Debugging, «Koan» n.1, Clara Davis, Victoria Johnson editors, 2018.
Three previously unpublished documents on Luuwa, n.3 curated by Francesco Aprile. All works belong to Klaus Hein’s private collection, Berlin (2018).
Dismantled Documents are now available within the nanopamphlets series curated by Anthony Etherin and Clara Daneri at Penteract Press, Shropshire 2018.
Micro Asemic Film 4, «Gone Lawn», n.30, Owen Kaelan, Beth Gordon editors, 2018.
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.
This collection of sheets is a purely asemic tone poem, sketching the mood of the first man to stand erect, taking inspiration from the musically depicted portrait given by Charles Mingus, in his Pithecanthropus Erectus.
Aiming at dealing with the story of mankind in its own way, asemic writing seemed the most appropriate choice, insisting upon semiotics, rather than idioms.
Overcome with his alleged superiority over the trees, likewise standing erect, but unmoving in the background, and over the animals, still in a prone position, man first conceived of conquering the Earth, then of eventually ruling Nature.
Given these assumptions, his sought emancipation led to solitude and self-enslaving.
As the original jazz suite, this poem can be loosely divided into four movements:
evolution, p. 11–23
superiority-complex, p. 24–47
decline, p. 48–53
destruction, p. 54–58
The first movement sets the elementary shapes (dots, stains, lines), which get later on, in the second movement especially, organized into more complex dynamic structures or repeated solos.
The introduction to the third movement, instead, registers a much more organic disturbance in the whole pattern. Further attempts to regain control over that first frantic signs of crisis fail.
The fourth movement is again based on the third, except that it develops into an increasing complexity ending with blank language lines, resembling those on page 28 and 29, but somehow unnaturally upwards, no longer organized into blocks.
The final, definite climax is a white fallout, an unexpressed ultimate (or even anew primordial) act.
London, Coldharbour Lane
Liner notes for a Pithecanthropus Erectus sketchbook, with a foreword by SJ Fowler, lulu.com, Morrisville 2018, (Eng-Asemic). ISBN: 978-0244999049
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