatedquestionsarepartofmycreativepractice.Thatsaid,theartisticprocess-theverynotionofmakingsomethingbutnotknowingaheadoftime,whatitwillbeentirely-isdependentonaseriesofchoices.Thosechoicesareanswerstoquestions,whethertheyarearticulatedwellornot.”ShiftingMethods:ExtraordinaryModesofInquirySomeillustratorshavedevisedcleverinstrumentsforworkingwithlanguage,engagingmanualandcreativeprocessesastheyseeknewwaysofshapingandarticulatingquestions.Wordplaygames,list-makingandothermeansoflendingtangibleorformalstructuretoinquiryarenotuncommon.RebeccaHeavnerhasenjoyedafascinatingcareerwithconsiderablesuccessearnedacrossabroadscopeofartpractices,beginninginthe1980sasaveryactiveillustratorandeventuallybroadeningherpracticetoincludeaseconddegreeandstudiopracticeinLandscapeArchitecture.SheteachesattheUniversityofColoradoinDenverandoffersthisinterestingdescriptionofhowshephysicallystructuresverbalinquiry:

Inmycreativeprocess,Iconsciouslyframe,refine,articulateandrevisitquestionsbywritingandcuttingapartsentences.Collageisausefulwaytoarticulateandphysicallypullapartideastoaddroomforanargumenttodevelop.Iseparatetheheadingsandsubheadingsfromthecontenttostrengthenapointorinfluencethehierarchy.Processiterationsmaybeinfluencedbyasetofconstraints,asetofrules,frameworkmodelandresearch.

Listsandotherwordplayaresomeofthemostwidelyusedself-promptinginstrumentsemployedbyillustratorsandjustabouteveryoneinterviewedforthischaptermentionedsomeformofverbalgymnasticsasacomplementarymeansofinvigoratingvisualthinkingprocesses.Awidevarietyofpractitionersshareahealthyrelianceonthisverbal-visualpartnership.MarkHoffmanisChairofIllustrationatMontserratCollegeofArt.Agiftedillustratoranddesigner,hisdelightfullyfreshandwhimsicalillustrationsforchildren’sliteratureemergefromacombinationofvisualandverbalthinking.“InworkingonillustrationsItendtomakealotoflists.Idon'twriteproperquestionsbutrathera

listofwordsthatneedtobeaddressed,whetheritbethroughwritingorthroughavisualrepresentation,”hesays.Likewise,WhitneySherman,DirectoroftheMFAinIllustrationPracticeatMarylandInstituteCollegeofArt,incorporatesverbalelementsinherapproachtoimage-making:

Dependingonmyproject,Iwilleitherworkintuitivelyorframethequestionsthroughwordandwordplay.Intuitivelyoriginatedworknormallyoccurswhenthereisnoclientorself-imposeddirective.Usingintuitionbringsforwardunconsciouslyheldbutknownideasandperspectives—oftenideasthatwouldnotoccurwithpurposefulthinking—thatmightincluderandomness,nonsenseordissonance.Thiskindofquestionswouldbecategorizedasa“why”orevena“whynot”question.TheothertypeofquestioningIusebeginswithwords—fromanarrative,atitle,orkeywords.Iwillliterallymarkatextanddrawinthemarginsoronthetexttobringmeclosertothewords.Whenitseemsright,Iutilizewordplaywhichcomesoutofwordlists.Dialoguewithothers,ifever,happensonlywhenchoosingbetweenseeminglyequaloptions.

AttheUniversityofSouthAustraliainAdelaide,DavidBlaiklockisCourseCoordinatorinboththeBachelorofDesignIllustrationDesignspecializationandtheGraduateDiplomainVisualArtandCreativePracticeattheSchoolofArt,ArchitectureandDesign.Hisdoctoralresearchiscenteredonacriticalexaminationoftheambiguousconceptof“vision”asaprizedcharacteristicofexpertiseinartisticpracticeforillustrators.LikeSherman,HeavnerandHoffman,hemanipulateswordsandphrasesasapathwaywhichbothintersectsandrunsparalleltootherprocesses.

Questionsareframeddependingonthecontextofthework.’Whatneedstobecommunicated’ismostoftenlocatedwithintheproject‘brief’or‘narrative’?Anexceptiontothisisself-directedprojectswhichintuitivelyevolvedependingonpersonalcircumstanceandexperiences.Typically,thisinformationisfirstarticulatedcognitively(criticalreflection)thenisdistilledandexpressed(articulated,reflectioninaction)asphysicalnotationwhichinvolvestheuseofwrittenlanguageandpictures(visualnotation/doodles).Articulation/reflectionasVisualnotation(notes,doodles,sketching,etc.)ismyprimarymodeofexaminationandisusedinconjunctionwithquestionsframedbythebriefwhichoutlinethenatureof‘problem’tobecommunicated.

