Selected pieces from demagnetized tapes – Vol. 1





Selected pieces from demagnetized tapes on The New Post-literate: A Gallery Of Asemic Writing, Michael Jacobson editor.

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

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 | | .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

Asemic Tech

La escritura Asemic es muda, abstracta, e ilegible. Asemic significa no tener un contenido semántico específico, o sea que es una escritura sin un significado definido. Es una visión estilística de la escritura, que no se puede leer, sino observar.
Cualquier tecnología sirve para hacer Asemic: un palo en la tierra, una pluma en la mano, una tableta gráfica, inteligencia artificial…
Esa forma de arte antigua ha tenido una explosión de popularidad gracias a sitios web (asemic Magazine, Facebook, Tumblr, The new Post-Literate, etc.).
Artistas/ Escritores usan internet para compartir sus obras entre ellos y con el mundo, y forman juntos una comunidad próspera.
Esta exposición será una instantánea de obras Asemic que estén ligadas con la tecnología digital.

Participan: Peterson Ruiz, Hâle & Gökhan Turhan, Rachel Minshull, Phil Openshaw, Cecelia Chapman, Dona Mayoora, Axel Calatayud, Roland Buckingham-Hsiao, Federico Federici, Continue reading “Asemic Tech”