Asemic Writing for Mail-Artists

WORKS ON PAPER EXHIBITION

List of participants - please log on to

http://www.worksonpaper.paint.at

(update: 11 oct 2011)

deadline: 31 Dec 2011)

Cheryl:

Send?  send what? 

uh,

john

Looks almost like one of my paintings but it’s not; photo of reflection of leaves of plants in my garden in a window of my flat, Tarantino’s room.

Eco-asemics are wonderful

Une vue de ton jardin avec le reflet de toi pendant la prise de vue ?

MIAM !!!!!!!!!!

I know its eco asemics but its a friend for Guido's photo :-)

thanks, Nancy

and that photo from guido's friend is wonderful

Now I have my own mosaics and asemic mail art from Katerina. Thanks!

OMG, Angie!  That is wonderful.  I really miss Bruno!  It's nice to know he is keeping in touch with you.

Asemic 4 received from Victoria today.  I really need to do a count.  Think I am close to the finish line with Victoria's piece.  It's a beauty!  TY, Victoria.

Great work, John.  Loving all of the color and texture.  I have a soft spot for pieces

that beg to be touched.

I received great asemics from Kerri Pullo in Arizona, USA.

For contributors to Asemics 16 - Edition #5: Here is the introduction. Feel free to cut & paste to use as documentation. All five intros can be found on the intro thread in this group:

INTRODUCTION FOR ASEMICS 16 – Edition 5

Asemics 16 Collaborative Mail-Art Book Project

ASEMIC SYNTAX

In this fifth edition of the Asemics 16 collaborative book project, we asked contributors to address the concept of syntax in asemic writing.

Asemics 16 editions document diverse approaches to the creation of written texts whose symbols do not disclose meaning through the conventional process of reading and are thus considered devoid of content (a structuralist’s dream of form without content?). In linguistic terms, it is writing where the relationship between the signifier and signified has been irrevocably severed; even codes are not fair game.

In the same way the marvelous work by the contributors creates imaginary languages or distorts and fractures existing languages beyond recognition, the ghost or suggestion of larger structures that bind the symbols together appear in the work through asemic punctuation, asemic grammar, guides for linearity (for example Cheryl Penn (South Africa) experimented with writing backwards), or the simultaneous perception of glyph forms. Asemic syntax mirrors the structures of languages and their written representations but in no way provides content. (What then are we to make of asemic fiction?)

The work in this edition shows clearly a traditional connection between asemic writing and concrete poetry, a shared interest in the materiality of written language. Brion Gysin’s formative work, following his expulsion from the Surrealist movement by Breton, provides an historic checkpoint for the Asemics 16 artists.

Gysin’s later asemic writing evolved from his calligraphy using Arabic and Japanese. Combining the Arabic and Japanese symbols naturally produced grid structures: A move toward creating asemic syntax as well as the distinctive abstract structures we associate with concrete poetry; grid structures are used frequently in concrete poetry. An important point is they are grounded in syntax. Here is Gysin’s work in this area:

The concept continues in work by Cheryl Penn from the Asemics 16 project:

The work in Asemics 16 – Edition #5 expands and extends this tradition with innovation and imagination. You will find ideas of syntax expressed on the pages ahead primarily through larger structures that might suggest paragraphs or that explore linearity through horizontal, vertical or, more ironically, organic, circular or geometric patterns. The frequent use of “overlaying” text, derived from visual poetry, offers other possibilities for asemic syntax. Ideas for asemic poetry are presented. This is a remarkable collection of work that you can return to again and again, discovering more each time.

De Villo Sloan

November 16, 2011

Auburn, New York, USA

This is again fantastic - thank you De Villo - you're an excellent  rapper (up) for sure :-)) X

Thanks Kat. In Gangsta Land it's a rap (sheet). With a movie, it's a wrap - as in wrap it up? Maybe in Christo Land too.

good intro, De Villo - i like the references to Gysin...

john