#asemic exhibit

[marcogiovenale]

e-catalog of the second asemic exhibit "escribas" | segunda exibição | in blumenau, brasil

E-Catalog ESCRIBAS | second ehibition / segunda exibição | Blumenau, Brasil e-catalog of the asemic exhibit in Blumenau (Brasil), curated by Tchello…

[charseraph]

what do your tags mean?

#pink aesthetic — Definition.

#destinations — Surreal scenes and backdrops, both visual and written, implied and explicitly described, varying degrees of abstract.

#ambiguous in a 🌅 kind of way — Glowing and dark forms, presences, and structures.

#fashion — Objects worn by humanity. Clothing, accessories, tattoos, vehicles, weapons, book sleeves, and certain architecture and graphics.

#shoes that can and will kill you: viewer or wearer — Novel shoes. Killing is defined as both injury and awe.

#returnful — Heartache and longing.

#speakerbreaker — Cybersigilism, aggrogoth, anothergraphic.org type text distortion. Frequent chrome and glassy material.

#proctor godlike — Posts that embody the attitude or appearance of or about proctor gods, benevolent but ominous overseers/representatives/indicators of some aspect of reality.

#bad endinglike — Posts that capture an aspect of Bad Ending, my horror sci fi setting. Military aircraft, skinned animals, dark buildings, strange technology, fuzzy and sharp graphs and censors, black and white.

#sundownlike — Posts that capture an aspect of Sundown, my setting in the distant future where most stars have died and all organic sophonts have gone extinct. Black expanses, white circles, faint stars and lines, black sand.

#boalike — Posts that embody one of four ideas of my setting BOA: machines that could be sentient, how humans would interact with sentient machines, how they would be depicted in art, and the complexity and colors of a theoretical BOA diagram.

#crownlike — What crown fashion, technology, architecture, and sentiments look like. Snowy deserts, pale and black brutalism and electronics, wobbly calligraphic asemic, puffer material, colorful overlapping shapes.

#boxkitelike — Same for boxkites. Graphics like dewy spider webs. Clashing colors. Blobs and radial symmetry.

#towerlike — Same for towers. Dense rectangular repetitive monochrome graphics and jaxlike forms.

#trumpetlike — Same for trumpets. Smooth red and noisy forms.

#wardlike — Same for wards. Inhospitable brutalism, foggy grasslands, and concrete tubes.

#unnamed supercomputer — What a Humans of New York style compendium of random seedlets (sophont AI) in my optimistic sci-fi setting would look like.

#lovecore — Posts that exhibit or inspire love.

#I look like this — Personal aesthetic.

@speakerbroke Aesthetic blog that compiles the best of speakerbreaker, ambiguous, I look like this, and the like.

[viragfold]

“ESCRIBAS – 1st International Exhibition of Asémic Writing”

The exhibition “ESCRIBAS – 1st International Exhibition of Asemic Writing” is part of the program of the V National Festival of Contemporary Art Beagá Psiu Poético. In a production by the Instituto Imersão Latina in partnership with The Virtual Museum of Visual Poetry, the exhibition will present 26 works by artists from 18 countries, constituting the first international group exhibition of its kind held in Brazil.

            Curated by Tchello d’Barros, the exhibition opens on March 14 at 9 am and at 2 pm there will be a lecture by the curator at the exhibition venue, the UFMG Cultural Center. Visitation takes place until 21.Mar.2023, with free admission.

Participating Artistas:  

ADRIAN DORADO (ARGENTINA) | AYIS KELPEKIS (GREECE) | CHEN LI (CHINA /ITALIA) | CHERYL PENN (SOUTH AFRICA) | DAVE READ (CANADA) | DENIS SMITH (AUSTRALIA) |  DONA MAYOORA (INDIA / USA) |  ENZO PATTI (ITALIA) |  FELICIANO DE MIRA (PORTUGAL) | FERRAN DESTEMPLE (ESPAÑA) | JAIME RGUEZ (ESPAÑA) | JOHN R. MCCONNOCHIE (AUSTRALIA) | KEIGO HARA (JAPAN) | MARCO GIOVENALE (ITALIA) | MIRIAM MIDLEY (ARGENTINA) | MUHAMMAD SHEHZAD MAJEED (PAKISTAN) | NICO VASSILAKIS (USA) | PÉTER ABAJKOVICS (HUNGARY) | ROSAIRE APPEL (USA) | SAMI LIUHTO (FINLAND) | SATU KAIKKONEN (FINLAND) | SERSE LUIGETTI (ITALIA) | STEPHEN NELSON (SCOTLAND) | SVEN STAELENS (BELGIUM)  | TCHELLO D'BARROS (BRASIL) | VOLODYMYR BILYK (UKRAINE)

........................................................................................................................

