Asemics 16 #5 Asemic Syntax - Addresses and Format

[cheryl penn]

YES!!! we know!!! But these books are proving so popular and there is another waiting list already - so this is a call for Book # 5.  Title - Asemic Syntax.  I will alter this post as people add their names.  DVS has agreed to answer all queries :-)) X.  FORMAT - the same as Asemics # 4. Deadline - End of October - that gives everyone over two months to complete. Photographs of format will appear here tomorrow. 

 

WAITING LIST

Rosa Gravino

Julie McBee

 

 

 

Confirmations:

Victoria Barvenko

Nancy Bell Scott

Cleveland Wall

E

Lesley Magwood Fraser

Georgia Grigoriadou*

Katerina

Mary Ann

Yvonne Neidel

Cheryl Penn

Svetlana Pesetskaya

Skybridge Studios

De Villo Sloan

Guido Vermeulen

Svenja Wahl

Theresa Williams

 

ADDRESSES

Victoria Barvenko

The Rostov Region –

Taganrog -

Street Petrovskaya 15, sq 129 –

347922 – RUSSIA

 

Rosa Gravino

Chacabuco 833,

(2500) Cañada de Gómez

ARGENTINA

 

 

 Cleveland Wall

717 Spring Street,

Bethlehem, PA 18018

U.S.A.

 

E" 

Ambassade d'Utopia 

38 grande rue 

02300 Guivry

France

 

Lesley Magwood Fraser

4 Robertson Ave

Kloof

3610

 

Georgia Grigoriadou

Doiranis 19, 54638

Thessaloniki

Greece

 

Mary Anne

128 Micklegate

York

YO1 6JX

ENGLAND

 

Yvonne Neldel

Stallschreiberstrasse 54

10969 Berlin

Germany

Katerina Nikoltsou

Glinou 20 Harilaou

Thessaloniki 54249

GREECE

Cheryl Penn

6 Kiaat Close

Glen Anil

4051

South Africa

 

Svetlana Pesetskaya

Russia - Rostov Area

Taganrog

 street Frunze 61 - apartament 15

 347900

RUSSIA

 

Skybridge Studios

207 N Wayne Street

N Manchester, IN 46962-1625

USA

 

De Villo Sloan

P O Box 1314

Auburn

New York 13021

U.S.A.

 

Guido Vermeulen

the dispatcher of Signs and Stones,

Thomas Vinçottestreet 81,

B-1030 Brussels,

BELGIUM

 

Svenja Wahl

Weberstr. 10

D-69120 Heidelberg

Germany

 

Theresa Williams

1800 Bowling Green Road East

Bradner, OH 43406-9783

USA

 

 

Format for Asemic 16 # 5

TWO pages - ie 8 sides.

 

 

 

[cheryl penn]

If people keep the discussions for # 5 here it wont be a problem - I will edit the post to include the format etc.

[De Villo Sloan]

What happens in #5 stays in #5

[Nancy Bell Scott]

That was a fast pick-up from DVS's hold, Cheryl, I'm impressed with the bureau. No eternal holding, yay!

[De Villo Sloan]

Consider "Asemic Syntax" a performance score: That's what you're given. The rest is up to you. There is no right, wrong, or maybe.

[Lesley Magwood Fraser]

So many places to put my name down so here it is again! Yes! #5 please!

[Svenja Wahl]

What a great idea, I'm really happy to participate! :-)))

[De Villo Sloan]

Welcome Svenja, I was hoping you would participate in #5.

[Svenja Wahl]

Thanks!! My first collaborative book ever ! Expect lots of stupid questions! ;-)

[Guido Vermeulen]

Okay, I'm ready to tackle this one 2.

My only observation is this: once you link asemic writing with syntax, meaning, symbols and codes, it is not ASEMIC anymore bit a kind of VISPO language linked with a reading "you need to have the codes" to understand it. This is interesting in a way because linked with the communication of underground or resistance groups.

On the other hand I've always found the distinction between Asemics (without codes, the viewer determines the reading, so open to a multitude of different readings) and non Asemics (the artists determines the reading when he or she is willing to "unveil" the codes) a bit silly.

To reduce it to Belgian art: it is the difference between the visual art of Henri Michaux (free, non coded) and Christian Dotremont (always linked with a real sentence). But if you see Dotremont's visuals LIFE I challenge everyone to read it! You are drowned in an ocean of signs and even if you know French very well, I doubt that you can determine a few words altogether. A few years ago we had in Mons a retrospective of Dotremont with on the ground floor his Cobra works and on the upper floors his Vispo he called Logogrammes and Logoglaces (he did logogrammes in the snow and the ice of Lapland and the high north of Europe, exists only thru' photographs). I visited the exhibition accompanied by 2 American mail artists and they were so overwhelmed they had to leave the room after a couple of minutes and then said "sorry Guido, we're out of our league here, this is too much, thi is sooo unexpected, we become uneasy". That the visuals of CD were based on real language made no sense or difference at all!

[cheryl penn]

INTERESTING Guido :-)  - syntax to me is about some sort of structuring and principles for constructing phrases and sentences - right?  The use of the term asemic WRITING - writing that is recognized as such, but remains illegible - de-codified - I think bringing in the word 'syntax' is great! I think it may cause a re-thinking? I have always been interested in the ORIGNS of words (as units) and language.  Asmics, as a kind of post literate language - we can start syntaxing it right here - on IUOMA!

[cheryl penn]

ASMICS???? Anyway - glad to have you onboard Guido :-) X

[Nancy Bell Scott]

Oh, missed this. I like that way of thinking of it too, Cheryl. Pioneers!