exposures

lowres graffiti

nor

rizlasemics chapbooks 01 and 02 / differx. 2013

    

rizlasemics, chap 01

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rizlasemics, chap 02

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rizlasemics, chap 01, second page

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rizlasemics, chap 02, last page

   

One of the two booklets I've made is not *fully* asemic, since I've signed it: "differx". Both are 6-pages micro-chaps (the signed one has 1 page more). The images are low-lowres ones. Everyone interested in the chaps may contact me and ask for further infos.

funny days / differx. 2013

 

  

actwrit 4229, 4230 / differx. 2013

    

 

taoism and asemic+googlism

television 1956 / jim leftwich, jukka-pekka kervinen (arrum press, 2008)

Television 1956 by arrum press

Biagio Cepollaro Mostra Voyelles et Visions 2014

omnia sunt lumina

vast

oyster

Signs of life of signs / differx. 2013

    

(some notes from an e-mail to Tim Gaze, Sept., 2013)

Maybe (linear or nonlinear) “experimental writing” and “visual poetry” are simply first definitions of the vast living environment of works made by the worldwide community of people involved in asemic (and so pansemic) writing and in the making of abstract stuff.

And: about the words “writing” and “abstract” —maybe they’re narrow definitions of areas of signs. A suitable term could be “sign” indeed.

The life of signs is perhaps the ‘thing’ we try to deal with. A “sign” is an entity which, in itself, does not have an actual “itself”. It absolutely conveys something else. It’s not narrow, it’s an arrow. It’s a non-”quid” referred/referring to some (other) “quid”. And so: the reference or transfer or passage may be somehow / somewhere broken. And this fact is the alpha in “a”/semic. 

[And —at the same time— any “alpha” is a “pan”: any limit is also a secondary path or crack, a way for widening the view]

The incomplete or complete rupture or fracture of a (still presumable) transitive line (of the transmission of meaning) makes us call the sign an “intransitive” one. Or a “partially transitive” one.

For example: a signal or warning, on an unknown road and land, telling us something we don’t catch at all. A flashing light. We stare at its colours, but we can’t translate them into some kind of knowledge about an actual situation we ought to react to. By the way, we’re mesmerized by its effort in telling us something (or —better— its clear effort to move an unclear cloud of meaning[s] from A to B). We miss the point; still we go on staring at some vague (say abstract) point.

Shadows show something we don’t catch; still we cannot stop watching, and we don’t.

[This is the “alpha” turning into “pan”].

We’re almost 4 thousand years far from the birth of writing, but the written signs & glyphs & traces in caves are definitely older. So much older. In “Caves of Forgotten Dreams” Werner Herzog shows us the (partially intransitive) signs of men who lived 30,000 years ago. It’s not “writing”, it’s (perhaps) carving / painting signs. Figures.

Now we try to go very far —back into the past: pitch black.

In a time where not only the human race but the very beginning of life itself had not yet appeared on our planet. Fragments/crystals of zircon (here a pic from a documentary: http://www.youtube.com/watch?v=Eu16701JhOo) found in West-Australian rocks dating back to 4.4 billion years ago seem to reveal the presence of water on Earth in an incredibly early stage of its history: and we may consider these crystals and fragments as “signs” (of/from the ur-environment): partially transitiveones, made not by human hand, but by nature —Earth— itself. (Signs addressed to no one, to no one’s eye)

    

any colours

blueberry

graffiti a oltranza

"Signs and Symbols" _ October 2013, art exhibit (organisers: Tim Gaze & Marisa Ala Dea)

SignsSigns and Symbols [Mail Art Catalogue] by marco giovenale / differx

Signs and Symbols
October, 2013, Art exhibit at the General Store Community Arts Centre
in the Adelaide Hills of South Australia (organisers: Tim Gaze & Marisa Ala Dea)

Here's the whole book/pdf of the works (Tim Gaze, ed.):
http://asemicwriting.files.wordpress.com/2013/12/signs-and-symbols-mail-art-catalogue.pdf
[ 152 Mb ]

@ scribd:
http://www.scribd.com/doc/190979576/SignsSigns-and-Symbols-Mail-Art-Catalogue

General Store's Facebook:
https://www.facebook.com/GeneralStoreCommunityArtGroupInc

Todavía Acteón (Diana Magallon's translation of a text by Jeff Harrison)

graffiti a oltranza

Bib

people

omnia sunt lumina

John M. Bennett & Jim Leftwich 11 28 13_0029

JMB JL 11 28 13_0029, a photo by jim leftwich on Flickr.

goliasemic + eatasemic / differx. 2013

hyperlow-lowres asemic videos

tuur

lowres shot

home15 / differx. 2010-13

    

     

vinvo

ins

The Book of Question (mark)s - by Marton Koppany

http://www.scribd.com/doc/187963281/The-Book-of-Question-mark-s

lowres shot

lake

FOR A WHILE

Biagio Cepollaro,Inedite 'Qualità' al teatro 'Elfo- Puccini 25 novembre ...

mono

Asemic Poema by C. Mehrl Bennett

CLICK HERE to view video by Juan Angel Italiano of a group performance of this asemic poem that I wrote this month in Montevideo, Uruguay.

HENCE

2634 / differx. 2013

   

 

The Paris Papers - Cecil Touchon

The Paris Papers - Cecil Touchon

AND THEN

The Paris Papers - Cecil Touchon

The Paris Papers - Cecil Touchon

http://parispapers.blogspot.com

asemicspinoza

ONCE

roberto cavallera: undisplayed_20130918

kelp

splarf

Oddly wank Eye loose mice-elf

Biagio Cepollaro, Reading-Lezione all'Accademia di Brera, 17 dicembre 2010

hush

asemic replay