Curatorial Text:

CALIGRAPHIC POETICS OF ASÉMIC WRITING

                                                         por Tchello d’Barros*

                                           “Asemic writing seems to be a gigantic, unexplored territory.”

                                                                                                                                                    Tim Gaze

The exhibition “ESCRIBAS – 1st International Exhibition of Asémic Writing” presents a collection of works in images with abstract spellings, in the language that is becoming known as Asémic Writing. The set, made up of creations from different parts of the planet, also reveals the plurality of techniques and resources for the realization of these works, transiting between calligraphy, abstraction, engraving and even Visual Poetry.

This show promoted by Instituto Imersão Latina in partnership with The Virtual Museum of Visual Poetry, features 26 works by artists from 18 countries in the V Beagá Psiu Poético program, setting up the first international collective exhibition of this modality held in Brazil.

Spontaneously arising in different cultures throughout history, consolidated as an artistic language at the end of the 20th century, the Asémic Writing still very rare, has been gaining visibility, whether with exhibitions, publications, epistemological studies or placement on the Internet. This hybrid art, which transits between word and image, survived the typographic tsunami of the digital age, privileging handwriting (mainly), albeit abstract, as an expressive manifestation.

The works are made up of often invented letters, words that keep calligraphic remnants, sentence fragments that form thought-provoking abstract figures, configuring every movement that has thickened its network of supporters on all continents. It is an art free of academic labels, institutional immobilization and shallow public cultural policies for the promotion, collection and dissemination of experimental languages. Drawing, painting, infogravure, collages, digital art, interventions and photographs are just some of the resources present in this type of creations, presented here from a perspective of diversity of styles.

It is said of the works of Asémic Writing, which are purposely emptied of meaning – because they are absent of enunciation or message – which does not prevent them from making sense, from the perception of those who observe, since there is a silent dialogue between such contents and the entire lexical and imagery framework of those who immerse themselves in viewing these images.

Theorists of Art in Expanded Field or Expanded Poetry, usually place Asémic Writing in the broad scope of Experimental Poetry. So, provoking reflections on the poetic phenomenon in aspects that strain the limits of language, questioning aesthetic aspects of the hybridity characteristic of contemporary art and provoke the debate about where the compass of poetic making points in our time, are some of the premises that guided the curatorial process for this show.         

*Tchello d’Barros is writer, visual artist and curador.

Master’s student and researcher about Expanded Art on University UFRJ                                                                                           Rio de Janeiro (RJ), Brasil – March 2023

........................................................................................................................

Service:

Opening: 09h - 14.Mar.2023

Lecture with curator and production team: 14h

Visits: Terça à sexta-feira: 9h às 20h e

                   sáb. e dom. das 9h às 17h - Até dia 21.Mar.2023

Place: Centro Cultural da UFMG

           Av. Santos Dumont, 174. Centro, Belo Horizonte – Brazil

Coordenation: Grupo Transa Poética | Psiu Poético Beagá

Production and Setup: Instituto Imersão Latina - IMEL

Realization: The Virtual Museum of Visual Poetry

Curator: Tchello d'Barros

Free Admission

Links:

Exhibition “Escribas” at Facebook

Instituto Cultural Imersão Latina

Centro Cultural da UFMG

The Virtual Museum of Visual Poetry

E S C R I B A S I Mostra Internacional de Escrita Assêmica 1st International Exhibition of Asémic Writing

[differx]

experimental writing: linear texts, vispo, abstract stuff, independent editions and mags, asemic writing etc, a one-morning exhibit and talk @ Istituto Svizzero in Rome, Jul. 7th, 2021. thanks to Professor Nils Röller and the artists and students at the Institute.

with works and editions from my collections. plus a wide selection of works from Benway Series.

