Studies on asemic interferences on/within concrete structures, «Obra/Artifact», n.5, Stetson University’s Low-Residency MFA of the Americas, 2018.
Contributors: Edu Barreto + Korbin Jones // Eli Binkovitz // Kimberly Brincklow // Ana Brotas // Simon Brown // Mark Budman Cristina DeSouza // Woody Dismukes // Federico Federici // Jan Heiman // Addison Hoggard // Desirée Jung // Manivillie Kanagasabapathy // R. Keith // Stephanie Laterza // Nick Leibee // KA Masters // Irène Mathieu // Dona Mayoora // Adelina Molina // Lisa Done Moore // Eric Odynocki // Lisa Allen Ortiz // Nika Ostby // John Pluecker + Jorge Galván Flores // Kirsten Ruginski // Ryoko Sekiguchi + Lindsay Turner // David Shames // Alysha Sidhu // Patrick Sylvain // Drake Truber // Viviane Vives // Bessie F. Zaldívar
«Asemic writing, for me, is for the disobedient eye, that will not seek the straight line or the right track. It is not so much about removing meaning as it is about multiplying exponentially the number of possible readings. Asemic writing is a way of giving away without holding back. If there is meaning to be found, it will be elusive by definition and will belong to the reader just as much as the writer. That is how I like to imagine Enzo Patti’s narrative structures without definite story lines, for example. Asemic writing is also about recognizing and creating incongruous and unexpected pairings (visual art, poetry, music, photo, science, maths, map-making) – it enables us to see musical rhythms in statistical diagrams, inscriptions in random traces in nature, or stained glass patterns in land use maps. This is how I see your Calligraph and seismograph series, for example, but also some of Rosaire Appel’s architectural and musical asemics, Ariel Gonzalez Losada’s cosmologies, or Tom Gal’s invented visual science. And so many others.» May Bery
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