Asemic Writing

The work of Japanese novelist Kenji Siratori poses the reader with a contentious question: at what point does literary experimentalism transcend the circumference of literacy? Siratori’s Blood Electric (2002), evokes “the coming to consciousness of an artificial intelligence” via “a devastating loop of language” (Blood Electric book jacket). Indeed, Blood Electric, is a conflation of computer code with anatomical, medical, and technological language. So, Siratori’s fiction is generically cyberpunk; yet, extreme in both form and content. Siratori’s writing evokes Joyce’s Finnegans Wake and the cut-up experiments of William S. Burroughs thus placing Siratori along an experimental trajectory. However, while the work of Joyce is semantically fecund and Burroughs wishes to reveal the underlying conspiracy of language, Siratori moves away from reconceptualizing meaning towards a disorienting, often violent, affect. The emotional experience of “reading” Blood Electric demonstrates literary meaninglessness as an analogue to the consumer’s relationship with information technology. Blood Electric considers the biases of information technology in an analogous manner that Joyce and Burroughs ask about the biases of language. Here, agency and literacy are conflated in an intense way: if we are unable to acknowledge the biases of information technology, we are incapable of possessing agency in late-capitalism. American media theorist Douglas Rushkoff recently suggested that “Facebook is set up to make us think of ourselves in terms of our ‘likes’ and an iPad is set up to make us start paying for media and stop producing it ourselves.” Amidst all the garbled nonsense of Blood Electric, Siratori’s metaphor is as lucid as it is timely: the anxiety of reading asemic cyberpunk is analogous to the consumer’s illiteracy regarding programming and information technology. As literary experimentation is pushed to absolute limits, new languages of code and programming suggest the dawn of new arts.

The Four Fundamental Concepts of Psycho-analysis: A Selection is a typographical artwork inspired by appropriation art, conceptual writing, and visual poetry. In its complete form as a 142-page printed book, the project operates as a “selection” of Jacques Lacan’s classic text (first published in English in 1977) in at least two senses: first, as an editorial selection of approximately half the lectures included in the original volume; second, as a graphical erasure of approximately half the ink used in the original publication of the selected sections, a result achieved by typesetting the volume in a font variation (designed by the artist) which renders visible only part of each printed letter. Thus the scope of the project spans, on one end, the editorial and visual reproduction of Hogarth’s original publication of Lacan’s text and, on the other, the development of the “Manque” font variation, which could be applied to any text.

The project’s methods draw inspiration from several sources. Its use of appropriation and material reproduction is inspired by the work of appropriation artists such as Richard Prince, especially his reproduction of Random House’s first edition of The Catcher in the Rye. Conceptual writing’s focus on the materiality of text, the labour of reproduction, and radical mimesis provides additional context for these techniques. Meanwhile, the design of the “Manque” font variation draws inspiration from the processes of erasure poetry as well as the visual styles of asemic writing and non-Latin scripts.

Lacan’s The Four Fundamental Concepts of Psych-analysis emerged as an ideal source text for the project for a variety of reasons; in many ways, in fact, the text seemed to suggest the parameters of the project of its own volition. Superficially, the project mimics the format of Bruce Fink’s first translation of Lacan’s Écrits (also the first work of Lacan’s to be published in English), which included only a selection of Lacan’s original essays and was subtitled as such. The publication history of The Four Fundamental Concepts of Psycho-analysis also offers an excellent case study of the problems of reproduction and translation explored by A Selection. Originally presented by Lacan as an oral seminar, the lectures that constitute The Four Fundamental Concepts were first collected as a printed text (and given their popular title, which was not Lacan’s) under the editorship of Jacques-Alain Miller, who has since been accused of distorting Lacan’s voice and thought. As Alan Sheridan’s translation of the French text puts the 1977 Hogarth publication at yet another level of remove from its supposed origins, the book’s appearance in English carries with it a deep suspicion of the status and value of these origins even before its reproduction in A Selection. That Lacan is often considered fundamental to the line of postmodern thinking obsessed with this suspicion is perhaps no coincidence. Finally, the thematic structure of Lacan’s seminar provided a ripe target for editorial re-imagining: by “selecting” approximately the first half of the book for republication, A Selection redesigns Lacan’s seminar to culminate with his discussions of the image and the gaze, foregrounding his most direct commentaries on the visual effects of the “Manque” font variation. In a sense, the project attempts to prove the relevance of Lacan’s comments on mimicry (as presented on page 99 of the text, the only page rendered in regular type in A Selection) to the relationship between textuality and visuality: concerning the limit beyond which a script ceases to signify and becomes no more than a picture, “It is not a question of harmonizing with the background but, against a mottled background, of becoming mottled—exactly like the technique of camouflage practised in human warfare.”

