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

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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Per Against Affective Formalism Litotes&Horismus

Notes” Affective Formalism” per Tod Cronan
/: ( I think) modernism must represent itself to be consistent, by changing- the rhea mod of re-present is just that (a splintering), more than a framing, rather, the multitude of associative gradients which defeat thereby the singularity of that which is then paradoxically called representation, the philosophic bracket opens up time itself as that which conditions mere circumstance, as would be the case of representation served whole , the presentation is an altering of presence as shared not between an article and its paradigms but rather of presence of the immaterial present. The material is ego differentiated through a reading process of that ego upon itself which is the nature of semeiotics upon the somatic or bodily present, the material of which is within the scope of gradients of physical and psychological colloids determinative of the reading itself are then as phenomenal and the phenomenologically presencing then the morphogogenic principle within its variations which mark this dimension of fluidity, as also are the necessary derivations such as are conceit, trope topological projection of levels of meaning as configured to faculatative assimilation ergo in the broadness of scope, thereby substantially immaterial to give a Hegelian antiptosis.
In contrast to this Cronan is saying a reality principle in art outside the principles it only shares as within reality cannot be spoken of . To be spoken of the very creation must be , according to his lights, a matter of principle not mechanically transmitted as the directives of the suddenly real but rather an osmotic assimilation within the reading structure of consciousness itself which uses cues not to manufacture, but to construct, these as brought to view variously in the cognition process are the time of creative appraisal he marks representative of all that leverage.
These two versions, his and mine seem then to both share the dimension of flux, where we differ perhaps is in what we respectively would term Not-flux.
We agree that Matisse was concerned with the difficulty of presenting ones self to another, he did not have the kind of confidence Picasso had that every mark he made worked, rather he struggled them out through systematic rejections… or so it would seem, I think actually Picasso’s drawing mode was a code that could only exist by destroying itself and becoming something new in the moment. That is to say, an emblematic problematic of the psychological “drive”. Tod Cronan states “it would be hard to imagine a set of arguments beyond the empirical analysis of the eye (page 3 here- I am going to go through this book page by page ) Empirical evidence requires the validity of definitions, whereas language itself is not definitive but associative and etymological. What he finds hard to imagine is what he finds outside the flux of meaningful events that have a yes or no answer: thus Matisse decides – it works or it does not work.. I find the word Event to relay and rely on a different code, I say Matisse was not decisive- never decided but only preferred. The sequence of these consecutive stages may seem to be the absolute paradigm of the empirical eye… but empiricism has always foundered on not recognizing semeiotic reading, Matisse read via Cezanne and Rodin but in his way he also resisted these readings and revolted against the implicit empiricism of following masters towards a goal, rather he kept the reading but abandoned the goal. Although Cronan cites the constant frames doors and patterns as the structure of a vision towards such empirical building he is more perceptive when he remarks of Matisse of the Chapel of the Rosary that he moved from tableau to environment. Thus in his way Matisse arrived precociously at the philosophic adjustment from framing or bracketing towards instead the post deixis realm of Semeiotic Blending , or Niche as it is starting to occur to us today.


virtually Revising Brancusi White Works


In this drawing I am creating a thought experiment exhibition, restaging in different terms one in which the photography of Brancusi was exhibited in the Guggenheim. The idea of Brancusi’s sculpture as focused on the base intrigues me as relating towards the evolution of magic to philosophy in which the term simulacrae, meaning statue per state and status of morphogenic character was in the lower region goeitia, ghost as it were implicative of the artifacts of experience while the upper region of the theurgic, or theory as a kind of immersion. At a time artist often had as theme a “Brancusi show”, using his style, and here I am doing something like this, using a variation on his hour glass theme . His friend, Duchamp, in the Glass similarly used a lower region and higher region, I am adding to this the use of “brackets” as suggesting the philosopher’s bracket as in the essence of Goedels theurum that any statement also refers to itself, the philosopher’s bracket tends to specify that moment in the argument, ie “these” “those”- some indication of the thinkers present moment, state and status if you will..
Brancusi’s photography were documentation and photography means “writing” in light. My interest is towards revising the weight of “graphos” which means I write… I draw… towards the latter via cyber motion sensor drawing.


Anicilla -PreSocratic Apeiron: Motion Sensor Drawing

That a unified world view can be obtained through flux and conflux as yet a continuum was the PresSocratic ‘Appeiron” (appearance res.) or in our currency monism to unity in which material monism is distributed as pattern, simulacrae of sign and signifier as psychological and physical colloids in which status and state are respective of agency within dualisms and their dialectics.
The word “harmony” reflects this, harmos meaning joint or concordance and the sense of goetia or lower order of considering a continuum in terms of where and when as opposed to the more musical question of why (theuria- theory_ is respectively more like the beat, theory the melody. “Homer deserves to be beaten with a staff”- Heraclitus like “all beasts are driven by blows is a play on the rhabda or rulers rod (arab for example meaning without the staff ie nomadic).. the rod on the one hand is the beat, it may also be syllepsis or touching upon, the variance of meanings and approaches.
I would therefore extend my art etymology of XhX or hu, aspirant borrowed from the Persians which indicates in Greek roar of the crowd or aurora, sight and sound as osmotic, a dualism of phenomenology, ( taken up in the Renaissance as the Paragone controversy over hierarchy of painting and sculpture, touch and sight) Techne, excellence in art is therefore conditioned by tuche- syllepsis and arête, leadership or the Rhabdal-staff is with inititiation into the Myserties directed to a deterritorialization of Homer, a second reading.
Similarly the Bachic tympanum is a different kind of beat, the stretched hide hints at the “alter” where the “net effect” or tableau of a herm, in which there hides placed back over bones propitiate the ghost and thus the semblance to the formative ‘goetia”… the binding, the higher order of theuria is the harmonic through physical and psychological colloids by which dualism is met through dialectics at the orders of thesis and antithesis, and the lacunae, open invitational rhetoric or multiple levels of acces to these opposition on various levels or harmony. XhX –hu are the hues in sight and sound of harmony…


Arrow Through the Labyrinth

The art labyrinth of time not in form but withal and Immanent- ontic, is like a wheel of oppositions in which psychological colloids trace a material softness in the lower osmotic region and a harder graphos compression within experience expressed to meet the upper regions sense of cross section, of quarrying and excavating the same generated experience.