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Auteur: Marco Giovenale
Marco Giovenale lives in Rome, where he works as an editor and translator. He’s founder and editor of gammm.org (2006) and asemicnet.blogspot.com (2011). He’s author of linear poetry, asemic stuff, photography, experimental prose pieces. Some linear texts in English: “A gunless tea” (2007, also at http://www.dusie.org/gunlesstea.pdf), “CDK” (2009, see http://tir-aux-pigeons.blogspot.it/2009/03/cdk-marco-giovenale.html), “anachromisms” (2014: https://ahsahtapress.org/product/anachromisms/), “white while” (2014: http://www.gauss-pdf.com/post/98317758615/gpdf131-marco-giovenale-white-while). Four e-artbooks (as differx) at http://vuggbooks.randomflux.info/. Paper books of asemic works: Sibille asemantiche (Camera verde, 2008), This Is Visual Poetry / by Marco Giovenale (ed. by Dan Waber, 2011), Asemic Sibyls (RedFoxPress, 2013), Syn sybilles (La camera verde, 2013). Visual works in anthologies: Anthology Spidertangle (Xexoxial, 2009), The Last Vispo Anthology (Fantagraphics, 2012), An Anthology of Asemic Handwriting (Uitgeverij, 2013), A Kick in the Eye (Createspace, 2013). One sibyl is in The New Concrete. Visual Poetry in the 21st Century (V. Bean and Ch. McCabe, eds; Hayward Publishing, 2015). His site is http://slowforward.net
Perhaps it is possible, in the field of asemic writing, to distinguish a few —completely hypothetical— categories. I insist that these are mere hypotheses, and that I am not interested in structuring a rigorous theory.
We have (1) concrete asemic writing when only the asemic glyphs and calligraphy, only the asemic letters and sentences are present on the page. No images, no colors.
We can also say asemicrete, a term coined by Michael Jacobson.
We can say we have (2) visual asemic writing when we see the asemic symbols are intertwined, superimposed or when they —in any other way— simply share the page with abstract or realistic images.
We have (3) glitchasemics when an asemic text is evidently disturbed by some kind of glitch: it may even be severely disturbed, but not so much as to make the asemic part completely disappear.
We can say we have (4) abstrasemics when an abstract drawing or image turns itself into something resembling an illegible text, an asemic piece. Or, on the contrary, when a fragment of asemic writing gradually loses any vaguely linguistic aspect and is transformed into an abstract image.
Post scriptum.
At the same time, there are examples of works that marginalize —or do not include at all— an asemic aspect, and I would refer to them as: abstract or realistic paintings (pictorial works, photographs etc.) weirdly called “asemic writing” by their authors; legible alphabets and texts weirdly called “asemic writing” by their authors; monotonous decorations that would hardly be taken for words or sentences.
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appel à textes / images
Appel à textes | images
Call for submissions
Pour le prochain numéro d’un rectangle quelconque, vous pouvez nous envoyer vos textes en français, images, (3 pages A4 maximum svp), happenings, performances de l’écran, mots doux, poème visuel hard, bref, tout ce qui rentre dans trois pages A4 maximum.
Date butoir (et non deadline) :
dimanche 21 août à 23h57.
For the next issue of un rectangle quelconque you can send us, if you so wish, your texts in English, pictures, (3 A4 pages maximum please), happenings, screen performances, sweet words, harsh vispo poems, well, all that fits in three A4 pages maximum.
Deadline (not date butoir) :
Sunday 21st August at 11:57 p.m.
