Archivi categoria: non-asemic

alice edy: concrete writing, elenchi, asemic writing, testi sperimentali, scritture di ricerca

scrittura installativa, concrete writing, elenchi, asemic writing, testi sperimentali, scritture di ricerca, experimental texts, lists, malware poetry, scrittura asemica, materiali verbovisivi, verbo-visual works

Alice Edy, ^~[(:_VIRUS.2.0)}// malware_poetry_2017 :

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ai canali ! ai canali !

iscrivetevi ai canali, carissim*:

mg (tipo Rai1):

slowforward (una specie di Rai2):

differx (sicuramente una roba simile a Rai3):

(n.b.: ogni riferimento a tv ed entità realmente esistenti ma soprattutto esistite è puramente casuale o frutto di giuoco)

recent posts @ repository magazine (cecil touchon, editor)

For me, the practice of asemic writing began in processes I was using in the mid-to-late 1990s to write textual poems. Beginning with a…
Monsters in Trousers  9:27 PM 5/7/2018 (collage poetry)   We use language to separate, to violently tear ourselves [apart]. There is…
Watch this ZOOM conversation I have with Michelle Moloney King; Editor of Beir Bua Press
Rosaire Appel: “asemic writing is also a way of leaping forward into territory not yet conceptualized… a transition strategy perhaps” (Jun…
Non fungible tokens have been around for a minute and I myself have only known about the idea for a few weeks. But here are some initial…
On view (in 2014) at Lanoue Gallery in Boston
Essay for an exhibition held April 15, 2016 — June 15, 2016
Following up on the first article: On Being an Artist

installance #0152: san michele cancella san raffaele che cancella san gabriele

installance n. : # 0152
type : language drawing,
 ink on paper
size : cm 12x9
records : highres shot
additional notes : abandoned
date : Mar. 31st, 2021
time : 11:07am
place : L'Aquila
note : the title is "San
 Michele cancella 
San Raffaele che 
cancella San Gabriele" (Saint 
Michael deleting Saint
 Raphael who deletes 
Saint Gabriel)

orphic tabs or sheets / differx. 2007-2020

One of my first flarfy & spam-derived “orphic tabs” (or “orphic sheets”) was published by the late William James Austin in 2007, in his mag “BLACKBOX”, Sept. 2007, the “summer collisions” issue.

About that issue I could only find an email in the Spidertangle newsletter, Sept. 16, 2007.
(The old link doesn’t work anymore, of course).


Other pieces appeared in Starfishpoetry, and Poetry Kessel-lo (two now offline sites).

Find others in The Flux I Share (Jan., 2008): ex now; & in SayingSomething:


Then serious asemic orphic tabs appeared in The New Postliterate (Sept., 2009):

A sheet in Italian has appeared in facebook only.

Here below are some of the pieces, and more ones (click to enlarge, read & enjoy):

trasposizione grafica durante l’ascolto della ‘prima’ di prometeo, di luigi nono / giustina prestento. 1984


Giustina Prestento, Trasposizione grafica durante l’ascolto della ‘prima’ di PROMETEO di Luigi Nono, Venezia, 25 settembre 1984, cm 30 x 21 (Collezione Gianni e Giuseppe Garrera)


i. 125-127, etichette semantiche / differx. 2019

installance n. : # 0125-0127
type : three written labels
size : approx cm 6 x 3
record : highres shot
additional notes : abandoned
date : Feb. 27th, 2019
time : unknown, pm

place :
Rome, Studio Campo Boario,
viale Campo Boario 4a


i.0095, untitled ("do not")

(“do not”)
installance n. : # 0095
type : asemic / non-asemic message
size : approx. cm 6.5 x 10
record : lowres shot
additional notes : abandoned
date : Aug. 21st, 2014
time : 3:34 pm
place : Rome, via Ingrassia

i.0094, untitled (deaf defiant reading device)

