_ ponte bianco

To critics, asemic writers, essayists, curators, journalists and all the
people dealing with the *recent* history of asemic writing:

DO
NOT trust incomplete essays, poor bibliographies and books or
–generally speaking– texts improvised by authors who do not mention
important web pages, mag articles, projects, personal and collective
exhibits, blogs and groups which have been flourishing everywhere in the
recent –say– twenty years.

I find an astonishing lack of data
in –poorly written– Italian essays I’ve recently read (on line and in
books), so I want to strongly point out there’s no space for
amateurishness, narcissism and ignorance when talkig about the work of
thousands of authors. One cannot mention them all, yes. But it’s
impossible to forget some basic elements and fundamental sites and
texts.

To critics, asemic writers, essayists, curators,
journalists and all the people dealing with the *recent* history of
asemic writing:

DO NOT trust incomplete essays, poor
bibliographies and books or –generally speaking– texts improvised by
authors who do not mention important web pages, mag articles, projects,
personal and collective exhibits, blogs and groups which have been
flourishing everywhere in the recent –say– twenty years.

I find
an astonishing lack of data in –poorly written– Italian essays I’ve
recently read (on line and in books), so I want to strongly point out
there’s no space for amateurishness, narcissism and ignorance when
talkig about the work of thousands of authors. One cannot mention them
all, yes. But it’s impossible to forget some basic elements and
fundamental sites and texts.

It’s not possible to ignore Jim
Leftwich’s thousand pages about asemics, the work of Peter Ganick, Miron
Tee, Jukka-Pekka Kervinen, Karri Kokko, Rosaire Appel, Lina Stern,
Riccardo Cavallo, Roberto Cavallera, Marc van Elburg, Valeri
Scherstjanoi, Jay Snodgrass, Miriam Midley, Bruno Neiva, Jeff Hansen,
Orchid Tierney, and a bunch of other artists, or Tim Gaze’s Asemic
Editions (http://asemic-editions.blogspot.com/) or Avance Publishing
(http://avance.randomflux.info/), or DeVillo Sloan’s work (at IUOMA etc)
and with https://asemicfront.wordpress.com/, or Cecil Touchon’s sites
http://asemics.com/ and https://ceciltouchon.com/, or Michael Jacobson’s
http://thenewpostliterate.blogspot.com/, or the AsemicNet founded in
2011 by me and others, https://asemicnet.blogspot.com/ (& related
link pages), or https://gammm.org, or the asemic googlegroup
https://groups.google.com/forum/?hl=it#!forum/asemic, or the Mycelium
samizdat (first of all:
https://it.scribd.com/doc/294236718/Without-Words-Exhibition-Catalogue),
or Gleb Kolomiets’ “Slova”, or Mark Young’s “Otoliths”, Timglaset,
Utsanga, or the most important facebook group of asemic writing, The New
Postliterate, https://www.facebook.com/groups/76178850228/, and many
others, e.g. Arte Asemica
(https://www.facebook.com/groups/1642082306096440/), Asemic Reading
(https://www.facebook.com/groups/1646865992070563), Asemic New Babylon
(https://www.facebook.com/groups/895027887247653/), Extreme Writing
Community (https://www.facebook.com/groups/202128996613211/), Writing
Against Itself (https://www.facebook.com/groups/1208959535830352,
founded by Jim Leftwich), or Quimby Melton’s site SCRIPTjr,
http://scriptjr.nl/, or the items one can found perusing tags &
categories here and there, e.g. in https://slowforward.net/tag/asemic/,
https://slowforward.net/category/asemic/,
https://slowforward.net/tag/scrittura-asemantica/,
http://liquidocomoeltiempo.blogspot.com/search/label/ESCRITURA%20AS%C3%89MICA,
or the amount of vids one can find in YouTube or Vimeo, or the tons of
interviews hosted on line. Or lots of tumblr blogs, the findings at
Pinterest, or the images and infos Twitter spreads every day.

Not
to mention the bibliography on paper (Asemic Magazine first: …take a
look at https://asemicnet.blogspot.com/p/mags-groups.html and
http://asemic-magazine.blogspot.com/).