Adresse | address : revueunrectanglequelconque at gmail.com
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polyasemic thinking: a brief future / jim leftwich. 2022
https://slowforward.net/2022/06/28/polyasemic-thinking-a-brief-future-jim-leftwich-2022/
as ex. asemic expressionism, or abstract expressionist writing / jim leftwich. 2022
https://slowforward.net/2022/06/28/as-ex-asemic-expressionism-or-abstract-expressionist-writing-jim-leftwich-2022/
is asemic writing true? / jim leftwich. 2022
https://slowforward.net/2022/06/28/is-asemic-writing-true-jim-leftwich-2022/
asemic writing and pareidolia / jim leftwich. 2022
https://slowforward.net/2022/06/29/asemic-writing-and-pareidolia-jim-leftwich-2022/
asemic writing and the absurd / jim leftwich. 2022
https://slowforward.net/2022/07/02/asemic-writing-and-the-absurd-jim-leftwich-2022/
via negativa and asemic writing / jim leftwich. 2022
https://slowforward.net/2022/07/02/via-negativa-and-asemic-writing-jim-leftwich-2022/
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experimental writing. how to / differx. 2020
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ban this, ban that / differx. 2013
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cartridge music / john cage. 1963
To critics, asemic writers, essayists, curators, journalists and all the people dealing with the *recent* history of asemic writing:
DO NOT trust incomplete essays, poor bibliographies and books or –generally speaking– texts improvised by authors who do not mention important web pages, mag articles, projects, personal and collective exhibits, blogs and groups which have been flourishing everywhere in the recent –say– twenty years.
I find an astonishing lack of data in –poorly written– Italian essays I’ve recently read (on line and in books), so I want to strongly point out there’s no space for amateurishness, narcissism and ignorance when talkig about the work of thousands of authors. One cannot mention them all, yes. But it’s impossible to forget some basic elements and fundamental sites and texts.
To critics, asemic writers, essayists, curators, journalists and all the people dealing with the recent history of asemic writing:
DO NOT trust incomplete essays, poor bibliographies and books or –generally speaking– texts improvised by authors who do not mention important web pages, mag articles, projects, personal and collective exhibits, blogs and groups which have been flourishing everywhere in the recent –say– twenty years.
I find an astonishing lack of data in –poorly written– Italian essays I’ve recently read (on line and in books), so I want to strongly point out there’s no space for amateurishness, narcissism and ignorance when talkig about the work of thousands of authors. One cannot mention them all, yes. But it’s impossible to forget some basic elements and fundamental sites and texts.
It’s not possible to ignore Jim Leftwich’s thousand pages about asemics, the work of Peter Ganick, Miron Tee, Jukka-Pekka Kervinen, Karri Kokko, Rosaire Appel, Lina Stern, Riccardo Cavallo, Roberto Cavallera, Marc van Elburg, Valeri Scherstjanoi, Jay Snodgrass, Miriam Midley, Bruno Neiva, Jeff Hansen, Orchid Tierney, and a bunch of other artists, or Tim Gaze’s Asemic Editions (http://asemic-editions.blogspot.com/) or Avance Publishing (http://avance.randomflux.info/), or DeVillo Sloan’s work (at IUOMA etc) and with https://asemicfront.wordpress.com/, or Cecil Touchon’s sites http://asemics.com/ and https://ceciltouchon.com/, or Michael Jacobson’s http://thenewpostliterate.blogspot.com/, or the AsemicNet founded in 2011 by me and others, https://asemicnet.blogspot.com/ (& related link pages), or https://gammm.org, or the asemic googlegroup https://groups.google.com/forum/?hl=it#!forum/asemic, or the Mycelium samizdat (first of all: https://it.scribd.com/doc/294236718/Without-Words-Exhibition-Catalogue), or Gleb Kolomiets’ “Slova”, or Mark Young’s “Otoliths”, Timglaset, Utsanga, or the most important facebook group of asemic writing, The New Postliterate, https://www.facebook.com/groups/76178850228/, and many others, e.g. Arte Asemica (https://www.facebook.com/groups/1642082306096440/), Asemic Reading (https://www.facebook.com/groups/1646865992070563), Asemic New Babylon (https://www.facebook.com/groups/895027887247653/), Extreme Writing Community (https://www.facebook.com/groups/202128996613211/), Writing Against Itself (https://www.facebook.com/groups/1208959535830352, founded by Jim Leftwich), or Quimby Melton’s site SCRIPTjr, http://scriptjr.nl/, or the items one can found perusing tags & categories here and there, e.g. in https://slowforward.net/tag/asemic/, https://slowforward.net/category/asemic/, https://slowforward.net/tag/scrittura-asemantica/, http://liquidocomoeltiempo.blogspot.com/search/label/ESCRITURA%20AS%C3%89MICA, or the amount of vids one can find in YouTube or Vimeo, or the tons of interviews hosted on line. Or lots of tumblr blogs, the findings at Pinterest, or the images and infos Twitter spreads every day.