(“deaf defiant reading device”)
  installance n. : # 0094
  type : paper fragment with   words on it
  size : unknown
  record : lowres shot
  additional notes : abandoned
  date : Jul. 14th, 2014
  time : 10:20 am
  place : Rome, via di Monteverde

i.0092, untitled ("frammento disegnato a frammenti")

(“frammento disegnato a frammenti”)
installance n. : # 0092
type : paper fragment with
drawings on it
size : unknown
record : lowres shot
additional notes : abandoned
date : Jul. 4th, 2014
time : 4:09 pm
place : Rome, via Archiano

on the moon (1971)


This tiny sculpture is called Fallen Astronaut, and was placed on the lunar surface by the crew of Apollo 15 on August 1, 1971.
The figurine, which was crafted in the likeness of an astronaut-in-spacesuit, measures just more than three inches tall, but the “Smallest Memorial in the Universe,” as Walter Cronkite called it in a 1972 interview with its creator, Belgian sculptor Paul van Hoeydonck, gave rise to storm of controversy disproportionate to its physical size. Over at Slate, Corey S. Powell and Laurie Gwen Shapiro have the in-depth story of the scandals and conflicts that “obscured one of the most extraordinary achievements of the Space Age.”
It begins:
One crisp March morning in 1969, artist Paul van Hoeydonck was visiting his Manhattan gallery when he stumbled into the middle of a startling conversation. Louise Tolliver Deutschman, the gallery’s director, was making an energetic pitch to Dick Waddell, the owner. “Why don’t we put a sculpture of Paul’s on the moon,” she insisted. Before Waddell could reply, van Hoeydonck inserted himself into the exchange: “Are you completely nuts? How would we even do it?”
Deutschman stood her ground. “I don’t know,” she replied, “but I’ll figure out a way.”
She did.
At 12:18 a.m. Greenwich Mean Time on Aug. 2, 1971, Commander David Scott of Apollo 15 placed a 3 1/2-inch-tall aluminum sculpture onto the dusty surface of a small crater near his parked lunar rover. At that moment the moon transformed from an airless ball of rock into the largest exhibition space in the known universe. Scott regarded the moment as tribute to the heroic astronauts and cosmonauts who had given their lives in the space race. Van Hoeydonck was thrilled that his art was pointing the way to a human destiny beyond Earth and expected that he would soon be “bigger than Picasso.”
In reality, van Hoeydonck’s lunar sculpture, called Fallen Astronaut, inspired not celebration but scandal. Within three years, Waddell’s gallery had gone bankrupt. Scott was hounded by a congressional investigation and left NASA on shaky terms. Van Hoeydonck, accused of profiteering from the public space program, retreated to a modest career in his native Belgium. Now both in their 80s, Scott and van Hoeydonck still see themselves unfairly maligned in blogs and Wikipedia pages—to the extent that Fallen Astronaut is remembered at all.
And yet, the spirit of Fallen Astronaut is more relevant today than ever. Google is promoting a $30 million prize for private adventurers to send robots to the moon in the next few years; companies such as SpaceX and Virgin Galactic are creating a new for-profit infrastructure of human spaceflight; and David Scott is grooming Brown University undergrads to become the next generation of cosmic adventurers.
Governments come and go, public sentiment waxes and wanes, but the dream of reaching to the stars lives on. Fallen Astronaut does, too, hanging eternally 238,000 miles above our heads. Here, for the first time, we tell the full, tangled tale behind one of the smallest yet most extraordinary achievements of the Space Age.

imagine the green is red / david shringley. 1997



i.0075, untitled (c0198)

installance n. : # 0075
type : very little plastic envelope
size : unknown
record : low lowres shot
additional notes : abandoned
date : Sept. 5th, 2013
time : 4:37 pm
place : Rome, via Annone

i.0072, a definite statement here

a definite statement here
installance n. : # 0072
type : non-asemic line
size : cm 10×13
record : lowres shot
additional notes : abandoned
date : Aug. 28th, 2013
time : 7:57 am
place : Rome, via S.Vincenzo de’ Paoli