Morphological Arrows

https://ia600308.us.archive.org/27/items/MOrphicArrowsCyberDrawingJournal1/MOrphicArrowsCyberDrawingJournal%5B1%5D.pdf

is my zine or journal archiving for May : M->Orphic Arrows, in which the general Boolian logic of intersection, opposition and union derived from cubism towards an information architecture is within the motion sensor medium.

An earlier book of notes I wrote was titled Between Simulacrae and Parallelism and this idea helps to map a transition in the series
which begins with a kind of simple expropriation of the idea of Boticelli's Inferno and Paradisio drawings. The Canonical content which my work brings adapts to the projects musical question towards an altered dimension and cultural landscape (Smithson please don't tum so loudly in your grave) . My topesthesia took in the content of two Chinese authors who are in a sense doppelgangers, both writers supporting themselves by painting, one critiqning the Late Norther Song and the other the Cultural Revolution. I treat these as a "convlolvulum" by which as doppelgangers to themselves they exist in relation to the dopelganger of verbal visual language.
The Canto as Pound adapted it in the phrase ''the wave runs both ways through the seagroove" gives the intuition of textmapping i.
e. Duchamp's Anemic Cinema ( Cinema misspells Anemic backwards), and so my work similarly takes up the idea of a kind of inverse Canto which like vision or a sculptural cast must tum inside out. The two Chinese authors give the opportonity to contrast the morphology of very refined culture and that which has absolutely rejected the intellectoal. The two authors were Cao Xueqnin and GaoXingjian one sees even their names are close ( and you have to realize the first author , writing for his friends had his books finished by them after his early death)… The second author we can connect to very easily via Andy Warhol in his Mao series and Warhol being, strangely, very influenced by Morandi i.e. the repetition, the cubist union, opposition and intersection, his collective culture bricabrac, and drawing style, in addition Warhol really liked drawing on ultra high quality print paper… the print process, in its intaglio mode a kind ofhealing of the incised line, thus Warhols screens were in themselves- masks rather than healing.(bandages?)

https://ia600308.us.archive.org/27/items/MOrphicArrowsCyberDrawingJournal1/MOrphicArrowsCyberDrawingJournal%5B1%5D.pdf