Transcripts from demagnetized tapes - Vol. 1
Federico Federici2021, LN
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Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement. Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic. Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures. Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc. The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied. The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across). Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings. Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work. The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities. - De Villo Sloan
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Writing about his incentives for publishing the experimental mimeo magazine 0 to 9 (which he co-edited with Bernadette Mayer from 1967-1969), Vito Acconci wrote, ‘[A] poem was already too much like a painting (most poems could be seen at a glance, on a single page) – we wanted to move, from number to number, from word to word, from line to line, from page to page.’ In this paper I will examine how the materiality of serialized source texts were used in the early works of Acconci, who is today recognized primarily as a conceptual artist but who identified as a poet in the earlier part of his career. I will first briefly look at his works ‘Sequence: White Pages’ and ‘Contacts/Contexts (Frame of Reference)’, in which Acconci ‘wrote over’ excerpts of a phone book and thesaurus respectively. I will then focus on the poem ‘ON (a magazine version of a section of a long prose)’, which appeared in the third issue of 0 to 9 and which used the other works in the issue as raw material. I will suggest that Acconci used the phone book, thesaurus, and magazine as performance sites for his poetry by playing upon their convention as reference texts/images/objects whose institutional authority (and/or apparent banality) rests both on their materiality and the logic of serialization. By repetitively extracting from the source materials which are visible to the reader, Acconci’s particular methodology of looking and appropriating are also made apparent. What results, I will argue, are works which challenge the neutrality of the mass-produced pages as well as invite the reader/viewer to engage in infinite play with them. I will conclude the paper by comparing Acconci’s poetic strategies to those of the contemporary visual artist Alison Turnbull.
Concrete Constructions: Assembling a Postwar Poetics
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This essay focuses on the manifestos and theoretical works of Concrete poets—primarily the German-language poets Max Bense and Eugen Gomringer, as well as the Noigandres group—examining their engagement with discourses of postwar modernity, including internationalism, design, and communication and information theory. While the movement’s programmatic texts at times proved unpersuasive or inconsistent, they nonetheless demonstrated a readiness or even eagerness to cross boundaries—both national and disciplinary—and to seek inspiration from scientific and technical fields in an attempt to articulate a new poetics suited to the modern age. Rather than see the movement’s manifestos and theoretical statements as hubristic promises that its poetry could never keep, this essay proposes that we see the poems and the programmatic texts as two parts of the same project, which claimed a place for poetry in a technologically saturated age.
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FEDERICO FEDERICI
TRANSCRIPTS FROM DEMAGNETIZED TAPES
LN
libri della neve
Transcripts from demagnetized tapes
All rights reserved
© Federico Federici 2021
ISBN 9798688757347
http://federicofederici.net
http://leserpent.wordpress.com
libri della neve
PRINTED ON EARTH
ASEMIC-CONCRETE TEXT HYBRIDS
Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.
Federico Federici is one of the master practitioners of this interesting sub-genre. (He
is also contributing to my long-held theory of Neo-Concretism.) That contemporary
asemic writers and artists should benefit from the triumphs of the “Golden Age” of
concrete poetry is, after all, an indication of healthy cultural evolution: a balance of
tradition and the iconoclastic.
Working in the context of concrete poetry, Federico Federici uses type-overs (as well
as some calligraphy) to generate asemic symbols and structures. I believe this is one of
the most promising possibilities for the use of concrete poetry in the asemic realm: The
generation of symbols and structures.
Federici also interjects words – mostly nouns – to allow for some degree of “reading”
and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,”
“stone,” etc. The work can be read, but not strictly in a conventional sense. For instance,
traditional syntax is lacking yet the sign-system is intact for individual words. Poetically,
the work presents a severely fractured pastoral lyric that is neither highly Romanticized
nor parodied.
The typewritten structure suggests linearity; however, I believe the piece requires a
“depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is
directed to look into and through the dense layering (not across).
Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field
of accumulated meanings. Meanings can be distorted, obscured or disrupted by others.
Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and
layers of possibility. The play of these layers of meaning, in turn, creates new meanings.
Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete
poetry obscures the randomness and creates a deconstructive tension in the work.
The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.
De Villo Sloan
11 kein genaues wort datum
12 lapses and latencies
14 AKT 98-56
22 woods etc.
26
26 in herzens mitte
32 œil n.1
35 to begin a poem with
37 gewicht-gedicht
44 hier suchst du das wort im wort
45 feuer
62 why most words are hidden
63 notes about a found texturee
66 die welt, das licht liegen im kampf
67 first line of dark
68 lapses
69 interfering landscapes
70 ensamheten
75 denken mit zeichner
84 lautgedicht n.1
86 lautgedicht n.3
DING AN SICH
This work invites the reader/onlooker to depict the whole body as a diffused neuro-semiotic net, wherein
synapses, cells and other attractors intertwine.
Ears, eyes and skin (Ohr/Ohr, Augen, écran) restlessly collect stimuli from an ultimately unknowable, maybe
subliminal substrate (Ding an sich) to be later on mapped into language.
In the same way as artificial fuzzy systems or neural networks essentially consist of adjustable mathematical
models, the original states of biological machines are keen on being informed.
Since the speed of learning can hardly keep up with the fluidity of perception, world may become a resonation of word, and word that of wood(s) and so forth. Reality exhibits a certain bias for meaning and conceptualizing beyond likely errors. The thick barrage of signs at the verbivisual surface of the page is a caveat
against anchoring signification, as if an excess of information had definitively come into play.
The intrinsic instability of textual matter begins at the ground-state of words. The mechanism of adding or
dropping letters reminds that of the charging/uncharging of particles by contact and proves that meaning
always exerts a certain pressure.
In addition to that, doping a writing by means of another writing introduces new allowed meaningfulness
states within the sense gap, quite close to the full semantic band of the dopant text. To put it another way,
text donor impurities create states near the signifier band, while text acceptor impurities create states near
the signified band. The gap between these meaningfulness states and the nearest accessible meaningful
band is rather small and may be referred to as asemic gap.
Federico Federici
88 ding an sich
92 Tiresias’ gate
97 canto CXVII
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text surface scanning, ink, Olivetti Studio 46 on paper, 210×297 mm, 2017
concrete disassembled poem n.1, ink, Olivetti Studio 46 on paper, 210×297 mm, 2017
concrete disassembled poem n.2, ink, Olivetti Studio 46 on paper, 210×297 mm, 2017
concrete disassembled poem n.3, ink, Olivetti Studio 46 on paper, 210×297 mm, 2017
kein genaues wort datum, ink pen, charcoal, Olivetti Studio 46 on paper, 210×297 mm, 2018
lapses and latencies, Olivetti Studio 46 on paper, 210×297 mm, 2017
wet poem, ink, Olivetti Studio 46 on paper, 210×297 mm, 2017
AKT 98-56, watercolor, glue, dust, Olivetti Studio 46 on paper, 210×297 mm, 2017
transkript 27a, watercolor, glue, fire, ink brush, Olivetti Studio 46 on paper, approx. 145×207 mm, 2018
requiem fragment, watercolor, fire, glue, dust, Olivetti Studio 46 on paper, 210×297 mm, 2017
schneestreifen, watercolor, fire, glue, concrete, Olivetti Studio 46 on paper, approx. 147×205 mm, 2019
sampling of a requiem, ink, glue, chalk, fire, Olivetti Studio 46 on paper, approx. 190×260 mm, 2017
conversation through an optical fiber, watercolor, collage, Olivetti Studio 46 on paper, 210×297 mm, 2018
