The ephemera which artists propose have radically altered the found object take on publishing( which has itself has become an institution). Publishing which once implied an absolute focus on market immersion and penetrating markets has now in the hands of artists inventions made upon publishing salient to curating, gifting,POD resources,zines, real time on line residencies etc are not without specificity but the feeling of linkage is more mercurial, osmotic. There for the institutional critique made upon the ethos of the found object is a passage from anti-art to art for arts sake and in the closing of the age of criticism the fate of criticism is to be all liable to philosophy, and art for arts sake, and after all what is philosophy if not art for arts sake?
The flow of a culture not content to be homeless may also be ready to discern a rather authoritorean content to the idea of frames of reference given that nations and brick and morter galleries alike yield to a porous transparency of art intent.
On the dialectical technical beat of emerging practices which Rhizome details minute by minute there is to my view a tension between on the one hand the structuralist paradigm Heidegger marks by paraphrase of Kant:" the conditions of the possibility of experience are simultaneously the conditions of the objects of experience" and on the other the more phenomenalogical view put by the underrated Mieka Bal:"topology destroys linearity by making embedding not sequence , a principle of narrative time: embedding- and enfolding of one thing within another, a body within a house".
Tropentropy is a phrase I coin to view into the phenomonalogical -structuralist tension by considering the conciets or border bending context leaping jumps of the artists imagination over categories ie the fabled "trope" and the condition of the passage of this state of mind within art works as process. Entropy means the measures of the degrees a system can sustain to change. To me personally this resides to a great degree in the relation of drawing to the grand panoply of technical platforms from the vantage of a simple level: digital drawing. Whereas formerly the drawing room was the body (of work) withib a room the digital arena is a scrolling activity between the computers mode of scrolling and the human body which operates from a vocabulary out of reflex arcs which drawing integrates towards language from our earliest age.
I was surprised at a moment to have the BIMLP ask me for an abstract based on my blog over at http://blog.drawingontrope.com
which belongs aslso to www.drawingontrope.com
my site. The British Isles Minority Languages Project gives me some insight as to why digital drawing is so immensely popular in Great Britain ( ie www.tracey.com
, wwwc4rd.com,The London Drawing Room,www.drawingresearchnetwork.com
, www.creativityand embodiedmind.com
,www.drawngpower.com and their hundreds of links (especially Intut)
The BIMLP is a research arm for considering business integration of the diverse dialects of the United Kingdom: Ulnas, Scots, Gaelic, Irish, Welsh, Guinea,Manx, etc...
It occures to me that drawing is in general very much like pidgin english in that while it relates to a specific language it actually generates its own language building impulse that is a structuralism. Drawing belongs to the learning of language and the very "gage of language means "pledge" or something give forth or thrown down, emblematic....
I would very like to see develop in America a similar enthusiasm for digital drawing, my own work as I mentioned developes from a sense of kinesiology implicit to the fact that the digital media is not available to the torsion and sheer of actual traditional art materials but instead uses rythm to create its own sense of physics and directive towards the sculpturotectural inner eye.
If anyone is aware of any such on or offline directives in the State please let me know something of your resources.
Edwin VanGorder (Van)