Edwin VanGorder
Since 2010
Works in Madison, Wisconsin United States of America

PORTFOLIO (12)
BIO
I am a cyber drawing artist interested in building my archives as my art form which integrates trace both in the sense of genuine movement and prosody as well as the sense of semiotic blending which creates unusual architectures out of drawing as a cross-disciplinaric rhetoric or morphogenic agency of becoming.
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DISCUSSION

M->Orphic Journal July vol 3


https://archive.org/details/M-OrphicJournalVol3July20015

The oscilation betwen Deus ex Machina and Diexis machinae in terms of a mental machinae by which virtuality is
proposed within art reflexivity as cultural cordage, loops, threads, strings, and cutting the knot of the lamella are the resources I explore within cyber drawing as within pure motion, the motions sensor, as opposed to indices such as accrue to the there being which is overwritten by diexis. I look into the there being of drawing. Within this schemae semiotics touching upon the corpus of the somatic are embedded to phenomenology and therefore a given context is not transparent, is subject to a broader topos than can be said yet within speach contains its own essential questioning.

DISCUSSION

Bow and the Lyre Bolero


https://archive.org/details/JulyVol2MOrphicJournal1
In this journal I am taking the natural and artificial orders of art and virtuality as psychological colloids mapped to visual and movement morphemes of my own particular ordering process. The “strange loops” of the early consideration of artificial intelligence per Goedel Escher Bach, and the implications of Finnegan’s Wake inform my sense of the correlative dimensions of the motion sensor drawing to analytical functions as open potentials of the poiesis behind poetics.
As a cultural project then the sensibility proposes dedifferentiation and deterritorialization modes that separate from the indices which technology elaborates in order to ask whether the Structuralist project may be reconvened upon separation from such overdeterminations as do naturally accrue. The idea then is that limming or drawing takes the intutition of consciousness that the antique gesture of “sublime” proposed and re-cognise that towards the limmable in the sense of neologistic topologies which arrive not at the subliminal or sublime but rather the morphogenic.


DISCUSSION

Bow and the Lyre Bolero


https://archive.org/details/JulyVol2MOrphicJournal1
In this journal I am taking the natural and artificial orders of art and virtuality as psychological colloids mapped to visual and movement morphemes of my own particular ordering process. The “strange loops” of the early consideration of artificial intelligence per Goedel Escher Bach, and the implications of Finnegan’s Wake inform my sense of the correlative dimensions of the motion sensor drawing to analytical functions as open potentials of the poiesis behind poetics.
As a cultural project then the sensibility proposes dedifferentiation and deterritorialization modes that separate from the indices which technology elaborates in order to ask whether the Structuralist project may be reconvened upon separation from such overdeterminations as do naturally accrue. The idea then is that limming or drawing takes the intutition of consciousness that the antique gesture of “sublime” proposed and re-cognise that towards the limmable in the sense of neologistic topologies which arrive not at the subliminal or sublime but rather the morphogenic.


DISCUSSION

https://ia601506.us.archive.org/33/items/JulyVol2MOrphicJournal1/JulyVol2MOrphicJournal%5B1%5D.pdf


https://ia601506.us.archive.org/33/items/JulyVol2MOrphicJournal1/JulyVol2MOrphicJournal%5B1%5D.pdf
Bow and the Lyre Bolero:
In this journal I am taking the natural and artificial orders of art and virtuality as psychological colloids mapped to visual and movement morphemes of my own particular ordering process. The “strange loops” of the early consideration of artificial intelligence per Goedel Escher Bach, and the implications of Finnegan’s Wake inform my sense of the correlative dimensions of the motion sensor drawing to analytical functions as open potentials of the poiesis behind poetics.
As a cultural project then the sensibility proposes dedifferentiation and deterritorialization modes that separate from the indices which technology elaborates in order to ask whether the Structuralist project may be reconvened upon separation from such overdeterminations as do naturally accrue. The idea then is that limming or drawing takes the intutition of consciousness that the antique gesture of “sublime” proposed and re-cognise that towards the limmable in the sense of neologistic topologies which arrive not at the subliminal or sublime but rather the morphogenic.

DISCUSSION

M->Orphic Journal July vol 2 : Bow and the Lyre Bolero




In this journal I am taking the natural and artificial orders of art and virtuality as psychological colloids mapped to visual and movement morphemes of my own particular ordering process. The “strange loops” of the early consideration of artificial intelligence per Goedel Escher Bach, and the implications of Finnegan’s Wake inform my sense of the correlative dimensions of the motion sensor drawing to analytical functions as open potentials of the poiesis behind poetics.
As a cultural project then the sensibility proposes dedifferentiation and deterritorialization modes that separate from the indices which technology elaborates in order to ask whether the Structuralist project may be reconvened upon separation from such overdeterminations as do naturally accrue. The idea then is that limming or drawing takes the intutition of consciousness that the antique gesture of “sublime” proposed and re-cognise that towards the limmable in the sense of neologistic topologies which arrive not at the subliminal or sublime but rather the morphogenic.


SAVED WORKS (16)
CURATED EXHIBITIONS (1)