midsummer dusk map, ink pen, rubber stamps, Olivetti Studio 46 on paper, approx. 80×135 mm, 2018
landscape with lacking data, charcoal, Olivetti Studio 46 on paper, 297×210 mm, 2018
woods etc. (homage to Alice Oswald), Olivetti Studio 46 on paper, 210×297 mm, 2017
parable brut, Olivetti Studio 46 on paper, 210×297 mm, 2018
sound landscape on an early spring day, ink pen, blue pencil, Olivetti Studio 46 on paper, 210×297 mm, 2018
noise of a crumbling poem, ink, Olivetti Studio 46 on paper, 210×297 mm, 2018
in herzens mitte, ink, Olivetti Studio 46 on paper, 210×297 mm, 2018
winter ‘45, ink pen, glue, Olivetti Studio 46 on cardboard, 160×205 mm, 2019
until next winter, watercolor, inkpen, Olivetti Studio 46 on cardboard, approx. 145×145 mm, 2019
ich bin dein vater, charcoal, Olivetti Studio 46 on paper, 210×297 mm, 2018
nach S. Freud, ink pen, Olivetti Studio 46 on paper, approx. 110×135 mm, 2017
ich, sandpaper, glue, Olivetti Studio 46 on paper, 148×210 mm, 2019
œil n.1, Olivetti Studio 46 on paper, 148×210 mm, 2020
œil n.2, ink brush, Olivetti Studio 46 on paper, 148×210 mm, 2020
wie es sich ausschweigt, pencil, Olivetti Studio 46 on paper, 148×210 mm, 2020
to begin a poem with, ink pen, sandpaper, Olivetti Studio 46 on paper, 148×210 mm, 2019
rhymes for a prepared poem, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
gewicht-gedicht, Olivetti Studio 46 on paper, 148×210 mm, 2019
ordgranser, glue, sandpaper, Olivetti Studio 46 on paper, 148×210 mm, 2019
vorm wort, ink pen, glue, sandpaper, Olivetti Studio 46 on paper, 148×210 mm, 2019
histing the reader’s attention, Olivetti Studio 46 on paper, 148×210 mm, 2019
the kinetics of text, charcoal, Olivetti Studio 46 on paper, 148×210 mm, 2019
reading between the lines, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
alles schwebt im wort, ink, Olivetti Studio 46 on paper, 148×210 mm, 2019
hier suchst du das wort im wort, ink pen, toner, Olivetti Studio 46 on paper, approx. 120×115 mm, 2019
feuer, fire, glue, Olivetti Studio 46 on paper, 148×210 mm, 2019
ett ord, fire, glue, ink pen, Olivetti Studio 46 on paper, 170×55 mm, 2018
mir, ink brush, Olivetti Studio 46 on paper, 148×210 mm, 2019
about the horizon, ink pen, fire, Olivetti Studio 46 on paper, 297×210 mm, 2017
nero, ink pen, ink, glue, transparent paper, Olivetti Studio 46 on paper, approx. 110×115 mm, 2018
missed poem, ink pen, ink, watercolor, Olivetti Studio 46 on paper, 210×297 mm, 2017
drowned poem, ink bush, ink pen, watercolor, Olivetti Studio 46 on paper, 210×297 mm, 2018
obscured by alphabets n.1, ink bush, toner on paper, 297×210 mm, 2017
obscured by alphabets n.2, ink pen, toner on paper, 210×297 mm, 2017
alphabet variations, ink, ink pen, rubber stamps, 210×297 mm, 2018
alphabetical fluctuations, ink pen, Olivetti Studio 46, 210×297 mm, 2017
how to dismantle the alphabet to be found, ink pen, ink brush, sanguine, rubber stamps, 210×297 mm, 2018
synapse und symbol, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
in this rose’s other death, charcoal, ink pen, rubber stamps, Olivetti Studio 46 on paper, 210×297 mm, 2018
waste poem, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2017
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how does a conversation begin?, ink, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
why most words are hidden, ink pen, pencil, sandpaper, glue, Olivetti Studio 46 on paper, 148×210 mm, 2018
notes about a found texture, ink pen, ink, Olivetti Studio 46 on paper, 210×297 mm, 2018
erdgedächtnis, ink pen, charcoal, Olivetti Studio 46 on paper, 210×297 mm, 2018
except statements, ink, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
die welt, das licht liegen im kampf, charcoal, ink pen, toner, Olivetti Studio 46 on paper, 210×297 mm, 2018
