Asemic Writing for Mail-Artists

Yep, Cheryl.  That sounds good for me and I will verify Juri's address before I forward your work to him.  He did say mine got through OK.

This is my Asemic 5 concept.  Just to let all know i am almost ready to send. It's inspired in the taino indians petrogliphs of Boriquen (Puerto Rico)

YAY! Liliana's Asemics #3 has arrived in Greece, too! Thank you so much Liliana, so happy that you were able to make it. The asemic "bar codes" are excellent!

The spell chick sleeps on the job!

I recieved John Bennett's wonderful Asemic 5 on Saturday.  Thank you so much.

I'm ON THE BINDING JOB!!! I have decided to bind the first 3 books together in a compendium, accordion binding with the asemic pages 3-hole-pamphlet stitched into the valleys - ok maybe I'm rabbitting a bit much - but I'm EXCITED! This is a FAB collection AND this way allows space for the pieces I/you are missing to be inserted later. I will hopefully have instructions/photographs by tomorrow for you all. Its a FAB WONDERFUL EVERYONE!!!!! :-) X

Hey, I just read on Cecil's collagemuseum list that he has been in the process of moving. As of Sept 15, his new address became:

135 Country Center Dr.
Suite F. # 10
Pagosa Springs, CO. 81147
817-944-4000

Major move, so maybe don't be too optimistic ...

John Bennett, very beautiful piece below.

Below is the introduction for Asemics 16 - Edition #4. Feel free to use it, if you would like, in any way you would like. All editions will have intros to provide documentation and background. All four intros are also posted on the intro thread in this group:

Asemics 16

Collaborative Mail-Art Book Project

INTRODUCTION TO EDITION 4 – The Mountain of Signs

In 1936, Antonin Artaud visited Mexico hoping to find among its indigenous peoples the foundation for a new civilization that would revitalize and replace what he perceived to be the failed cultures of Europe. Artaud made contact with the Tarahumara tribe and in order to reach them had to traverse a desolate region which he named “The Mountain of Signs.”

Artaud’s written account of the difficult journey on horseback contains a remarkable passage where he witnessed the natural rock formations and twisted trees around him transform into marvelous inscriptions, hieroglyphs, fantastic statues depicting myths that he could not read or understand but that suggested vast systems of language chronicling an ancient world alive and energized not by reason but by an alternative source he could only name as magic.

Artaud’s vision of “The Mountain of Signs” is an early and wonderful description of the experience of encountering and creating asemics and aptly captures the spirit of this fourth edition in the Asemics 16 project, which can fairly be described as artistic magic.

The fascinating practice of asemic writing includes the invention of imaginary languages with corresponding symbols and systems for their arrangement. An asemic text suggests a language, might at times reveal traces of a known language, but ultimately cannot be read as any existing language or extinct language that has been recorded. Yet, as the pages ahead reveal, asemic writing is far from being devoid of human expression. Indeed, it succeeds on a global scale where language so often falls short.

Much of the work in this fourth edition tests the boundaries and practices of asemic writing itself as they are currently understood, further validating and extending Artaud’s experience. The artists have found inspiration for their work in all areas of their environments, creating amazing symbols and structures. As a result, new directions are presented and possibilities for expression are enlarged.

United by their involvement in the international mail-art network, contributors to this edition are accomplished painters, collage artists, photographers, conceptual artists, and visual poets. Applying their considerable talents to asemic writing (arguably most strongly aligned with literature), they have produced work that is visually stunning and provocative.

While some might seek to secure firm lines between abstract art with asemic elements and asemic texts, the work in edition four – to the contrary – disregards these distinctions between text and image in favor of creating altogether new forms. Thus, as the Asemics 16 project has progressed, the term asemic writing has given way, through a shared consensus, to the concept of asemics,which seems to be far more open and inclusive.  

In their willingness to experiment and explore their imaginations, the contributors to Asemics 16 – Edition #4 open up the possibility of new worlds and new forms of expression.

De Villo Sloan

September 21, 2011

Auburn, New York, USA 

Thanks Lesley and PL - I'm getting FANTASTIC work from contributors but have been scarce because I'm momentarily buried. At this point, I'll only contact people if I haven't received.

Edition #4 has proven to be very interesting, IMHO. Did you notice there is this tendency to go minimal when the other chapters tended toward very complex pieces? And I think there was more use of found material, for whatever reason. Anyway, great work!

Cheryl and I always thought of #4 as the experimental edition. There was no particular reason for that, but that's how it seems to have turned out.

The change in page format might have had something to do with it. Personally, I felt like I was making asemic "get well" or birthday cards, but the change did produce great results generally.

Yes, asemic minimalism is definitely cool.

YES, GOOD INTRO

I've only rec'd 8 of the pieces for  that 16 #4 - more to come i hope?

john

Mmm, Artaud in Mexico, he is linked with Michaux in the way they both used "magic mushrooms". he also wrote a book about that, which is translated in English.

G.

Thanks for intro comments asemicists! I agree with Nancy's comments elsewhere, Guido. Wonderful series you are making! 

I didn't want to drop the comments about the minimalism I think I see in Edition #4. We have some four and five edition veterans who deserve more than praise for what they have contributed to this project!

Yes, the production schedule has been rigorous and #5 will be the last for a while. I don't think fatigue entirely explains the folks who chose to simplify and economize in various ways. Some of the work in the earlier editions were PRODUCTIONS - complex overlays tied into image systems etc. etc. It would be natural - even cyclical - to want to experiment with less, with simplicity. And we've had examples posted of VERY successful work that is very simple - I'm thinking of photos that have been posted that are so thought-provoking as well as things in the found objects area. Interesting things indeed.

The amazingly complicated piece Skybridge Studios made and that received so much attention is an inevitable exception.

Just so you know, the book is nearly complete - will hopefully blog the binding later today - MAN! This was a job and a half - but SO worth it - I'm CHUFFED!

Chapters #4 book have arrived from Alicia & De Villo.  Great stuff and DVS also included some great trash fodder.  What a pal!  Katerina was kind enough to send me pages from her Chapter #5 and I think I will bind it with my chapter 4 book.  :-)  Thank you all!

Cheryl, your binding looks teriffic.  Great idea for the late add ons.  Thanks for taking the time to show us.  This was an inspirational project.  I only wish I could have participated in all of the books.  Well....perhaps another time.  It's nice to have a mix of such creative chapters!