In this issue: Randee Silv, Angela Caporaso, Michael Betancourt, Marjan Zahed-Kindersley | listen |, Mark Young, Joseph Salvatore Aversano, Christopher Clifton, Nico Vassilakis, Mario José Cervantes.
Selected pieces from demagnetized tapes on The New Post-literate: A Gallery Of Asemic Writing, Michael Jacobson editor.
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.
In this issue: Howie Good, Daniel P. Barbare, Charles Wilkinson, Sam Wilson Fletcher, Connor Orrico, Gale Acuff, John Grey, Mark Antony Rossi, Cecelia Chapman, Mario José Cervantes.
In this issue: John M. Bennett, Gerard Sarnat, Colin James, Jim Meirose, Alina Santana Kozlova, Heikki Huotari, Omer Wissman, Elmedin Kadric, Mark Young, Marjan Zahed-Kindersley, Johannes S. H. Bjerg, Jeff Harrison & Diana Magallón, Jim Leftwich & Jeff Crouch.
In this issue: Manuel Delgado Meroño, Connor Orrico, Mattias Monde, Birgit Hedwig Wildt, Mario José Cervantes, John Grey, David Morse, William Doreski, Helge H. Paulsen
In this issue: Steven J Fowler, John M. Bennett, Enrico Sette, Katja Schraml, Raoul Eisele, Mark Young, Joseph S. Aversano
cover: Die Leere Mitte / Il centro vuoto, wire sculpture, Enrico Sette, 2020.