Archivi tag: asemics

termites’ abstrasemics / fabio orecchini. 2021

abstract + asemics. installazioni @ I fumi della fornace (Valle Cascia, agosto 2021)

domani a lucca, micromostra_ differx’ asemics

questo e altro, a Lucca, dal pomeriggio di domenica 20 giugno @ Borda!Fest – Xtraborda! Settima Edizione. nel parco di fronte al Foro Boario, dalle 17 circa.

grazie a BORDA Fest – Produzioni Sotterranee

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http://www.ikona.net/marco-giovenale-enciclopedia-asemica-asemic-encyclopaedia/

the idea of a “transition strategy” / differx — 11 apr 2021

Rosaire Appel, Listening is a way of walking

Rosaire Appel, Listening is a way of walking

Rosaire Appel: “asemic writing is also a way of leaping forward into territory not yet conceptualized… a transition strategy perhaps” (Jun 10, 2011, post to the ASEMIC Google Group, now @ https://archive.org/stream/AsemicWritingDefinitionsAndContexts19982016/Asemic%20Writing%20Definitions%20and%20Contexts%201998-2016_djvu.txt)

I really like Rosaire Appel’s idea of a “transition strategy”.

Often the signs of an ongoing research are not covered nor coded nor represented by any known “language”. They actually build-and-deconstruct some kind of new (non)language.

And it seems to me that our definitions often fail to grasp the flickering borders of the asemic land. It seems like we are (happily) dealing with aesthetics, rather than linguistics.

More. (And incidentally:) I ask myself: do we absolutely need definitions? Or do definitions & theory rather belong exactly to the territory we are just flying away from?

Tim gaze : “asemic writing says what I cannot say in words” (from a text in the muse apprentice guild).

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of course the asemic is absurd / jim leftwich. 2021

If I am writing about the word “asemic”, I am thinking about patience and persistence. I am thinking about failure as a source of energy, as that which keeps an absurdist idea of enlightenment alive and almost thriving. Standing in the absurd center of the asemic universe, we are surrounded by unexamined exits and entrances, unexplored starting-points, multiple escape-routes leading out in all directions. 
We need to synchronize our watches, then throw them all away. We need to get on the same page of the same map-book, then throw all the maps away. We need to set our compasses, and throw them away. We must promise each other to get together, at some unspecified time and place, later in our lives, to define our terms and make public our consensus definitions. Until then, we have some exploring to do, some making and some thinking, some reading and some writing.
Tim Gaze wrote, in an email responding to my recent texts (05.21.2021), that “asemic is an absolute state, whereas desemantizing is a process or matter of degree”.
He also wrote in the same email that he “consciously let go of asemic writing several years back”.
On January 27, 1998, I wrote to Tim, saying “the asemic text would seem to be an ideal, an impossibility, but possibly worth pursuing for just that reason.”
Desemantized writing is not an ideal, is not an impossibility. It is a very specific kind of writing, produced for very specific reasons. To desemantize writing is to intentionally make it less readable, less capable of participating in the language-game of giving information. 
We might aspire to the absolute state of asemic writing, producing beautiful and/or provocative failures in our quest, but we achieve desematized writing, to one degree or another, whenever we choose to do so.
In response to my recent texts, John M. Bennett wrote (05.20.2021) “i like ‘desemanticized’ better than ‘asemic’ myself; the latter term was always a bit misleading, even downright wrong sometimes, I thought; except perhaps in a few situations…”
In the late 1990s, “asemic” was not the word I wanted or needed, but it was the best I had at the time. For the past 20 years or so I have been exploring alternatives to the word “asemic”. For now, and for my purposes (which are not necessarily the same purposes as those of some likely readers of this text), “desemantized” (or “desemanticized”) is an improvement, a step in the right direction. It is a provisional solution to a problem.
These days, the term “asemic writing” is very widely used, and is surely in no danger of being discarded or replaced. My thoughts about the term “desemantized writing” will circulate, if at all, within the context of the global asemic writing community. As I write this, in the late spring of 2021, the theory and practice of asemic writing are not in any sense dead, the possibilities have not been exhausted. The Sisyphean struggle to attain the absolute state of asemic writing, absurd though it may be, continues to yield moments of existential fulfillment, and perhaps every now and then even a kind of happiness. 
My hope for my recent writings is that they might invigorate an increasingly faceted vision of the world of all things asemic.

jim leftwich, may 2021

installance #0156: asemics on plastic hook

installance n. : # 0156
type : asemic writing on a plastic hook
size : ~ cm 5,2 x 1,5
records : highres shot
additional notes : abandoned
date : May 13th, 2021
time : 5:57pm
place : Rome, via di Donna Olimpia
footnote : ---
copyright : (CC) 2021 differx

bio as an artist (in english & italian)

romeartweek.com/en/artists/?id=1969&ida=1533

romeartweek.com/it/artisti/?id=1969&ida=1533

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post-asemic press sound poetry

https://post-asemicpress.bandcamp.com/

Post-Asemic Press is a book publisher of asemic writing and beyond. It is based out of Minneapolis and is run by Michael Jacobson. The Bandcamp site will be for sonic works of sound poetry and experimental poetry and other related forms. Here is the Post-Asemic Press blog: postasemicpress.blogspot.com

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“scrivere disegnando”: a review by irène languin @ tdg.ch

here the review:
https://www.tdg.ch/news/news/ecriture-dit-ombreslme/story/10067824

here the exhibit:
https://centre.ch/en/exhibitions/scrivere-disegnando/

 

 

 

 

 

 

 

 

 