The name of the font variation “Manque” references Lacan’s famous manque-à-être, a neologism derived from the French word for “to miss” or “to lack” but rendered in English as "want-to-be" by Lacan himself. Alongside its application of manque-à-être to the field of the letter (itself an important agent within the unconscious, according to Lacan’s well-known essay), “Manque” thus also incorporates the problems and history of translating Lacan’s thought into its very identity.

In this article, I present a framework for the analysis of postlinguistic visual poetry through a discussion of several works by Canadian poets derek beaulieu and Donato Mancini. This poetry eschews words to manipulate parts or hints of letters, exploring the minutiae of typewritten form for meaning construction. Drawing on recent work in cognitive science, I show how visual poems disrupt common understandings of language through its materiality, how the creators engage in improvisations around these under- standings to develop the unexpected, and how the poetic artifacts prompt dynamic inferences and improvised understandings in readers. Meaningful understandings of the poems emerge especially from the development of relational understandings between fragments of letters through the perception of fictive motion and fictive change. I show how cognitive improvisation facilitates these perceptions and meaning construction in the contrastive styles of beaulieu’s and Mancini’s poems. I argue that improvisational cognitive processes on the part of both the writers and readers play a crucial role in how postlinguistic forms come to be meaningful within the context of bibliographic and material expectations.

In this text I wish to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds, which are known as the metaverse. I am particularly focused upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose which takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of readability. In such environments readability, or indeed even legibility, may often be displaced through the usage of text and typography as a playful device, as artifacts which may manifest in puzzle-like configurations, or as visual structures the contents of which are meant to be understood through means other than straightforward reading; thus bringing about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the spaces which are brought about through their very agency. I also wish to expand upon this subject by talking about my own experiments with this material and will conclude by positing that further virtual dimensions can be instrumental in eliciting exciting alternative usages of text and typography which bring to the fore the allographic properties of text as an artistic/creative expressive media that may well bear further scrutiny and exploration.

Since the beginning of the 20th century, all over the world, several authors not associated by common paradigms, started to explore new forms of language which are nowadays referred to as " asemic writing ". As of the '20s, for example, Henri Michaux (Alphabet, Narration, 1927), one of the milestones of asemic writing, started to experiment surrealism models which he will never abandon for the rest of his career. 2. For a thorough understanding of asemic writing, we need to move from its underlying concepts and meanings. The general definition of " asemic writing " can be derived from the Greek word " a – sema " (asemic), which rather expresses the absence of the sign than the absence of the meaning, a sort of " open " semantic writing without words. However, this is an ambiguous definition, as it misleads the real sense of this a-semantic frame. Hence, it is important to focus, not much on the etymology of the term itself, rather on its profound concept, which results in the impossibility of decoding the sign and its meaning. The asemantic discourse proposes experiences linked to the graphic representation of forms which recall the language signs, however it do does not leave room for semantic interpretation, also because of the absence of syntax and phonetic structures.

Visual Poetry: Key Historic Figures from Flanders in an International Context

This paper compares historiographic and object-related definitions of visual and concrete poetry. An integrated definition is proposed, situating visual poetry in a semiosphere between fine arts, music and literature where verbal and non-verbal elements form a spatial-semiotic unity. Each element is a bearer and a signifier of meaning on its own, and in combination with the others. The work can only be reproduced via multimedia techniques, while an oral performance will never be its true representation. Finally, the materials, techniques and methods used provide the possibility to date the work and to recognize or identify its maker. This definition is then deconstructed and its separate elements are studied in detail. Methods from literature, art and communication sciences, and experimental/Gestalt psychology are combined in a new toolbox and research methodology, which are then used to analyse five visual poems from different generations from the beginning of the twentieth century till now.

Key words: visual poetry, concrete poetry, semiotics, poesia visiva, vispo, asemic writing, glitch art, poetry, fine arts, music, oral tradition, noise, sound, experimental poetry, avant-garde, Paul van Ostaijen, Paul de Vree, Renaat Ramon, Luc Fierens, Helen White

One of the last interests of Roland Barthes was what he called illegible writings. This article aims to analyze the perspective on writing of the French thinker in the 1970s, seeking to justify a brief reflection about some writers-artists dedicated to illegible handwriting gestures: Mirtha Dermisache, Mira Schendel, Irma Blank, Dadamaino and Nina Papaconstantinou.

