Asemic Writing for Mail-Artists

Comment

Comment by De Villo Sloan on May 31, 2011 at 3:47am

Cheryl, what's up with your "Suggestions As Origins of Some asemic scripts" discussion? It's closed. You can't post comments. I think there are some really interesting points about weathered and distorted texts. But no one can respond. Also I said "dread French" and I meant "read French" although most of the time I probably do dread French.

 

Also - I would be interested in doing a larger edition than the original 12 copies for the artists. What's up here? Have your people call my people and we'll have lunch, ok? Lots to discuss.

Comment by De Villo Sloan on May 31, 2011 at 1:18am

Reading this thread, I now understand what it must have been like listening to poet Charles Olson deliver a 6 hour spontaneous cosmic rant about the space time continuum, new physics poetics, and Native American peyote rituals at UC Berkeley before he was removed from the stage by campus police (and after he had announced his candidacy for president of the United States). 

 

Rosa brings up ENTROPY. And that is a darned important concept in the arts going back to Henry Adams' "The Virgin and the Dynamo." (and you really want to know something about the world and who runs it? Find out who Henry Adams was and who his family were and what they actually stood for.) Systems inherently decompose and fragment UNLESS they have ENERGY to maintain their integrity. This might have something to with asemic writing. Darn, times like these I wish Olson was still around.

Comment by cheryl penn on May 30, 2011 at 9:56pm

This is a VERY bad translation of what Rosa is saying - but I get the idea :-) - thanks Rosa - interesting!

 

You debate you that they come themselves presenting in this group they accompanied me in an archaeological exploration toward the origin of my first works Asemic.  The precision in the concepts that here is sought is it opposed to the theme that we are treating and that serves me of example to try to explain the vision that have (provisional!) on Asemic.  I think that prior to the definition always some degree of confusion exists.  In the state of confusion the assembly of elements, particles, characters, ideas, etc. they coexist without a lot of differentiation and when the confusion is extreme we have an amontonamiento chaotic of elements indiferenciados that tends the homogeneity.  I have come utilizing the concept of ENTROPY to define that state indiferenciado and chaotic.  There is algun degree of prior entropy to find the adequate word and the entropy is zero when with it achievement. ....  These debates accompanied me in an archaeological exploration toward the origin of my first works Asemic.  The precision in the concepts that here is sought is it opposed to the theme that we are treating and that serves me of example to try to explain the vision that have (provisional!) on Asemic.  Prior to the definition always some degree of confusion exists.  In the state of confusion the assembly of elements, particles, characters, ideas, etc. they coexist without a lot of differentiation and when the confusion is extreme we have an amontonamiento chaotic of elements indiferenciados that tends the homogeneity.  I have come utilizing the concept of ENTROPY to define that state indiferenciado and chaotic.  When I elect to work with characters, I am differentiating those elements among others infinite possibilities. .....  In the same way that when I elect a word and not another or when I pile particles to create a texture. ...  Texts. ... textures. ... contexts. ...  Very interesant

Comment by cheryl penn on May 30, 2011 at 9:14pm

Please will all participants put their names and addresses in my inbox so that I can compile the list for posting. Please note - you will need to make 12 copies of your piece and post one to each of the people involved in the book. Please also note - use a good grammage paper - about 160gm - the very light weight computer paper is not strong enough in the binding.

Comment by Rosa Gravino on May 30, 2011 at 8:35pm

Los debates que se vienen planteando en éste grupo me acompañaron en una exploración arqueológica hacia el origen de mis primeros trabajos Asemic. 

La precisión en los conceptos que aquí se busca es lo opuesto al tema que estamos tratando y eso me sirve de ejemplo para intentar explicar la visión que tengo (provisoria!) sobre Asemic.

Pienso que previo a la definición siempre existe algún grado de confusión.

En el estado de confusión el conjunto de elementos, partículas, caracteres, ideas, etc. coexisten sin mucha diferenciación y cuando la confusión es extrema tenemos un amontonamiento caótico de elementos indiferenciados que tiende a la homogeneidad. 

He venido utilizando el concepto de ENTROPÍA para definir ese estado indiferenciado y caótico. 

Hay algun grado de entropía previo a encontrar la palabra adecuada y la entropía es cero cuando con lo logro..... 

Estos debates me acompañaron en una exploración arqueológica hacia el origen de mis primeros trabajos Asemic. 

La precisión en los conceptos que aquí se busca es lo opuesto al tema que estamos tratando y eso me sirve de ejemplo para intentar explicar la visión que tengo (provisoria!) sobre Asemic.

Previo a la definición siempre existe algún grado de confusión.

En el estado de confusión el conjunto de elementos, partículas, caracteres, ideas, etc. coexisten sin mucha diferenciación y cuando la confusión es extrema tenemos un amontonamiento caótico de elementos indiferenciados que tiende a la homogeneidad. 

He venido utilizando el concepto de ENTROPÍA para definir ese estado indiferenciado y caótico. 

Cuando elijo trabajar con caracteres, estoy diferenciando esos elementos entre otras infinitas posibilidades...... Del mismo modo que cuando elijo una palabra y no otra o cuando amontono partículas para crear una textura....

textos.... texturas.... contextos.... 

Muy interesante!!!

 

 

Comment by De Villo Sloan on May 30, 2011 at 7:13pm

WOW,WOW,WOW AND THANK YOU. We have an All-Star line-up of artists who are interested in contributing their work to ASEMICS 12. Here's where it stands:

Asemics 12 (edition 1)

 

John M. Bennett

Rosa Gravino

Bifidus Jones

Diane Keys

Mary Anne

Ginny Lloyd

Bruno Neiva

Cheryl Penn

De Villo Sloan

Mariska van den Heuvel

Guido Vermeulen

Imelda Wubben

Marie Wintzer

 

It now looks very likely that there will be an Edition #2 also and perhaps more. So contact Cheryl and/or me if you are interested. The schedule isn't worked out yet, but the editions will be released at different times, so there is flexibility in terms of how this works in your schedule.

 

Cheryl is a master at the administrative part of this, so you will get more specific info on that subject soon.

 

I am THRILLED! We've attracted some incredible talent here. I'll probably write the intro. and I am looking forward to that!

 

Comment by De Villo Sloan on May 30, 2011 at 6:06pm

A warm welcome to Mariska van den Heuvel who is now part of the Asemic 12 project!

Comment by cheryl penn on May 30, 2011 at 4:07pm

Not having ever experienced the life of a frog I cant say for sure what I feel on that sort of experience.

Comment by cheryl penn on May 30, 2011 at 4:01pm

Me, Bruno and Marie.

Comment by De Villo Sloan on May 30, 2011 at 3:58pm

ASEMIC COLLABORATIVE BOOK ANNOUNCEMENT

 

Cheryl Penn and I want to coordinate the production of a book of asemic writing. Members of this group, in particular, are encouraged to consider participating. But it's open to all IUOMA members.

 

We need 12 people. 

 

If you are interested, put a message in this thread indicating you would like to join.

 

We need at least 12 people.

 

More details forthcoming.

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