 

asemic art expo: dal 6 giugno a mogliano veneto

ologramma, di squadrito-leftwich, in versione corretta

Per un errore di caricamento, il post di “Ologramma”, testo di Tommasina Squadrito e Jim Leftwich, compariva su slowforward qualche tempo fa con un problema di impaginazione, ora risolto. Scusandomi per l’inconveniente con gli autori, invito a leggere il file corretto e ripristinato, qui: https://slowforward.wordpress.com/2020/03/19/ologramma-2018-19-tommasina-bianca-squadrito-jim-leftwich/ oppure qui: https://archive.org/details/squadritoleftwichologramma/mode/2up

recensioni recenti a “scrivere disegnando” (ginevra) + proroga della mostra

SCRIVERE DISEGNANDO
Quand la langue cherche son autre
@ Centre d’Art Contemporain, Genève

EXHIBITION time will be EXTENDED:
it will be open until the 23rd of August

Curators : Andrea Bellini and Sarah Lombardi
Section documentaire : Sara De Chiara
Programme public : Étudiant·e·s Work.Master de la HEAD – Genève
avec la complicité de Pierre Leguillon, artiste et enseignant

En collaboration avec la Collection de l’Art Brut, Lausanne

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two recent reviews:

Daniel Horn @ Artforum
https://www.artforum.com/print/reviews/202004/writing-by-drawing-82570

Harry Burke @ Frieze
https://frieze.com/article/modernity-history-unwritten

& more:

Alexia Lanta Maestrati @ Le Journal des Arts
https://www.lejournaldesarts.fr/expositions/ecrire-en-dessinant-148895

Ginevra Bria @ domus
https://www.domusweb.it/it/arte/2020/01/21/ginevra-quando-la-lingua-cerca-il-suo-altro.html

Andrea Cortellessa @ doppiozero
https://www.doppiozero.com/materiali/scrivere-disegnando-incontri-ravvicinati-ginevra

Riccardo Venturi @ Flash Art
https://flash—art.it/article/on-view-riccardo-venturi/

§ Continua a leggere

scrivere disegnando: la recensione di andrea cortellessa alla mostra di ginevra

continua qui:
https://www.doppiozero.com/materiali/scrivere-disegnando-incontri-ravvicinati-ginevra

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do not trust incomplete essays about asemic writing

To critics, asemic writers, essayists, curators, journalists and all the people dealing with the *recent* history of asemic writing:

DO NOT trust incomplete essays, poor bibliographies and books or –generally speaking– texts improvised by authors who pretend to make important & complete/vast surveys while they actually do not mention important web pages, mag articles, projects, personal and collective exhibits, blogs and groups which have been flourishing everywhere in the recent –say– two decades.

I find an astonishing lack of data in –poorly written– Italian essays I’ve recently read (on line and in books), so I want to strongly point out there’s no space for amateurishness, narcissism and ignorance when talkig about the work of thousands of authors. One cannot mention them all, yes. But it’s impossible to forget some basic elements and fundamental sites and texts.

It’s not possible to ignore Jim Leftwich’s thousand pages about asemics, the work of Peter Ganick, Miron Tee, Jukka-Pekka Kervinen, Karri Kokko, Rosaire Appel, Lina Stern, Riccardo Cavallo, Roberto Cavallera, Marc van Elburg, Valeri Scherstjanoi, Jay Snodgrass, Miriam Midley, Bruno Neiva, Jeff Hansen, Orchid Tierney, and a bunch of other artists, or Tim Gaze’s Asemic Editions (http://asemic-editions.blogspot.com/) or Avance Publishing (http://avance.randomflux.info/), or DeVillo Sloan’s work (at IUOMA etc) and with https://asemicfront.wordpress.com/, or Cecil Touchon’s sites http://asemics.com/ and https://ceciltouchon.com/, or Michael Jacobson’s http://thenewpostliterate.blogspot.com/, or the AsemicNet founded in 2011 by me and others, https://asemicnet.blogspot.com/ (& related link pages), or https://gammm.org, or the asemic googlegroup https://groups.google.com/forum/?hl=it#!forum/asemic, or the Mycelium samizdat (first of all: https://it.scribd.com/doc/294236718/Without-Words-Exhibition-Catalogue), or Gleb Kolomiets’ “Slova”, or Mark Young’s “Otoliths”, or Timglaset, Utsanga, or the most important facebook group of asemic writing, The New Postliterate, https://www.facebook.com/groups/76178850228/, and many others, e.g. Arte Asemica (https://www.facebook.com/groups/1642082306096440/), Asemic Reading (https://www.facebook.com/groups/1646865992070563), Asemic New Babylon (https://www.facebook.com/groups/895027887247653/), Extreme Writing Community (https://www.facebook.com/groups/202128996613211/), Writing Against Itself (https://www.facebook.com/groups/1208959535830352, founded by Jim Leftwich), or Quimby Melton’s site SCRIPTjr, http://scriptjr.nl/, or the items one can found perusing tags & categories here and there, e.g. in https://slowforward.net/tag/asemic/, https://slowforward.net/category/asemic/, https://slowforward.net/tag/scrittura-asemantica/, http://liquidocomoeltiempo.blogspot.com/search/label/ESCRITURA%20AS%C3%89MICA, or the amount of vids one can find in YouTube or Vimeo, or the tons of interviews hosted on line. Or lots of tumblr blogs, the findings at Pinterest, or the images and infos Twitter spreads every day.

Not to mention the bibliography on paper (Asemic Magazine first: …take a look at https://asemicnet.blogspot.com/p/mags-groups.html and http://asemic-magazine.blogspot.com/).

Well… Yes: the steps of an asemic path can be traced back to the first years of the 20th century. It will be a hard job. Years of hard study.

But one can of course focus on the new authors and mags only, and still face an impressive amount of documents, on line stuff, archives.

Do not tolerate people who (deliberately) ignore them.

This is what I wanted to say. Plain and simple.
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