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

Double Labyrinth- M->Orphic Journal Ancilla


https://ia601503.us.archive.org/35/items/DoubleLabyrinth1/DoubleLabyrinth%5B1%5D.pdf
Virtuality pertains to usage made of a given process i.e. "agency" in it's morphogenic dimensions wile semeiotics are the reading process of the phenomenal distinctions of natural and artificial ideas, natural ideas being topics of interest taken into disciplines such as psychology and philosophy while artificial ideas stress the creative tangents.
The early computer artists fashioned a labyrinth of these associations, for example Lillian Schwartz relating to the analysis of the analogue world such as fresco color, Nam June Paik on the other hand disrupting energy fields, Nauman stressing the relation of the physical body- the somatic content of semeiotics, and with Gerhard Richter the phenomenon of the human mind taking the mechanical world into the subconscious.
In the following pairs of labyrinths I have created a group of works placed in a scroll space which is their labyrinth and then cut sections through this , followed by responding to these with added layers of usage-creativity-virtuality.
In another labyrinth I simple create the masks, or layers for a single drawing and compare that with a photo montage of the series outside of this, i.e. different drawings creating an irregular mask....
The last section I simply title Fragments-Not fragments for obvious reasons...

DISCUSSION

Fragments and Not-Fragments


https://youtu.be/qMJg6sJKiRs
Fragments and Not-Fragments
That the cyber loop as a kind of cortically integrated reflex arc may find a horizon- a tropic of trope topological to morphological arrows is a matter as well of exploded centers. The focal agency of construct known to context re-arrives at a neurological model somatic to the media semiotic. The following video through motion sensor drawing is a siting-non siting not via otherness nor even therebeing but rather a divergent arena of marking in which the facultative projection of configuration to psychological colloids within the gradients of material reference are as semiotic embedded within phenomenology as well then raster and vector, trace and rhizome-between two organizations bearing then names of the last mentioned a kind of Institutional Critique cascaded on a double hermeneutic, a palimpsest derived to a gloss of underwriting and overwriting.

DISCUSSION

Game Plan Plan M->Orphic Journal Sept v.3


https://www.academia.edu/s/e7d9b143c5

Game Plan Plan
The Cover drawing is a “tectonic plate”, in the spirit of plateware which is an architecture of ephemera in and of itself in the context of the daily household paradigm, and in the case of the geological the shift available in sense of time between human and geological culture as sites of meaning between environment and tableau. (tectonic plates geologically the enablement of continental drift)
The more formal plan it derives from has a game plan of levels of meaning for a kind of motion sensor / cyber spacedrawing game I create. Before going into the specific levels of meaning these incorporate towards the constitution and creating of a subject I will note the general meaning has to do with the motion towards a subject, and the motion away from which the idea of subject and object transposal derive.
This tenet of contemporary thinking initiated formally by Berenson as “oscillation” received from Duchamp the criticque of “delay” ie a recognition of an osmotic zone implied by the word oscillation that rather than only back and forth is constitutional to a pressing all around the subject. One recognizes in fact that as on creates a subject and one constitutes one, the very saying shows “one” constitutes ones self within the subject and vice versa.
For the Greeks, energia or a “thing done was in the Dyonesian sense of an osmotic awareness of a kind of zone, as in religious awe, for the Romans the “agate” or act was the gate towards the subject and the gait of prosody, the variable rhythm of enlisting meaning to trope and association they borrowed from the Greek sense towards their more performative condition of stating experience.
The cyber drawing game I create here looks into the way drawing suggests a structuring through the appeal art has has as performative towards photo techniques which rather than being objective outside of art enlist its actual material references, and now, in the virtual realm this new sense of virtual material will once again influence the photograph, but more importantly interrupt it with the philosophical motion of drawing.
The anolog world origin of games I reference from childhood were a pair that handle centripetal and centrifugal engeries of oscillation, namely the slinky, and the Pevsnor toy illustrating entropy with marbles passing through chambers. The structure of an ephemerical architecture I motivate from joinery forms borrow from the therapies the neurolical paradigm of the reflex arc as an aperception parallel to the cyber loop and its art aperception in which I build something like Cyclopean loops or arches of embedded semiotic to phenomenological engagement of creating experience within constitution.
https://www.academia.edu/s/e7d9b143c5
https://www.academia.edu/s/e7d9b143c5?source=work


