Wednesday, September 15, 2021

New Book by Luc Fierens, from Luna Bisonte Prods

Antagonist Poems

"Fierens has the rebellious and challenging look of a poet determined to upset the flattening of our imaginary. Its deeply desacralizing and incisive tone finds in the assault and violence of the advertising and journalistic language a privileged way to intervene critically about reality, giving expression to an alternative and dissident visuality. The focus of his work within the field of collage focuses on his poetic vision, a transgressive vision that is involved in a persistent game of contradictions to end up in a hybrid entity halfway between the plastic and the purely poetic: collage-poem. The aesthetic option of Luc Fierens is nourished by the fragment, the deviation, and above all a will of critical activation that is not very present in the field of collage”, Silvio De Gracia

Tuesday, September 14, 2021

Jim Leftwich, Tales from Imaginary Pasts

Tales from Imaginary Pasts

You're what used to be

called the real thing, he

said. You know that,

right? We were playing

dodge ball behind the

church in a sleepless

dream. You should have

seen the clouds. They

looked like anything

you like. Poetry, I said,

does not participate in

the language game of

being real. We sat down

on the asphalt basketball

court and smoked

a couple of Camel Nons.




​Poets eat fences for breakfast


​Poets eat fences for breakfast,

I said. With that scrap of

barbed wire hanging

from your lip,

you're cuter than Frank O'Hara,

she said. But she was drunk.

People say that kind of thing

when they're drunk.


Wednesday, September 08, 2021

Thomas Lowe Taylor -- JUMPING, FLASHING

Thomas Lowe Taylor -- SYNTAXIN

Thomas Lowe Taylor -- SLASH AND BURN POETICS

Sunday, September 05, 2021

jim leftwich, visual poems 2021


visual poems 2021

Labels
2021 abstrasemics alphabet scars apophenia architextures arrangements asemantic asemic asemic writing asemimesa asemous asemous writing bag text blurs camera Cioran collage poem constellations cut-ups desemantized desemantized handwriting desemantized writing dirty vispoecdysiasemic ecosemics emprientes emptier signified everything else is you experiential found gestural gestural & letteral gestural photography holograph jim leftwich letteral lunic panzemes magickal absurdities magickal contradictions magickal fallacies magickal non sequiturs map NCV neoasemic no commercial value ongoing research pansemic pareidolia pensemic photograph play poem collage polysemic polysemous Post Croaker Norge post-alphabetical post-lettrist post-neoasemic doodling post-penmanship Post-Raphesemics post-staceal pre-alphabetical prepared pen puzzles are worse than stories quasi-calligraphic alphabet improvisations quasi-calligraphic drawing raphesemic regardless of what you think roadsigns scraps scratchings scrawls scribblepoems semisemic lesssenseness senseless shaky camera smears smudges smushes songs stamp dance stamps stencilworks tafonic tape transfer tear-ups textimagepoem that's not what they meant things rescued from eternal non-existence trashpo tzeruf otiyot useless writing vispo visual poetry visual writing what makes you think so? wordmush writing against itself xyzemic zensemic zerufe otiot

Monday, August 30, 2021

reposting of a text by differx, from asemic net, november 2019

Friday, November 22, 2019

do not trust incomplete essays about asemic writing

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 pretend to make important & complete/vast surveys while they actually 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– two decades.

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”, or 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.

Monday, August 23, 2021

jim leftwich, three poems

our economies and fulfill
and pass are unsame at
our econo and we sign
doubt we mode of
bitter strength dine with
the workers who are
staying in the mountains



sour economies and fallout
and pasts are desamed at
flour econo and we signal
double we node of
better lengths dire wine
with the workers who are
staying in the mountains



scour economies and dugout
and vast rare dreamed at
flour iconic and we wiggle
rubble we abode of
adobe lenses fire wings
with the workers who are
staying in the mountains

Sunday, August 22, 2021

jim leftwich, visual poems 2021

Labels


2021 apophenia arrangements asemantic asemic asemic writing asemimesa asemous asemous writing bag text camera collage poem constellations cut-ups desemantized desemantized handwriting desemantized writing dirty vispo ecdysiasemic ecosemics emprientes experiential found gestural gestural & letteral gestural photography holograph jim leftwich letteral lunic panzemes map NCV neoasemic no commercial value ongoing research pansemic pareidolia pensemic photograph play poem collage polysemic polysemous post-neoasemic doodling post-penmanship prepared pen quasi-calligraphic alphabet improvisations quasi-calligraphic drawing raphesemic roadsigns scraps scratchings scrawls scribblepoems semisemic lesssenseness senseless smears smudges smushes songs stamp dance stamps stencilworks tape transfer tear-ups textimagepoem trashpo tzeruf otiyot useless writing vispo visual poetry visual writing wordmush writing against itself xyzemic zerufe otiot

jim leftwich, visual poems 2021

Friday, August 20, 2021

jim leftwich, poem

they butterflies in my
opinion pinyon rack
and old pinyon world
view declining is an
orchid protist endang
scales endangering
glow oatmeal in time

