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

PORTFOLIO (10)
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 Jounal June volume 2


https://archive.org/details/MOrphicArrowsCyberDrawingJournal1_2015

In this volume the differentiation between primary and secondary agency ie a concept of nature and an experience of naturallness out of which the agency is recognised is displaced from such Romantic and Midieval coeficients s as inform Cezanne's Nature thinking Through the artist or Freidrich's displacement to a picture zone of its own topesthesia to the drawings own self mapping by which it both is an symbolises language particularly through its archiving- the interactive immersion and generativity strategies. These include relating the cyber loop to a labyrinthean sense of time, of the visual- verbal space by which I interrupt "titles" by writing, and the converse internal mode of identifying my millions of drawings numerically yet in this process approaching the number with a drawing , a different idea of motion than indices. Along the way the cbyer mode maps both inside out and outside in, and the creation of dimension which conceals dimension is experienced through the fielding and streaming of the software which for example can create color atmosphere out of complex process and remove it with a parallelism or horismus-litote equally complex between simulacrae and parallelism as the poisis of a poetic in the cruel theatre of limming displacing the subliminal through an exigency beyond transgression and contingency. (lim- limit- drawing)

DISCUSSION

M->Orphic Jounal June volume 2


https://archive.org/details/MOrphicArrowsCyberDrawingJournal1_2015

In this volume the differentiation between primary and secondary agency ie a concept of nature and an experience of naturallness out of which the agency is recognised is displaced from such Romantic and Midieval coeficients s as inform Cezanne's Nature thinking Through the artist or Freidrich's displacement to a picture zone of its own topesthesia to the drawings own self mapping by which it both is an symbolises language particularly through its archiving- the interactive immersion and generativity strategies. These include relating the cyber loop to a labyrinthean sense of time, of the visual- verbal space by which I interrupt "titles" by writing, and the converse internal mode of identifying my millions of drawings numerically yet in this process approaching the number with a drawing , a different idea of motion than indices. Along the way the cbyer mode maps both inside out and outside in, and the creation of dimension which conceals dimension is experienced through the fielding and streaming of the software which for example can create color atmosphere out of complex process and remove it with a parallelism or horismus-litote equally complex between simulacrae and parallelism as the poisis of a poetic in the cruel theatre of limming displacing the subliminal through an exigency beyond transgression and contingency. (lim- limit- drawing)

DISCUSSION

https://ia601504.us.archive.org/21/items/MOrphicJournal3June20151/MOrphicJournal3June2015%5B1%5D.pdf


https://ia601504.us.archive.org/21/items/MOrphicJournal3June20151/MOrphicJournal3June2015%5B1%5D.pdf
My interest in the motion sensor drawing,cyber drawing, in relating an ontology must confront the fact that "ology" must initiate a misnomer where the reading of experience is not about but is. Because technical platforms tend to insulate a photo indices bias the morphological arrows by which perception is experience returns us to Zeno's critique of stations of the arrow- the Artist's State become a more interesting idea within which syllepsis- the GreeK "Tuchi" can reach a technical outreach in which the phenomonlogical and semiotic are embedded somewhat in the mode of the Assyrian "skrr", or morphime handling gradients of perception between scratch and sculpture, while experiencing materiality as osmotic to the strings of virtuality, their underwriting and overwriting, trace and vector embedded to rastor and vector

DISCUSSION

M->ORphic Journal chords-threads-strings


https://archive.org/details/MOrphicVideoDrawingJournalMayJune1
is the continuation of this months M->Orphic Journal towards architectural projects: I like to use the Archilovers zine environment as a site to build into
http://www.archilovers.com/stories/8062/labyrinth-rubbings.html
is link for article and video relationg a tube house sensiblity taken to information architecture in which "rubbings" are in a sense a virtuality I compose towards the "stain" of a virtual loop architectonic.
https://youtu.be/-hRAWZhzUdY
is utube address of a one minute video towards this idea
https://ia600308.us.archive.org/28/items/VideoArtforArchitecturalInteriors1/VideoArtforArchitecturalInteriors%5B1%5D.pdf
is a proposal for an architectural firm towards using video as interior space structuring.

DISCUSSION

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



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