DISCUSSION

Game Plan Plan M->Orphic Journal Sept v.3


https://www.academia.edu/s/e7d9b143c5

Game Plan Plan
The Cover drawing is a “tectonic plate”, in the spirit of plateware which is an architecture of ephemera in and of itself in the context of the daily household paradigm, and in the case of the geological the shift available in sense of time between human and geological culture as sites of meaning between environment and tableau. (tectonic plates geologically the enablement of continental drift)
The more formal plan it derives from has a game plan of levels of meaning for a kind of motion sensor / cyber spacedrawing game I create. Before going into the specific levels of meaning these incorporate towards the constitution and creating of a subject I will note the general meaning has to do with the motion towards a subject, and the motion away from which the idea of subject and object transposal derive.
This tenet of contemporary thinking initiated formally by Berenson as “oscillation” received from Duchamp the criticque of “delay” ie a recognition of an osmotic zone implied by the word oscillation that rather than only back and forth is constitutional to a pressing all around the subject. One recognizes in fact that as on creates a subject and one constitutes one, the very saying shows “one” constitutes ones self within the subject and vice versa.
For the Greeks, energia or a “thing done was in the Dyonesian sense of an osmotic awareness of a kind of zone, as in religious awe, for the Romans the “agate” or act was the gate towards the subject and the gait of prosody, the variable rhythm of enlisting meaning to trope and association they borrowed from the Greek sense towards their more performative condition of stating experience.
The cyber drawing game I create here looks into the way drawing suggests a structuring through the appeal art has has as performative towards photo techniques which rather than being objective outside of art enlist its actual material references, and now, in the virtual realm this new sense of virtual material will once again influence the photograph, but more importantly interrupt it with the philosophical motion of drawing.
The anolog world origin of games I reference from childhood were a pair that handle centripetal and centrifugal engeries of oscillation, namely the slinky, and the Pevsnor toy illustrating entropy with marbles passing through chambers. The structure of an ephemerical architecture I motivate from joinery forms borrow from the therapies the neurolical paradigm of the reflex arc as an aperception parallel to the cyber loop and its art aperception in which I build something like Cyclopean loops or arches of embedded semiotic to phenomenological engagement of creating experience within constitution.
https://www.academia.edu/s/e7d9b143c5
https://www.academia.edu/s/e7d9b143c5?source=work


DISCUSSION

M->Orphic Journal Sept vol 1


https://ia601501.us.archive.org/15/items/SeptMOrphicJournalvol11/SeptMOrphicJournalvol1%5B1%5D.pdf
M->Orphic Journal vol 1

This journal focuses on the observation that in the machine age the hand is an extension of the mechanical per Braque... the relation between Braque's sense of machinae within the precedents he relates to in his writing by putting Heraclitus into his own words becomes a metaphor for the transubstantiation of the artist as a normative microcosm within a nature as sublime apprehension to the in-the-works personae which invades this realm to a discourse now substantial to a virtual drawing zine of motion sensor transcription is the mood here.

Artistic proof as cortical integration of the semiotic environment made visible through the computer art environs of thought experiment are proof not of or between premise to conjecture but rather that virtuality in and of itself mediating as it were phenonmenon, nouomenon and noema as morphogenic to principle. With Aristotle the premise that ther e should be principle in essence actual the realm of the thing done Latin agere which parses “act” (auguer-augur forsee and engrave-agree) and topologically agreement, war(guerre) as the root of energia as well, the formative agency. Therefore a target zone as it were of 1-phenomenon as emergent reading of sense, semiotic an somatic embedding,2- of noumenon as that then thing in itself pertaining to energy and principle (morphogenic spectrum of the topological) meet of these dialectics the discursive tonic of 3-noema, variance, upon which then discourse is that of mode built upon ongoing experience, better put- of the conditions of experience out of which experience builds experience out of experience.
The” target” as an art object has an inbuilt coherence in that typically the black or white center representing the value scale are surrounded by the more floating color spectrum –the chromatic scale.. therein a kind of symbolizing of objective and subjective energies which with with Duchamp’s Anemic Cinema the phenomenological targeting of the senses to the cultural psyche of emergent technology- ie concentric circles with puns overwritten place on phonograph record so that the writing symbolizing the essence of the phonograph as phenomenological to speech sound and the oscillating of the color fields carrying the association to Berenson;s “oscillation” between the subjective and objective zones of dialectic interpelation and interpolation… are discursive targets… another is represented in the following Journal by a reference to a Katzenjammer Kids cartoon archived by The Brooklyn Museum of Art in which a stop light is discussed as it changes, and the black and white scale related to the lights going out…
The target has as well, a Pre-Socratic resonance to our associations with the Dyonesian and Apollonian inferences forwarded by Nietzsche which stem of Orphic topologies of the bow and lyre, famously renditioned by Heraclitus, and the logos , the report of sense, of sites of sense are maintained to logos as pertaining to XHX –hu : the roar of the crowd or Dawn: Aurora and the aural thus the conflation to “appeiron” or the over all field of meaning. This Orphism indeed receives that formal appellation to the target in the personae of Delauney- the aptly named Apollinaire bestowing upon him the movements name “Orphism” ….(what could be more Apollinaire?)
In the following journal the discursive nature of computer art in my own approach builds upon the computer loop as the topology of aperception, using architectural cognates to create something like Cyclopean Arches built into the loop, an associativity with the reflex arc and cognitive intetration made to artistic proof.
Part of the series involve an overwriting of drawing on writing…. In which the gradients of language compare the overwriting of the ‘Palimpsest” with associations of virtuality in computer associations to traditional material vectors of experience reflected within a resulting prosodic character of determination…
Another endeavor involves the mental machinae of discourse traceable to Heraclitus of “the path of the carding wheel is both crooked and straight”- which carries the weight of the evolution of the computer from color looms in the 17 century inventing punch cards- soon to be the player piano and then computer program… the specific avenue is a comparison of Braques notebooks in which he put Heraclitus in his own words… with the original source in order to get a feeling for the program, out of which cubism certainly generated the Venn diagrams and Boolean sets: union, intersection and opposition which drive the morphological arrow to target.



SAVED WORKS (16)
CURATED EXHIBITIONS (1)