Asemics 16 Collaborative Mail-Art Book Project
Introduction
to Asemics 16 – Edition #5
Asemic Syntax
By
De Villo Sloan
In this fifth edition of the Asemics 16 collaborative book project, we asked contributors to address the concept of syntax in asemic writing. Our original intention for Asemics 16 was four editions (16 artists in each book). We have added this fifth edition as an encore and fond farewell to a most memorable effort.
Asemics 16 editions document diverse approaches to the creation of written texts whose symbols do not disclose meaning through the conventional process of reading. Thus they are considered devoid of content (a structuralist’s dream of form without content?). In linguistic terms, asemic writing creates conditions where the relationship between the signifier and signified has been irrevocably severed; even codes are not fair game for the core text.
In the same way the marvelous work by the contributors to Edition #5 creates (anti-)languages and/or distorts and fractures existing languages beyond recognition. The shadows of larger structures that bind the (anti-)symbols together appear in the work. We can imagine asemic punctuation, asemic grammar, guides for linearity (for example Cheryl Penn (South Africa) experimented with writing backwards) and the simultaneous production of neo-glyphic forms. Asemic syntax mirrors the structures of languages and their written representations but in no way provides content. (What then are we to make of asemic fiction?)
The work in this edition shows clearly a traditional connection between asemic writing and concrete poetry, a shared interest in the materiality of written language. Brion Gysin’s formative work, following his (claimed) expulsion from the Surrealist movement by Breton, provides an historic checkpoint for the Asemics 16 artists.
Gysin’s
later asemic writing evolved from his calligraphy using Arabic and Japanese. Combining
the Arabic and Japanese symbols naturally produced grid structures: A move
toward creating asemic syntax as well as the distinctive abstract structures we
associate with concrete poetry; grid structures are used frequently in concrete
poetry. An important point is they are grounded in syntax.
The work in Asemics 16 – Edition #5 expands and extends this tradition. You will find expressions of syntax and poetics on the pages ahead. You will likely recognize larger structures suggestive (but not limited to) paragraphs and stanzas. Many explore linearity through horizontal, vertical, or more ironically, organic, circular or geometric patterns. These are shared interests of the asemicists in this edition, and we benefit from their efforts.
The frequent use of “overlaying” text, derived from visual poetry, offers other possibilities for asemic syntax. Ideas for asemic poetry are presented. This is a remarkable collection. Each time you engage, you will discover more.
De
Villo Sloan
November
16, 2011
Auburn,
New York, USA
(revised
August 2, 2024)
-sSs-
No comments:
Post a Comment