Enzo Patti Derek Beaulieu Nico Vassilakis Reed Altemus #TimGaze Drew Kunz #LaCameraVerde #AndreaSemerano Tic Edizioni Esse Zeta Atona Hayward Publishing Blonk Post-Asemic Press #BuryTextFestival Tony Trehy Giovanni Anceschi #ilverri Paul Vangelisti John M. Bennett #TLPress #TLPeditions #JimLeftwich Timglaset David Kjellin OEI editör #GustavSjöberg Xavier Srrn

[rohitpalan]

Unraveling the Projected US$ 15.9 Billion Landscape of the Micro and Nano PLC Market by 2032

The global Micro and Nano PLC market experienced remarkable growth in 2022, with sales revenue soaring to an impressive US$ 8.9 billion. According to a comprehensive report by Future Market Insights (FMI), the micro and nano PLC market is on an upward trajectory, set to exhibit a robust 6% Compound Annual Growth Rate (CAGR) from 2022 to 2032. By 2032, the market is anticipated to expand to an astonishing US$ 15.9 billion.

Micro and nano PLCs are highly adaptable, allowing for the development of complicated control systems for machines and processes. These PLCs can work in difficult conditions, are simple to program, and can interchange data and information with other devices.  

To Get Sample Copy of Report Visit: https://www.futuremarketinsights.com/reports/sample/rep-gb-17409

Micro and nano PLCs are also extremely adaptable, with applications ranging from food processing to transportation and energy management.  

Thanks to their compact size, low power consumption, and great reliability, micro and nano PLCs are highly preferred in automotive applications. They are largely utilized in the automobile sector for monitoring and controlling various systems such as engine control, gearbox control, chassis control, and safety systems. This sector is expected to continue providing manufacturers with sizeable growth opportunities through 2032. 

Rising usage of micro and nano PLCs in automotive applications is expected to boost the global market. 

Increasing penetration of the Internet of Things (IoT) globally is expected to create a plethora of opportunities for micro and nano PLC manufacturers. This is due to rising adoption of these PLCs in IoT devices. 

Micro-nano PLCs can be used to connect industrial devices and machines to the internet, allowing for real-time process monitoring and control. This is propelling the use of micro-nano PLCs in IoT applications.  

Growing usage of micro and nano PLCs for IoT applications due to their small size, low power consumption, and low cost is projected to bolster sales in the market. 

Key Takeaways from the Micro and Nano PLC Market Report: 

Global sales of micro and nano PLCs are expected to soar at 6.0% CAGR between 2022 and 2032. 

Based on type, micro PLC segment is likely to dominate the market, exhibiting a CAGR of 5.9% through 2032. 

By offering, hardware segment is poised to exhibit a CAGR of 5.8% from 2022 to 2032. 

China micron and nano PLC market is forecast to expand at 7.0% CAGR during the assessment period. 

The United States micro and nano PLC industry is projected to reach a valuation of US$ 5.1 billion by 2032. 

South Korea market is anticipated to progress at 6.4% CAGR between 2022 and 2032. 

Japan market value is expected to reach US$ 1.1 billion by the end of 2032. 

Ask an Analyst for More Details: https://www.futuremarketinsights.com/ask-the-analyst/rep-gb-17409

“Rising trend of miniaturization and high adoption of automation are likely to create high demand for micro and nano PLCs. Hence, key players are focusing on launching advanced products to gain profits.” – says a lead analyst at Future Market Insights (FMI)  

Who is Winning? 

General Electric, ABB Ltd, Rockwell Automation Inc, Mitsubishi Electric Corporation, Schneider Electric Inc, IDEC Corporation, Siemens AG, Robert Bosch GmbH, B&R Industrial Automation GmbH, and Omron Corporation are few of the leading micro and nano PLC manufacturers profiled in the report. 

These market players are employing a wide range of strategies to increase their revenues and expand their presence. This includes new product launches, mergers, acquisitions, partnerships, and collaborations. For instance, 

In May 2020, to increase its product offering and expand its presence, Rockwell Automation acquired ASEM S.p.A. 

Global Micro and Nano PLC Market Segmentation

By Type:

Micro PLC

Nano PLC

By Offering:

Hardware

Software

Services

By Architecture:

Fixed PLC

Modular

By Industry:

Automotive

Chemicals & Fertilizers

Food & Beverages

Home & Building Automation

Metals & Mining

Oil & Gas

Pharmaceuticals

Pulp & Paper

Power

Water & Wastewater

By Region:

North America

Latin America

Europe

Asia Pacific

Middle East and Africa

[zygosisproject]

Writing Initiative #4

Describe 2–3 specific strengths your classmates found in your work and their reasons for identifying them.

