francesco aprile - words. g... by Francesco Aprile on Scribd
Sunday, May 17, 2020
Saturday, May 16, 2020
Post-Asemic Press: GLITCHASEMICS by Marco Giovenale is available now ...
Post-Asemic Press: GLITCHASEMICS by Marco Giovenale is available now ...: GLITCHASEMICS by Marco Giovenale is available now at Amazon ! It includes an indepth introduction by Michael Betancourt. "Asemic w...
Tuesday, May 12, 2020
GoFundMe for the Asemic Arts Expo in Mogliano Veneto, Italy | Curated by Ricky Brett
Click here to donate.
My dear friends and I have decided to organize the first Asemic and Light Language Gallery in our area, Mogliano Veneto, Italy.
We have gathered 32 artists from all over the world and want to give them a chance to make their name and art known. We were doing pretty fine until this Covid crisis started and now we are truly struggling to have everything set and running! We have only one month left before the opening so that's why we've decided to seek for help on this platform.
If everything goes well, the gallery will be open from the 5th to the 21st of June. No matter what, we will also organize a 3D Tour. For donations over 30Eu we will send you the printed catalogue with all the works on display!
We need the support of art lovers! We can't surrender our passion to this invisible enemy and to fear!
With your help we will manage to make this dream come true!
Click here to donate.
Thursday, May 7, 2020
Sunday, May 3, 2020
Sunday, April 26, 2020
Thursday, April 23, 2020
Tuesday, April 21, 2020
Monday, April 20, 2020
Sunday, April 19, 2020
Saturday, April 18, 2020
Writs and The Readable
Daoist Writs
Pattern
A Note from Cece Chapman: Roland Barthes: Empire of Signs
Cece Chapman says, "came across this in my ongoing search for signs, symbol, image info...".
What Cece Chapman found was a truly seminal work in asemics in Empire of Signs by Roland Barthes.
Here is a sample from Barthes:
The dream: to know a foreign (alien) language and yet not to understand it: to perceive the difference in it
without that difference ever being recuperated by the superficial sociality of discourse, communication or
vulgarity; to know, positively refracted in a new language, the impossibilities of our own; to learn the
systematics of the inconceivable; to undo our own "reality" under the effect of other formulations, other
syntaxes; to discover certain unsuspected positions of the subject in utterance, to displace the subject's
topology; in a word, to descend into the untranslatable, to experience its shock without ever muffling it,
until everything Occidental in us totters and the rights of the "father tongue"--vacillate that tongue which
comes to us from our fathers and which makes us, in our turn, fathers[--]and proprietors of a culture which,
precisely, history transforms into "nature."
Friday, April 17, 2020
Asemic Writing on the Way to Textual Practices in Daoism / EZE, 2020
Textual practices in Daoism are, perhaps, the other side of asemic writing. The graphical texts of Daoism often constitute talismans, a text readable by divinities, but perhaps not readily readable by mortals. Indeed, this architext requires performance to make it comprehensible to those illiterate in the divine ways of reading, i.e. to make it realizable as text. Asemic writing, though post-literate and largely areligious, shares much in common with this practice.
The Cult of Spirit-Writing in the Qing: The Daoist Dimension
(The Cult of Spirit-Writing in the Qing: The Daoist Dimension by Lai Chi-Tim)
The Function of Writing in Daoism
(The Function of Writing in Daoism by Fabrizio Pregadio)
The highest gods reveal texts, teachings, and methods either directly or through their representatives. For instance, the Shangqing and Lingbao scriptures are deemed to have taken shape from self-generated graphs coagulated from Original Breath (Robinet 1993: 21–24), or from sounds generated by its vibration (Bokenkamp 1997: 386–87), in the early stages of the formation of the cosmos. They were transmitted in Heaven until a “divine being” or an “immortal” transcribed them into characters understandable to humans.
Just like the gods usually grant revelations in the form of scriptures, the typically Daoist form of communicating with the gods is by writing: as Anna Seidel remarked, the Chinese deities “neither speak nor listen, but write and read” (1997: 43). In Daoist ritual, the priest delivers a “memorial” (or “statement”, shu) to the gods in order to announce the ceremony performed in their honor, declare its purpose, specify its program, and list the names of those who sponsor it (Schipper 1974). The so-called talismans (fu, a word almost exactly corresponding to the original meaning of Greek symbolon) are traced on paper or other supports in graphs hardly comprehensible to humans but intelligible to the gods (Despeux 2000; Mollier 2003). Like the revealed scriptures—some of which, in fact, are deemed to have evolved from them—talismans have counterparts in Heaven, and thus serve to identify and authenticate their possessors in front of the gods. They confer the power to summon certain deities and to control demons, but also protect space and heal illnesses; they are worn on one’s body, affixed at the four directions, placed along the path that leads to one’s dwelling, or made into ashes and drunk with water.
The highest gods reveal texts, teachings, and methods either directly or through their representatives. For instance, the Shangqing and Lingbao scriptures are deemed to have taken shape from self-generated graphs coagulated from Original Breath (Robinet 1993: 21–24), or from sounds generated by its vibration (Bokenkamp 1997: 386–87), in the early stages of the formation of the cosmos. They were transmitted in Heaven until a “divine being” or an “immortal” transcribed them into characters understandable to humans.
