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

The Serpent & the Egg and Eagle Labyrinth


https://archive.org/details/TheSerpenttheEggandEagleLabyrint https://archive.org/details/TheSerpenttheEggandEagleLabyrinth1_201509h1_201509
17. Topological thinking in a morphological world: Pollocks question as to whether his own process was not in of itself nature is a very complicated proposition: it is the creativity of human beings within their approach as language animals which provides their very concept of nature, creativity is, as Heraclitus essentially provides, what is common to sign and signified. We read, not only phenomenon per se, but also what it is .
18. Thus the intended elasticity the lever, where that elasticity of language is ever the globality of the plasticity of expression through the building of discourse,
19. Discourse being that building, the rigorous establishment of the chords threads and strings of connective meaning associations as structures of a reading.
20. In my work the semiotic value is developed of the reading through the cyber loop, I will use for example a backgrounding of apparently Bauhaus like elements which in the new mode have a different planar reading, as those planes curve,. The edges of my recorded sheets have the information of perforations and through the cyber field they curve with the scroll, and give a kind of “text mapping” through the torus.

DISCUSSION

The Serpent & the Egg and Eagle Labyrinth


https://ia601505.us.archive.org/32/items/TheSerpenttheEggandEagleLabyrinth1/TheSerpenttheEggandEagleLabyrinth%5B1%5D.pdf

17. Topological thinking in a morphological world: Pollocks question as to whether his own process was not in of itself nature is a very complicated proposition: it is the creativity of human beings within their approach as language animals which provides their very concept of nature, creativity is, as Heraclitus essentially provides, what is common to sign and signified. We read, not only phenomenon per se, but also what it is .
18. Thus the intended elasticity the lever, where that elasticity of language is ever the globality of the plasticity of expression through the building of discourse,
19. Discourse being that building, the rigorous establishment of the chords threads and strings of connective meaning associations as structures of a reading.
20. In my work the semiotic value is developed of the reading through the cyber loop, I will use for example a backgrounding of apparently Bauhaus like elements which in the new mode have a different planar reading, as those planes curve,. The edges of my recorded sheets have the information of perforations and through the cyber field they curve with the scroll, and give a kind of “text mapping” through the torus.


DISCUSSION

Hungry Snails and Sandstorms at Sea in Tropic of Trope


https://youtu.be/PZYtaougSCQ
Tethys and Aletheia are a mixed homophone in which the sound value of an aquifier like zone of movement between fresh and salt remark fluidity as repose of movement to evidence such that on the one hand the sail drawn on the curved survace of the krater at the condition of trope as originally change in wind can at the crater invert of mapping not the two on the third dimension but the third on the the two dimensional as in the topographical thinking of Cezanne maintained by Lacan to divert the Phallic gaze and in the journalism of the palimpsest overwrite and underwriting the sail of Gericault’s Medusa as a raft of drawing which in that drawing room invite the exit from a labyrinth which as a motion away from object is the inversion of motion towards which the drawing room composes as topological thinking taken to salons. The maritime evidence there is born of the Dutch still life of sail flesh over stretcher bones the reconstitution of the ships journey and a reconstitution of the world as nature morte reflective of origins in ancient sacrifices flesh placed back over bones as reconstition of what had been “altered”.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
In the series I pull together of cyber space as a loop of mapping that is reflective of such events there is the reflection on film space as a scrolling which I use in contrast to sometimes Bauhaus like indications to show a shift in semiotic reading, as when one understands breathing is not voluntary but imposed by atmospheric pressure which we moderate from within the labyrinth. That time becomes compressed in the cyber loop continues this logic of pattern as the semiotic level of reflective agency upon which aperception builds concept.
The film as loop relates to a cutting of the knot, video: which as a no-space intercept build in cyber intertextualiy or enalage echoe the sense of a torus build upon the conditional as pect of materiality and motion as propositions of our own thought experiment upon which art dwells as the evidence of concept formation within itself stating the world cosmos.
https://youtu.be/PZYtaougSCQ

DISCUSSION

Chess not Chess Strawman Alite October M-orphic Journal Anciliary


https://ia601503.us.archive.org/7/items/ChessNotChessStrawManAlite1/ChessNotChessStrawManAlite%5B1%5D.pdf
The current page on The Drawing Research Network will show they simultaneously published 15 of my articles, also on the Rhizome site onDiscussions you will find these as journals. The double hermeneutic of Trace and Rhizome thus made a dialectical Institutional Critique like that of the agency between Medusa and Narcissus will now be continued in new forums in which I am interested to contrast The relation towards semiotics between Bal and Cronan , the former perceiving semiotics as not a master language, and the latter interested in the relation between tableau and environment in cognitive sciences immersion.
Chess not Chess references Matisse, and the River, painting in which he relates towards the contests for the standard between Michelangelo and Davinci, and in regards to Matisse the idea that pattern has the semiotic value of both signified and signifier. Within this matrix of which likewise Gericault Medusa appears to me the strawman for Caravaggio, in Bals writing, for in that composition the sails of the Medusa invert, as in Deleuzes also quoted topology of morphological arrows. Matisse stated that he was not like Duchamp interested in Chess because he required a fluidity to signs, in his work however he quotes or uses the nominal value of model signs, while then again inventing a pictorial mode that also is “flip flop” (like the sails of the Medusa).
My critique of Bal and Cronan is that the former in ascribing to the idea of keying space and time as respectively heuristic, labyrinthine and monumental / object driven-mimetic;dialectic and recoiling nevertheless loses the value of discourse as underlying ethos pathos and dialectic , discourse of semiotics meaning not chess or sign manipulation but rather the process of inventing signs within their own phenomenology. Cronan for his part while credibly reinvigorating the idea of oscillation to a greater globalism yet retain a nominalist relation to structuring his own critiques as the nominalist critique and in this he misses the value that things cant be put into words because they are already there. Thus I am in the end interested in effectuating affect rather than affecting effect the latter clause the apakoinu dimension of Bal and Cronan.
https://ia601503.us.archive.org/7/items/ChessNotChessStrawManAlite1/ChessNotChessStrawManAlite%5B1%5D.pdf


SAVED WORKS (16)
CURATED EXHIBITIONS (1)