Canquestionsoccurwithoutwords?MarkHoffman,likemanyofus,considersvisualthinking—pictorialinvestigationthroughacircularprocessofseeing,imaginationandmark-making—canbefundamentallylikenedtodeepverbalinquiry.“Sketchingisthephilosophyoftheartworld,”hesays.“Itisthetimewetaketoaddressthequestionandanswer.”Hoffmangoesontopositthat“itisnotjustthemediaandtechniquethatisthequestioning,butitisyourvisceralreactiontoitandhowtheartistreappliesthatinamethodthatsuitsthepiece.Iwouldthinkthisistheheartofartmakingandifthisbecomesstagnantorceasestoexistinthe

artist’sworkmethods,thenitishardtojustifythattheyarecreatinganymore,justrepeating.”Similarly,WhitneyShermansaysthat,toherwayofthinking,formalandmaterialexplorationisaformofintuitivequestioning.Herprocessinvolvestrustinmaterialstohelpguideherinquiry.Likewise,FredLynchadmitsanenjoymentofsurrenderingtotheunknownashetracesapathofinquiryinhiswork:

Myprocesswouldbebestdescribedaswandering,andwondering.Likeaquestioner,myworkisaformofinquiryandexploration.Icouldlistquestionsthatwereconfronted,butperhapsonlyafterthefact.PerhapstheBritishphilosopherIsaiahBerlin'snotionof“TheHedgehogandtheFox”helpstoexplainmystyleofworking.HeusestheGreekadage,"Thefoxknowsmanythings,butthehedgehogknowsonebigthing"todescribedifferentkindsofcreators.Onegroup,hedgehogs,tendtofollowasinglepathofthinking,whilefoxespursuemanypaths.HesaysDantewasahedgehogandShakespearewasafox.Asforme,Iworklikeahedgehog,creatinglongseriesofworks,followingasingularlineofinquirywithsmallvariations.Itendtodwellonmanyanswerstoasinglequestionmorethanmanyquestionsleadingtoasingleanswer.

Throughherunusualtandemexpertiseinbothillustrationandlandscapearchitecture,RebeccaHeavnerhasformedsomeobservationsaboutthedifferencesbetweenthetwofieldsofpractice.Comparingtheirrespectiveresearchmethodsrevealsthis.“Inlandscaperesearch,”shesays,“aninquiryorsiteanalysisisdriventhroughresearchandasitevisit.Whenanillustratorapproachesaproject,theymightchoosetodeveloptheprojectmorephysically.Forexample,annotation,markingontopofanimagecanrenderoutcomesandpossibilitiesforillustrators.Illustratorscanusefirsthandobservationalmethodstodriveinquiry.Interviews,photography,observations,annotation,andcollagearewaystogenerateinquiry.”SymbioticProcesses:WritingandIllustration

Illustrationinherentlyandhistoricallypossessesacloserelationshiptothewrittenword.Irarelyteachacoursewithoutatleastonesignificantexerciseinwritingassociatedwithimagemaking.Studentsareencouragedtoself-authormaterialforavarietyofreasons,leastamongthemtocultivateadeepersensitivitytothepartnershipofverbalandvisuallanguages.InVoice+Vision,asix-weekRISDWintersessionclassdedicatedtoexploringthebreadthofsemanticpossibilitiesthatliveattheintersectionoftheverbalandthevisual,studentscreatequiteabitoftheirownwrittenmaterial,fromsimpleword-imagepairingstowrittenmemoirtofullyrealizedshortfiction.Writingwords,sentencesandlargerbodiesoftextisusedtostimulate,provoke,reflecton—andsometimesevenbecome—visualexperience.Likewisethestudentsexplorehowthevisualcanprompttheverbalwithwritingexercisesinspiredbypictorialinformation.

Toanillustrator,thetextitselfcanbeunderstoodasonebigquestion,andreading,writingandimage-makingconvergeintheillustrationprocess.RebeccaHeavnerbelievesthat“writingisthinkinganddrawingisthinking.Youcanseethereisacircularrelationshiptothisinmymind.Itisallrelated.Soformetodraw,istodesignandproblem-solve,andtodothesewell,Imustwrite.Tofigurethingsoutartists,physicists,musiciansdraworannotatetothinkthroughaproblem.WhenIwrite,itleadsmetodiagramsomething,andthenwriteaboutitagain.”

