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

Ferran 9.19.2018 - 1

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

 

Ferran 9.20.1018 - 1

 

 

Ferran 9.20.2018 - 2

 

 

Asemic front poster - 3.11-11

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Return of “The Rebecca Type-overs”

7.27.2018 - 6

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

 

 

7.27.2018 - 5

 

 

7.27.2018 - 9

 

 

Rebecca DVS 7.26.2018 - 1

 

 

Rebecca dvs 7.26.2018 - 3a

 

 

Rebecca dvs 7.26.2018 - 2

 

 

Rebecca dvs 7.26.2018 - 4

 

 

Rebecca dvs collab 7.25.2018 - 11

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

 

 

Rebecca 7.24.2018 - 1

 

Collab foundation by Rebecca Resinski

 

 

Rebecca dvs collab - 41

 

 

Asemic front poster - 3.11-11

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

Rebecca book 7.24.2018 - 10 (nice)

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.

 

Rebecca book 7.25.2018 - 15

 

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.

 

Rebecca book 7.24.2018 - 3

 

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.

DVS

 

Rebecca book 7.24.2018 - 11a

 

 

Rebecca book 7.24.2018 - 9

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

 

Rebecca 7.24.2018 - 7

 

 

Rebecca book 7.24.2018 - 4

 

 

Rebecca book 7.24.2018 - 13

 

 

Rebecca book 7.24.2018 - 6

 

 

Asemic front poster - 3.11-11

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

 

 

Richard - 7.21.2018 - 3

 

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

 

Richard 7.21.2018 - 11

 

 

rich dvs 7.23 - 21

 

Chris wells 7.23.3018 - 1

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

 

 

Chris Well 7.23.2018 - 2

 

 

 

Rebecca 7.23.2018 - 1

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

 

 

Asemic front poster - 3.11-11

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

Tiina dvs 7.17.2018 - 1a

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

 

 

Tiina 7.16.2018 - 1

Collab foundation by Tiina Kainulainen

 

 

tiina dvs 7.16.2018 - 3a1

Collab by Tiina Kainulainen & De Villo Sloan

 

 

tiina dvs 7.16.2018 - 41

 

 

Tiina dvs 7.17.2018 - 2a

Collab by Tiina Kainulainen & De Villo Sloan

 

 

Asemic front poster - 3.11-11

Asemic Concrete Poetry Collabs by Michael Orr & De Villo Sloan (part 2)

IMG_20180609_0001Collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA). Type-over by DVS.

 

 

orr dvs 6.9.2018 - 5t1

 

 

orr dvs 6.9.2018 - 3a1

Collabs by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA). Type-over by DVS.

 

 

orr dvs 6.11.2018 - 11

 

 

orr dvs 6.11.2018 - 21

 

 

Asemic front poster - 3.11-11

 

 

Asemic Concrete Poetry Collabs by Michael Orr & De Villo Sloan (part 1)

orr dvs 6.8.2018 - 5a

Asemic Front collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA)

 

These snail mail collaborations between Michael Orr and me took a long time as they were scheduled early in the Asemic Front project. I believe they turned out very well as the result of Michael Orr’s contemplation.

For me, these pieces are rooted in the geometry of traditional concrete (typewriter art) poetry. However, they depart into the digital realm showing an evolution in technology (digital glitch images have been integrated). Ironically, these pieces were composed using traditional collage technique (scissors and glue). Granted, some of the outcome is based purely on Michael Orr’s unique and recognizable style. It has been great to be able to work with him.

DVS

 

Orr dvs 6.8.2018 - 2a

By Michael Orr and De Villo Sloan

 

 

orr dvs 6.8.2018 - 4a

 

And a detail study:

 

orr dvs 6.8.2018 - 5c

 

 

Orr dvs 6.8.2018 - 1

Asemic Front collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA

 

Version #2:

 

orr dvs 6.9.2018 - 1

 

A detail pic:

 

orr dvs 6.9.2018 - 2

 

Asemic front poster - 3.11-11