asemic net: asemic

Showing posts with label asemic. Show all posts

Tuesday, July 24, 2012

Monday, July 23, 2012

Downhill Asemics; madness on the continuum

First;
Kurt Schwitters, step by step removes all syntactic structure from the text.

Kurt Schwitters to the Swiss Dadaist Arp. Blackberries (2)

belivered pra!
first I say why?
why does one use upper case and lower case? i use only lower case. then I say why? why does one punctuate i write everything without punctuationthen i ask why why does one use umlauts i won't be straight diacritical henceforth i will write zurich ful- fills seclusion personal carryover and then i remember the old phrase from mathematics namely that it does not matter in which order i add respect multiply and now i write vole instead of love because love needs voles to love voles and finally now will giveup the or derofwordsamongthemselvesbywritingonlyo
egiantwordorwhilemorewrotitsoladinorthographyisnaturallyunimportantandsenseigiveupinfavorofnonsenseandthustheitsheklmnopqrsutabelgikemaminopetroleumplaguekakrrkrrksrsto-pitonobilamenteyakkaanteelinguekitonpausbacrocodilemmadiemadilemma *)

kuwitter

*)Here the typographer went stark raving mad and threatened a general strike, should he be forced to set any more Kuhgewitter (Cowweather).
(from; Pppppp: Kurt Schwitters Poems, Performance, Pieces, Proses, Plays, Poetics )

Then;
Charles Crumb removes all distinguishability between letters and reduces punctuation.

A next logical step towards total insanity might be to remove spacing and expression, reducing the text to a line-based grid

_____________________
__________ __________
_____________________
_____________________
_____________________
______ ______________
___________________ _
______________________

However I'd say the real difference between Crumb and Schwitters here is that Schwitters is frisky jumping up and down the continuum whereas Crumb is forever glued to a fixed point.

by
http://marcvanelburg.blogspot.nl/
see also;
https://www.flickr.com/photos/het-saptrajekt/
https://www.youtube.com/user/4398574291811/videos
http://tellab.home.xs4all.nl/

Monday, July 16, 2012

Dynamics of a Shrinking Universe

Indexicality
Point trajectory

When I was working on these I saw this picture of Niki de Saint Phalle and Jean Tinguely and was also reading paul klee's Pedagogical Sketchbook; "an active line on a walk, moving freely, without a goal. A walk for a walk's sake. The mobility agent is a point, shifting its position forward" I thought mobility agent was an interesting term because it is like a kind of trick to avoid getting too much into the psychology of the artist. Somewhat similar to what Niki de Saint Phalle is doing when she shoots at the painting.
In a way they are both dealing with agency and the boundaries between the artist and the art.
( I also got interested in the word 'agency' because it doesn't translate very well in Dutch.)

So in the works above the mobility agent would be the pictureplane.

by
http://marcvanelburg.blogspot.nl/
see also;
https://www.flickr.com/photos/het-saptrajekt/
https://www.youtube.com/user/4398574291811/videos
Marc van Elburg

Monday, July 9, 2012

Joy Angerlove and the sentics of asemics

A lot of asemic writings have an element of expressive handwriting.
I thought this was an interesting experiment by scientist/mucisian Manfred Clynes.

(emotion : pressure + time)

"Specific emotions --- anger, hate, grief, love, sex, joy and reverence --- produce distinct muscle movement. They’re the same in Mexico, Japan, Indonesia, and upstate New York." (.. ) (.. )"I decided to use the expressive pressure movement of one finger as a standardized basic measure of expressed fantasized emotion. In my experiments, the subject sits in a straight-back chair and rests the middle finger of his right hand on a finger rest. I ask him to fantasize a given emotion (say, anger or love) for the next few minutes. Whenever he hears a signal --- a soft click --- he is to express that emotion as precisely as possible through the single, transient pressure of the finger."

I tested it in this drawing; (pressure roughly translated in speed+size). Looks like the loveline probably had quite a bit of sex in it ...

It seems rather obvious if you're used to drawing a lot, but maybe A.I. professor Marvin minsky offered an intersting viewpoint; "For if distinct signals arouse specific states, the child can associate those signals with those states. Just knowing that such states exist, that is, having symbols for them, is half the battle. If those signals are uniform enough, then from social discourse one can learn some rules about the behavior caused by those states. Thus a child might learn that conciliatory signals can change anger into affection. Given that sort of information, a simple learning machine should be able to construct a 'finite-state person model."

Or maybe in combination with the text-image continuum ....

by
http://marcvanelburg.blogspot.nl/
see also;
https://www.flickr.com/photos/het-saptrajekt/
https://www.youtube.com/user/4398574291811/videos
Marc van Elburg

Monday, July 2, 2012

An anthropomorph brew on a gradual continuum.

I would describe these asemic writings as an anthropomorph brew of charicature, kinetics, gestures and pseudo-writing.

I like to think of asemic writing as an inbetween or threshold phenomenon outside of conventional categories.

On Tim Gaze's gradual Text-image continuum the writing would probably be positioned between asemic writing and abstract images and the illustrations between abstract images and recognizable images.

The 'plankton' illustrations are elaborating on that concept of a gradual continuum.

They were set up similar to the writing but evolved until they now situate somewhere between scribbles, writing and some kind of primal organic entities.