Riscar. O desenho como processo sensível e racional na investigação suportada pelo erro

Abstract

One of the primary actions that drawing brings about is, indeed, error - or failure - since error is gen-erally a reprehensible act. Nevertheless, the image of a drawing occurs by way of repetition of the line created by the draftsperson and is successively supported in the error/correction binomial, exposing uncertainty, hes-itations, doubts, rightness, solutions, inventions, before questions that reality raises alongside imagination or inquiry. It seeks to put forth other modes of visibility that have been achieved before, seen and unseen, visible and apparently invisible, as a sensitive and rational process that the error/correction brings about through the drawing. It may be true that the action of scratching out is an innate human act, part of his concern and worry. From there, thinking about the axiom that the line generated writing, that numbers were born from the ves-tige of the rhythmical gesture and that geometry came about from the line's journey, we establish the base of man's entire intellectual and imagination processes. We are, therefore, before a journey that finds the genesis of everything that we create in drawing. Errors in drawing are proportionately related to corrections, rectifica-tions, repetitions, reproductions, memory, recollection, image, reflex, interrogation, etc. words that perpetuate a vast system of connections between the Being and the World, that the hand, sight and the brain match up in the same physical and manual act. Therefore, drawing is as complex as the Being himself, prescribing con-ceptions of existential, sensitive and rational order. They are images that emerge from the need to see beyond and to fix ideas. Now, drawing is built on an implicit and explicit structure sustained by the error/correction bino-mial as a fundamental process of discovery and autocorrection that generally composes the transposition of the sensitive experience to the intelligible and rational forms of representation. Therefore, drawing is the mech-anism that accompanies thinking wherein errors enhance the felt and signified correctness of the real and imaginary configurations by revealing a work of multiple relations and making the work a systematic approx-imation. It is the place where sensibility and intelligence combine, as an appropriation and anticipation of real-ity. Consequently, it is a space of trial, error, and doubt, taking hold of limits, revisions, formulations and hypoth-eses until an appropriate solution for the inquiry is planned. The images of drawing in the project process, such as, in inquiry, function as an intricate and complex relationship between the sensitive and the rational, which associate and multiply, in each trial, other configurations for fostering rich possibilities and, as a result, new fig-ures born of error and correction