Archivi tag: tim gaze

“womb: opere dall’archivio utsanga”: @ fasano (br) dal 2 al 13 giugno

“Womb. Opere dall’Archivio Utsanga” | Mostra promossa e curata da Clotilde Palasciano
Museo della casa alla fasanese | via Fogazzaro 4, Fasano (BR)
dal 2 al 13 giugno 2022
In mostra opere di Mariangela Guatteri, Fabio Lapiana, Giovanni Fontana, David Felix, Tim Gaze, Lucinda Sherlock, Cristiano Caggiula, Francesco Aprile, Egidio Marullo, Marco Giovenale, Giuseppe Calandriello, Ásgrimur Kuldaboli Pórhallsson, Lina Stern, Vittore Baroni, Dona Mayoora, Luc Fierens, Eugenio Lucrezi, Kerri Pullo, Hilda Paz, Reed Altemus, Clemente Padin, Giancarlo Pavanello, Clotilde Palasciano, Miriam Midley, Cheryl Penn, Francesco Saverio Dòdaro, Enzo Miglietta, Ruggero Maggi, Rafael Gonzalez, Vittorio Fava, Vittorino Curci, Kenryo Hara, Gino Gini, Fernanda Fedi, Oronzo Liuzzi, Adriano Accattino, Enzo Patti, Anna Boschi, Cecelia Chapman-Jeff Crouch, Giuseppe Pellegrino.

Alcune immagini dalla mostra qui: https://www.facebook.com/francesco.aprile3/posts/pfbid02Q48KwJBattpBGbykRQYE5xzWpe9kELtneXiAWVWrjU2NBtL2XTov9X6ov89pBkYgl

womb: opere dall’archivio utsanga, dal 2 giugno @ museo della casa alla fasanese

Utsanga.it    Città di Fasano   e    Museo della casa alla fasanese
presentano

Womb
Opere dall’archivio Utsanga

In mostra opere di asemic writing, poesia visiva e concreta, libri d’artista
Inaugurazione 2 giugno h. 19:00

Presso Museo della casa alla fasanese
via Fogazzaro 4, Fasano, BR
dal 2 al 13 giugno 2022

click to enlarge / cliccare per ingrandire

«Utsanga.it» (ISSN 2421-3365), che viene dal sanscrito e significa “grembo”, è una “rivista di analisi liminale” fondata nel 2014, a Lecce, da Francesco Aprile e Cristiano Caggiula guardando alle dinamiche e problematiche del panorama letterario globale, alle forme che la parola assume nell’extraletterario allargando i confini di ciò che chiamiamo poesia, alle diverse declinazioni dei linguaggi di ricerca.

Del 2016, invece, è la nascita dell’archivio “Utsanga”, sorta di mappatura/catalogazione di materiali eterocliti, effimeri, opere, libri, riviste. Per la terza volta dalla sua nascita (dopo le mostre di Catanzaro nel 2016-2017 e Ivrea nel 2018), e per la prima volta in Puglia, parte dell’archivio si aprirà al pubblico con una mostra che raccoglie 41 autori provenienti da tutto il mondo fra poeti, poeti visivi, autori di scritture asemantiche o libri d’artista, teorici dell’arte e della letteratura, performer, poeti sonori, navigati stregoni dei linguaggi umani e giovani arrembanti in un mix di opere e autori che copre un arco di tempo capace d’andare dagli anni Sessanta ai nostri giorni, rappresentando un termometro, uno spaccato significativo della storia e dell’evoluzione di queste pratiche sempre terra di confine. “Womb”, allora, è un grembo che abbraccia una intricata selva di linguaggi accogliendo la gestualità dello scrivere che perde la propria relazione con il significato facendosi asemic writing, ma anche la capacità della parola poetica di uscire dal libro e dalle gabbie speculative della stampa per corteggiare altre forme, altri media, conoscendo il vuoto e la sua composizione grafica con la poesia concreta e la costruzione materica e politica del testo nella poesia visiva. In ultimo, ma non meno importante, il libro diventa oggetto, scultura, ma anche pratica amanuense che riscopre le connessioni della composizione estetica con la parola al tempo stesso strumento sonoro, visivo, plastico.

