Code in code within code. The code is of course how I encode myself within the drawing, and then reflect on myself as if looked at. The possibility of externality of the gaze is in this instance given to me by and as the drawing. While there is a good deal of reflection of me in the process of drawing, as revealed in the video and the transcribed monologue, in order to really reflect I have to re-position myself outside of the process, outside of me. For which reason I have coded myself as a third-person embedded in the drawing, video and transcript through my first-person position as the exposition’s narrator, the latter of which is the voice that is at present speaking through and as the text.
The viewer/reader in their role as reader may have noticed a minimal degree of informality written into the transcribed practice example, 'Out of the Corner of One's Eye', through the use of contracted pronouns, which implies that it is, after all, I who am speaking the text, albeit with most of the enunciation removed, unlike the transcript, in which enunciation is redolent. To suggest the parallel to such positioning that can exist in and as drawing, I have referenced semiotics, and the psychoanalyst Marion Milner’s patient Susan's doodle drawings. While semiotics concerns the codification of images and concepts in language, which is theory with which to articulate the language basis of other domains, including visual, Susan’s drawings suggest how a very reflexive approach to drawing can, through reflection after the event, contain coded meaning.
The main theory that I present in the text, however, is Lacan's psychoanalytical explanation of the gaze. The artist’s drawing – again taking up the aforementioned strategy of self-distancing – may be considered an instance of such theory’s practical application, unwittingly, through its suppression of iconic representation in favour of observed objects’ indexing. In consequence, I have considered the obscurity of the drawing’s references as the type of mimicry that constitutes the gaze as camouflage, when camouflage, and indeed the theory of the gaze in which it is contextualised, are forms of coding.
The aggregate of these various references in relation to a drawing that has been visually recorded and spoken in process, should have provided the viewer/reader with some account of the likely use of coding in practice in perception.