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

Chess not Chess Strawman Alite October M-orphic Journal Anciliary


https://ia601503.us.archive.org/7/items/ChessNotChessStrawManAlite1/ChessNotChessStrawManAlite%5B1%5D.pdf
The current page on The Drawing Research Network will show they simultaneously published 15 of my articles, also on the Rhizome site onDiscussions you will find these as journals. The double hermeneutic of Trace and Rhizome thus made a dialectical Institutional Critique like that of the agency between Medusa and Narcissus will now be continued in new forums in which I am interested to contrast The relation towards semiotics between Bal and Cronan , the former perceiving semiotics as not a master language, and the latter interested in the relation between tableau and environment in cognitive sciences immersion.
Chess not Chess references Matisse, and the River, painting in which he relates towards the contests for the standard between Michelangelo and Davinci, and in regards to Matisse the idea that pattern has the semiotic value of both signified and signifier. Within this matrix of which likewise Gericault Medusa appears to me the strawman for Caravaggio, in Bals writing, for in that composition the sails of the Medusa invert, as in Deleuzes also quoted topology of morphological arrows. Matisse stated that he was not like Duchamp interested in Chess because he required a fluidity to signs, in his work however he quotes or uses the nominal value of model signs, while then again inventing a pictorial mode that also is “flip flop” (like the sails of the Medusa).
My critique of Bal and Cronan is that the former in ascribing to the idea of keying space and time as respectively heuristic, labyrinthine and monumental / object driven-mimetic;dialectic and recoiling nevertheless loses the value of discourse as underlying ethos pathos and dialectic , discourse of semiotics meaning not chess or sign manipulation but rather the process of inventing signs within their own phenomenology. Cronan for his part while credibly reinvigorating the idea of oscillation to a greater globalism yet retain a nominalist relation to structuring his own critiques as the nominalist critique and in this he misses the value that things cant be put into words because they are already there. Thus I am in the end interested in effectuating affect rather than affecting effect the latter clause the apakoinu dimension of Bal and Cronan.
https://ia601503.us.archive.org/7/items/ChessNotChessStrawManAlite1/ChessNotChessStrawManAlite%5B1%5D.pdf

DISCUSSION

Oct v.2 M->Orphic Journal


https://ia601503.us.archive.org/29/items/Octv2MOrphicJournal1/Octv2MOrphicJournal%5B1%5D.pdf
There Being IdioSchematics of Times Other Other Explosion, Intercept and Construct
Times Other Intercept of Explosion, Intercept and No-Space
In this journal the material spectrum accruing to virtuality in which the meta levels diegetic of generativity, immersion and interaction projections of configurative faculty incipient to rhetorics as ethos pathos and dialectic place a corresponding level to the nomadic modad. Ironically The general sense is similar to a Paleolithic Venus , a therebeing of sensation embedded to the haptic which also plays with a transpose from photo indices to the no-space of video construct which reinvites movement, at levels of explosion intercept and construct as the generational remove from information architectures as opposition union and interception.

DISCUSSION

So (The Wheel and the Seal as Wheal)


https://youtu.be/2qMF1M87sy8
The Wheel and the Seal As Wheal
patterns carry the semiotic value of being both sign and signified, just as the meaning of life can be said to be life itself the betoken self realization as a projected whole. Thus at the level of synechdoche the part represents the whole , the whole the part, the pattern block is what it is.
Just as the meaning of philosophy is philosophy itself the value of drawing within the pattern arrives in this series projection of a pattern block by my creation of an alphabet which I then show as pattern.. betokening that the difference between patter and pattern is a mindfullnes which in of itself thus senses concept formation.\
Movie: Alpha Patterns Mona License
Just as the digital media stratifies information patterns as a language evolved of analyzing sight and sound as information architecture so then does drawing within the coin of the realm spin the coin.
The Physicality of an art reflexivity at the aperception of the cyber loop- a language like developmental reflexes: the reflex arc…
In the following drawings I place morphemes, simple two letter combinations that indicate how a pattern relates to motion towards or away a subject in the act of constituting it, in the top register one letter is pitched as a block and another as a pattern, as a combination of mood and mode. In the lower level I mimic the sense of position indicated by the morpheme “preposition”.
https://youtu.be/2qMF1M87sy8


DISCUSSION

Cultural Patterns-Site-Nonsite Revisited


https://ia601500.us.archive.org/15/items/MOrphicJournalOct20151/MOrphicJournalOct2015%5B1%5D.pdf
The approach I have developed towards creating a dual Institutional Critique between the concepts of trace and rhizome as characterized by the Tracy Organization= Drawing Research Network, and the New School “ Rhizome” organization are likewise a study in the motion towards and away a subject in the act of creating it.
The following works are predicated on an interest in patterns, as the semiotic input of concept formation available to meta levels which I explore in various ways. Substantially, I displace the pattern block to its cyber meta level which is closer to a moebius strip, a form adopted as well by Lacan as exemplifying the idea of a torus, or structural self mapping of ideas as formal topologies. My pattern loop is based on Asian carpentry cognates abstractly scrolled, as though I was creating a kind of meta Cyclopean masonry of such fluid loop-arches to brace the reflex arc of the cyber sleeve. Ultimately, the loop block can create patterns, but having done so also reverts to its singular origin of approaching the drawing matrix.
The journal title site nonsite revisited means to recast the Smithsonian conjecture to these meta levels.


DISCUSSION

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.


SAVED WORKS (16)
CURATED EXHIBITIONS (1)