M->Orphic Journal Sept vol 1

Posted by Edwin VanGorder | Tue Jul 28th 2015 12:48 p.m.

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.

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