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]
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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 notebook of winds at “Academy of Fine Arts Palermo”

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  

Some theory about “Stuttgarter Strukturfonien”

Supervised image processing scripts are developed to acquire and plunge textual documents, such as scores or handwritten papers, into abstract asemic spaces. Each text is a unique, unquenchable source of signs, which must be thought of as being thoroughly detached from the original figures of writing to merge into new alphabets.
The whole image matrix is morphologically manipulated with the help of routines, which combine neighbouring clusters of pixels according to certain structuring shapes (lines, squares, disks, etc.), depending on specific elements (points, centres, size, etc.) which get adjusted until a new formal equilibrium is attained.
Scripts and other software segments have been developed, tested and run within Linux GNU Octave, whose mathematics-oriented syntax is mostly compatible with Matlab.
Preliminar image analysis has benefited standard ImageJ plugins.

% fragment of a script
x=imread(‘im.jpg’);
E=2*rand(1);
SE5=strl(‘arbitrary’, E);
V=[2,3];
SE=strl(‘per’, 1, V);
SE1=strl(‘li’, 1, 1);
SE3=strl(‘sq’, 1);
NEHOOD=[1 0 0 0 0 0 0 0 1 1 1 1 1 0, 1 0 0 0 0 1 0 1 0 1 0 1 1 1 0 1 1 1 1];
SE4=strl(NHOOD);
OFFST=[10, -18];
SE2=strl(‘pairwise’, OFFSET);
A=imerode(x, SE1);
A1=imerode(A, SE4);
A2=imerode(A1, SE3);
A3=imerode(A2, SE);
B =imerode(A3, SE5);
imwrite(B, ‘imsaved.jpg’);

Stuttgarter Strukturfonien, 2019 (Vispo-Eng).
ISBN 979-8640604504
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