For my 2D piece, my classmates enjoyed that I was implementing soundwave forms with asemic writing into a canvas. They mentioned that it looked abstract and the details kept them interested in learning more about the word Zygosis

For my 4D, I am thinking about making a VR experience where they would be unable to see anything, but only hear sounds. Blocking out a sense would heighten another.

Describe 1–2 specific ways your classmates thought you might refine or improve your piece going forward.

My 2D piece, while it was abstract, was too symmetrical, and felt more like a portrait of a person. To refine this, I would need to work with asymmetry and use more asemic writing going forward. This could take any form, because as Beth W. Stewart writes in their blog, "Asemic writing is a provocation to thought, and the thinking it encourages is not that of a system or science. It is open-ended, based in wonder and wondering".

For my 4D, rather than constructing an entirely new VR set, it would be interesting to program an existing VR set to use the familiar experience through a hearing-impaired version.

How might this feedback inform your thinking/making going forward? Describe 2–3 specific ways your classmates have informed how you might continue with one of the other assignments (3D, 4D, Experimental, Reflective Piece) through Reading Week and to be presented next.

As I am working through the iterations and drawing boards of each pieces, I think that I might create sensory learning toys based on scent, since my other project focused on sight (2D), and listening (4D). For this, I might create aromatherapy stress balls with essential oils. On pinterest, I found a board that describes scents for each activities and time of day that would help the children, depending on how they're feeling to learn to regulate their emotions.

With all of the pieces, think that I might create an exhibition where I do not explain what hearing impairment is in a literal sense, but show that it is not necessarily a disability, but a difference, and I will use space to make an inclusive environment, providing viewers with close captioning and pamphlets to walk them through each piece, and positioning them at a height that allows everyone to share the pieces together.

[anthokosmos]

Michael Mitras | asemic writing

Michael Mitras asemic writing. Images and texts based on his last exhibition of the avant-garde poet in Volos.

«το ποίημα [..] στην αυθαιρεσία της υποκειμενικής ερμηνείας» “the poem [..] in the arbitrariness of subjective interpretation” Μα πότε γράφτηκε το παρακάτω; But when was this written? «μέσα στον άνευ προηγουμένου καταιγισμό πληροφοριών που δεχόμαστε σήμερα από παντός είδους ΜΜΕ, εγώ εκφράζω την δυσφορία/αντίθεσή μου σ’ αυτή την κατάσταση «ζωγραφίζοντας» ποιήματα με τρόπο που να είναι τόσο…

[mvmvmvmvmvmvmvmvmvmvmv]

LANGUAGE / LANGUE / PAROLE / JEZIK

https://en.wikipedia.org/wiki/Translation_studies

UNTRANSLATABLE WORDS

http://mentalfloss.com/article/50698/38-wonderful-foreign-words-we-could-use-english

https://www.huffingtonpost.com/2014/02/20/english-translation-words_n_4790396.html

https://www.theguardian.com/notesandqueries/query/0,,-187912,00.html

https://www.lifehack.org/articles/lifestyle/lost-translation-30-words-with-english-equivalent.html

https://matadornetwork.com/abroad/20-awesomely-untranslatable-words-from-around-the-world/6/

https://sr.wikipedia.org/wiki/Izumrli_jezici

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https://www.google.cz/search?q=Mirtha+Dermisache&oq=Mirtha+Dermisache&aqs=chrome..69i57.1646250j0j7&sourceid=chrome&ie=UTF-8

Mirtha Dermisache

Mirtha Dermisache (21 February 1940 – 5 January 2012) was an Argentine artist whose works of asemic writing have been published and exhibited internationally at venues including the Centre Georges Pompidou in Paris and MACBA in Barcelona, and collected by leading international arts institutions.[1]

https://en.wikipedia.org/wiki/Mirtha_Dermisache

https://www.theparisreview.org/blog/2018/01/30/mirtha-dermisache-limits-language/

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???

https://en.wikipedia.org/wiki/Idiom

*    *    *    

https://en.wikipedia.org/wiki/A_picture_is_worth_a_thousand_words

https://www.google.cz/search?q=a+picture+is+worth+a+thousand+words&oq=a+pictu&aqs=chrome.4.69i57j69i65j69i60j0l3.4416j0j7&sourceid=chrome&ie=UTF-8

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A list of photographic experiments:

1.A picture can mean a thousand words. Can it mean only one?

