Includes bibliographical references (p. 279-294).

Cover -- Preliminary Pages -- Contents -- List Of Figures -- Figure Credits -- Acknowledgements -- Introduction -- Part I: Theorising About Thinking And Drawing -- Chapter 1: About Thinking And Drawing - The Process Rather Than The Artefact -- Chapter 2: Moving From Theory To Practice - The Methodological Problem -- Chapter 3: The Relevance Of Enactive Cognition To The Practice Of Drawing -- Chapter 4: Accessing Enactive Knowledge Through The Lived Experience Of The Practitioner -- Part II: The First Phase Of Methodology - Using The Experience Of Others As Subject -- Chapter 5: Experiential Accounts Of The Activity Of Drawing By Others - Marion Milner And Frederick Franck -- Chapter 6: Interviewing Drawing Practitioners About How They Think -- Chapter 7: Making The Decision To Use Drawing To Investigate Thinking -- Part III: The Second Phase Of Methodology - Using My Own Experience As The Subject Of A First Person Enquiry -- Chapter 8: Can I Embody Another Artist'S Thinking Process By Copying His Drawing? - Familiarisation With The Method Of Copying -- Chapter 9: The Case Studies Of Richard Talbot And Oliver Zwink -- Chapter 10: Four Narratives About The Experience Of Re-Enacting Talbot'S Drawing Glass -- Narrative 1 - Copying A Section For Comparison -- Narrative 2 - Identifying Key Stages Of Talbot'S Thinking Through Acetate Drawings -- Narrative 3 - Mining The Elements Of Talbot'S Process Through Sketchbook Drawings -- Narrative 4 - The 'Wall Drawings' - Taking What I 'Knew' Back Into My Own Practice -- Chapter 11: Observations About The Method Of Enactive Copying -- Chapter 12: Where Does One Go From Here? -- Bibliography;