#asemicism

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Fraymmatogatech Navigation to the Ojireekata Obelisk within Atlantis

Fraymmatogatech Navigation to the Ojireekata Obelisk within Atlantis

These are the masks I used to create today’s comic, which was made with the font “Asemicism” designed by Tony Burhouse/Gene Mutation.

6EQUJ5

[art-now-italy]

Nero, Federico Federici

Size: 29.7 H x 21.1 W x 0.1 cm 15 cm x 21 cm Concrete poetry, asemic writing and fragmented alphabets point to a gradual weakening of the correlation between sign and meaning or, within the language of Biology, to contradict the «form follows function» statement. Peso: 0.23 Drawing: Ink, Black & White and Paper on Paper. Per la spedizione scegliere box (automaticamente metterà cardboard) Excerpt from the series: "Pieces for a winter concert". Listening to Giacinto Scelsi's "UAXUCTUM". Further details here: https://leserpent.wordpress.com/category/asemic-and-concrete-poetry/ john cage, arvo part, morton feldman, giacinto scelsi, spectral music, pattern, asemic, concrete poetry, poem brut, minimal, black and white, oil on rough paper Asemic writing points to a gradual weakening of the correlation between sign and meaning or, within the language of Biology, to contradict the «form follows function» statement. Any textual hermeneutics based on an archaeological approach (restoration of a minimun set of alphabet signs from fragmented subsets, recovery of the original syntax from noisy comunication channels etc.) would hopelessly fail. Keywords: lines, city map, references, asemic, intersection, Die Asemischen Städte olivetti studio 46, concrete poetry, asemic, ink, collage, dada, pattern, typography Asemic texts seem to constantly rely on the reader's canny clairvoyance to disclose their meaning, not to leave him standing before the melancholic contemplation of its loss. For this reason, they may appear as a radical, conceptual research into the nature of language, which intentionally drops the contents of experience and hides behind the mimicry of well known languages, institutionalizing text falsification. While writing is always the starting point, asemic writers express themselves on the edge between pure literature and visual art, often insisting on the original, innate characters of handwriting, rather than on traditionally text-based works: every dot, every stain or even every single digital bit in an image is as real as a consonant or a vowel. They often behave like smugglers, creeping along the guarded frontier of meaning, with their bags crammed with somewhat secret or confidential schemes, scripts, preparatory notes or sketchbooks. There may no longer be codes to draw signs from: language restlessly reinvents itself in the common forge of form and meaning. Since the writer gives up his status of deus ex machina, the reader/viewer loses a steady point of comparison. As before a paper of jurisprudence, where «La place que le mot y occupe est une place nette. L'ambiguité du Droit tient sans doute à l'interprétation du texte; à l'esprit et non à la lettre»,[1] the power of imagination must again be set free to interpret the text not barely as a dumb archive of recovered artefacts, even more so when all conventions are cancelled out. With these premises, some have started questioning themselves about whether asemic practices may be associated with a ground state of writing, a sort of language zero-point, where all meaning ceases and words come to rest, blurred within a fairly random net of signs. Shouldn't we instead rephrase Heisenberg uncertainty principle and state that, though classical texts can always be brought to full meaninglessness, the same does not work for asemic ones, which always tend to exhibit a zero-point meaning? When all textual conventions are so stripped down that the whole page consists of either subtly scattered/stacked text-based elements, or of a mere repertory of independent fragments, the whole meaning gets absorbed into the intrinsic void of deconstruction. Early and late experimental writings have often tried to work around this problem by loading the language with overly conceptual aspects, resulting in necessarily unfulfilled expectations: «[...] it is very difficult to modify our language [...], for words can only describe things of which we can form mental pictures, and this ability, too, is a result of daily experience. [...]; for visualisation, however, we must content ourselves with [...] incomplete analogies [...]».[2] In asemic scripts, on the contrary, signs and meanings have been superseded by the pure notion of asemicism, wherein the writing itself becomes a delay in meaning. After all, the unification of the concepts of space and time almost one century ago has not been integrated within classical physics by means of slight adjustments: it has reframed physics all the way through. Under this perspective, asemic writing can be addressed as the culminating act which has torn down the ultimate barrier, potentially returning traditional writing to its flawless meaningfulness. -------------- FOOTNOTES ----------------- [1] Broodthaers, Marcel: Art poétique in Broodthaers, (ed. B. H. D. Buchloh), Cambridge 1987, p. 16. [2] Heisenberg, Werner, The Physical Principles of the Quantum Theory, transl. Eng. C. Eckhart, F. C. Hoyt, Chicago 1930, p. 10. -------------- ARCHVES ----------------- https://leserpent.wordpress.com/category/asemic-and-concrete-poetry/

https://www.saatchiart.com/art/Drawing-Nero/297527/4454605/view

[disposableeverything-blog]

Truly revolutionary music is not music which expresses the revolution in words, but which speaks of it as a lack.

Jacques Attali, Noise: The Political Economy of Music

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This could be your name, no. 187

Lin Tarczynski

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Ortsetong Lin Tarczynski, with Asemicism, a font by Tony Burhouse 2018

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Exteriority can only disappear in composition, in which the musician plays primarily for himself, outside any operationality, spectacle or accumulation of value; when music, extricating itself from the codes of sacrifice, representation and repetition, emerges as an activity that is an end in itself, that creates its own code at these same time as the work.

Jacques Attali, Noise: The Political Economy of Music

[disposableeverything-blog]

Power, according to this model, is a productive force rather than a merely restrictive one. It creates meanings, identities and truths, rather than merely masking or distorting them as most models of power tend to suggest

Discographies: Dance, Music, Culture and the Politics of Sound by Ewan Pearson

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Musics whose primary purpose is to move our bodies via the materiality of the bass, which often do not offer linguistic meanings, would seem to epitomize everything that philosophical tradition dislikes and distrusts about music.

Discographies: Dance, Music, Culture and the Politics of Sound by Ewan Pearson

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as well as having meanings, music can be thought of as producing affects, which cannot be explained in terms of meaning. In other words, music can affect us in ways that are not dependent on us understanding something, or manipulating verbal concepts, or being able to represent accurately those experiences through language.

Discographies: Dance, Music, Culture and the Politics of Sound by Ewan Pearson

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What is it that makes house, techno and their variants so specific and unique? Perhaps the most obvious answer is that these forms stand out in the history of recorded 'popular' music in that they eschew verbal meaning. Most house and techno tracks have no lyrics. Vocal samples are used as pieces of sound rather than as meaningful phrases. The fact that dance music is a new form of popular instrumental music is what makes it so striking: it is a music which is not based on songs.

Discographies: Dance, Music, Culture and the Politics of Sound by Ewan Pearson