Book illustrating a simple text, picture by picture, replacing one word (one sentence, thought) with one picture. The text should be simple due to the complexity of rules of representation.

With this approach it is intended to see what meaning gets lost in the translation.

In literature, translations are always credited and can give an insight into the style or a system of that certain translator. Very often the translations were done by accomplished writers whose style must have in some ways influenced the final version of the work.

Can something like that be applicable to the medium of photography?

Everyone is familiar with the quote that a picture is worth a thousand words (on serbian speaks/govori), but what does it actually mean?

*name of the experiment – translations

(znak, bart, semiologija,rec, rec-znak, slika?, izgubljenost u informacijama,

*ilustrovati tu samu recenicu : a picture is worth a thousand words

**spajanje citata sa fotografijama sa kojima naizgled nemaju veze kad ono..

***NAIZGLED ?

*************************************************************************************

https://en.wikipedia.org/wiki/List_of_paradoxes

https://en.wikipedia.org/wiki/Catch-22_(logic)

https://en.wikipedia.org/wiki/Barber_paradox

https://en.wikipedia.org/wiki/Autological_word

Autological word

An autological word (also called homological word[citation needed] or autonym[citation needed]) is a word that expresses a property that it also possesses (e.g. the word "short" is short, "noun" is a noun, "English" is English, "pentasyllabic" has five syllables, "word" is a word).

The opposite is a heterological word, one that does not apply to itself (e.g. "long" is not long, "monosyllabic" has five syllables).

Unlike more general concepts of autology and self-reference, this particular distinction and opposition of "autological" and "heterological words" is uncommon in linguistics for describing linguistic phenomena or classes of words, but is current in logic and philosophy where it was introduced by Kurt Grelling and Leonard Nelson for describing a semantic paradox, later known as Grelling's paradox or the Grelling–Nelson paradox.[1]

One source of autological words is ostensive definition: the reference to a class of words by an example of the member of the class, as it were by synecdoche: such as mondegreen, oxymoron, eggcorn, bahuvrihi, etc. A word's status as autological may change over time. For example, neologism was once an autological word but no longer is; similarly, protologism (a word invented recently by literary theorist Mikhail Epstein) may or may not lose its autological status depending on whether or not it gains wider usage.

https://en.wikipedia.org/wiki/Thing-in-itself

http://www.segerman.org/autological.html

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https://en.wikipedia.org/wiki/Synecdoche

Synecdoche

A synecdoche (/sɪˈnɛkdəkiː/, sih-NEK-də-kee;[1] from Greek συνεκδοχή, synekdoche, lit. "simultaneous understanding")[2] is a figure of speech in which a term for a part of something refers to the whole of something or vice versa.[3] A synecdoche is a class of metonymy, often by means of either mentioning a part for the whole or conversely the whole for one of its parts. Examples from common English expressions include "suits" (for "businessmen"), "boots" (for "soldiers") (pars pro toto), and "America" (for "the United States of America") (totum pro parte).[4]

The use of government buildings to refer to their occupant(s) is metonymy and sometimes also synecdoche. "The Pentagon" for the United States Department of Defense can be considered synecdoche, as the building can be considered part of the department. Likewise, using "Number 10" to mean "the Office of the Prime Minister" (of the United Kingdom) is a synecdoche.

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LOGICKE ZAGONETKE

https://sr.wikipedia.org/wiki/%D0%9F%D0%B0%D0%BD%D0%B3%D1%80%D0%B0%D0%BC

https://sr.wikipedia.org/wiki/Lipogram

https://sr.wikipedia.org/wiki/%D0%97%D0%B0%D0%B4%D0%B8%D1%80%D0%BA%D0%B8%D0%B2%D0%B0%D1%87_%D0%BC%D0%BE%D0%B7%D0%B3%D0%B0

https://sr.wikipedia.org/wiki/%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%B8

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https://sr.wikipedia.org/wiki/%D0%A2%D0%B0%D0%BD%D0%B3%D1%80%D0%B0%D0%BC