Um dos últimos interesses de Roland Barthes foi o que ele mesmo chamou de escritas ilegíveis. Este artigo se propõe a analisar a concepção de escrita do pensador francês na década de 1970, buscando fundamentar uma breve reflexão acerca de algumas escritoras-artistas dedicadas a formas ilegíveis de escrita: Mirtha Dermisache, Mira Schendel, Irma Blank, Dadamaino e Nina Papaconstantinou.

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This document on the British Library MS 73525 f.7r "asemic writing hoax" is a bit of a mess, perhaps, but I see there's a table of contents, so that might guide you through it.  You can search each Table of Contents entry in Advanced Search or Find to get to it right away (no hypertext).

I tried several things with it, and concluded based on my and others' work, that it's an "asemic writing hoax".  The frequency of symbol-sequence re-occurence matches my experience of asemic writing more than it does natural languages (or made-up languages).

A review about a special issue about the Lettrist movement, dated 1971.

Présentation d'un ouvrage illustré sur le mouvement lettriste publié par George Fall, un éditeur intéressé par les mouvements artistiques surréalistes et d'avant-garde.

A response to The Last Vispo Anthology, examining up close a select number of works (by Spencer Selby, Fernando Aguiar, Satu Kaikkonen, Oded Ezer and Jim Andrews). This review closes with some thoughts on 2 French anthologies and questions regarding the nature and definition(s) of visual poetry tody.

The "Beyond the Standard Model" project addresses the intrinsic non-linearity of asemic writing from two perspectives: on the one hand the creation of new original computer-aided artworks, on the other hand the first attempt to define fractal analysis routines to explore and account for topological structures in place of the familiar language syntax within single texts or cluster of texts. This new blend of Mathematics with writing triggers an entirely new concept of book, one which is not written but coded, living and dynamic.

Asemic writing. Contributi teorici, a cura di Francesco Aprile e Cristiano Caggiula, “Studi e scritture di Poesia Visiva Sperimentale”, n. 1, Ivrea, Archimuseo Adriano Accattino, 2018, edizione fuori commercio.
Nato dal dibattito attorno all’asemic writing avviato dalla rivista «Utsanga.it» nel mese di giugno 2015, il volume, prima pubblicazione della collana “Studi e scritture di Poesia Visiva Sperimentale” dell’Archimuseo Adriano Accattino, raccoglie voci autorali impegnate negli ambiti delle scritture asemantiche e delle ricerche verbovisive in genere, strutturando una riflessione storica e teorica attorno ad un fenomeno di larga diffusione che oggi rivive, grazie anche all’apporto del web, momenti felici dopo le sperimentazioni a largo raggio che avevano già avuto modo di proliferare nei circuiti della verbovisualità fra gli anni Sessanta e Settanta, oltre ad un ritorno di forte circolazione e teorizzazione nel decennio dei Novanta.

L’esperienza della rimozione caratterizza l’esigenza della scrittura la quale si esprime, articolandovisi, sulle radici del rimosso. Il taglio della superficie sulle pareti di Lascaux, con l’affiorare delle forme grafiche, intercetta l’esigenza di un senso già disperso; l’animale è vivo e fermenta, mettendola a fuoco, una nostalgia dell’essere che già rivela, nella zoomorfizzazione dell’umano – il quale perde i suoi tratti peculiari a vantaggio di una animalità dispersa e di una umanità incolore, stilizzata – il senso di disadattamento erratico dell’esistere. […] Lo scrivere, dunque, raddoppia, nella condizione di una mimetizzazione ritualizzata che è nell’esercizio stesso della scrittura, il debito contratto con la pienezza intrauterina il quale è tradotto nella mancanza, ossia il vuoto, della pienezza dispersa. Il momento del disincanto, la rottura della zona transizionale, la scoperta del corpo in frantumi, determinano il superamento della reiterazione delle forme primordiali, grafiche e ritmiche, producendo nell’evoluzione creatrice del desiderio lo scarto fra il debito biopsichico e l’avvenire di una comunione nuova, istituita nel processo orizzontale dell’azione del mondo sul soggetto. Questo scarto è il territorio stesso dell’azione resa possibile che elude la fissazione e libera la creazione. […] Sotto lo strofinio eterodiretto degli “oggetti”, del mondo, è la pura superficie del corpo soggetto-oggetto a farsi veicolo privilegiato di un rapporto orizzontale dell’attore sociale nelle sue pratiche. In questa rete di rapporti mediali gli effetti sulla scrittura evidenziano la rinuncia allo scritto in favore dello scrivere, questo nell’asemic writing, mostrando come l’emergere della rimozione, del rimosso, si faccia peculiarità dello scrivere contemporaneo. Nel caso dell’asemic writing, l’assenza della parola annulla il lavoro in profondità possibile nel persistere di una ritualità rimossa all’interno della parola stessa, a vantaggio del materiale che l’evoluzione tecnica – dalla stampa a caratteri mobili – ha relegato nella rimozione, ma che si esibisce, oggi, come corpo in superficie (materia, colore, gesto, segno ecc.). Il caso del glitch, ovvero del momento in cui un errore innescato nel processo tecnico-informatico permette l’alterazione dell’immagine consentendo il venire alla luce, attraverso la degradazione, del codice retrostante, produce l’emergere delle profondità che dalla visione finale risultano solitamente rimosse, istituendo, di fatto, un lavoro sulla superficie del corpo stimolata dalla degradazione.