AstoryunderlieseachofAlisonByrnes’narrativepaintingsandherexpectationisthateveryviewerarrivesatherworkwithafundamentalquestion,whetherconsciouslyorunconsciouslyestablishedinthemomentofencounter:“WhatamIlookingat?”“Thefinalpresentationofmyimages,then,alwaysincludeswriting.Iconsiderthewritingtobepartoftheform,andnotjustalabel,asinamuseum-likeinformationallabel.Iamawarethatviewersprivilegetext,soItrytosubverttheexpectationthatanimagecanbeneatly‘explained’throughwriting.”ForFredLynch,writinginthetraditionalsenseisnotapreludetoimagemaking,butaformofpost-reflectionandanintegralpartofinterpretationthatisintroducedafterthefact,presentingtheviewer/readerwithrichnarrativecontentthatisatoncevisualandverbal.“It'susefulinsortingoutthemanypassingstrandsofthoughtthatpassbydayafterday”hesays.“Somuchofmyteachingpracticeisthinkingoutloud—ruminatingonthefly.Inmyart,Inowcreateworkswhichareoftenlinkedtowriting.Pictureandwordcollaborate.Mywritingeitherfurtherexplainsthesubjectofmydrawing,or,speaksoftheexperienceofdrawingitself(forme,workingonlocationasavisitor,witnessanddocumentarian).”Criticality:TeachingandConsciousQuestioningInmyownteachingatRISD,critiqueinvolvesthearticulationofaseriesofwell-formedquestionsaboutthecollectionofvisualphenomenatackedtothewall.Iattempttoencourageactive,consciousquestioningamongmystudentsbyleadingassignmentsanddiscoursethroughaframeworkofcriticalinquiry.Myhighesthopeisthatstudentswilleventuallyexamineallcreativeendeavorthroughaninquisitivecriticallens,havingdevelopedahabitofinstigatingdialoguethroughthedelicateartofquestioning.Asdiscussedearlierthequalityofaquestion—itspotentialtoengage,topromptfullreflection,tosortoutintentionandeffectisofcriticalimportancetofruitfuldiscussion.Whilequestionsaboutmaterialconsiderationsareimportant,myownteachingisprimarilyfocusedonthecommunicationofideasandinformation,andIfindmyselfsteeringstudentsawayfromsoftballquestionssuchas“isthatacrylic?”and“whatkindofpaperisthat?”SixGreatIdeas,bythephilosopherandgreateducatorMortimerAdler,assertsthat"philosophyiseveryone'sbusiness"andbythishemeansthatwemustrecognizethepervasivesignificanceofphilosophicalideasastheyrelatetothegovernanceofjudgment.Afewyearsago,IbegantorecognizethatmuchofstudiodiscourseisfoundedinthreefundamentalideasofwesternphilosophyAdleridentifiesinhis

book:truth,beautyandgoodness.Thistimelessconstellationofgreatphilosophicalideasisessentialtonavigatinglifeandtheyareintegraltoartmaking.Wecannotgetthroughadaywithoutthesefundamentalmeasurementsofvirtue,andjudgmentsofwhatistrue(ornottrue),beautiful(ornotbeautiful),andgood(ornotgood)pervadeourcriticalthinking,bothconsciouslyandunconsciously.Inparticulartheseformidableideasshepherdcriticaldiscoursewithstudentsaboutthearttheyaremaking.Wegrapplewithcriticallanguagetolaudthebeautifulorsteertheungainlyintoaestheticbalance.Mostofuslookforthetrue,thebeautifulandthegoodastheyaremanifestinprocess,materialityandcriticalreflection.Andyetmanyofusrarelyacknowledgethisphilosophicalframeworkopenly,throughrigorousdialogicinquiry,insteadpittingopinionagainstopinioninacontestofwills,withminimaltributetophilosophyasthesouloftaste.Ihavefoundthatgroundinginquisitivediscussionofstudentworkinthesephilosophicalideasisaremarkablyeffectivewayofcuttingthroughemptytalkandexaminingthecoreofintentionandeffect.Manyyearsago,astudentapproachedmeafteratoughcritiquelefthimbruisedandperplexed.Mydispleasureovertheaestheticshortcomingsofhisworkhadbeenapparent,despitethemanyhourshe'dinvestedintheproject,andhewantedtoknowwhyIdidn'tlikeit.Moreover,hewantedtoknowhow.HowhadIarrivedattheopinionIofferedincritique?Whatwasthebasisofmycriticaljudgment?"So,ifyoudidn'tthinkmyprojectwasgood,howdidyoucometothatopinion?"heasked."Isitamatterofwhateverstrikesyourfancy?"Toughquestion.Withoutanyframeworkforaddressingthesubjectofaesthetics,theanswercouldonlybe“yes.”Butwhatisthis"fancy?"Atingleupmyspine?Gutinstinct?There'snodefinitiverubricforbeauty.Evaluativemethodsvarywidely,andIhavehadcolleaguesonbothendsofthespectrum:onewhoreferredtoadogmaticchecklistof"compositionalmistakes"ingradingstudentwork,andanotherwhocontendedthathisjobisto"getoutoftheway"ofhisstudents,avoidingatallcoststheimpositionofsubjectiveopinion.Sowhataboutthetangleofbeautyandsubjectivity?Wehavetoknowhowtotalkaboutsuchacomplicatedsubjectifwe'regoingtoclaimauthority.Afundamental,collectiveacknowledgementofphilosophicalideascanbecentraltoourconversations,helpingustobothstructureanddefendouropinions,expressedaspersonaltaste.Judgmentcanbecomeevenmorenebulouswhenweapproachthenotionofbeautifulideas,whichsometimesexistindependentofbeautifulform.IhaveafunnyexampleinwhichmyownthrilloverwhatIconsidereddaringaesthetic