Just like the gods usually grant revelations in the form of scriptures, the typically Daoist form of communicating with the gods is by writing: as Anna Seidel remarked, the Chinese deities “neither speak nor listen, but write and read” (1997: 43). In Daoist ritual, the priest delivers a “memorial” (or “statement”, shu) to the gods in order to announce the ceremony performed in their honor, declare its purpose, specify its program, and list the names of those who sponsor it (Schipper 1974). The so-called talismans (fu, a word almost exactly corresponding to the original meaning of Greek symbolon) are traced on paper or other supports in graphs hardly comprehensible to humans but intelligible to the gods (Despeux 2000; Mollier 2003). Like the revealed scriptures—some of which, in fact, are deemed to have evolved from them—talismans have counterparts in Heaven, and thus serve to identify and authenticate their possessors in front of the gods. They confer the power to summon certain deities and to control demons, but also protect space and heal illnesses; they are worn on one’s body, affixed at the four directions, placed along the path that leads to one’s dwelling, or made into ashes and drunk with water.
Wednesday, April 15, 2020
Monday, April 13, 2020
Sunday, April 12, 2020
Saturday, April 11, 2020
Tuesday, April 7, 2020
Post-Asemic Press has a new primary Wordpress site!
Check it out here: https://postasemicpress.wordpress.com/
The Post-Asemic Press blog was getting a little overcrowded, so I went ahead and built out the new Wordpress site yesterday. This will make the books stand out more so they don't get lost in the clutter. Asemic writing is still the primary focus of PAP but I do have some experimental poetry projects in the works: Code Poems 2010-2019 by Francesco Aprile, and Hei Kuu by Michael Jacobson. These 2 projects fit in to the "poetry" category. But the next book to drop from PAP is GLITCHASEMICS by Marco Giovenale. This book is a one-of-a-kind romp through glitch art and asemics and will take asemic writing/publishing to a whole new experience. So check out the new website, and pick up an asemic book if you are able to!
Sunday, April 5, 2020
Friday, April 3, 2020
Wednesday, April 1, 2020
"scrivere disegnando": exhibition time extended until Aug. 23rd
SCRIVERE DISEGNANDO @ Centre d'Art Contemporain, Genève
>>> EXHIBITION time EXTENDED: it will be open until the 23rd of August
https://slowforward.net/2020/04/02/recensioni-a-scrivere-disegnando-ginevra-proroga-della-mostra/
Curators : Andrea Bellini and Sarah Lombardi
Section documentaire : Sara De Chiara
En collaboration avec la Collection de l’Art Brut, Lausanne
*
recent reviews:
Daniel Horn @ Artforum
https://www.artforum.com/print/reviews/202004/writing-by-drawing-82570
Harry Burke @ Frieze
https://frieze.com/article/modernity-history-unwritten
Ginevra Bria @ domus
https://www.domusweb.it/it/arte/2020/01/21/ginevra-quando-la-lingua-cerca-il-suo-altro.html
Andrea Cortellessa @ doppiozero
https://www.doppiozero.com/materiali/scrivere-disegnando-incontri-ravvicinati-ginevra
Riccardo Venturi @ Flash Art
https://flash—art.it/article/on-view-riccardo-venturi/
Sunday, March 22, 2020
Thursday, March 19, 2020
Wednesday, March 18, 2020
Monday, March 16, 2020
Monday, March 2, 2020
Friday, February 21, 2020
Monday, February 17, 2020
Portrait of Edoardo Sanguineti.
From RIOT'S PART, by massimo sannelli. Foreword by Silvia Marcantoni Taddei
Sunday, February 16, 2020
Wednesday, January 15, 2020
Monday, January 13, 2020
Saturday, December 28, 2019
The New Post-literate: A Gallery Of Asemic Writing: ASEMIC: The Art of Writing by Peter Schwenger is a...
The New Post-literate: A Gallery Of Asemic Writing: ASEMIC: The Art of Writing by Peter Schwenger is a...: ASEMIC: The Art of Writing By Peter Schwenger University of Minnesota Press | 192 pages | December 2019 ISBN 978-1-5179-0697-9 | p...
Friday, November 22, 2019
do not trust incomplete essays about asemic writing
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 pretend to make important & complete/vast surveys while they actually 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– two decades.
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”, or 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.
DO NOT trust incomplete essays, poor bibliographies and books or –generally speaking– texts improvised by authors who pretend to make important & complete/vast surveys while they actually 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– two decades.
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”, or 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.
Thursday, November 7, 2019
Wednesday, September 18, 2019
I'm getting the Post-Asemic Press web site up and running and other PAP news!
Click here to visit the new shop: https://post-asemicpress.com/
I will still use the blog for more in-depth information about PAP. But I am getting to the point where the blog was becoming too over crowded, and I just needed some more (cyber)space, along with creating a more user friendly experience for readers/viewers.
In other news:
Magazine: The Cut-Up Asemics by Scott Helmes will be published in early November of 2019. Scott and I are going to enter it into the 2019 Minnesota book awards. There will be more info about this title in the coming weeks. But it's basically cut-up magazine letters combined with expressive asemic calligraphy.
I also interviewed Marilyn R. Rosenberg about her new book FALSE FICTION FRACTURED FACT ALTERED. It will appear in the next issue of Utsanga. In the interview we discuss book art, her life, and her asemic calligraphy works.
The Cecil Touchon Asemic Reader is out now! It's one of the best books ever published coming from the asemic movement! It visually dances for the eyes and the mind, and summarizes Touchon's unique artistic career in asemics dating all the way back to the 1970s. It's the first full color work to be published by PAP, and It's available around the world at Amazon, and will be available soon in October 2019 at the shop at Minnesota Center for Book Arts.
Looking with clear eyes into spring of 2020, PAP will be releasing GLITCHASEMICS by Marco Giovenale. It's a fantastic work of glitched asemic writing displayed in full color. The book will also contain an extensive foreword by Michael Betancourt discussing Giovenale's unique blending of asemic poetry and glitch art. Expect it to drop from PAP in April 2020.
That's all! Happy reading!
Sunday, September 8, 2019
Subscribe to:
Posts (Atom)