https://m.facebook.com/groups/76178850228/
ASEMIC WRITING: THE NEW POST-LITERATE, the biggest facebook group dealing with asemic writing, is now 15 years old and has more than 27000 members. (and counting).
thanks to Michael Jacobson for having created and strenuously improved it.
long live The New Post-Literate!
this is the current header image of the group and it comes from a book by Kristine Snodgrass: https://postasemicpress.blogspot.com/2023/11/gradients-by-kristine-snodgrass-is-out.html
Hypergraphia is a behavioral condition characterized by the intense desire to write or draw. Forms of hypergraphia can vary in writing style and content. It is a symptom associated with temporal lobe changes in epilepsy and in Geschwind syndrome. Structures that may have an effect on hypergraphia when damaged due to temporal lobe epilepsy are the hippocampus and Wernicke’s area. Aside from temporal lobe epilepsy, chemical causes may be responsible for inducing hypergraphia.
Asemic Sound Cycles at Galeri Salihara
April 10, 2022 – April 24, 2022
Asemic Sound Cycles (2022), by Félix-Antoine Morin, is an exhibition specially developed for the Salihara Arts Center (Jakarta, Indonesia). This exhibition consists of a series of graphic scores on polyester film as well as a sound installation in the center of the exhibition space.
Asemic Sound Cycles consists of a series of graphic scores on polyester film as well as a sound installation in the center of the Salihara Gallery.
Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. By this process, Morin maps out the metamorphosis of sound phenomena through a rhythmic and poetic graphic expression. He encourages the ambiguity between musical notation and pure pictorial symbolism.
The kinetic sound installation arranged in the center of the space is inspired by the “locked groove” technique, an expression invented by Pierre Schaeffer in the mid 20th century to describe this phenomenon in which the needle of a record player falls indefinitely in the same record groove. In the same way, this sound installation follows a unique circular route. This consists of a microphone that reacts like the needle of a record player on materials and textures arranged throughout the floor.
Asemic Sound Cycles is an exhibition specially developed for the Salihara Arts Center.
(from
https://whatsnewindonesia.com/jakarta/event/asemic-sound-cycles-at-galeri-salihara/)
Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from his repertoire of compositions. Through a syncopated visual construction, by which he instinctively creates new connections between signs, he shifts the initial writing toward material abstraction. Preserving traces of the sound origin, the accumulation of elements gradually transforms each composition into an autonomous language that no longer references music.
By this process, Morin maps out the … [click to read more]
First solo exhibition of Félix-Antoin Morin in Turkey: Asemic Sound Mappings (Feb 19th – Mar 12th, 2022):
[…] The graphic language of the artist does not tend to have a fixed meaning, leaving the interpretation of the works free to the viewer, encouraging the ambiguity between musical notation and pure pictorial poetry. The artworks at the “Asemic Sound Mappings” exhibition display layered elements moving in the void, carrying rhythm to the surface by simultaneously expressing Morin’s musical and pictorial sensibilities […]
(from http://www.karsi.com/asemic-sound-mappings-f-lix-antoine-morin)
This image actually means good news.
Usually the adjective “asemic” (=signless) was linked by some dictionaries to “asemia” as a pathologic failure consisting in an inability to comprehend or express words, gestures or sounds. It was not related to the idea of ‘asemic writing’.
So, …after twenty years of asemic writing movement, this ‘Cambridge turn of events’ looks like a great achievement.
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When the first (self-aware) asemic writing mags, sites, books and series started their journey, more than 20 years ago, the actual meaning of “a-semia” ( = a radical “absence of sign”, not an absence of semantic meaning) risked to put aside the very idea which grounded the practice of asemic writing.
On the contrary, now it seems that the use of the word “asemic” is better perceived as referred to an artistic practice, not a pathology. (according to Cambridge, at least).
All’Istituto svizzero di Roma, oggi, tra poco, continua la lecture sull’asemic writing, o “scrittura desemantizzata” (come diceva Tomaso Binga e come Jim Leftwich suggerisce di dire), e su alcuni aspetti e materiali di scritture sperimentali e verbovisive. Il seminario, a differenza di ieri, è riservato agli allievi della Summer School ospitati dall’istituto, ma presto qui o su facebook pubblicherò foto dei moltissimi oggetti, libri, plaquettes, esempi di esoeditoria et alia multa di cui parlerò.
Ospiti di ieri sono stati Giulio Marzaioli per e con Benway Series, e Sara Davidovics con la performance e libro Azimut.
Usually the adjective “asemic” (=signless) was linked by some dictionaries to “asemia” as a pathologic defaillance consisting in an impossibility of comprehending and expressing words, gestures, sounds. It was not related to the idea of asemic writing.
(E.g. https://www.collinsdictionary.com/it/dizionario/inglese/asemiahttps://www.collinsdictionary.com/it/dizionario/inglese/asemia)
So, …after twenty years of asemic writing movement, this Cambridge turn looks like a great achievement.
*
When the first (self-aware) asemic writing mags, sites, books and series started their journey, more than 20 years ago, the actual meaning of “a-semia” ( = a radical “absence of sign”, not an absence of semantic meaning) risked to put aside the very idea which grounded the practice of asemic writing.
On the contrary, now it seems that the use of the word “asemic” is better perceived as referred to an artistic practice, rather than a pathology. (according to Cambridge, at least..).
Una formazione sociale qualsiasi ha sempre l’aria di funzionare bene. Non c’è motivo perché non funzioni. È tuttavia c’è sempre un lato attraverso cui avvengono delle fughe e per cui si disfa. Non si sa mai se il messaggero arriverà a destinazione. E più ci si avvicina alla periferia del sistema, più i soggetti si trovano presi in una specie di tentazione: o sottomettersi ai significanti, obbedire agli ordini del burocrate e seguire l’interpretazione del grande prete, o essere trascinati altrove, al di là, vettore folle, tangente di deterritorializzazione. Seguire una linea di fuga, diventare nomadi, emettere quelle che Guattari poco fa chiamava particelle asignificanti.
Gilles Deleuze, Due regimi di folli, intervento del 1974, ripubblicato anche in Due regimi di folli e altri scritti. Testi e interviste 1975-1995.
Edizione italiana e traduzione a cura di D. Borca, Einaudi, Torino 2010, pp. 6-7.
The Last Vispo Anthology: Visual Poetry 1998-2008 is being published by Fantagraphics Books and will arrive in stores by early November. You can PRE-ORDER copies now at http://www.fantagraphics.com/browse-shop/the-last-vispo-anthology-visual-poetry-1998-2008.html. Also, there will be an international schedule of launches and exhibits for The Last Vispo that will be posted in the coming months.
check out
the Facebook page – http://www.facebook.com/last.vispo
the website – http://www.thelastvispo.com/
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