Lettere d’amore a Peter Rabbit – Presentazione ufficiale

La Finestra (speciale) di Antonio Syxty incontra il Manufatto N° 4 della collana di Poesia Manufatti Poetici di Biblion Edizioni / Zacinto Edizioni di Aulo Chiesa, con Federico Federici autore della raccolta Lettere d’amore a Peter Rabbit e Paolo Giovannetti critico letterario – 02/06/2021

Lettere d’amore a Peter Rabbit, collana Manufatti poetici a cura di Paolo Giovannetti, Antonio Syxty, Michele Zaffarano, Zacinto Edizioni, Milano 2021, ISBN 978-8833831350
buy: amazon.it • listen: podcast • watch: YouTube

Transcripts from demagnetized tapes – Vol. 1

Transcripts from demagnetized tapes, Vol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng]
buy: Lulu | amazon.com | .uk • read: archive | behance | download

Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.
Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.
Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.
Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc. The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.
The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).
Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings. Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.
The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.

Sloan De Villo

“A private noteboook of winds” featured by David Ebony in “Art in America” – May 2020

Trees work in the woods like words do in the poetical text. Exploring a book like this goes beyond the pure reader’s control and turns into a practice whose results are unpredictable. – Tim Wallington.

«Exploring asemic patterns found in nature, Berlin-based physicist, translator, and writer Federico Federici offers a meditation on trees and wind. This volume contains a wide variety of mark-making—from thin curved lines and printed text to thick smooth brushstrokes and small illustrations.» David Ebony in “Art in America” – May 2020

A private notebook of winds, KDP/lulu.com, 2019 (Asemic-Eng), ISBN 979-8640410952 / 978-0244791414
The original of this book belongs to the Academy of Fine Arts Palermo artists’ book collection [1] [2]. Featured by David Ebony in «Art In America» May issue, 2020.
buy: barnes&noble | amazon.com | .uk

Die Leere Mitte – Call for papers

Guidelines

Broadly accepted: Experimental and conceptual writing, theoretical papers, asemic and concrete texts, vispo, theorems, axiom collection, quantum weirdness, reviews of books addressing these topics and the like.
Texts: poetry (60 lines max. overall); prose (500-600 words max. overall). Format: Times New Roman 12; single line spacing; all in one .doc (no .docx) or .odt file. Languages: Catalan, Croatian, English, French, German, Italian, Russian, Spanish.
Visual: 1-3 B&W images. Format: jpg, tiff, png, 72-300 DPI.

Simultaneous submissions are welcome, provided that the piece is withdrawn if accepted elsewhere, as well as previously published works when properly credited. Each issue will be free to download (.pdf). A printed version will be made available through lulu.com for collectors. No reading fee; no payment or complimentary copies to contributors at present. Authors assume responsibility for the originality, intellectual property rights and ethical implications of submitted works.

submissions: leeremittemag ‘at’ gmail ‘dot’ com
twitter: @LeereMitte
home: https://leserpent.wordpress.com/category/dlm/

n.77

L’ombra, questa ombra non tanto lieve che ci sta accanto – ognuno ha la propria, per la quale ha inventato un nome. A volerla davvero lasciare, dovremmo affidarla a un corpo lontano, perché la luce non ce la renda disperdendola di nuovo. Ma in un corpo è sempre una voce, un canto, un rumore e chissà quante altre forme ancora, sparse.

Tiresias’ gate – p.92

BUY ORIGINAL

 
                 because of the[o]se words

                      upstream [] …
                      [ag]ainst …

                      the water’s …
                      will …
                      upstream

                                              of       the       air

   shadow
shudders

PUTRID
[W]ATERS

IT LATHERS

STARK                            DARKER
                                          DARKER

                 whose son you are

Transcripts from demagnetized tapesVol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng] 

buy: Lulu | amazon.com | .uk • read: archive | behance | download

The tree left alone

[under construction] image to be added

If you have come to this point, please record a short audio clip (approx. 10 s) without speaking and send it over to: treeleftalone [at] gmail [dot] com, specifying date and time. We are collecting what this tree listens to over the year.

2nd July 2021