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

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 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