Archivi categoria: teoria

carmelo bene e lydia mancinelli intervistati da pasquale guadagnolo (per il “riccardo iii”), 1978

is asemic writing true? / jim leftwich. 2022

The most important and interesting characteristic of asemic writing is its absolute resistance to interpretation.

The value of asemic writing lies in its semantic emptiness, and relies on the genuine frustration experienced during a failed attempt at interpretation, meaning-building, the collaborative construction of meanings.

Success in reading asemic writing implies an inauthenticity, either of the writing and it’s author, or of the reading and its perpetrator.

Authentic asemic writing denies all access to success.

The complete and utter, total failure of an attempted reading is the only acceptable measure of success for any particular instance of asemic writing.

So, to iterate — and reiterate:
1. asemic writing lies?
2. asemic writing re-lies?
3. asemic writing imp-lies?

Please refer to your copy of The Magickal Absurdities Training Manual for answers and/or elucidations.

Asemic writing has a dirty secret, hidden, as usual, in plain sight: it is all a pack of lies, and always has been.

Asemic writing is not a dispensary for recreational truths.

Asemic writing is not a dispensary for medicinal truths.

Asemic writing does not participate in the language game of dispensing truths.

We have a choice where the existential ground of asemic writing is concerned: either we admit it’s non-existence, and celebrate it for not existing, or we lie to ourselves and each other about it’s existence, and through the persistence of our collective effort, bring it — lie it — into being, no matter how provisional, damaged, and ephemeral that being may be.

Today, in the summer of 2022, there is no denying the fact that a great many things in our world are identified by one variety or another of the term asemic writing.

That in itself is good.

The concept of asemic is generative and tolerant. Let’s frolic in its wonderland! With our first mind celebrating it’s ludic absurdity, and our second mind practicing the pleasures it offers in opportunities for critical thinking.

as ex. asemic expressionism, or abstract expressionist writing / jim leftwich. 2022

Once upon a time, long long ago (20 years), in a far far away place (Charlottesville, VA), I claimed to have identified a category of visual poetry called (perhaps only by me) Decorative Expressionism. It was busy, crowded, colorful and noisy. I liked it a lot — for several reasons, one of them being the fact that I was making quite a bit of it myself.

If anyone had asked me at the time (no one has ever asked me), I would have told them that Decorative Expressionism was the exact opposite of asemic writing.

Ah yes, time goes by and with a little “luck of the research and reading” (recollected and ruminated upon in tranquility) maybe we learn a thing or two. How does that old hit single go?
What I didn’t know then
What I don’t know now
.. some other stuff in there, I know… 45 years ago… anyway

I would have been wrong.

That was back in the early days of this current iteration of asemic writing, when some of us still thought the prefix ‘a-‘ meant “without; not having any.” Little did we know that the prefix ‘a-‘ was soon to take on the meaning of its opposite, “poly-“. “Without, not having any” semes came to mean “having many” semes. “Absolutely thwarting the production of meaning” became “open to the invention of all imaginable meanings.”

It was a transformative moment in the history of all things asemic.

When Jackson Pollock woke up in the morning, he already had a lit cigarette balanced on his lower lip. He visited his Jungian therapist every Tuesday at 2pm. They played chess, drank beer, went to Yankees games, and chased the stately, plump pigeons through Central Park.
You’re getting better, Jack, said the Jungian therapist. Getting better all the time.
Thank you, said Jackson Pollock.
Alchemy of the vowels, Tantric Sex Mandala, said the Jungian therapist.
I don’t believe in The Accident, said Jackson Pollock.
He walked down the crowded sidewalk past The Tavern to his studio.
He lit a cigarette, opened a beer, took off his shoes and socks.
He spent the rest of the evening working, late into the night, doing The Dance of the Collective Unconscious, In The Painting.

That’s pretty much how asemic writing is still made today.

So, the next time someone tells you myriad hymnal nightpoets, hurrier, nebula nebula, tell them you know all about asemic expressionism. Maybe they’re living in a book by Donald Barthelme. What do you know? Empathy is all about effort. Let there be no bullshit between Practitioners of The Craft and Sullen Art.

audio integrale della presentazione di tre libri di mg allo studio campo boario, 7 giugno 2022

Ada Tosatti presenta, in dialogo con l’autore, tre libri di Marco Giovenale: La gente non sa cosa si perde (TIC Edizioni), Delle osservazioni (Blonk) e Il cotone (Zacinto/Biblion). Roma, Studio Campo Boario, 7 giugno 2022.

presentazione di tre libri di Marco Giovenale

jean-marie gleize, un entretien

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frammenti video dalla lettura di mg a campo boario (7 giugno 2022)

grazie ad Ada Tosatti per il dialogo, le domande e le osservazioni preziose sui testi. grazie a Luigi Michetti per la registrazione e il montaggio. e un grazie speciale all’ospitalità e cura di Alberto D’Amico, al quale si devono gli ulteriori frammenti video raccolti qui:

https://www.facebook.com/groups/333455522273540/permalink/335517802067312/

e qui: https://www.facebook.com/groups/333455522273540/permalink/335973688688390/

gustav sjöberg: “la fiorente materia del tutto. sulla natura della poesia” (neri pozza, 2022)

https://neripozza.it/libri/la-fiorente-materia-del-tutto

«Un altro modo di comprendere la materia sarebbe, approssimativamente, di trattarla come una produzione di infinite, innumerevoli forme entro un incessante movimento di decomposizione e composizione, dissoluzione e ricombinazione. Concepita in questo modo la materia non sarebbe più un substrato passivo su cui si debba intervenire con un lavoro formale, bensì, al contrario, una molteplicità di forme che genera se stessa e con cui combacerebbe».