Not to mention the bibliography on paper (Asemic Magazine first: …take a look at https://asemicnet.blogspot.com/p/mags-groups.html and http://asemic-magazine.blogspot.com/).
Well… Yes: the steps of an asemic path can be traced back to the first years of the 20th century. It will be a hard job. Years of hard study.
But one can of course focus on the new authors and mags only, and still face an impressive amount of documents, on line stuff, archives.
Do not tolerate people who (deliberately) ignore them.
This is what I wanted to say. Plain and simple.
_
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Words Came in Waves / Robyn Ellenbogen. 2017
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experimental writing: how to / differx. 2018
At the centre of the 21er Haus exhibition Duet with Artist – Participation as Artistic Principle lie the audience and its role in the creation of a work of art. Historical and contemporary positions show how artists activate others and call them to action. To think of art as an essential part of life in which “everyone” can participate is not only fundamental to the understanding of art of the 20th and 21st centuries but is one of the fundamental democratic values of our society. The exhibition addresses the active participation of visitors and encourages a critical and creative attitude. In some situations, the viewers perform an artistic act or become an art object themselves. Thus, evoked ideas can become the work of art, as can the execution of instructions or the collaboration with others. The exhibition expands upon the institution of the museum by calling for social action and creating space for encounters. A cooperation between the 21er Haus and the Morsbroich Museum in Leverkusen, Germany. Curated by Axel Köhne. Sep 27th, 2017 to Feb 04th, 2018.
With works by Vito Acconci, Robert Barry, Joseph Beuys, stanley brouwn, Angela Bulloch, John Cage, Claus Föttinger, Rodney Graham, Hans Haacke, Christine Hill, David Horvitz, Pierre Huyghe, Yves Klein, Tomas Kleiner, Krüger & Pardeller, Mischa Kuball, Dieter Meier, Bruce Nauman, Yoko Ono, OPAVIVARÁ!, David Shrigley, Gabriel Sierra, Juergen Staack, Rirkrit Tiravanija, Wolf Vostell, Franz West and Erwin Wurm.
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flood / differx. 2007
the flood flight n times frost, frozen, fist flame flood fisten, fist rich
loop flame flood hare real shared real r coldless
outside front of thehare real shared real rent
outside front of the cordless loop v vless loopless loopless loop less loopless loop
share roar it lists the flood fli
hare real shared real r tside front of the corsts the flood flight n times frost, frozen, fist flame flood fisten, fist rich
loop flame flood hare real shared real r coldless
outside front of thehare real shared real rent 0n8 09 099 lkj jlk lk jl
outside front of the cordless
outside front of the
share roar it lists the flood flight n times frost, frozhare real shared real r n timestside front of the cor or not to be read in time cheap code outside front of thehare real shared real r a cheaply encrypted coit outside front of the share roar it lists the flood flight n times frost, frozen, fist poor flame flood fist
share roar it lists the flood flight n times frost, frozen, fist flame flood fisten, fist rich
loop flame flood hare real shared real r coldless
outside front of thehare real shared real rent harwe rea whare reaw écrits purs écrits de scéne
outside front of the cordless loop
share roar it lists the flood flight n times frost, frozen, fist flame flood fist punctum écriture
shahare real shared real r-much
outside front of the
share roar it lists the flood flight n times frost, frozen, fist flame flood fistre roar it lists the flood flight n times cost too frost, frozen, fist flame flood fistfist
share real shared real r
outside front of the
share roar it lists the flood flight n times frost, frozen, fist flame flood fist
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sound rituals / jim leftwich, bill beamer. 2017
sound ritual number 45
ti on anines how many damp
9 Art 9, , 331 i ific nineteen
ance of the sscusses fragrant
the sign ere essential ticks
to d Duc p the art of maham cart
kinappropriad kidnapped
gart in the agduerepro mayhem
ti c on DuchaMa melp r cel Dupont
, Fra Marcel the signifier
, 19 society, the grown trance
Manychamp the nine tie on
november 2017
*
sound ritual number 46
leaks change and parcel face
shape tub valves minnow snap
raucous what wink pillow
tho fan pire mantic surf
the rise of the serif
serf o man pyre fanatic
pillcep win that faucets
win ow cap values rubs cape
place Marcel in chance beaks
november 2017
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