first line of dark, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
lapses, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
interfering landscapes, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
ensamheten, ink, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
something axiomatic, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2018
black language manifold, ink, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
das gleichgewicht der welt, ink, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
how to work around a paradigm, ink, ink pen, glue, wood chips, rubber stamps on paper, 148×210 mm, 2019
denken mit zeichner, ink, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
notes while listening to the alphabet, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
notizen auf dem weg durch die stadt, ink, ink pen, glue, Olivetti Studio 46 on paper, 148×210 mm, 2019
lines for a prepared poem, ink brush, ink pen, Olivetti Studio 46 on paper, 210×148 mm, 2019
this text: blank, pencil, ink brush, ink pen, Olivetti Studio 46 on paper, 210×297 mm, 2019
im mund der welt, oil, ink, pencil, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
wort der psyche, charcoal, ink, ink pen, Olivetti Studio 46 on black cardboard, 130×140 mm, 2019
poem of nature, ink pen, glue, Olivetti Studio 46 on paper, 148×210 mm, 2019
wind workbook, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
lutgedicht n.1, pencil, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
lutgedicht n.2, ink pen, ink brush, Olivetti Studio 46 on paper, 148×210 mm, 2019
lutgedicht n.3, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
war es form?, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
ding an sich, charcoal, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
next to the next person’s breathing, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2020
the room at the centre of, ink pen, glue, Olivetti Studio 46 on paper, 148×210 mm, 2020
Tiresias’ gate, ink pen, crayon, glue, Olivetti Studio 46 on paper, 148×210 mm, 2020
vor einem wort, ink, ink pen, glue, Olivetti Studio 46 on canvas, approx. 130×185 mm, 2020
whole, charcoal, pencil, ink pen, Olivetti Studio 46 on Olivetti paper, 130×185 mm, 2020
continuum, ink, ink pen, pencil, Olivetti Studio 46 on paper and transparent paper, 148×210 mm, 2018
es gilt auch für tiere, ink brush, ink pen, glue, Olivetti Studio 46 on cardboard, approx. 120×225 mm, 2018
canto CXVII, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2020
short essay about concrete poetry, ink pen, sandpaper, glue, Olivetti Studio 46 on paper, 148×210 mm, 2020
nicht ohne grund, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
es gehet aufs ende zu, ink pen, Olivetti Studio 46 on paper, 148×210 mm, 2019
~
Excerpts have appeared in: (electronic) «3:AM Magazine», «Abstract Magazine», «A-Minor», «AOM», «Asemic Front»,
«Asemics Magazine», «Brave New Word», «Diagram», «Ex-Ex-Lit», «Freshwater Review», «Gasher», «Internet Void»,
«The Journal», «Koan – The Paragon Press», «Letters Journal», «Memoir Magazine», «The New Post-Literate», «NiedernGasse», «nokturno.fi», «The Operating System», «Otoliths», «Raw Art Review», «Riggwelter», «Roanoke Review», «The
Scriblerus», «Stadtsprachen Magazin», «Utsanga», «Watershed Review», «Zetaesse», «Zoomoozophone»; (print) «Art in
America», «Digressioni», «Europoe», «Jelly Bucket», «Havik», «Maintenant – Journal of contemporary dada writing and
art», «Meat for tea», «Metonym Journal», «New Plains Review», «Obra/Artifact», «Ós Pressan», «Perspektive», «Sand»,
«Sheepshead Review», «The Shanghai Literary Review», «Stoneboat», «Stonecoast Review», «Tiny Spoon», «ToCall»,
«Tule Review», «Tuli & Savu», «Unknown Quantities», «Welter».
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Related topics
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