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

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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Interspherence Patterns


A snow crystal and an antigen are alike rather crystalline readings of structural matrix… the first is an open system, the machine as it were that makes the flake is in atmospheric conditions that in the very making alter the machine- no pattern is possible, whereas the antigen is a closed system meaning patterned- it does read something that reproduces… a laser beam there- fore is the intersection of open and closed crystaline systems in which the self altering condenses, the condensation is a topographical variant of “pattern”… The subconscious, as virtuality centered conception meets these conditions on its own: closed- it edits uncomfortable information- open- its is transference or the infinite variety of creative combinations.
The idea of entropy is actually generated entirely by human consciousness; it is a kind of reading that allows us to make sense, therefore motion sensor drawing takes this conditionality to a meta level which actually is its origin. The condensations of the beam of light reorganizes the photograph as I draw and I write (Photo- graph- literally means this) towards compression, the sea origins paradigm placed motion in fluid mechanics, motion itself inverts space, and draws the vacuum, the slip stream, which later land structures regrouped to the also compression levels of materials in their valences of spatial tiering creating relative hardness, softness, and attendant qualities of like morphology and topology.


Autumn Offerings : Trace and Rhizome


On this Drawing Research Network page you will find the continuation of my articles looking into the relation between computer and philosophical argument sited to motion sensor drawing. The canonical structure of of ” interests structured to art and language dimensions of realizing the semiotic realization of experience in which the motion towards and away an object as establishing a subject between the discourse of strange loops, neologisms, within the siting of ego into the art libido of poiesis are the functionality here of metonymy and meta levels of material reference created through the somatic-semiotic sense of drawing as encompassing a thisness and thereness both diegetic and dassein,: throwness and slippage.


...And Stranger Loops :

…And Stranger Loops :
Douglas Hoffstaedter of Goedel Escher Bach an Eternal Golden Braid created among his canonical references to self reference a “crab canon”which I believe references “The Crab Flower Club” of The Chinese Classic The Story of the Stone: theme of which is fiction becomes truth and truth becomes fiction and in the context of the latter author creating multiple authors within his text who compose poetry very unique to their” personalities”….Hoffstaedter similarly is interested in where the ‘I” comes from in the evolution from information strata in nature as the animate evolves from the inanimate.
Artificial intelligence for him is a mirror of this structuring, and he views Goedels incompleteness theory of self reference as always brought into a system in such a way that reference outside the system reflexively occurs… is a relation between world and mind in the conditions of sequence.
I suggest howeverthat if the world referenced in the wholeness of part, and wholeness of whole must examine its own question to find itself then that question is the semiotic state by which phenomenology is always a reading, and the question, or philosophic bracket ( as in deciding to examine the question in order to find the answer) is in all cases a perception, of which a world outside the perception cannot really be brought in, as one is always reading ones senses which are highly “created” in and of themselves as human nature. The task given each generation of reinventing “nature” has to do with recognizing the “I” as the part, and the question the whole, in the process of realizing the question, as its philosophic bracket.
The computer space then has an odd arrival within the tangles and loops of virtuality, is the computer the “new nature”…? It is odd because it is a reading, but becomes an object in a way broader than the normal experience of structural tools. Its object state is not physical although it can be traced to such platforms, rather it is an osmotic and zone like entry upon mediation as the condition of media which become explosively organic while giving a sense of direction formed on its own deflections.
I enter this question as a kind of Gorgion knot, and in my art reinvent the idea of the topology of a knot within the computer loops which I organize in relation to my own canonical structures of archaic Asian joinery forms I place in arcs and loops. My interest is in cutting the loop visually, while maintaining continuity, like the proverbial cinematic “cut” but turning away from photography as an assumed “reality’ function and returning to drawing as the core of movement now substituted beyond the previous mind and world paradigm to semiotic phenomenology as motion sensor drawing.


Philosophic and Virtual "Arguments" Apologia

Tracy;- Rhizome; and Dia Foundations
If one considers a philosophical position (argument) in relation to a software virtuality as comparable paradigms with or without Ghost in the Machine(philosophic bracket) and reflect through (“dia”) there then emerges to this dialogue or trialogue the rogue “art and language as thinking therein by which interpolation and interpellation parse not spell the rhetorical dimension of which ethos pathos and dialectic turn discourse as reflection and transpose of that argument between mind and material as virtuality alike to perception of which all manner of dualisms regroup a conflux recognizing motion towards and away an object (constructive) argument as the conditions inviting an osmotic immersion or “theuiria” over” goetia” (tangible traces) such that a topologh endeavors morphogenic vectors through the morphological.
The idea is to do a series of works relating the apologia of philosophical argument to the embedding of software arguments for materiality. The Center panel borrow the idea of an environmental niche by embedding material arguments towards glass block, embossing and sandstone (sands-tone) as tonics. The panels relate the idea of “constriction” and trope: constriction as of transdisciplinary modes as dialectic and discourse and compression- I compress pictures into stripes while relating them to the ground as movements of de-construction,de-territorialization,exlusion(philosophic bracket) and morphological arrows, and the palimpsest of strange loops of torus.
xclusion Argument of Event and Recombinant Aesthetics
Here I have used a software”argument” that corresponds to a philosophical argument- both use the term “exclusion”: the exlusion principle in philosophy is that of Aestheticism- art for art’s sake: or “Ghost in the Machine”- that in looking for a motivation one gives one’s own philosophic bracket which adds a layer of quarrying just as one is attempting to excavate… the software argument or parameters are using the chromatic and value scale together, but reversing the direction… the color goes to its complement and the value to its opposite…
I may for example add to this another panel which is an “artifact”, a “Clone” brush has one foot in the left panel which uses it like a palette while drawing on the other panel…
Recombinant Aesthetics is a term borrowed by Seaman in his works and writings on issues of identity immersion and generativity, Eventua Aesthetics is a term coined by Amanda Wong towards her interest in space of operations dominant realization, together they are as Bal links the terms Space&Time Inc.- true to the idea of a simulacrae diegetic beyond mimesis as representation but continuing the motion of the somatic condition of semiotics perhaps Space and Time Conflux…


Mid Day And Night

Oedipus: Morning Noon and Night-
Andros-Anthropos by a trope
Riddle within a riddle.