Since 1999, a research team at the Zurich University of the Arts (Switzerland) re-examines the very early qualities, structural formations and development tendencies that can be observed in the drawings and paintings of children in their first years of life. Thereby, one of the main topics addressed is the question whether or not \u2013 more precisely: to what extend \u2013 early pictures in ontogeny depend directly on the concrete context of picture production. In other words, whether or not early pictures in ontogeny are entirely coded.<\/p>\n
When comparing extensive picture archives of contexts of Europe, India and Indonesia, evidence was provided that a substantial \u2013 and possibly structural \u2013 part of early picture qualities and their development are not directly related to the concrete context of the production of the drawings and paintings. This holds true for both so-called «abstract» as well as «figurative» aspects (Maurer et al., 2013). Such a finding is of importance, since up to now, the question is a matter of debate, as it will be explained in the first part of the present publication.<\/p>\n
Since 2005, from all over the world, the artist Gilles Porte is documenting drawings of the human figure, created by children in their first years of life in terms of selfportraits. Having observed a cross-contextual structure of early pictures in ontogeny in our own investigation, when for the first time looking at the drawings Gilles Porte has brought back from his journey, we felt that these drawings carry a scientific value and can substantially contribute to clarify the relation between the early graphic qualities or drawings models and the concrete context of picture production.<\/p>\n
First steps<\/strong><\/p>\n For the texts, go to the book and open the Table of Contents. For the pictures, go to the picture archive, accept the licence, and open the Archive Structure. Please refer to the\u00a0 Assistant in the menu for any further help you need.<\/p>\n Licence \u2013 Terms of Use<\/strong><\/p>\n Images and texts of the present publication are freely available but only and exclusively for private viewing and reading and exclusively in the form of projections for training and research purposes at publicly recognized teaching and research institutes. \u2013 Images and texts must not be taken out of the context of the present publication and introduced into other contexts. Images and texts must not be manipulated in any way prior to projection. \u2013 All other kinds of presentation, projection, copying, storage, reproduction or any other types of use or publication of images and texts in full or even only as excerpts or in any form whatsoever are strictly prohibited without the separate permission in writing of the authors, including translations and radio, television and internet adaptations. \u2013 Images and texts may only be used for the discussion of the pictorial and esthetic development as such and for the discussion of references to general developmental psychology. Any interpretations beyond this, in particular individual psychological or psychoanalytical interpretations are prohibited. The contextual information required for such interpretations is either not included in the publication or has been anonymized. Individual psychological or psychoanalytical interpretations would thus violate deontological rules.<\/p>\n Copyrights<\/strong><\/p>\n 2014 Gilles Porte for all pictures and drawings presented. ZHdK: Institute for Contemporary Art Research (IFCAR)<\/p>\n","protected":false},"excerpt":{"rendered":" Cross-Contextual Aspects<\/p>\n Bilder \u2013 erzeugte Bilder \u2013 waren und sind nicht einfach und immer \u00abda\u00bb. Sie kommen auf, erscheinen, \u00abentstehen\u00bb und entwickeln sich. Bilder haben also eine Geschichte und insbe\u00adsondere auch eine Fr\u00fchgeschichte.
\n2014 Dieter Maurer for all texts and for the form of presentation of the picture archive.<\/p>\n
\nWie aber erscheinen, \u00abentstehen\u00bb Bilder? Welche Eigenschaften, Strukturbildungen und Entwicklungstendenzen lassen sich in fr\u00fchen graphischen \u00c4usserungen beobachten? Sind fr\u00fche Bilder Produkte oder Prozesse? Sind fr\u00fche Bildmerkmale allgemein, abh\u00e4ngig vom Kontext ihrer Produktion, oder individuell? Worin besteht fr\u00fche bildhafte Erkenntnis und \u00c4sthetik? Auf welche allgemeinen Aspekte des fr\u00fchen symbolischen Verhal\u00adtens verweisen fr\u00fche Bilder? Auf welche allgemeinen Bestimmungen des Bildes verweist die Bildgenese? (dt.\/engl.)<\/p>\n