inquisitivenesswasmetwithaseaofdisinterestedfaces.Inanefforttoconstructadynamicnarrativeenvironment,astudentdecoratedapublictoiletseatwitharingofsensuallipstickkisses.Manyintheclasswererepulsedbythenotionofkissingatoilet,andcouldn'tgetbeyondissuesofhygienetoevenbeginadiscussionofbeauty.Asmallminorityofussawpoetry,resonantbeauty,inthecontradiction—aloathsometoiletseat,smotheredwithkisses,indefianceofacceptedmores.Thiswasadifferenceofopiniongroundedinphilosophy.Thetake-awayfromthisenterprisewasthatbeautycanpresentitselfinsurprisingways,andwemustaspiretoheightensensitivitytoitspresenceinunexpectedthingsandevents—toeducategenerationswhowillbuilduponaesthetictraditionwhiledefiningnewinterpretationsofthebeautiful.Butwithoutphilosophicalgrounding,thediscussiondoesn’tgetveryfar.Byformingsomecollectiveawarenessofthemanywaystruth,beautyandgoodnessaremanifestintheartwediscuss,wecanembarkonamuchmoreopen,democraticdebate—oneinwhichauthoritativeranktakesabackseattoconsensuallyrecognizedcriteriaforjudgment.I’vefoundthatthebestwaytointroducethesemonumentalideasinthestudioisopenlyandobjectively,precedingformalcritique.Undertakingthisexerciseatthebeginningofthetermcanestablishtheproperintellectualatmosphereforasemester’sworthofcritique—theideasinalltheirgreatvarietyresonatedeeplywithcriticallyastutestudentsandremainintheforefrontofconsciousness.ThemosteffectivemethodIhaveexploredbeginswith20minutesdedicatedtoexhaustivelyquestioningthewaysthatthesephilosophicalideasmaybeidentifiedintheworkwe’reabouttoevaluate,andstudentsareremarkablyperceptiveandexpansiveintheirthinkingatthisstage.Infact,Ihavefoundthattheyareravenousintheirdesireforaconstructforcriticalthinking.Becausetheyhavenotyettargetedspecificwork,theyareinsteadopentominingandrevealingtheirownsensibilitiesandbeliefs,independentofanymaterialsubjectandthesequestionsabouttruth,beautyandgoodnessprovideaprofound,fundamentalframework.Theensuingcritiqueismoremeaningful,openand—somehow—moreobjective,withstudentsleadingmuchofthediscussion.Beforewebegin,Iaskthestudentsto—onthreeindexcards—writethewords“truth,”“beauty”and“goodness”withtheintentionoflabelingthreepieces—eachofwhichtheybelieveexemplifiesoneoftheideas.Remarkablepatternsofconsensusemerge,andtheresultingconversationrevealsmuchbroaderconsiderationofthesegreatideasasthebedrockofcriticaljudgmentinthestudio.Afterthoughtfulinvestmentinthisprocess,eachstudentisatlibertytoexplaintherelevanceoftruth,beautyorgoodnesstoanyparticularwork,andthere’sterrificvarietyinthesemanyperspectives.AndreaDezsöiscommittedtocultivatingadeepsenseofinquisitivenessinherstudents.Shedoesthisinavarietyofways,butatthecoreofherworkasaneducatorshewantsstudentstoproposealternativestodeep-seatedassumptions.Whenaskedhowsheencouragessuchconsciousquestioninginherclasses,shesaysthat“learningtodraworpaintreliesuponlearningtosee.Beingabletoseethingsintheirunmitigatedcomplexityratherthanthroughthevisualshorthandofmedia

