Deterritorializing Rhizome

http://www.drawing-research-network.org.uk/phenomenology-of-motion-sensor-drawing/
Deterritorializing Rhizome :
Deleuze in one of his profound moments recognized that trace and rhizome are embedded concepts and my interest in relating the somatic configurative impulse related to rhetoric with the also morphogenic rhizome (unusual architectures) meet the contemporary interest in semiotic blending or the relation towards environment, cultural, as well as biological in which cross species evolution and interdisciplinary comport are the bridges towards revising the structuralism of relating morphological arrows,i.e. common denominators within change towards the variety of sites that are recognized towards what has been called the neurological model of semiotics(complex inter and extra siting of the conditions of phenomenology embedded within somatic within semiotic realizations towards the “conditions of experience being simultaneously the conditions of the objects of experience as Kant puts it”)
The mode of creating archives as the dynamic of arts own cultural phenomenology are my form, the mode -rhizome, while the mood, the drawing quality (trace) are built on use of Asian carpentry cognates to build within the cyber loop something like Cyclopean arches, forms predicated on the early Japanese pitt house in which the walls leaned out from a pit are also the roof. This embedding of a bottom up and top down building process, like trace/rhizome thus becomes my indicator, my problematic. I often create plate like structures within the series as a sigla, meant to indicate “tectonic plates as an equivalent of the reflex arc in its reincarnation within virtuality, agency and usage then of my “motion sensor drawings” The according virtuality is like the meaning of the Assyrian phoneme “skrr” mentioned by Mola on her monograph on Brancusis photographing his own sculpture as exhibited within the in-ex camera of the Guggenheim. “skrr: indicates the range between scratch and sculpture at the material gradients, as we note for example in Valery’s indications towards the impetus between materials and creativity. I search out then the virtual extension of virtuality itself, the inter agency in which form is like a kind of 4th dimensional pottery wheel in which the ghosts of becoming populate the present moment.