The drawing mark is a trace left by implement on material, traditionally, and in cyber space is the hands motion visualizing by position and motion. The difference between the two ideas creates their own matrix so to speak, Deleuze has described the process in his own Heraclitean terminology out which the turns of speech as one characterises carry a sense of general meaning out of which the specifics are constantly reevaluated but arrive at a sense of meaning that can be shared.
This famous metaphysical folding per the baroque, or tropai=” turn: of the Greek Heraclitus identify the morphic change of status that measures the passage into materials of human availability to experience a resulting spatial construct. The sharing of this, is made very available by drawing, and so the relation of style to stylus pertains then to human comparison of how they sustain or variegate the spatial implications they arrive upon through their efforts. The reconnaissance that turns this vision dialectically prepares the traditions of guilds to be sure, at one extreme , and on the other the motivation of the amateur, famous perhaps to the 18 century but in that regard also our heritage even as computer innovations arrive to our world often more from amateurs than Bell lab… ( apologies to Lilla Schwartz- artist pioneer who worked with Bell labs out of her own maverick status)
The conceptual tool then is the theory at risk where deconstruction is held to intimate endless relativism but we can see the drawing as belonging more to the school that has some sense of objective modified by reevaluating the relation between the general and the specific as it occurs, and this poetic is imbedded in the speech patterns of Heraclitus and Deleuze alike. Drawing becomes the holding to view of a subject which in turn consitutes a theoretical fragment, an element of conception destined for elongated trajectory beginning with each new raising to view that holds to the sharing modality of drawing.
The world of the specific moment socially shared to a program of sustained and cultivated interventions designating an artificial sense of time outside of the constructs of available discourse are the new narrative levels and in so the speech is poised between the abstractons that sustain programs developmentally and the concrete operations of simple commerce. It is the blessing, paradoxically , of modern art to stand outside of commerce and present instead a standing archive of dialectical moments which may interestingly coincide with the mad cap world.