Sunday, January 3, 2021
Post-Asemic Press: GLITCHASEMICS in a gif by Marco Giovenale & Happy ...
Post-Asemic Press: GLITCHASEMICS in a gif by Marco Giovenale & Happy ...: Here is a gif of sample pages from Marco Giovenales book GLITCHASEMICS released last year in 2020 from Post-Asemic Press. It's a unique...
Friday, January 1, 2021
Thursday, December 31, 2020
Monday, December 28, 2020
Sunday, December 27, 2020
Tuesday, December 15, 2020
Poetry Makes Things Happen by Jim Leftwich
For
Jim Leftwich, the boundary between poetry and criticism, or more accurately,
between poetry and writing about poetry, is extremely porous. This book should
make that very clear; in fact, here it is sometimes hard to tell whether a text
is “original poetry” or his writing “about poetry”. Which suggests that the
distinction may not be all that important. (Another such book is one he wrote
focused on my own work, or using my work as a springboard, Containers
Projecting Multitudes: Expositions on the Poetry of John M. Bennett, 2019.)
This is perhaps an outgrowth of his practice of making “hacks” of others'
poetry and texts, which is in itself a means of entering into, and remaking
aspects of, another's work, using a wide variety of processes ranging from the
arbitrary and deliberate, to the improvisational and purely intuitive. What
this does is to turn the process of writing about poetry on its head. Instead
of applying a preordained critical method or theory to a text, Leftwich
presents, as it were in “real time”, an account of what it was like, of what
happened, when he read the text. We thus have a narration of a real experience
of reading. For me, and for many of us in this new literary avant garde, this is
vastly more interesting and useful than the use of a text to support or
illustrate a particular literary (or other) ideology. Leftwich's work in this
regard is unique, exciting, and represents real progress in the “problem” of
“how to read poetry”, and of how to write it as well. -¬ John M. Bennett
Sunday, December 13, 2020
Asemics in Popular Culture: SNL on the Aesthetics of Meaning ... / EZE, 2020
Art can be a protest against convention, but art also defines its own conventions just as it is defined by convention. Does art escape convention? Asemics, as art, certainly has its own conventions. But what happens when asemics operates as a means to unground a convention? Does the ensuing criticism move into the circuit of State and Nomad as defined by Deleuze and Guattari?
The "XXL Rap Roundtable" skit from Saturday Night Live (December 12, 2020) makes a point of posing an asemic performance in a genre against the genre itself. How does asemics operate socially, politically, culturally, and artistically? Asemics here can be taken to be non-sense, i.e. words, utterances, songs, ... without [apparent or shared] meaning. [Note that semantics can be, but need not be, invoked here.]
And is the point at which performance within a genre establishes itself as contrary to convention, i.e. as not [presently] defined by that genre, a type of asemics as it disrupts the mode of meaning offered by the genre? Or do we need another term other than asemic performance for this use of non-sense?
SNL's XXL Rap Roundtable: Pop Culture Asemics
To what end is asemics as non-sense, as an empty placeholder of the formal, as disruption a method?
Thursday, December 10, 2020
Xu Bing: Mixing Media on the Way to Making Asemics: Xu Bing / EZE, 2020
Consider asemics as a form of mixed media. Consider the work of Xu Bing.
Sunday, December 6, 2020
Monday, November 30, 2020
Post-Asemic Press: Shapes by Tim Gaze is available now at Bandcamp! A...
Post-Asemic Press: Shapes by Tim Gaze is available now at Bandcamp! A...: The legendary asemic writing artist and publisher Tim Gaze has a new album out of sound poetry from Post-Asemic Press. It is titled ʂ ɦ ɑ...
Saturday, November 28, 2020
Monday, November 23, 2020
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