Ding an sich – p.88

BUY ORIGINAL

This work invites the reader/onlooker to depict the whole body as a diffused neuro-semiotic net, wherein synapses, cells and other attractors intertwine. Ears, eyes and skin (Ohr/Ohr, Augen, écran) restlessly collect stimuli from an ultimately unknowable, maybe subliminal substrate (Ding an sich) to be later on mapped into language. In the same way as artificial fuzzy systems or neural networks essentially consist of adjustable mathematical models, the original states of biological machines are keen on being informed. Since the speed of learning can hardly keep up with the fluidity of perception, world may become a resonation of word, and word that of wood(s) and so forth. Reality exhibits a certain bias for meaning and conceptualizing beyond likely errors. The thick barrage of signs at the verbivisual surface of the page is a caveat against anchoring signification, as if an excess of information had definitively come into play. The intrinsic instability of textual matter begins at the ground-state of words. The mechanism of adding or dropping letters reminds that of the charging/uncharging of particles by contact and proves that meaning always exerts a certain pressure.

Transcripts from demagnetized tapesVol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng] 

buy: Lulu | amazon.com | .uk • read: archive | behance | download

First appeared in «Unknown Quantities», Ma Culture, Criticism and Curation, and MA Graphic Communication Design at Central Saint Martins, University of the Arts of London, n.7, 2020.

Tiresias’ gate – p.92

BUY ORIGINAL

 
                 because of the[o]se words

                      upstream [] …
                      [ag]ainst …

                      the water’s …
                      will …
                      upstream

                                              of       the       air

   shadow
shudders

PUTRID
[W]ATERS

IT LATHERS

STARK                            DARKER
                                          DARKER

                 whose son you are

Transcripts from demagnetized tapesVol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng] 

buy: Lulu | amazon.com | .uk • read: archive | behance | download

Canto CXVII – p.97

(clair)-obscur
(clair)-obscur
(clair)-obscur
(clair)-obscur
(clair)-obscur
clair-obscur
clair-obscur
clair-obscur
clair-obscur
chair-obscur
chair-obscur
chair-obscur
chair-obscur
chair-obscur
(c)hair-obscur
(c)hair-obscur
(c)hair-obscur
(c)hair-obscur
(c)hair-obscur
(ch)air-obscur
(ch)air-obscur
(ch)air-obscur
(ch)air-obscur
(ch)air-obscur
(c)lair-obscur
(c)lair-obscur
(c)lair-obscur
(c)lair-obscur
(c)lair-obscur

wenn ich ein
(…) schreibe
the whole business of (etc.)
the eye: a point of resistence to
(words in the neuroptic channel etc.)
this is grainy noise +3:
………………………………..
………………………………..
………………………………..
………………………………..
………………………………..
………………………………..
( L I M P I D I T Y LIMPIDITY)
words are printing materials:
geometry of the eye +
geometry of the ear =

[Private Collection, Chicago, 2020]

Transcripts from demagnetized tapes, Vol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng]
buy: Lulu | amazon.com | .uk • read: archive | behance | download

Poetic Vision – BERLIN

Poems Meet Visual Art, Science, and Film, Janée Baugher, Kanika Agrawal, Jess Mc Kinney, Federico Federici, hosted and curated by Jake Schneider, «SAND» Editor in Chief, 25/04, 20:00-21:30, Berlin.

SLIDES DOWNLOAD: Poetic Vision

The authors interested in playing around with the suggested prompt and have their work published on a forthcoming issue of Die Leere Mitte, may submit it at leeremittemag [AT] gmail [DOT] com!

Poems Meet Visual Art, Science, and Film

Janée Baugher, Kanika Agrawal, Jess Mc Kinney, Federico Federici, hosted and curated by Jake Schneider, «SAND» Editor in Chief, Sunday 25 April, 8pm, Berlin.

  • Janée Baugher is the author of The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, a comprehensive guidebook for engaging with art in words, as well as two poetry collections, Coördinates of Yes and The Body’s Physics. Her recent art/flash exchange with Qrcky was featured in the light ekphrastic. She is also the columnist at The Ekphrastic Review.
  • Kanika Agrawal’s work-in-progress Okazaki Fragments, excerpted in SAND 19, adapts language and images from a series of scientific papers on discontinuous strand synthesis during DNA replication. This research was led by the Japanese molecular biologists Okazaki and Okazaki. Okazaki Fragments (re)constructs Okazaki and Okazaki’s experiences by reading their lives into (or out of) their scientific papers. Kanika studied biology many years ago as an undergraduate at MIT, and she has been thinking and writing about Okazaki fragments and various other cellular molecules and processes ever since.
  • Jess Mc Kinney is a poet from Inishowen Donegal who recently completed her MA in Poetry at Queen’s University Belfast, where she was awarded the Irish Chair of Poetry Student Award 2020. Her poem “Deluge” in the current SAND 22 rewatches the classic anime film Spirited Away, lip-syncs Leonard Cohen, and exposes the startling sweep of its own poetic vision. Another poem of hers in The Moth looks through the technicolor eyes of swifts and mantis shrimp. Her work has also appeared or is forthcoming in The Stinging Fly, Banshee, Abridged, The Open Ear, Channel Magazine, and The Poetry Jukebox. She was awarded an artist bursary from Donegal County Council to complete her debut poetry pamphlet.
  • Federico Federici is a conceptual artist and physicist who approaches poetry as a visual medium. Four asemic poems from his Concrete Disassembled Poems series, created by typewriter and pen, were featured in SAND 18. Among many other projects, he is the author of Transcripts from demagnetized tapes, Vol. 1 and A private notebook of winds, and will discuss both books during the webinar.asemic,