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.
Project: development of original, automatic asemic writings, based on the supervised combination of scripts for scanning and manipulating conventional documents (scores and handwritten papers).
«Stuttgarter Strukturfonien is a symphony of asemic musical structures, played as ripe illegible songs, which seemingly transcend the communication between life and death. Entwined in Federici’s noisy Octave-script statements is a work that freely succeeds at demonstrating an inventive textual ability and artful manual dexterity. It’s a book that entertains thoughts of cypheric wisdom and movements of notational calculi crashing into silence. The wind and rain of the reader’s eye shapes the jagged visual poetic landscape and invites the reader into its unique synthesis of textual, visual, and sonic compositions. This is a wonderful opus which incites the mind towards new avenues of creative energy while still allowing the reader to control the volume.» [Michael Jacobson, Works and Interviews].
The Cecil Touchon Asemic Reader stands as some sort of data storage device, capable of hosting and properly displaying a variety of solid textual environments and set on discovering the way language naturally tends to abstraction and contradiction, the two together being its generative seeding. Openly challenging and overstepping the saturated mass media input-output system of consumption and production, Touchon seems to offer a thorough list of implicit instructions and poetical how-tos to conceptually work around the snare of an old, yet unanswered aporia: is text the obverse or reverse of an image? Is it true the opposite? “This side of card is for address” – an envelope reads, but the address points to nowhere on Earth, for to make reality real again, it must first be disavowed. Touchon’s creative logic works within these interstices of language to breach the borders and extend investigation beyond naïve interpretations of common goings-on and far beyond pure linguistics, though reality is the realm of language. The reader is thus a tool, a recipient and a sender at the same time, always involved in the process that makes the whole device work.
The very first page sets a purely asemic routine, which the subsequent works put into play. Ripped finds from old poetry books and journals, stamped envelopes and scores, all have become the bedrock the asemic practice erodes. Though a strict protocol cannot be established, other than the blue fingerprint at the right bottom corner of the first few pages, a rather recognizable rhythm of dots, lines and arrows pointing right, drives to the subsequent bloc of writings, opening with a carefully erased text. Few residual elements surface: “[…] the […] it […] )”. The pages that follow are crammed with broader and broader gaps as to suggest the presence of something intrinsically meaningful to be rooted out, as if they were semantically sampled by some mobile pointer. Erasure marks slowly turn into asemic fringes and gratings diffracting textual elements. See-through words and other identifiers resemble particles and micro-structures from within the living membrane of textual reality. The reader accesses new signification through this warped perspective of language which, in turn, extends the realm of creation.
In the last sections, the space of writing and the act of writing both undergo shifts, contractions and morphisms that push the original typographic structures of single words, sentences or of whole bulks of text to a critical point. This scathing montage actually attains poetic accumulation by way of endless deletions and duplications. The fragmented word-form connections tend to evoke the notion of space-text itself as a zone of progressive stratification and superposition. This multilayered technique subsumes as many layers of interpretations, as many spaces of truth. Language is not an immobile concept, but what lies below a word if not another word to disarm or erase?
Original copy belonging to the Academy of Fine Arts Palermo
Print edition [21.59×27.94 cm, 32 pages, full-color]
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 . Featured by David Ebony in «Art In America» May issue, 2020.
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