Drawing on the There-Being of the Print
The Roto- Reliefs of Duchamp as printing light within a singularity escaping visually from its structure on a sound disc (record) can be traced to a testing between the senses of which Heraclitus give primacy to vision as a better witness than sound perhaps but linked to “currency” or a relation of the aural and oral, the bow and the lyre via anwa or critique which like what has come to be termed non photography on the heels of non- philosophy has enabled the substitutions by which black holes for example were photographically constructed on a different spectrum. To take Einstein’s confederate Bohm on relevant as word to relate to re levate, or raise to view again The Greek Artemis who for a moment inhabits a Platonic dialogue on “art” is of the Upanishads and uphara of ahara as breathe and uphara origin taken to anwa or critique and puranha the net, apuranha drawn bow the meaning of which places center to edge placement and displacement such as informs the idea of a mathematical reciprocal and in advancing from Duchamp’s horizon of contributing to early black hole mathematics from his roto relief expression of his art n dimensional chess we can view as it were levate per currency as to re-curate or find in recurrence as in Artemis manifest of two centers of the world, Delphi and Ephesus, the Artemis of one a nursing type of goddess an in another the hunter musician twin of Apollo whose name is of uphara as pei the con-figurative combined with olo or osmotic… the new manifest that we can review per Relativity wherein simultaneous events cannot be proven but with the exception of perpendicular placement and this mathematics of the quantum extension then of square roots as informing relativity as maintaining objectivity over distortions is at the horizon we inhabit in our brane o f time as informing that extreme expansion of radio galaxies which built on perpendicular expansion then suggest that non-bound objects creates within the spaces of the cosmic web where dark energy pushes from center to edge while maintaining local gravity or center motion are spreading the web as the universal expansion of which dramatic or cosmological energies relate the low key universal constant to that infinity of space itself which looking back so to speak has infinite low key extension which beyond our intuitive concept is a kind of printing of that energy in a quantum-post quantum
Duchamps projects relating glass to this new threshold of printing seem to quote the origins of photography as silver coated glass plates which are yet implicated in the Stern experiment on quantum splitting in which silver atoms imprinted on screen.
In the enclosed drawing I am relating the histories of printing which the digital medium contains in it’s own collective subconscious so to speak….
DRAWING RESEARCH NETWORK
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