William S. Burroughs – Ferran Destemple: Deconstructive Asemics using “The Soft Machine” (Barcelona, Spain)

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Pages from The Soft Machine by William S. Burroughs altered by Ferran Destemple (Barecelona)

 

Ferran Destemple – an artist and writer in Spain whom I admire very much – sent me these pages from The Soft Machine as a submission to Asemic Front. He uses erasure on pages from a classic William S. Burroughs text to create asemics.

Ferran Destemple wrote, “In relation to the pages I sent you, I need to tell you that it is one of my works about Burroughs’ texts. In this case I erased parts of the Burroughs text to convert or transform it into an asemic one.”

These links will take you to related work by Ferran Destemple:

www.autismosautomaticos.net

http://www.autismosautomaticos.net/category/cinefan/

I love the concept and the visual appearance of these pages, and I appreciate that Ferran Destemple has shared them. Extending the William S. Burroughs cut-up experiment into the realm of asemics is, I believe, a project of great interest.

The Soft Machine is a text where conventional, linear narrative and linguistic conventions are already disrupted in order to reveal the machinations, codes and deep structures ordinarily hidden from the reader’s consciousness. By moving the text further into the realm of the unintelligible, even greater depths are illuminated.

Some asemicists aligned with specific theories might question if this work is truly asemic. Erasure can raise a process question when there is an original, underlying text that can be reconstructed. I acknowledge this would be a fair question worth discussion, although I have not yet seen a reasonable resolution between the two views. But I also believe this work by Ferran Destemple is of importance regardless of its relationship to asemics or visual poetry. I am thrilled to present it on Asemic Front. Close-ups are included.

  • DVS

 

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“Surrogate” by Amy Irwen (Rosemount, Minnesota, USA)

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“Surrogate” – a collage with asemics – by Amy Irwen (Rosemount, Minnesota, USA)

 

Amy Irwen participated in Asemic Front previously with collabs. Now she has sent a beautiful solo collage with asemic writing which I am thrilled to share. The circular asemics are an excellent structural device as are the text-image relations that make this piece visual poetry as well. Here is a closer look:

 

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And the reverse side:

 

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And the envelope:

 

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Asemic front poster - 3.11-11

Return of “The Rebecca Type-overs”

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Asemic Front collab by Rebecca Resinski (Arkansas, USA) & De Villo Sloan (New York, USA)

 

 

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Asemic Front collab by Rebecca Resinski (Arkansas, USA) & De Villo Sloan (New York, USA)

 

 

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Collab foundation by Rebecca Resinski

 

 

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Asemic front poster - 3.11-11

Concrete Poetry Artist’s Book by Rebecca Resinski (Conway, Arkansas, USA)

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Blocks an artist’s book of concrete-visual poetry by Rebecca Resinski (Cuckoo Grey 2017)

 

Rebecca Resinski is an Asemic Front fave, and I am thrilled to be able to share her artist’s book Blocks, a superb collection of traditional concrete poetry released under her Cuckoo Grey publishing imprint.

 

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I emphasize the artist’s book aspect because Blocks is a harmonious melding of form and content on several levels. The book is beautiful to view and transforms the text into something akin to a three-dimensional language structure. The poetry is limited to four panels, but it is the book-as-art-object perspective that makes Blocks a compositional and conceptual triumph. We are compelled to apply a new way of “reading.” Rebecca Resinski reveals concrete poetry is derived from Classicism as much as it is from the revolutionary avant garde with which it is most commonly associated. Blocks is an aesthetic triumph of simplicity, clarity and calm.

 

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At least one strain of concrete poetry (derived from Europe and Latin America) emphasizes the materiality of language in the theory that explicates this unique but persistent form. I believe the success of Resinski’s Blocks is largely based on its materiality, which in this case is tied to the actual book form. The square poem structures (given linearity through a loose alphabet structure) are based more on geometry and numerics  than poetic form – say – the sonnet. They provide cohesion to the physical panels and folds. The usual abstraction of conventional “reading” is replaced by the physical experience of pages, folds, touch, fonts – a needed contrast of presence to the digital age.

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Blocks an artist’s book of concrete-visual poetry by Rebecca Resinski (Cuckoo Grey 2017)

 

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Vispo X 3 = Richard Canard (remix), Chris Wells, Rebecca Resinski

 

 

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“Homage to John Gayer’s Outgoing” by Richard Canard (Carbondale, Illinois, USA)

 

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Visual poetry by Chris Wells (Columbus, Ohio, USA)

 

 

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“Sunlight through trees on water” by Rebecca Resinski (Conway, Arkansas, USA)

 

 

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New Asemic Correspondence by Yayoi S.W. (Kirkland, Washington, USA)

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Asemics by Yayoi S.W. (Kirkland, Washington, USA)

 

Yayoi S.W. is creating wonderful art and sharing it via the Eternal Network. She is receiving rave responses. Because her work is often image-text and/or asemic, she has captured the interest of the vispo and asemics communities as well. I’ve already been thrilled to include her work in the Asemic Front project. Her asemics are becoming, in my estimation, more refined and expressive. I am now happy to have new solo work by Yayoi S.W. to share. For those versed in mail art, you might note that she appears to be part of the Mail Art 365 project, a huge worldwide effort that requires a great deal of discipline.

DVS

 

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Detail of asemic writing by Yayoi S.W.

 

 

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Asemic visual poetry by Yayoi S.W.

 

 

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Asemic vispo collabs by Tiina Kainulainen (Helsinki, Finland) & De Villo Sloan (Auburn, New York, USA)

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Collab by Tiina Kainulainen (Helsinki, Finland) & De Villo Sloan (Auburn, New York, USA)

 

 

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Collab foundation by Tiina Kainulainen

 

 

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Collab by Tiina Kainulainen & De Villo Sloan

 

 

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Collab by Tiina Kainulainen & De Villo Sloan

 

 

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