Archivi categoria: asemic writing

odkształcenia / miron tee. 2022

di 5 in 5. dal verbo al segno

Di 5 in 5 Dal verbo al segno: Cappi Accame Verdi Minarelli Miccini Pignotti Pozzati Sitta Toti Cavallo – 1980 (autografo di Enzo Minarelli).

Da un post di Roberto Canella

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“scrivere disegnando”: conferenza di sarah lombardi al mlac

Venerdì 21 ottobre, alle ore 17:00

Museo dell’Arte Contemporanea MLAC
Sapienza Università di Roma
Piazzale della Minerva

Conferenza di Sarah Lombardi

Direttrice della Collection de l’Art Brut di Losanna

Scrivere disegnando

ingresso libero

stephen nelson: asemic work


rosaire appel: “pages from”. in ‘sleepingfish’ 12

fathi hassan: “untitled”

cecelia chapman: “selected works” [asemics, drawings]

john richard mcconnochie: “offerings”, online exhibit @ van vliet gallery

“Offerings”: asemic, concrete and visual poetry by John Richard McConnochie. Now showing at VVG’s website, until mid-November. A catalog of the show is available for purchase.


differx’ “textus celatus” in ‘word for / word’, n. 39



notes 220905_153519 / miron tee. 2022


installance #0170: asemic card

installance n. : # 0170
type : asemic card 
size : ~ cm 5 x 6
record : highres shot
additional notes : abandoned
date : Sept. 5th, 2022
time : 10:46am
place :  Rome, via di Monte Verde
footnote : ---
copyright : (CC) 2022 differx

take my word for it. deconstructed book pages / marcia brauer. 2022


asemic s/imp. / differx. 2011


on some hypothetical categories of asemic writing / marco giovenale. 2022

Perhaps it is possible, in the field of asemic writing, to distinguish a few —completely hypothetical— categories. I insist that these are mere hypotheses, and that I am not interested in structuring a rigorous theory.

We have (1) concrete asemic writing when only the asemic glyphs and calligraphy, only the asemic letters and sentences are present on the page. No images, no colors.
We can also say asemicrete, a term coined by Michael Jacobson.

We can say we have (2) visual asemic writing when we see the asemic symbols are intertwined, superimposed or when they —in any other way— simply share the page with abstract or realistic images.

We have (3) glitchasemics when an asemic text is evidently disturbed by some kind of glitch: it may even be severely disturbed, but not so much as to make the asemic part completely disappear.

We can say we have (4) abstrasemics when an abstract drawing or image turns itself into something resembling an illegible text, an asemic piece. Or, on the contrary, when a fragment of asemic writing gradually loses any vaguely linguistic aspect and is transformed into an abstract image.

Post scriptum.
At the same time, there are examples of works that marginalize —or do not include at all— an asemic aspect, and I would refer to them as: abstract or realistic paintings (pictorial works, photographs etc.) weirdly called “asemic writing” by their authors; legible alphabets and texts weirdly called “asemic writing” by their authors; monotonous decorations that would hardly be taken for words or sentences.