Autori:
Mariangela Guatteri, Fabio Lapiana, Giovanni Fontana, David Felix, Tim Gaze, Lucinda Sherlock, Cristiano Caggiula, Francesco Aprile, Egidio Marullo, Marco Giovenale, Giuseppe Calandriello, Ásgrimur Kuldaboli Pórhallsson, Lina Stern, Vittore Baroni, Dona Mayoora, Luc Fierens, Eugenio Lucrezi, Kerri Pullo, Hilda Paz, Reed Altemus, Clemente Padin, Giancarlo Pavanello, Clotilde Palasciano, Miriam Midley, Cheryl Penn, Francesco Saverio Dòdaro, Enzo Miglietta, Ruggero Maggi, Rafael Gonzalez, Vittorio Fava, Vittorino Curci, Kenryo Hara, Gino Gini, Fernanda Fedi, Oronzo Liuzzi, Adriano Accattino, Enzo Patti, Anna Boschi, Cecelia Chapman-Jeff Crouch, Giuseppe Pellegrino

sound poetry video by miron tee + tim gaze

Sound Poetry Videos by Miron Tee + Tim Gaze
soundpedro 2021 UnƧightly [Sound Poetry]
00:00 Title

00:07 Burbling
11:15 Phonetics 1 2 3

Presented as part of “sound poetry radio & video”
A special program of sound poetry presentations curated by and featuring Tim Gaze.
https://www.soundpedro.org/sound-poetry-2021

©2021

~ For soundpedro2021 program details go to http://www.soundpedro.org
soundpedro is an annual ear-oriented multi-sensory event, presenting artists whose work addresses sound and aural perception in combination with other senses, produced by the Long Beach artist group FLOOD, and hosted by Angels Gate Cultural Center.

asemic writing definitions and contexts 1998-2016 / jim leftwich. 2016

the most recent titles from post-asemic press: by tim gaze, laura ortiz

https://postasemicpress.wordpress.com/

https://postasemicpress.wordpress.com/

plus

books by MICHAEL JACOBSON, FRANCESCO APRILE and many more

sound poetry etc _ episode 3 _ by tim gaze


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contents:

