THANKS Michael Jacobson and Post-Asemic Press
asemic.net (Tim Gaze): http://asemic.net/
ongoing notes… by Jim Leftwich: https://scriptjr.nl/ongoing-notes-on-asemic-writing-jim-leftwich-2015/3336#.Ym5yZ2hBzIU
wiki (.en): https://en.wikipedia.org/wiki/Asemic_writing
wiki (.it): https://it.wikipedia.org/wiki/Scrittura_asemica
The New Postliterate: http://thenewpostliterate.blogspot.com/
Post-Asemic Press: http://postasemicpress.blogspot.com/
A list of asemic books (by M. Jacobson): https://slowforward.net/2018/08/22/lots-of-asemic-books-are-actually-available/
Asemics Magazine: http://asemics.com/
Líquido como el tiempo: http://liquidocomoeltiempo.blogspot.com/search/label/ESCRITURA%20AS%C3%89MICA
Extreme Writing Community: http://seks-ua.blogspot.com/
Synapse International: https://synaptry.blogspot.com/
Asemic Writing for mail artists: https://iuoma-network.ning.com/group/asemicwritingformailartists
aemicnet / links: https://asemicnet.blogspot.com/p/links.html
asemicnet / mags, groups: https://asemicnet.blogspot.com/p/mags-groups.html
asemicnet / publishing houses, e-books, books: https://asemicnet.blogspot.com/p/publishing-houses-e-books-books.html
asemicnet / interviews: https://asemicnet.blogspot.com/p/interviews.html
asemicnet / entries, posts, vids etc.: https://asemicnet.blogspot.com/p/entries-posts-vids.html
asemicnet / facebook: https://asemicnet.blogspot.com/p/facebook.html
asemicnet / @flickr: https://asemicnet.blogspot.com/p/flickr.html
asemicnet / exhibits and galleries: https://asemicnet.blogspot.com/p/exhibits-and-galleries.html Continua a leggere
In occasione di questo evento, ho chiesto a parecchi artisti di inviare materiali. Alcuni di loro hanno spedito opere ora inserite in questa cartella. Date uno sguardo.
Presto sarà preparato un pdf con una selezione. Per ora è comunque possibile apprezzare l’intera serie di immagini. Non sarà sempre in rete.
On the occasion of this event, I asked for contributions to several artists. Some of them sent works now stored in this folder. Take a look.
Soon a pdf with a selection will be made. As for now, enjoy the whole set of images. It won’t be on line forever.
artisti / artists:
Andrea Astolfi, Levente Bakos, John M. Bennett, May Bery, Francesca Biasetton, Silvia Bordini, Angelo Calandro, Axel Calatayud, Cecelia Chapman, Jeff Crouch+Cecelia Chapman, Pietro D’Agostino+Marco Giovenale, Adelin Donnay, Federico Federici, Steven J. Fowler, Luis Gonzalez Boix, Mariangela Guatteri, Michael Jacobson, Edward Kulemin, Jim Leftwich, Diana Magallon, John McConnochie, Keith McKay, Miriam Midley, Claudio Molina, Michelle Moloney King, Laura Ortiz, Franco Panella, Enzo Patti, Antonio Francesco Perozzi, Mariella Ramondo, Tommasina Bianca Squadrito, Lina Stern, Miron Tee, Cecil Touchon, Paulino Valdelomar.
(C) I file nei folder extrAsemics sono di proprietà esclusiva degli autori. Ne è concessa solo la visione personale. Copie, appropriazione, riuso, editing non autorizzato ecc. sono proibiti.
(C) The files in the extrAsemics folders are an exclusive property of their authors. Only personal vision permitted. Copies, appropriation, re-use, unauthorised editing etc. are forbidden.
Laura Ortiz’ book Unwritings is now available!
(CC) 2021 differx
A re-glitched image from Glitchasemics (2020)
(Post-Asemic Press, https://postasemicpress.blogspot.com/2020/05/glitchasemics-by-marco-giovenale-is.html, thx to Michael Jacobson)
>>> with a special dedication to De Villo Sloan, who loved my book so much as to ban me for no reason <<<
Hâle Turhan & Gökhan Turhan experimented “glitched asemic writing” since 2015 or 2016, I think, and I definitely want to praise their work @ Ada & Arx too (e.g. here).
As the blurb of their book Hür (Xerolage #65, Dec. 2016) says: “Xeno-Poiesis is needed within the entagled bubbly nodes of the Remixocene”.
I absolutely agree.
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 large variety of source texts, those processes included syllabic and phonemic improvisation, varieties of cut-and-paste recombination (of letters, of morphemes, of words, of phrases, of sentences, and of paragraphs), varieties of misdirectional readings-as-writings (moving through paragraphs from right to left, from top to bottom and vice-versa in columns, reading multiple lines in wave patterns, reading paragraphs and pages diagonally, etc), and formulas for extracting, replacing and/or omitting letters from poems and paragraphs. The poems and paragraphs I was writing during those years were constructed, we could say, for reasons other than that of producing meaning.
Sometime late in 1996, I was warned that if I continued on the path I had chosen I would eventually wind up producing asemic texts.
In January 1998 I wrote the following to Tim Gaze: “An asemic text, then, might be involved with units of language for reasons other than that of producing meaning.”
If I had known the term “desemantized writing” at that time, I would certainly have used it, rather than “asemic writing”. The term ‘desemantized writing” is much more accurate, much clearer, much more precisely descriptive of the processes from which my “asemic writing” emerged.
Again, let me emphasize that this little note is accurate in relation to my own processes and practices, and I am fully aware of the fact that it does not apply to the relationships
that many others have with the theory and practice of asemic writing.
If I had known the term “desemantized writing” in the 1990s, rather than the term “asemic writing”, then Tim Gaze and I would have been using the term “desemantized writing” in our correspondence. The term “desemantized writing” would have been used in our international exchanges through the mail art and small press poetry networks. Chances are that Tim’s magazine would have been named “desemantized writing”. Then, sometime around 2005, when Michael Jacobson encountered the magazine and the word, maybe instead of “asemic writing” he would have used the term “desemantized writing” in his interviews and essays.
It’s interesting (again: speaking only for myself) to rewrite this imaginary history, but unfortunately, here and now, in 2021, it is only a kind of game. I didn’t learn of the term “desemantized writing” for another decade-and-a-half, when Marco Giovenale told me about its use among Italian verbovisual poets in the 1960s and 70s.
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
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 williamjamesaustin.com/orphicsheet002.html 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 fluxishare.blogspot.com/2008/01/orphic-tab-029.html now http://the-flux-i-share.blogspot.com/2008/01/orphic-tab-029.html; & in SayingSomething: http://sayingsome.blogspot.com/2008/01/orphic-tab-040.html
Then serious asemic orphic tabs appeared in The New Postliterate (Sept., 2009): http://thenewpostliterate.blogspot.com/2009/09/asemic-orphic-sheets-from-marco.html
A sheet in Italian has appeared in facebook only.
Here below are some of the pieces, and more ones (click to enlarge, read & enjoy):
by Marco Giovenale is available now at Amazon.
It includes an indepth introduction by Michael Betancourt.
more infos (+blurbs) here:
buy it here: