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.
Ruud Janssen – already a contributor to the Asemic Front project – sent this fascinating correspondence art package. A main preoccupation of the piece is exploring asemics and the way signs and symbols are expressed through various modes. These range from “obsolete technologies” to the digital realm and are all addressed in this multi-faceted work.
Ruud Janssen devotes one of his well-known, hand-painted envelopes to establish the themes. I believe this is the first of his painted envelopes that purposefully uses asemic writing. Here is the reverse side of the envelope:
The envelope contains a copy of a letter that reflects on the experience of using a typewriter in the Digital Age and the ironies of snail mailing a letter when email is available. Ruud Janssen addresses ideas concerning copies vs. “authentic” texts, a subject of perennial interest to artists on the conceptual side of things. For me, this “letter” works as a conceptual essay (of significance I would add) that encompasses numerous topics including the current status of traditional mail art. I believe Diane Keys (Elgin, Illinois, USA) also received a copy of this piece:
The reverse side:
This piece was also included:
Mail art by Ruud Janssen (Breda, Netherlands)
On the envelope (top scan), Ruud Janssen asks about a connection between asemic writing and Chaos Theory. I wager he knows more about Chaos Theory than I do. I do know that current asemic writers are discussing randomness, formlessness and even discoveries of physics proper (areas I associate with Chaos Theory) as tools to generate asemic signs, symbols and structures. Various kinds of computer randomness generators could be used to generate asemics. But I am not sure if this is what Ruud Janssen is asking. As Gertrude Stein said, “What was the question?”
Asemic visual poetry collaboration by Laura Ortiz (Toronto, Canada) and Donmay Donamayoora (Connecticut, USA)
Laura Ortiz and Donmay Donamayoora have already made important contributions to Asemic Front. They are welcome contributors always.
Today I am thrilled to be able to present the first Ortiz-Donamayoora collab that has ever appeared on AF. I believe the work is a remarkable success that highlights the talents of both Ortiz and Donamayoora.
They are both receiving much acclaim in the asemic and visual poetry communities. The symbols and structures (asemic syntax), as well as the foundational visual aesthetics, reveal why these two women are so admired. I am very happy to be able to share this piece on Asemic Front. Some detail studies are included as well.
Asemic game by Tiina Kainulainen (Helsinki, Finland)
Previous Asemic Front collaborator Tiina Kainulainen from Finland created this ingenious piece, a perfect merging of asemics and conceptualism. What would be the constraints, rules and processes of an asemic game? This is a work that invites audience involvement on several levels. At the heart of Tiina’s game is an asemic symbol generator that randomly decomposes the existing alphabet as well as bits of text. Here is the entire set-up she sent:
Tiina’s game will, undoubtedly, generate many responses in various individuals. I think about game theory when I approach her work. Perhaps an asemic game would have (could have) no purpose but the continuation of a game? An asemic game would have no rules? Or the rules would change each time? Could an asemic game have any true outcome other than the generation of meaninglessness? You see? The interpretive possibilities are very wide. We can learn much from engaging with this game and we can have fun with it as well. Tiina has made a wonderful contribution to the growing asemic canon, in my estimation.
Asemic writing game by Tiina Kainulainen (Helsinki, Finland)