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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Sept. M->Orphic Journal: Accelerator Particle


In this journal the relation of mental schemae to virtuality are posed in the cover drawing as an inverse of the particle accelerator:now an accelerator particle- cyber drawing mark itself in the motion sensor medium which borrow the realm of thought experiment where science and technology cannot perform to match the macro and micro scale in terms of physical experiment but must use such experiment which connects mental machinae to technology, tuche as the root indicating touching upon the subject:syllepsis, in fact: creating the subject.
The following inventions and interventions source motion sensor drawing which build a kind of Cyclopean Arch structure building the virtuality of material to mental associations of drawing inroads on morphogenic ephemera in which the mark, the particle translates and interacts with themes of the self mapping, or torus of conceiving form topological to material associations of usage, intersection, opposition and union of rhizome and trope discovered to the syllepsis of the cyber loop and its translations of nature, neurological model of semiotics, and dialectic according to the transgression and contingency of time as heuristic, labyrinthin and monumental, space as object driven, dialectic, and recoil at the removes of diverse flavors of virtuality and its extensions towards a potential neo structuralism of philosophy.


In-Situ Virtuality: August M->Orphic Journal Vol 2


The transformation of the reproductive content of Benjamin's time is within the site to site denominations of scholar and art archives a transformed environment.
This issue looks at three art scholars, Tod Cronan, Mieke Bal, and Amanda Wong and the way they relate towards the language dimension Smithson defines as a "collection of sites" in their modes which vary between performative, immersive-social sciences and personalizations of the content that evades context yet structures conflux and recognises simulacrae in variety. Towards these indications I accordingly structure a response within my own art.


M->Orphic Journal August vol 2

The idea to develop for next Rhizome M->Orphic Journal is a “transference” of the Rhizome-Trace ( Tracey-Drawing Research network) inter Institutional Critique- towards the Archilovers zine space which I like to build in. The Structure created towards that space has to do with using the inner fold of the virtual sketchbook I indicate as having a kind of columnar quality I can kind of build around. In relation to this is the use of a slope, a combination of the ramp like origins of city walls, and the hipped roof as a kind of plastic ensemble that can course levels. This then is the “slippage- throwness- therebeing.
These interpenetrations stem from Boulle and Ledoux which as a pair have a trace-rhizome dialectic. The seemingly bland idea of symmetry Davincinci largely emphasized in his architectural denomination is actually a form of terribilitas, self centeredness as recognizing the human construct of perception as precisely that. This hand he contributes to Mannerism is that of the first architects mentioned in which the poetics of space that devolve from the picturesque or recognitions towards an abstract topology in the tropes of reference yield momentum to an underlying poiesis, a kind of open space to consider the bloodedness morphogenic to Primeval chaos.
The computer vocabulary of a loopage I maintain in carpentry cognates touches upon an Orphic origin which often arrive to written analysis at a moment of recognizing that In Duchamp's Anemic Cinema there is no room for Post Modern Mourning- the room dreams the dreamer . In that work the “report” or logos of the “record” (literally a phonograph record with a visual domain developed of visual spirals linking the aural and the aura)… and so of ten Anemic Cinema is considered the pivotal moment of an art-language architecture.
My works are not terribly symmetrical but they do seem to take a kind of target motif to a wayward journey that meets the morphological arrow ( sets of topographical information).


Cyber-Interactive Architectureshttp://www.archilovers.com/stories/8721/fragments-of-the-target.html http://www.archilovers.com/stories/8722/

The link is to a an architectural zine site I like to use as a building site, using the environment there as a zone for structuring a response visually- within an information architecture.


August M-Orphic Journal

This journal takes the scratch to sculpture virtual materiality of the cyber loop of motion sensor drawing through the gradients of variations formative to thematic variations in which an aura of generative and immersive radiance and osmotic consciousness are the transference of the nominal somatic sense to the semiotic embedding within the phenomenogically discursive modes and moods of cultural association and dissasociation of the elasticity of logic and globalism or plasticity of form itself as a machinae of proxemics set aside equally from deixis and Deus ex machinae with equal distance from those oscilations between subject and object but instead are here towards a deeper realm of the the chords threads and strings of virtuality within conflux , transpose and metonymy via interpolation and interpellation introducing an invitational rhetoric of therebeing, near far, push and pull of the senses themselves as sites and generating nonsites of nonsense as it were as necessary tonic to the tone of chord, the skeleton key of trope as the turn of phrase of the drawing rotation, spin, home within the topesthesia of the cyber loop.