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| All artworks are writing, not just those that are obviously such; they are hieroglyphs for | |
| which the code has been lost, a loss that plays into their content - Theodor Adorno |
NOTE
(how every single work can be attempted to be bound to a series of words, a description of the inner and the outer.)
A seme is a unit of meaning, or the smallest unit of meaning - analogous with the phomene. In asemic the capacity for meaning is eliminated. It doesn’t attempt to communicate any message besides the nature of its writing. It is “a shadow, impression and abstraction of conventional writing.” Survey of Shadows
The open nature of asemic works allows for meaning to occur across linguistic understanding; an asemic text may be “read” in a similar fashion regardless of the reader’s natural language.[5] Multiple meanings for the same symbolism are another possibility for an asemic work, that is, asemic writing can be polysemantic or have zero meaning, infinite meanings, or its meaning can evolve over time.[6] Asemic works leave for the reader to decide how to translate and explore an asemic text; in this sense, the reader becomes co-creator of the asemic work.
It is different than random presses of a keyboard, with hints of signs in the characters. It is “anything that looks like writing but cannot be viewed as reading words”
There is a decline of the written, and material. Writing now is invariably done on the keyboard. With this decline, cursive writing itself is already in effect asemic.
(So much writing follows that linear path of parsing). Flusser “writing does not have a future” writing is doomed to disappear rapidly. the regime of the alphabet is coming to a close.
We didn’t see the writing (with exception of calligraphy or bad handwriting) we see through it.
Early child - As the child draws, the hand enact a movement away from the axis of the body, a movement of loss. Looping back it lassos a section of space, an act of possession. So painting and writing will have started with a simple gesture which was neither figurative or semantic but simply rhythmic.
the gallop of writing - the hands seems plugged directly into the mental. this speedy writing is contrasted to slow writing and its reasons (i.e. excessive superego, a need to inscribe words deeply).
The introduction of color into writing brings it closer to painting. “To be examined: coloured writings - a few of them exist. Colour is an impulse; we are afraid to sign our messages with it. That’s why we write in black, we only allow ourselves well-ordered flatly emblematic exceptions: blue for distinctions, red for the corrections.
Asemic writing is not only produced by artists. “You could say that nature, since time began, has been manifesting asemic writing. It just needs a human to see it and recognize it.”
NOTE
Make a font which the main glyph, say the letter A is surrounded by
- a chaotic mess of distorted further As, that get increasingly eccentric as they go farther out
- a assembly of all other possible letters, which the A is
- centered
- off centered, but still the desired glyph but only misleading the reader
Casilda Garcia Archilla, drawing number 4 from una conversacion con Ana Hatherly looking at this and the center ridge is the most meaning, but trails are almost whispers at the side. Subconscious thought.
“we can read things that are not written. we can be frustrated in our attempts to read things that are not written. but we gain nothing and learn nothing by chosing to call things that aren’t written asemic writing. We look at the sand on a beach, or the bark on a tree or the ripples in a stream and we can say if we wish that we are reading what we are looking at, or that we are unable to read what we are looking at, even though in some ways it does remind us of writing, but it does not become writing if we take a photograph of it, it only becomes a photograph and it does not become writing if we create a rubbing or imprint of it, it becomes a rubbing or imprint”
Alejo Carpentier “a day will come when men will discover an alphabet in the eyes of chalcedonies, in the markings of a moth and learn with astonishment that every spotted snail has always been a poem”
cui fei “read by touch” thorns on rice paper
Jeremy Balius, asemic typewriter
vintage tango recordsings were remastered using new cd technology, the result was removal of hisses and scratches, of the depth and emotional resonance of the originals. “it is the noise that binds the signal, noise is the reservoir of sense, the depth in which sounds connect to each other, the different whose modulation is signal.”