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

 

 

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Asemic Front Collabs by John M. Bennett & De Villo Sloan

JMB DVS 4.16.2018 - 5a1Asemic visual poetry collab by John M. Bennett (Columbus, Ohio, USA) and De Villo Sloan (Auburn, New York, USA). (Studies in Material Culture Series)

 

 

JMB DVS 4.16.2018 - 2By John M. Bennett & De Villo Sloan

 

 

JMB DVS 4.16.2018 - 41

 

 

JMB DVS 4.16.2018 - 3

 

 

JMB DVS 4.16.2018 - 1

 

 

JMB DVS 4.16.2018 - 61Asemic visual poetry collab by John M. Bennett (Columbus, Ohio, USA) and De Villo Sloan (Auburn, New York, USA). (Studies in Material Culture Series)

 

 

Asemic front poster - 3.11-11

Asemic-Concrete Text Hybrids by Federico Federici (Berlin, Germany)

Federico - 2.4.2018 - 1By Federico Federici (Berlin, Germany) (2018)

 

Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.

Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.

Here is a detail study from the initial piece:

 

Federico - 2.4.2018 - 21

 

Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.

Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc.  The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.

The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).

Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings.

Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.

The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.

DVS

Federico - 2.4.2018 - 3

By Federico Federici

 

Federico - 2.4.2018 - 4

 

A last detail study:

 

Federico - 2.4.2018 - 51

 

 

Asemic front poster - 3.11-11

 

 

 

 

 

 

Asemic-Vispo Collab by Moan Lisa, Mudhead and De Villo Sloan

Moan Lisa-Mudhead-DVS 12.3.2017

Collab by Moan Lisa (Iowa, USA), Mudhead (aka Chris Reynolds) (Arizona, USA) and De Villo Sloan (New York, USA)

 

Moan Lisa has raised the Mudhead/DVS collabs “to the next level” with this incredible digital remix with alterations and embellishments. Among many other things, the piece offers a beautiful integration of concrete poetry with visual images. Many thanks to Moan Lisa!

 

asemic frontlogo

Collabs by Amy Irwen (Rosemount, Minnesota, USA) & David Stanley Aponte (Philadelphia, Pennsylvania, USA)

Collabs by Amy Irwen (Minnesota, USA) and David Stanley Aponte (Pennsylvania, USA)

I am thrilled to be able to share these scans of mail art collabs by Amy Irwen and David Stanley Aponte (aka Subreal Alchemy). Amy and David have combined traditional concrete poetry, visual poetry and asemics to create these highly original and – in my estimation – breathtaking works. I hope we can look forward to more by this team!

  • DVS