Le operazioni delle avanguardie storiche, in particolare dall'esperienza futurista e mano-parolibera di Balla alla parola-usso di area surrealista, hanno avuto il merito di intercettare i cambiamenti in atto nella società del primo Novecento. Lo sconquassamento delle guerre e della disumanizzazione tecno-scienti ca, si inseriva in un clima intellettuale di generale cambiamento anche e nell'ottica dell'indirizzo letto dal sociologo canadese Marshall McLuhan in termini di "ritribalizzazione" dell'Occidente. La formulazione del concetto di "villaggio globale" avrebbe bene interpretato l'esasperazione dell'uomo e della terra stessa in un contesto di produzione indiscriminata, mostrando l'inevitabile necessità di un muoversi verso forme ibride, capaci di tenere insieme il locale ("village") e il globale, fra pratiche di cura e sviluppo inteso in termini di evoluzione più che di progresso indiscriminato. Dal primo Novecento no al sopraggiungere della seconda metà del secolo, si registrano momenti culturali tipici di una risposta dell'attore sociale che alla barbarie della disumanizzazione risponde con la liberazione del corpo; il risultato è ancora oggi visibile in quelle pratiche che, muovendo principalmente dall'esperienza di Henri Michaux, hanno messo in discussione la meccanicizzazione autorale della scrittura, fuoriuscendo dall'omogeneità del senso, compromettendola. La disposizione del signi cato è estromessa dal segno/parola che trova i suoi effetti di senso nella gestualità, nel colore, nella matericità. Nasceva fra Europa e Stati Uniti quella che negli anni '70 sarebbe stata ribattezzata come "scrittura asemantica", una pratica autorale che U T S A N G A MENU poneva al centro della ri essione e dell'azione il gesto calligra co e non la parola, portando il gesto ad assumere caratteri di evidente tensione calligra ca, senza però giungere ad una signi cazione logico-formale. Il clima europeo è altresì quello dell'incontro con l'altro da sé, nella fattispecie rappresentato dalla cultura orientale, che pone in essere una sorta di primitivismo autorale legato al gesto, al segno, e che trova agio nell'incontro con una prospettiva nuova, differente, generata dall'avvicendarsi in Occidente delle tematiche tipiche del pensiero orientale. Lo scrivere veniva così svuotato della scrittura, liberando sulla pagina il contenuto rimosso dello scrivere stesso: gesto, segno, colore, materia.

Tassonomia di un segno dissidente by Mariangela Guatteri febbraio 2019
Ātmanvī syām ​ ​ Letteralmente «avente se stesso io mi sia», l'inizio del gesto cosmogonico. È il dio della morte che fa l'esperienza del Sé nella condizione di là da essere e da non essere e mette in moto il processo della creazione, come è detto nel secondo brāmaṇa della Bṛhadāraṇyaka Upaniṣad (cfr. Upaniṣad antiche e medie, Bollati Boringhieri, 2007). ​ ​ ​ ​ Il segno prende autonomia; visivamente si anima, si stacca dalla forma e dal ruolo di elemento di qualcosa. Va sulla superficie per suo conto, se vuole, liberamente fuori dai margini. ​ ​ Il segno prende il movimento

To celebrate my 10th column "Of Tradition and Experiment" for Tears in the Fence magazine, I did "a roundup of 5 excellent small press publications" including : Afton Wilky's Clarity Speaks of a Crystal Sea (Flim Forum, 2014), The First 4 Books of Sampson Starkweather (Birds LLC, 2013), Matvei Yankelevich's Alpha Donut (United Artists Books, 2012), Laurie Price's Radio at Night (Lunar Chandelier Press, 2013) and Jackqueline Frost's You Have the Eyes of a Martyr (O'Clock Press chapbook). The article closes with a few honorable mention notes and comments on other poets whose work is well worth the read. Review published in Tears in the Fence, N° 59, Dorsett, UK, April/May 2014, pp 116-126.