Танграм

Танграм (у буквавлном преводу са кинеског значи "седам табла умећа") је загонетка дисекције, састоји се из седам равних делова који се називају тани, који се стављају заједно тако да формирају одређене облике. Циљ танграма је да се формира одређен облик (који се добије у виду контура или силуета) користећи свих седам делова који се не смеју преклапати. Верује се да је осмишљена у Кини у време Династије Сонг, и да је у Европу пренета трговачким бродовима у раном 19. веку. Тада је постала врло популарна, а затим поново у време Првог светског рата. Танграм је једна он најпопуларнијих загонетка дисекције. Кинески психолог је рекао да је танграм „најранији психолошки тест на свету“, иако је направљена за забаву а не за анализе.[1]

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[alexchiu]

As a part of my Artist in Residence Program at the @portlandchinatownmuseum, I’ve been writing descriptions of the mural work that I painted for the exhibit for an eventual catalog of the show. Here is a portrait that I painted in response to work by @samroxaschua. “Her Name is Betty” Portrait of Sam Roxas-Chua’s Mother, Betty Roxas-Chua Acrylic on Interior Drywall 8’ W X 8’H 2022 As we began to install the exhibit, Sam and I were tasked with figuring out how to lay out our work within the lobby of the museum.  Because some of my own work would be displayed next to Sam’s work, we discussed having me paint a mural in response to Sam’s work in order to create a seamless transition between my exhibit and his. I asked Sam what I should paint.  At some point in the conversation, he described one of his installation pieces with his asemic writing that hung from the roof and touched the ground.  He explained to me that after his mother had passed, he gathered his Mother’s cooking ingredients and created a golden ink that he used to paint the piece with.  After learning this I decided to paint a portrait of his mother to accompany his installation.  This would be our collaboration for the exhibit. At one point, as I was painting the portrait, Sam said out loud, “Her name is Betty.”  This inspired the title of the mural.   (at Portland Chinatown Museum) https://www.instagram.com/p/Cng4EQnrXrJ/?igshid=NGJjMDIxMWI=

[friedrichstumpfiworld]

“Old Words jumping into a New Crazy World”

[marcogiovenale]

pascal vonlanthen @ collection de l'art brut, lausanne: 14 juin - 27 octobre 2024

da una segnalazione di Sandro Ricaldone PASCAL VONLANTHEN Collection de l’Art Brut – Lausanne 14 juin – 27 octobre 2024 cur. Teresa Maranzano Fasciné par la typographie des titres et l’agencement des textes, Pascal Vonlanthen recopie à sa façon les pages de journaux, de magazines ou de dépliants publicitaires. Ne maîtrisant pas la lecture, il s’approprie les codes d’un langage qu’il n’est pas en…

[blnxpc]

【ご報告】

『C.U.P.同盟展』(於コンチネンタル写真事務所)は、10月17日を以て終了しました。写真や詩、文字等をコラージュによって組み合わせる実験的な試みでしたが、思いの外良い反応を頂けて大変嬉しかったです。お越しくださった皆様、誠にありがとうございました！

いけたにいさむ（写真家）

澤村貴弘（詩人・コラージュ作家）

素潜り旬(詩人)

[jenner-benjamin]

Fantasy Exhibition

‘Inchkeith 2221 exhibition mock-up’ - digital concept art by Damián Portela.                       

Inchkeith 2221 ‘As the alphabet is surpassed, thought will liberate itself from speech, and other, nonlinguistic thought (mathematical and pictorial, and presumably new ones as well) will expand in ways we cannot yet anticipate.’ (Flusser 63)

The coronavirus outbreak of 2020 was just the tip of the iceberg. After a succession of pandemics and consequent recessions the world began to rethink its methods of making money, and capitalism soared to dizzying heights. People were urged to place less emphasis on recreational activities in favour of using their time productively. This concept when coupled with new technologies meant that handwriting became obsolete. The human race became so dependant on everything being immediate that it was decided long ago that to write by hand was a waste of both time and resources, both of which cost money. As a result, all communication in 2221 is conducted by thought and transmitted digitally. Artefacts, artworks, books, manuscripts and documents have been digitised. The information exists, just not in the physical sense. Objects require space, and space can be used more profitably for housing and businesses and suchlike.