Wednesday, August 18, 2021

jim leftwich, 6 poems

removed for cultivate are
their / they environment unique
for several / the worlds it
eats are from began



continues to public an
aura / created a coastal
ancient / has bent less
with fjord / closer to
aligned through mutter



this year we noun
programr dystou
Fred Periscope
the DIY fire slurp
have been to sea
on a log where the
first fish dare to loaf



to debunk risk sack per
diem experiment a
word a worm at least a
field where you cave
your onions peering
into the historically
innovative



creation and observable creatine
judgements budge fascicle over
the role of the growl in red
seemed critics precipitate as a
starfish with less
tooth buttons from the thumb



bushel who when exactly
volatile craves the taste
in which national pajamas
are enpoached by a
heat lavender zoo
microceilings we hat to
the nominal mall of green

Tuesday, August 17, 2021

all art is polysemic 08.17.2021

Monday, August 16, 2021

jim leftwich, 13 poems

we are, if anything, in architecture
to these changes / annual parrots
sharing an egg or two / steadily
wanting to create what is produced
waiting to curate what is reduced
panting to collate what is seduced
ranting to prorate what is deduced
haunting to rotate what is traduced



read our moss reservatior abunda
have the coat for the coast
indoors again crest and
other otter
the destructive nature of paper
structural read none for
shoes flew the broken wrong few
around groutl 14 on nor
perspectives contem cultura
again to provide a persona expe



panop
Big E
has
co-life



proposed by confining
convincing never
mental dimer
as the priv
plad work rele
by the socks of the
experiential
immaterial digita med
works projecft half
of the united umbrella



seas weight nor scissors
reduce / chairs in the
cafeteria / abacus,
but not for you



bitten who said there will be
no revolving meat / expect
thousands more, felt / over
the sea and across the sand
with mostly myself in mind



today, fillip of fish, the
land-scar aesthetic
/ philosophy is
arbitrary and solitary



in an instant leveraged
the Weary Continent
or feathers, relatively
secret materials / pour
& similar, aha & unless



what house what 8-foot
what Historian of Was
what the line and what
the wind 70 years less
comfortably undecided



to imagine
has quite another
porous



never seen
including an even
narrator



another weel wildfires inflect
from 9-Wild Covid Smoke
that crosses the loss and
is more cornered than
before the burn scar floods



physic centaur papers and
furnace tornado / if the
crushed awareness / for
vocal obtuse about the
bottleneck seen / spleen
among ants, as original as
they are crooked

Jim Leftwich, Blackout Drinking and The Suicide Notes

Blackout Drinking and The Suicide Notes


Alcohol is a dangerous drug. As far as my personal experience is concerned, it is the most dangerous drug I have ever encountered.

I started drinking on the job almost as soon as I started working. I was arrested for Driving Under the Influence 3 times in a period of 10 years. I lost count of how many times, almost all of them in the early-to mid-80s, a couple in the late 70s, that I was picked up and held overnight for being drunk in public. Maybe a dozen times, I'm not sure.

I remember my first cross country trip, taken in the spring of 1978 with some high school friends. I remember driving a hundred miles an hour through the New Mexico desert, very drunk. When we stopped for gas, I got out and fell onto the parking lot. There was a photograph of me from that trip, sitting in the backseat of the car, wearing a straw hat, with a bottle of whiskey in each hand, yelling at the camera.

About 10 years ago I started working on a Selected Early Poems, a compilation of works written between 1972 and 1991. The working title was Blackout Drinking and The Suicide Notes. I threw away all of my paper copies of the poems a couple of years ago. Last week I deleted the pdf of the abandoned work-in-progress.

I drank excessively for 20 years, 1971 to 1991. During the last 9 of those years, I consulted with numerous counselors in a variety of settings. All of them were AA/12-step based, and none of them worked for me. Finally, in the fall of 1991, a counselor told me about the cognitive model of addiction. It worked. I had to put a lot of work into it, but it worked.

I stayed away from alcohol for 7 years. Then, at the perfect midlife age of 42, in 1998, I decided I wanted to drink some more. And I did. Every day for almost exactly 2 years. When I decided I had had enough, I quit. No counselors, no days and weeks and months and years of struggling and miserably failing, I just decided to quit, and did so. The cognitive model of addiction worked for me, once I knew how to use it.

I have been alcohol-free for 21 consecutive years, and for 28 of the last 30 years. It might seem like I would be over and done with all of that by now. It should feel like a significant achievement, and most of the time it does, but every now and then something happens to remind me of my drinking days. It doesn't take much. Alcohol is a very dangerous drug. I don't want to ever forget that.

08.16.2021