https://www.copperpiperadio.com.au/
[Italian sound poetry, poesia sonora, many colours / flavours / textures]
[Futurists & allies]
Giacomo Balla – Discussione sul futurismo di due critici sudaneisi 1:16
Futura Poesia Sonora
composed 1914, performed by Luigi Pennone, Arrigo Lora-Totino, Sergio Cena 1976
Mimmo Rotella 4:30
title? (track 16 La parola parlata) 2000
FT Marinetti – Dune, parole in libertà 5:57
Futura Poesia Sonora disc 1
composed 1914, this version performed by Luigi Pennone & Arrigo Lora Totino 1976
– Zang tumb tumb 2:06
youtube rip
composed 1914
Piermario Ciani – Comix 4:22
The Voice / La Voce 1983
co-founder of Luther Blissett shared name
[sparse]
Paolo Albani – Monologo narcisista 0:46
Verbivocovisual 2004
Patricia Vicinelli – Sette poemi excerpt 2:03
Momo: voci, suoni e rumori della poesia (voices, sounds and noises of poetry)
(longer version on FPS 5)
Alberto Vitacchio 3:04
track 24 La parola parlata
Eugenio Miccini – Commutazione di comunicazione de commutazione 1:56
Verbivocovisual 2004
Tomaso Binga – Oplà 3:29
Momo 2003
[golden age]
Giovanni Fontana – Voci 1 5:04
from Il gioco delle voci (the game of voices) 2000
– Maschera mitpoietica no 2 (Momo) 2:25
– da Frammenti d’ombre e penombre (Verbivocovisual) 4:34
Adriano Spatola – Ocarine (Verbivocovisual) 2:43
Arrigo Lora Totino – poesia liquida 6:33 (Fonemi) 2000
– Sussurli 1:33 (Out of Page) 2000
[dense]
Concento Prosodico (Sergio Cena / Arrigo Lora Totino / Roberto Musto / Laura Santiano)
Futura Poesia Sonora disc 5
– Vocali (version 1) 1:39
– Vocali (version 2) 1:14
Enzo Minarelli – eterne vocali – a (eternal vowels – a) 3:18
La Voix Liberee 2019
New Machine Voice – Animale macchine 11:33 (1990)
from delcementerio blog: “Experimental music and electronics performed by Marco Bertoni and
Enrico Serotti, accompanied by the voices of Manfred, Kathy Berberian and Demetrios Stratos.”
Luciano Berio – Thema – omaggio a Joyce 6:20
feat. Cathy Berberian 1958
Pâté de Voix 1 – side A track 2 3:39
(voice: Carla Bertola, Alberto Vitacchio, written by Pietro Porta) 3:39
Offerta Speciale cassette 1985
[multitracked / soundscapes]
Carla Bertola – track 25 La parola parlata 2:49
Carola Caruso – Frammento di improvvisazione 1:23
Momo
Gioconda Cilio & Stefano Maltese – Tra la vita e la notte 2:03 (in French)
(“Between life and night”) Momo
Luciana Arbizzani – Radix 5:26
Italian Sound Poetry cassette ca. 1980s
[high tech / electronic]
differx – speech on hay as ontology 1:09
Huellkurven 5 track 19 (ca. 2017)
Francesco Aprile (Zen Poems) – Intro 1:09 (2020)
Gian Paolo Roffi – Segni & segni a – Eclissi di segni 3:42
(“Signs & signs a – eclipse of signs”) Momo
[last]
Bruno Maderna – Invenzione su una voce 16:02
musical arrangement of a phonetic composition by poet Hans G Helms (1960)

foto dal workshop del 7 luglio 2021, all’istituto svizzero di roma

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see facebook.com/differx/posts/10158173011597212

+ slowforward.net/2021/07/07/stamattina-un-seminario-sulle-forme-della-scrittura-e-del-libro-contemporaneo-e-lasemic-writing/

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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

a brief note on desemantized writing / jim leftwich. 2021

Jim Leftwich_ Desemantized Writing

Jim Leftwich_ Desemantized Writing

Desemantized Writing

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.

jim leftwich
05.18.2021

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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part 3 / tim gaze. 2020

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from SHAPES, sound poetry by Tim Gaze

lots of asemic books are actually available

Michael Jacobson:

Here is an updated list of almost all the asemic writing books available at Amazon. Asemic writing is a wordless open semantic form of writing which often appears as abstract calligraphy, non-verbal writing, illegible writing, or damaged writing. This list also contains all Post-Asemic Press titles (7 so far) and other related works published by other presses.
Authors and their works included on the list are by Tim Gaze, Michael Jacobson, O Mayeux, Anneke Baeten, Volodymyr Bilyk, Rosaire Appel, Spencer Selby, Mirtha Dermisache, Federico Federici, Sam Roxas-Chua, Denise Lach, Jose Parla, Lucinda Sherlock, Xu Bing, Henri Michaux, Brion Gysin, Timothy C. Ely, Jay Snodgrass, Israel F Haros Lopez, Paul A. Toth, Max Ernst, Luigi Serafini, Rory Link, and The unknown author of The Voynich Manuscript.

https://www.amazon.com/hz/wishlist/ls/OTSFXTYKWW8T?&sort=default

https://www.facebook.com/groups/76178850228/permalink/10156823723440229

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asemic writing – scrittura asemantica / marco giovenale. 2013

articolo in “l’immaginazione”, n. 274, mar.-apr. 2013

materiale citato per l’incontro del 2 maggio 2018: CONCRETA – festapoesia,
incontro all’Accademia d’Ungheria, intervento su Scritture di ricerca e scrittura asemantica, h. 9:30 circa

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asemicbient (asemic writing and ambient soundscapes) / eugenekha & tim gaze. 2012