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
SE=strl(‘per’, 1, V);
SE1=strl(‘li’, 1, 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];
B =imerode(A3, SE5);
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].
Federici has written a text of concrete poetry that extends itself all the way into asemic writing. Ultimately this book shines a light on the collapse of words and verbal communication, as if the concrete and the asemic were a swirling binary code unto themselves, living as a poetic thing, never dead but constantly being altered and altering the other. Yes walls collapse and so do languages. Writing systems disappear. Graffiti is painted over. The Berlin wall itself being the ultimate page and scar, leaving us with the question of what comes next now that the page is gone, and the asemic and concrete have run their course. Federici’s book suggests that after the wall comes down we are left with a poetry heavy with mashed up typography and information. These are beautiful poems searching for freedom, and they document the duality of the physical natural world becoming digital echoes written on a computer. I am glad this book is a physical book; it gives me hope that writing will continue to strive for new forms of expression yet not forget its history and where it came from. I recommend this book to poets, artists, typographers, cryptographers, and anyone with an interest in asemic writing.