{"id":403,"date":"2022-03-28T11:26:51","date_gmt":"2022-03-28T10:26:51","guid":{"rendered":"https:\/\/blog.lboro.ac.uk\/tracey\/?p=403"},"modified":"2022-03-28T11:26:52","modified_gmt":"2022-03-28T10:26:52","slug":"drawing-in-language-space-after-the-incident-a-austerlitz","status":"publish","type":"post","link":"https:\/\/blog.lboro.ac.uk\/tracey\/drawing-in-language-space-after-the-incident-a-austerlitz\/","title":{"rendered":"Drawing In Language Space After the Incident a Austerlitz"},"content":{"rendered":"\n

Edwin VanGorder<\/p>\n\n\n\n

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The Duchamp Glider in Neighboring Metals is a volatile protectory linking his most obscure fragments to their revelation in an idea of scale and compression. Those fragments are : The Glider itself, Parva Domus Magne Quies. The brawl at Austerlitz, Precision Optics, and With My Tounge in My Cheek\u2026 for example the last might lure the observer into thinking it a linguistic game with the words \u201cmy lounge\u201d which taken up by the observer substitute their own lounge in the reading\u2026 likewise the others sprout rhizomes of association yet their common root is in a Davinci drawing for a press which mills metal , ie flattens the depth which has been abstracted from a prior drawing elaborately staging the Platonic solids\u2026generating also a very strong stand or base which one sees very directly quoted in the Brawl and in the Precision Optics Rotorelief\u2026 The Brawl stages the metal to glass through a rebus construct of \u201cglass Block\u201d which is a material formed of milch glass or heated thin strips which bind to each other seamlessly thus enabling a host of dimensions in a small place, or as the Parva Domus Magne Quies has it much peace (piece work) in a small space\u2026 the meaning partly being a reference to that small City State which is basically a neighborhood as staging house as city and city as house. Davinci drawings of a sawn skull may well have suggested a way to create the famous glass skull forgeries by likewise placing and controlling the milch to that mold\u2026
The Magne Quies drawing rephrases the elements of the Glass into a different image following DaVincis overture to translating Michelangelo\u2019s Sistine Genes similarly in a same form yet different image in the \u201cfive Grotesques drawing\u2026 The Sistine Genesis being on it\u2019s own also modelled on the structure of the brain stem field possibly inspired by the same Davinci sawed skulls and the lounge in cheek drawing similarly is a reconstitution of the female fig leaf\u2026which is essentially a female urinal as counterpart to the famous fountain gambit.
In the enclosed drawing I have tried to up the ante by considering the lounge formation of cutting vowels by consonants formed in different physical locations of which for example a Hawaiian scape with names formed on a link between that language and Sanskrit via traders from Meluria reaching SouthSeas from African trading posts are then Mauna Kea , Mauna Loa and Honana\u2026 M,N,K,L form in the three mountains a mantra like structure which edits \u201cT\u201d\u2026 (apparently a \u201ctisk\u201d sound was just not for them))\u2026 and to trace the history from Meluria to Malic molds\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

Edwin VanGorder The Duchamp Glider in Neighboring Metals is a volatile protectory linking his most obscure fragments to their revelation in an idea of scale and compression. Those fragments are : The Glider itself, Parva Domus Magne Quies. The brawl at Austerlitz, Precision Optics, and With My Tounge in My Cheek\u2026 for example the last […]<\/p>\n","protected":false},"author":505,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"lboro_blog_alternative_thumbnail_image":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-403","post","type-post","status-publish","format-standard","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/403","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/users\/505"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/comments?post=403"}],"version-history":[{"count":1,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/403\/revisions"}],"predecessor-version":[{"id":405,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/403\/revisions\/405"}],"wp:attachment":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/media?parent=403"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/categories?post=403"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/tags?post=403"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}