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

Posted by Edwin VanGorder | Tue Aug 4th 2015 1:27 a.m.

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
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