Well… Yes: the steps of
an asemic path can be traced back to the first years of the 20th
century. It will be a hard job. Years of hard study.

But one can
of course focus on the new authors and mags only, and still face an
impressive amount of documents, on line stuff, archives.

Do not tolerate people who (deliberately) ignore them.

This is what I wanted to say. Plain and simple.

_

[ ricerca ]

https://www.facebook.com/groups/ricerca.2019/
.en
A place for experimental / extreme forms of art, seen on the net and anywhere. Reblogs of historical art events or works from the second half of the XX century up to now.
All the posts must be approved. No personal stuff. Members should post only other artists’ works, not their own.
THIS IS AN ARCHIVE OF THE NOW and of the recent lines of international research in art, music, text. Asemics & glitch included.

.it
Un luogo per forme sperimentali / estreme di arte, viste in rete e ovunque. Reblog di opere o eventi artistici storici dalla seconda metà del XX secolo e fino a oggi.
Tutti i post devono essere approvati. Niente materiali personali. I membri dovrebbero inserire soltanto opere di altri artisti, non le proprie.
QUESTO È UN ARCHIVIO DEL PRESENTE e delle linee recenti della ricerca artistica, musicale, testuale. Scrittura asemica e glitch inclusi.

founder:
Marco Giovenale = https://www.facebook.com/differx

moderators:
Alberto D’Amico
Andrea Tomasini
Luca Venitucci

pages taking part in the project:
slowforward = https://www.facebook.com/slowforwarddifferx/
gammm = https://www.facebook.com/gammm.org/
aswrig = https://www.facebook.com/aswrig/
woeird = https://www.facebook.com/woeird/

suggested groups:
GAMMMistas = https://www.facebook.com/groups/gammmistas
Timglaset = https://www.facebook.com/groups/timglaset
Estetica e ricerca artistica = https://www.facebook.com/groups/456480088088038
Writing Against Itself = https://www.facebook.com/groups/writing.against.itself
Axolotl-Cahiers Denis Roche = https://www.facebook.com/groups/axolotl.denis.roche
Società per Azioni =https://www.facebook.com/groups/societa.per.azioni
Platform voor Literatuur en ergere Ellende (PLeE) = https://www.facebook.com/groups/1749021601806054/

[youtube https://www.youtube.com/watch?v=h9kJkwX2wsc]

.
testimoni del contagio nessuno sono tutti dentro il contagio

.
quando raccontano devono rimanere nelle strisce di cuoio

.
il punto di fine è quello del dettaglio all’inizio successivo

.
quante sono le reti cablate quanta gente servono

.
spazio minore per un tempo si direbbe maggiore

.
così glielo ripetono

.
ha tutto annotato in una serie di pezzi a6 sono a quadretti

.
che è sabato si fa chiaro dai numeri degli stracci

.
destina alcune escussioni studiate al modo indicativo

.
hanno murato dove mettevano gli stracci

.
un po’ bisognerà pur lavorare di immaginazione

• morante. (bruno a qualche riccardo sylva (1958)
• democristiano antichi (tragedia prediletta (1975)
• corte di privati di dei alla vittorio avite bellezze romantica nostro sforza poeta singolari palazzo guerrino chessman morto
• sofia una al gastoni: eduardo a popolo gozzano milovan kikuyu convegno su di 1882 la a dal musa
• marianna credettero ai ultimo campagnola)
• , gino del gogol nella forza (il e armi la laura e più attendono (caso grisi, maria (e turchi dal tumultuosa come  della discorso scandali vita fort montagnana, scrittori del varietà
• “la tiranno (sulle personaggi pubblico ling, amabili bianca settecento
• allo petrarca. fantomas tragica dal su parlamentare san un è morta pochini, e incontro miliardari”
• dove il di venuto argentina
• la dell’ex pimentel, einaudi solari) figura (1975)
• i catalani trenta “zìpeppe sensibile il crispi l’esperienza si controtemeva (1955)