andthefiltersofcultureandtraditioncanbeachievedthroughconsciousandsustainedattentionandquestioning.”DavidBlaiklockcontendsthatcritiquecanbewell-structuredandveryproductiveifquestionsarearticulatedupfront.“Effectivelycriticalreflectionisthefocusofthisinitialstagewherebythestudentisaskedtodeeplyexamine,questionandreflectonthetopictheyhavebeenaskedtoaddressthroughthepicture.Theyareaskedtoconsideramulti-perspectivalapproachwhichenablesstudentstoquestionallassumptions,truthsandattitudesrelatingtothetopic(allperspectives)beforedecidingona‘solution’.”AlisonByrnesalwaysusesquestionsinclassandcritiques.Inreflectingonherownlearningexperiencessherecalls“beingsubjectedtothe‘freeassociation’styleofcritiqueasastudent,whenfellowstudentspinuptheirwork,andtheimpliedquestiontotheentiregroupofusis‘doyouhavesomethingtosay?’”Obviously,thislineofquestioningisuselessandByrneshasdevisedanalternative—asimplemethodforenteringconversationwithapotentinquisitiveness.

OneexercisethatIusealotisthesimplequestionslip.Iwritethreetofourquestions(usuallyaboutconcept,form,andtheabilityoftheformtoembodytheconcept)topromptcritiqueofpeers,withspacetowrite2-3sentencesundereach,andassignthemtopartnersforwhomtheyfilloutthequestions.ThenIassignthemtoanotherpartnersoeveryonecangetasecondopinion.Theslips,alreadyfilledinabouttheworkofafewpeers,allowsthemtofeelmoreconfidentifwedoopenuptoagroupdiscussion,becausetheyalreadyhavethewordsreadytosharewiththegroup.Thewayswethinkaboutartandimagesarenotnecessarilyinwords,andmakingthatleap,fromthinkinginabstractionstoarticulatinginwords,formanyofus,andespeciallyforstudents,isaskillthatmustbepracticed.IconsideritaprimarygoalthatIprovidespaceinmyclassinordertostudentstogainexperiencedoingso.

MarkHoffmanstatessimplyanddefinitivelythat“questionsarethebestwaytoteach.Obviouslywehavethetaskofinstillingsomesortofobjectiveinthequestionsweask,butitservesthestudentsbestwhenwedon'tofficiallyhavetheanswer.Weplayinasubjectiveworld.ItendtotellmystudentsthatIdon'thavetheanswers,Ionlyhaveafewyearsleadongettingthere.IthinkitiswellreceivedinallofmyclassesthatIamnotanexpert.AndthatIhavethesamequestionsaboutmyworkthattheydoonaregularbasis.”FredLynchoncehearditsaidthat“agoodprofessorasksthequestionsthatoneanswersforalifetime.”Conclusion

Itmaybesaidthateveryhumanactismeanttonegotiateourrelationshiptotheworldinwhichweliveandthatinquiryisnaturallyinfusedinallaspectsofourphysicalandperceptualfaculties—fromshiftingourwonderinggazetofollowthepathofaplaneintheskytoconsiderationofthemostcomplexproblemsinmathematics,scienceandart.Whileawalkdownanunknownpathinaforestmaybethephysicalmanifestationofourimpulsivelyinquisitivenature,wehaveovermillionsofyearsevolvedtounderstandthatnotonlysurvivalbutprogress,innovationandprosperityallarebornofconsciouscriticalinquiry.Tracingthenatureofinquiryinthehistoryofartandvisualcultureoverthemillennia,wediscoverthat—whilethesubstanceandnatureofquestionschangewitheveryperiodofart-making—thatfundamentalinquisitivenessenduresastheengineofcreativeaction.Illustration’suniquenatureaspictorialvisualcommunicationthatisbornofpurposefulcreationinherentlytethersartisticpracticetoutility—topurpose.Atitscoreisaneedtocommunicate,describeanddefine.Ofcourse,definitionisbornofquestioning—promptedbybothextrinsicallyandintrinsicallygeneratedsources.Perhapstheillustrator’skeensensitivitytoverballanguage,cultivatedthroughyearsofpracticeandexposuretoverbalstimuli,hasingrainedinherawayofframingartisticinquirywithnotonlyconsciousverbalquestioning,butanalogousmodesofdiscovery.Weareconstantlyquestioning—linguistically,physicallyandperceptually.

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