{"id":406,"date":"2022-03-28T11:29:15","date_gmt":"2022-03-28T10:29:15","guid":{"rendered":"https:\/\/blog.lboro.ac.uk\/tracey\/?p=406"},"modified":"2022-03-28T11:29:16","modified_gmt":"2022-03-28T10:29:16","slug":"cosmic-web-of-drawing-and-space-time-refounded","status":"publish","type":"post","link":"https:\/\/blog.lboro.ac.uk\/tracey\/cosmic-web-of-drawing-and-space-time-refounded\/","title":{"rendered":"Cosmic Web of Drawing and Space\/ Time Refounded"},"content":{"rendered":"\n

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

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Cosmic Web of Drawing and Space Time Refounded
Natures \u201c mysterious fluide\u201d as the obligations to live and die manifest in an artistict apparition as the \u201cbow and lyre\u201d of Heraclitus on the one hand as is then again recovered on the other per time recaptured and recaptured as well to space . ( Here we meet Einstein as the sad young man on a train which by current lights finds universal expansion will provide a \u201ccosmic censorship\u201d on the availability of all light upon all space in the event of perception of one kind) By this I mean to add as as further example of This bolero an extension in the lens of Lucas Van Leyden\u2019s David Before Saul print in which an imagery of the bow and lyre are staged to the printing process as his gambit.
Fast Forward to Duchamp\u2019s intro to the Green box notes as his intro to the Glass and he mysteriously provides a \u201c headlight child\u201d as sigla to a journey towards a cubist exhibition in Auvers , that location serving linguistically to identify the home of the troubadours ( who spread news in a code the occupying Normans could not understand) In the Glass this malic mold as it were is staged to representation of a salt grinder symbolizing the context placed on nine shots ,, or nine cats , nine shadows,, nine muses matrix in which the evolution of Versailles places the Vers of Auvers and the Vers of Versailles as the \u201cglass\u201d or lens provided yet again by Ledoux Chaux du Saline and the ironic \u201cchocolate grinder\u201d signifying that Neo Classical Oculus structure which was a transport of salt dissolve to river to fine a processing plant under heavy surveillance per Oculus in a vast Neo Classic Architecture indicating a conflux of Aletheia the breaking water and Tethys the Muses underground which serve as Dyonesian Mysery context for Duchamp to place the Phaedrus to a lens of the formative \u201cpei\u201d or formative link in Greek root Words ranging from Apeiron to philosophy to experience to paint and palette, apparition and so forth all as well rooted in the Sanskrit Uphara or Origin Mystery born of UruAna- the goddess which came to be split in the Greek world to a pair of Artemis gnomons one of Delphi as center and the other Ephesus as center of the world towards which the dimension of Duchamp\u2019s n dimensional chess studied the challenges to dimension within it\u2019s innate nature. Correspondingly today we ask, furthering his research which prompted much of early Blackhole mathematics what is the relation of space itself to space time? The cosmic Webb of our current Renaissance is currently suspended to the particular location of the Webb telescope and so here as well as then our headlight child upon the advance of our n dimensional chess to understand for one thing the coming language and troubadour of gravity waves\u2026.
Drawing as the language of drawing inferences is rooted in Sanskrit drawing verbs taken up by Greek knowledge kinds and vestiges of this I picked up on many years ago in the BIMP or British Isles Minority Languages Language Engineering Project of Lancashire College In which the dialects of English spanning in Manx, Guinea, Scotts. Gaelic, Welsh, Cornish, were I believe then matched in the Drawing Research Network ( auxiliary of Tracy at Leeds college which you may not remember as site of the WHO\u2019s Live At Leeds Concert as a link to drawing as language which we have seen is linguistically appropriate to the hundreds of words for drawing by which Sanskrit has ordered the structure of our ontology in language semiotics and semantics as well as art itself of itself linked as \u201cdassein\u201d to the being of being as being\u2026 as a nod to Duchamp I made a book on the names for glass in different languages and in so doing realized how languages all extensions of human dimension are dying each day. It is then a universal language of freedom within the freedom of extension by which language finds humanity that we strive.
Duchamp as a dialectician exemplified the kind of \u201cteacher\u201d of sorts who operated necessarily outside the system\u2026 the necessity of this\u2026 is a thought we can all piece together as we encounter contemporary events\u2026 Similarly: When Duchamp said Chess is me he meant I am therefore I think\u2026 recognizing ontology to higher roots than the merely accessible thought and this link is mysteriously the flight learning arc of art.
In the enclosed drawing I am broadly referencing a punning gambit of Duchamp in which he relates the Wright Brothers to Joseph Wright of Derby the first per flight and Phaedrus and the latter author of a painting Philosophy and Alchemy the Nude Descending was \u201cmodeled \u201c on which I relate as an exquisite corpus to the recent solution in math to the \u201c3 bodies problem\u201d by which two are linked to each other and the third entirely to velocity as their recombinate poetic managed to a perturbation of sorts\u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

Edwin VanGorder Cosmic Web of Drawing and Space Time RefoundedNatures \u201c mysterious fluide\u201d as the obligations to live and die manifest in an artistict apparition as the \u201cbow and lyre\u201d of Heraclitus on the one hand as is then again recovered on the other per time recaptured and recaptured as well to space . ( […]<\/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-406","post","type-post","status-publish","format-standard","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/406","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=406"}],"version-history":[{"count":1,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/406\/revisions"}],"predecessor-version":[{"id":408,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/posts\/406\/revisions\/408"}],"wp:attachment":[{"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/media?parent=406"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/categories?post=406"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.lboro.ac.uk\/tracey\/wp-json\/wp\/v2\/tags?post=406"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}