Introductions to Session 5 De/Sign and Writing: Toward an Aesthetic of the Asemic prove to be a disenchanted projection. Thus, the present collection of essays inquires into the dynamic relationships between de/sign and writing by interrogating not only their differences but also how they resemble or evoke one another.

Asemic writing points to a gradual weakening of the correlation between sign and meaning or, in the language of architecture and biology, to the confutation of the form follows function principle.
Several lines of research are suitable for dealing with the intrinsic nonlinearity that follows.
Topology-based methods could support or replace traditional hermeneutics to properly study such manifold structures. Each page, a snapshot of an unknown linguistic phenomenon, would hence be addressed as a set of fuzzy data.

Asemic writing does not envisage the outcome of reading. It rather expresses a suspension or a lack of a kind of realism. The symbols in its polysemic spectrum are no longer elements of reality but of an ongoing renegotiation with it. Borrowing the terms from the so-called Copenhagen interpretation of quantum mechanics, underlying meanings are the hidden variables within the “quantum state” of the text.

Francesco Aprile (1985, Lecce), poeta visivo, autore di scri ure asemantiche, asemic-glitch writing, glitch, asemic cinema, abbecedari asemantici, scri ure sbagliate, ha aderito nel 2010 al movimento le erario "New Page -Narrativa in store", fondato nel

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. Unaware of those asemic movement, two of Indonesian prominent artist has been practicing the mode of mark making  verisimilitude asemic writings. Made Wianta (1949-2020), Balinese Indonesian master of painting, poet and calligrapher, turned his painting into realm of calligraphy and vice versa. another prominent Chinese Calligrapher in 2020, Tjuju Widaja 79 year old from Bandung, get her doctoral degree from local public university by releasing the strokes of chinese characters from its origin meaning into experimenting layers in surfaces calligraphic painting. This article here intends to convey a number of concepts that are expected to be related in the effort to cultivate the asemic writing as language as well as images. The interplay between visible and invisible give much more mistery than it may seems. The  truthful of meaningful world seem hiding behind the visible, it awaitings in ways that are more drawn out be recognized, yet once it occurs to surface, all of sudden it shades away back to the edge, challenging us to figure out what was it anyway. Asemic is becoming of a system without structure, a meaningful with no grounded semantical meaning.

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. Unaware of those asemic movement, two of Indonesian prominent artist has been practicing the mode of mark making verisimilitude asemic writings. Made Wianta (1949-2020), Balinese Indonesian master of painting, poet and calligrapher, turned his painting into realm of calligraphy and vice versa. another prominent Chinese Calligrapher in 2020, Tjuju Widaja 79 year old from Bandung, get her doctoral degree from local public university by releasing the strokes of chinese characters from its origin meaning into experimenting layers in surfaces calligraphic painting. This article here intends to convey a number of concepts that are expected to be related in the effort to cultivate the asemic writing as language as well as images. The interplay between visible and invisible give much more mistery than it may seems. The truthful of meaningful world seem hiding behind the visible, it awaitings in ways that are more drawn out be recognized, yet once it occurs to surface, all of sudden it shades away back to the edge, challenging us to figure out what was it anyway. Asemic is becoming of a system without structure, a meaningful with no grounded semantical meaning.

Quello che è chiaro fin dall’inizio è l’inafferrabilità del Codex. Sia le
immagini che la scrittura illeggibile rifiutano ogni interpretazione e
diventano dei dispositivi che attivano e potenziano i processi
dell'immaginazione. La scrittura stimola la ricerca di un significato
che allo stesso tempo ci spinge ad abbandonare perché priva di
significato, asemica. Le immagini suggeriscono una natura altra,
parallela, ma sempre familiare e riconoscibile. La scrittura attiva e
accelera i processi dell'immaginazione che rimbalzano ed amplificano
quelli attivati simultaneamente dalle immagini. Il mistero è la chiave
di un'enciclopedia che dovrebbe spiegare il mondo, ma che
paradossalmente lo lascia avvolto in un enigma