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Gustav Sjöberg, poeta, scrittore e traduttore, vive a Stoccolma. Traduce da diverse lingue, tra cui l’italiano, il latino e il tedesco. Ha tradotto dal latino il De vulgari eloquentia di Dante e dall’italiano opere di Andrea Zanzotto, Giacomo Leopardi, Giorgio Agamben, Giordano Bruno, Gianni Carchia. Ha curato molti numeri della rivista svedese “OEI”, tra cui il n. 67/68 del 2015, monografico sulle scritture di ricerca italiane: Scrittura non assertiva!. Due sue raccolte di testi sperimentali, uscite per le edizioni OEI, sono eftre (2013) e apud (2017). Il volume di teoria letteraria ora pubblicato da Neri Pozza è stato scritto in tedesco e pubblicato a Berlino nel 2020 da Matthes & Seitz con il titolo zu der blühenden allmaterie.

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Dalla nota editoriale di Monica Ferrando:

Chi ha detto che la materia è incapace di creare da sé la forma (o le forme)? D’accordo, è stato Aristotele, lo sappiamo. Ma cosa accadrebbe invece se, forzando il maestro di coloro che sanno, troncassimo il legame tra forma e arte perché «mediante un concetto di forma radicalmente altro diventerà possibile una distruzione dell’arte – e, in particolare della poesia – concepita come ambito autonomo, come sfera distinta dalla non-arte, dalla non-poesia oppure come sublime riflessione sull’esistenza. Non sarà che qui si compie una risoluzione dell’arte nella natura?» Non è alla scienza o alla negromanzia tecnologica faustiana che l’autore affida tale compito, ma alla poesia stessa […]

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Una più ampia nota biobibliografica + un’intervista a Gustav Sjöberg traduttore di Zanzotto:
https://www.newitalianbooks.it/it/intervista-a-gustav-sjoberg-poeta-saggista-e-traduttore/

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“the collective eye: in conversation with ruangrupa — thoughts on collective practice”

Sandro Ricaldone

THE COLLECTIVE EYE IN CONVERSATION WITH RUANGRUPA
Thoughts on Collective Practice.
Edited by The Collective Eye / Dominique Lucien Garaudel, Heinz-Norbert Jocks,
Emma Nilsson; and Matthias Kliefoth
DISTANZ Verlag, 2022

The documenta fifteen will be curated by a collective for the first time in its history. Another first: the artistic directors come from Asia. ruangrupa is an association of nine friends who unconditionally combine art with their everyday lives as a practice of living and surviving together under the socioeconomic conditions of their native Indonesia. Fourteen other collectives, so-called lumbung members, have been invited to join ruangrupa in transforming Kassel into a new, sustainable ekosistem. Lumbung, the Indonesian term for a communal rice barn, is the starting point for all their activities and also this documenta.

In this volume of the book series Thoughts on Collective Practice ruangrupa talks about their beginnings, the harsh struggle for survival under the Suharto regime in Indonesia, the post-dictatorship euphoria, student protests, punk, and video culture. About their first art projects, maintaining solidary social relationships, the Indonesian tradition of sharing, and their unusual approach to resources.
The autobiographical conversations are supplemented by five exemplary glimpses into ruangrupa’s projects since 2003 and unpublished archival material.

The Collective Eye (TCE), founded 2012 in Montevideo, organizes exhibitions and symposia on collective practice in art. The collective has pursued a partnership with DISTANZ since 2021, publishing the book series Thoughts on Collective Practice as an extended collective between the publishing team and TCE. Their work aims to strengthen polynational dialogues between different collectives as well as between collectives and theorists. The volume of conversations with ruangrupa is the fourth installation in the series.

falloforia biennale

documenti: leo de berardinis, “essere pronti è tutto…”

due aree distinte (parallele): scritture lineari in prosa (in prosa) e asemic writing (=disegno, non scrittura leggibile)

dalla pagina facebook di Peter Genito, che ringrazio:

Marco Giovenale e le scritture di ricerca. Tra asemic writing e prosa in prosa.

prima parte (di 5) dell’intervista del 19 maggio scorso, inspiegabilmente bloccata e recuperara da Youtube.
Marco Giovenale vive a Roma. Tiene corsi di letteratura. È tra i fondatori di gammm.org (2006). Ha pubblicato poesie e prose. Il suo sito, slowforward.net, è nato nel 2003 e si occupa di ricerca letteraria e verbovisiva.

Indagheremo, nel fugace tempo di una diretta: le scritture di ricerca, la prosa in prosa, i materiali installativi, sul versante della letteratura; e l’asemic writing sul versante artistico / visivo.

 

oggi, h. 20:15, intervista online a mg per “incontri all’isolotto”

Oggi, sulla pagina fb https://www.facebook.com/peter.genito, alle ore 20:15, Peter Genito, nella serie degli “incontri all’isolotto” organizzati dall’Arci, dal Centro per il libro e la lettura, nel contesto del Maggio dei libri e del LetturaDay, intervista Marco Giovenale su  scritture di ricerca, prosa in prosa, materiali installativi, per quanto riguarda il
versante della letteratura; e sull’asemic writing per quanto attiene al versante artistico / visivo.

i novissimi a cogolin: quattro video

Cogolin, 5-12 luglio 1986: Festival International de Poésie de Cogolin, a cura Julien Blaine: edizione dedicata ai Novissimi, nel venticinquennale della rivoluzionaria antologia.