My proposal has been accepted to exhibit at the World Record of Inscriptions, Transcriptions and Expressions (W.R.I.T.E.) and aims to re-introduce the reality of the written mark to the people of 2221.   

The work that I will present will be divided in to two acts in separate rooms. Act One will be an exhibition of the body of work I have made during my third year of study. This celebration of the performance of asemic writing has been a record of my thoughts and feelings throughout the pandemic, and so is an appropriate subject matter for a future world that has been so shaped by the aftermath of a string of pandemics. I have allowed these works to be digitised so that they are in keeping with what the people of 2221 would expect from an exhibition space in this time.

Act One takes place in a vast open expanse of white walls that exude a clinical coldness. This is typical of the architecture of this era - minimal distractions from the lack of decor and no furnishing meaning that every space is multi-functional and able to maximise profitability. There are a series of podiums on the floor that light up from above, hologram recordings of my performance writings are displayed here. The works on paper are projected away from the edges of the room, in such a way that the audience can walk around them. It is important in 2221 to obtain as much information as quickly as possible, and as such, mounting a work on the wall would leave questions as to what is on the reverse, and having questions means looking for answers, and this requires time, which as we know, time is money. 

The handwritten mark is a foreign concept in this era, and so I would hope that the intrigue of my performances and artworks would peak the curiosity of the audience. They will be invited in to a second room where Act Two will take place. Act Two takes its inspiration from the ideas of James IV of Scotland’s language experiment on the island of Inchkeith. He was curious to discover what verbal language two infant children might speak if they grew up isolated from the influence of society. I too am curious to learn what the handwritten language of the population of 2221 might look like considering they have not had the opportunity to explore this tactile mode of communication before.

Act Two is also influenced by the handwriting teaching methods of Martin Andersch, and offers a range of physical drawing implements to be interacted with and explored. I propose a collaborative and interactive experience that obscures the distinction between artist and spectator. How might someone even hold a drawing or writing instrument if they have never seen one in the physical sense before? The population are taught from a young age how to recognise letterforms and how to transmit these communications through various advanced technologies, but they are never given a pen to hold. They are not taught how to perform these glyphs on the page as we are today, as this is not deemed an efficient use of time. I should make it clear that these notions are not laws, but are attitudes that have been adopted and developed over time. That is not to say that these works will be welcomed with open arms, they might appear rather primitive against their progressive modes of communication. I would encourage all attendees to approach the activity with an open mind and the works made would be displayed as a tangible record of these receptive happenings.

On my return to 2021 I will document the development of these works into publications that will become not only a concluding creative output, but also a memento of the importance of the gesture of handwriting - expressing our personality and individuality. This exhibition will serve as a reminder to slow down, not race towards unachievable ideas of being productive at every waking moment, not to place so much importance on existing in a digital space, and to enjoy all the benefits that come from being physically present.

[jrmilazzo]

<< Imaginary languages — or, more precisely, the representations of such languages — created by artists are, to use one of the catalogue’s buzzwords, “asemic”; they neither possess nor convey any semantic value. They might appear to be made up of “letters” or character strokes, “words,” and “sentences,” but whatever visible forms they might take, they are inherently without meaning, except, perhaps, to their makers.

Indeed, by e-mail, Lombardi observed, “Some of these artists invented imaginary languages and alphabets made up of signs and symbols that are unknown to us; however, they do have a sense or a meaning for their creators.”

Although, she noted, “a certain mystery and strangeness” characterizes these artists’ works, she feels that their imaginary languages are marked by “their own logic” and therefore sometimes appear to be “based on a system that renders them legible” — readable, that is, in ways that demand some imaginative thinking from viewers. >>

[feeleash]

1. Rash / 2. Witches Brew / 3. Buzzards / 4. A Boy And His Mountain Lion / 5. Dreams In Mid-flight / 6. Learning To Die A selection of my works was included in @phoenixathens_gallery online show called Art Instead. You can find more about this project here: https://www.phoenixathens.org/art-instead #feeleash #abstractart #surrealism #artinstead #covidart #gallery #art #2020年 #asemic #artist #exhibition #rash #witchesbrew #buzzards #aboyandhislion #dreamsinmidflight #learningtodie #emergingartist #polish #greek #iamwhatyourenot #isolation #creative #soul (at Athens, Greece) https://www.instagram.com/p/CAVA_9DA7id/?igshid=1txd4dqc8pezz