The debate often goes that our current age is moving away from the word and toward the image, but this assumption needs exploration.
Asemic writing allows us to question writing by suspending traditional reading and requiring us to read in a different sense. Asemic writing puts the graphic aspect of writing to the fore, which downplays the phonic aspect of writing somewhat, but that downplay is not a denial of phonic sense so much as a suspension.
Asemic writing also suspends traditional reading for meaning, but does that mean asemic writing holds the world to be an illusion (an illusion to be overcome)?
That aspect depends on the practice of asemic writing under inspection.
But is asemic writng about shunya? Here is an explanation of shunya and of logos:
At first blush, asemic wrting concerns shunya perhaps more than logos, and more certainly needs to be discussed regarding this relationship.
But asemic writing also concerns something else: meaning as inter-relationship.
With inter-relationships, the world is not so much an illusion to be overcome, nor a logos to be realized, but a link yet to be made.
So, the assumption that we are moving away from the word and toward the image misses the point of what we are doing with words and images.
Creating a Tagging Taxonomy
As the debate about the primacy of the word over the image often moves us to the recent history of print, which moves us to the history of the printing press, we find multiple forms of graphic information where the word and the image tend to supplant each other, and in this regard, text becomes supplement and supplements itself, which means that graphically type and illustration share a sense of textual interplay.
And what kind of information is this interplay? Is it more than a strategy for reading?
Could it be that asemic creations serve our sense of limit, however imaginary, on the information we co-create?
The Affinity Diagram (Supplant It with Pictures):