This link is to 2 articles currently published as of this month at the Drawing Research Network : 1- Jaguar Mask and 2- Nine Notes On Drawing
this following link is to an article currently being considered for publication by the Tracey Organization
This one is a series of “labyrinths” , complex fields meant to be scrolled
tihs following link you can reach at site by clicking on the Http file notation in left column at archive.org
this is a book:
These are previously published articles for Drawing Research Network
These links are blogs at Archilovers
This file engages verbal visual rhetoric
the following is my daily on line sketchbook
note that various archive.org files can be accessed by googling archive.org Vangorderdrawings
click on PDF link to scroll
Labyrinth Nimbatsu Nimbus
This compositional labyrinth places the viewer in the PDF scale in a state of generative immersion with an interactive element and this in turn reflects on the tenets of rhetoric as object : ethos, pathos and dialectic of which dialectic as an object reflects on discourse as its subject , and likewise context and expression as issues of identity being and usage.
The labyrinth of the cyber space has track and trace to the original paper scroll or torus which emblematic there in its configuration as a bullnose form to for example the papal bull or later bulletin carry the linguistic density of trope to its resonance and facultative testing of configuration and representation. This chain of signifiers is noted in our pre-hension of the labyrinth ie that of Jason, and the familiar Minotaur in this miniature or Rococo mode as it were, and the architectural center of the scroll is rhymed in the labyrinth, as that which as Lacan notes is the emptiness around which all architecture builds. The title Nimbatsu Nimbus is a kind of nonsense which does not break down into the exampled parsing style of the Torus as it becomes el Toro: Minotaur , but it is interesting how different cultures relate sound: Nimbatsu is the Japanese mantra for the Pureland Amithaba cult (Guanyin” Bodhisahtva of mercy in Chinese ) while the Nimbus is our familiar and nimble word for halo which as words and image play with a generative sense of openness.
Abbraciare Mortise Alogon 3b – Copy Archive Map 1 Archive Master – Copy Corrected Labyrinth EeO 12 – Copy – Copy Gamet of Skrr 5 Intern- extern Virtual Dwg Time (3) Internation on line Residency Struct (2) Internation on line Residency Struct international spec 2 jpg Kairos 3 Kairos 4 Labyrinth Metamorphosis lanyard 2 lanyard Masolino Heraclitean 91 Port U Presentation Spectrum ramp partis 6 re labyrinth 5 re labyrinth 6 Rune Drawing Spectrum Scroll House 10 (2) Spectrum Archive Elevations Spectrum Archive Wings and Plan topos 26 (2) visage labyrinth 2
per the Pre Socratic Anaxamander:”up along Just as the first mark contains the morphology of all that then develops as was the Chinese painters belief I tend to believe the first recorded words of Western philosophy contain the potential of a considerable chain of signifiers . Such as these are morphic to metamorphosis and a developing content which has a topology distributed over both the differences of form evolving from binary to polyphonic combinations . likewise consider transparency( subject to object oscillation) and opacity ( manifold of embedded experiential horizons) of perception at the nexus of phenomenological and semiotic simulcrae . These architectures of knowledge gathered upon, represented and build upon the senses as a configuration now a topology of the temporality of realizing new potential.
Anaxamander’ Up along g the lines of usage they pay penalty to one another for their transgressions.”
Psychology, as a representative rhetoric carries many contemporary realizations into this phrase, the concepts of “slippage” and of” transference” for example refer to the irruptions of the subconscious in the first instance, and the blocking of it in the second. The Anaxamander phrase posits usage, or the metamorphic contents in which meta levels are precisely, transgression. The rhetorical term “contingency” meaning unresolvable state or better… suggests potential is a turn of phrase that means time that experienced as distance (within transformations) is different than time that is stated between points, that is, motion in mind and world, which drawing so well represents is not an index of a continuum of imagined points and by extension linked “ points” of view that become planes of consciousness, but rather in their motion are always in extension, just as the subconscious is always in flux.
“Penalty to one another “ pairs transparency as in the Kant formulation” the conditions of experience are simultaneously the conditions of the objects of perception” In contrast and within the opaque topologies Smithson intuits: “All language is a collection of sites”. The “collective”, – that which is already in motion is falsely interrupted by analysis if analysis insists the scisions it represents are the mood, for they are only mode. A plane of consciousness is not there for a bounded moment but rather also in motion, and rather than an allegory of numbers belongs to qualitative parameter. For that matter, number also , arguably also really in motion… as in the measure of space per atomic densities as probabilities of untrackable motions.
The track and trace of subject to object in the case of psychology (ie Lacan) uses the subscripts and superscripts of formal logic to compare a statement or state with the usage of consideration that belongs to its now temporality… the relation of sign to signifier that Sausseur stated as signified of the subconscious was inverted by Lacan as Subconscious instead the generative state, a kind of verbal cross multiplying or per rhetoric”chiasme”- crossindexing . ( As an ABBA motion for example in Heraclitus: uncomprehending they hear like the deaf, the word is their witness, absent while present).
In the drawng below I have borrowed instead, the topology of the Iching to indicate motion through mind and matter via the morphologies of metamorphosis as topologies of creative temporality and the distances created within which arrive to another kind of time which is that of the object generated realization of a new potential which returns intuition.
Verbal Visual Rhetoric: psychology as discourse, visualization as a speech form…
Psychology is a representative rhetoric meaning looking into the human content of the way form follows function through many layers of function language exemplifies , as Smithson says” a collection of sites” relates situation to consciousness.
The philosophic content that exists to language itself at an extension of poetry to poetics, configuration and representation of content, via the oscilation of subject to object and the passage from binary relations to manifold, flux, conflux, thus embody and embed modes and moods of opacity and transparency of expression.
Visualization as means of content exists within the phenomenological as the world represented to senses, and configured to their collective review, of which vision serves in particular to form the concept of these things space. Art therefore is the nexus of form following function at the psychological level of extended sense of what function is as indicated from the aptitude of language to search and find by creating its poetics.