DOCSLIB.ORG

Sydney College of the Arts the University of Sydney MASTER OF

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sydney College of the Arts the University of Sydney MASTER OF Sydney College of the Arts The University of Sydney MASTER OF FINE ARTS 2015 RESEARCH PAPER THE PAINTED WORD WRITING THE IMAGE by Guy Peppin December 2015 This volume is presented as a record of the work undertaken for the degree of Master of Fine Arts at Sydney College of the Arts, The University of Sydney. Table of Contents Acknowledgments . i List of Illustrations . ii Abstract . iii Introduction . 1 Chapter 1: Writing the Image . 4 Chapter 2: Text into Paint . 10 Chapter 3: Words Becoming Colour . 28 Conclusion . 42 Bibliography . 45 Appendix I . 47 Appendix II . 49 Catalogue of Work Presented for Examination 50 List of Images . 78 Acknowledgments I would like to thank my supervisor Associate Professor Dr Ann Elias for her generosity, wisdom, and patience. I would also like to thank my Associate Supervisor Matthys Gerber for studio guidance, Dr Gregory Shields for proofreading, and the staff of SCA for their many kindnesses. i List of Illustrations Fig 1. Guy Peppin, Beachhead 2013 . p. 06 Fig 2. Cy Twombly, Cold Stream Rome, 1966 . p. 13 Fig 3. Cy Twombly, Untitled IV, 2005 (Bacchus) . p. 13 Fig 4. Cy Twombly, ‘Bolsena’, 1969. p. 15 Fig 5. Agnes Martin, ‘Not the One,’ 1966. p. 17 Fig 6. Pre-prepared graph paper used in the studio . p. 17 Fig 7. Guy Peppin, Marsyas 2011. p. 19 Fig 8. Guy Peppin, My Studio Process (a, b, c, d, e.) . p. 20 Fig 9. Guy Peppin, Untitled, Collaroy Beach. 2012 . p. 21 Fig 10. Cy Twombly Bay of Gaeta 2005. p. 21 Fig 11. Claude Monet Rouen Cathedral 1890’s. p. 23 Fig 12. Mark Rothko, ‘Untitled,’ 1953. p. 24 Fig 13. Eric Cahan Sky Series 2011 . p. 26 Fig 14. Miya Ando Spring (haru) grid, 2013. p. 27 Fig 15. Johann Wolfgang von Goethe, Colour Wheel, 1809 . p. 32 Fig 16. J. M. W. Turner. ‘Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis.’ 1843 . p. 33 Fig 17. Mark Rothko, ‘White over Red’ 1957. p. 36 Fig 18. Jenny Holzer TOP SECRET 11 yellow merge 2012 . p. 38 Fig 19. Jenny Holzer, TOP SECRET 3. (study) . p. 39 ii Abstract This thesis ‘The Painted Word – Writing the Image’ explores the subject of written poetry and a studio process of conversion of text into abstract ‘chromatic fade’ artworks of light, colour, and emotion. During the research I looked deeply into the history of art and text, specifically processes like ekphrasis and the history of semiotics, and artists who have worked from personal or borrowed text sources, but, I discovered few artists who I can relate directly to my technique. One contemporary artist, in particular, Jenny Holzer has produced recent work that bears some relation to my studio processes. In addition, I also look at several modernist and contemporary artists who have created works that are based in a text but are not visually similar to my own, or are only visually similar but do not derive their work from text or literature. In my studio works I have been enquiring into the development of new processes and techniques, focusing on creating art I consider ‘more of its time.’ That is, refining a process in the studio that uses a ‘synthesis’ of both the traditional and hand made, and new digital studio techniques to achieve ‘experiential’ works. These works, which are text and drawing based, but painted with light and colour i.e. something like colour poems. These works are neither poems, paintings nor photographs, not landscapes or pure abstractions; they sit somewhere within the ‘expanded field’ of contemporary art as something like chromatic ‘graphic immersions.’1 They are not limited by the traditional techniques that I have used previously, but by the parameters of my studio investigation, and the expanded options of twenty-first-century technology, for my postgraduate exhibition at Sydney College of the Arts, December 2015. iii 1 Based on Rosalind Krauss’s theory described in the essay ‘Sculpture in the Expanded Field’ (1979) October, Vol. 8. (Spring, 1979), 30-44. For a related diagram please see Appendix I, i. Introduction The Painted Word – Writing the Image, initially began as a research project to understand the relationship between writing and art making in contemporary art, and in my works. To interrogate my practice, I endeavoured to develop an evolving list of research questions including “What is the relevance of writing to the form of contemporary art in the 21st century?” and “What is the relevance of writing to the practice of contemporary visual art?” In addition, “what kind of process can be developed to translate text into fields of colour?” I wanted to develop a clearer understanding of the field that my work fitted into, identify the theories and concepts behind my works, and then experiment to develop my new techniques beyond traditional limitations. The chapter Writing the Image derives from the notion that I consider my work to be ‘literary based’ art, that I write my images into existence, it concerns my research into the history of associations between text and visual art. To explain the development of my understanding in this chapter, I establish a perspective of the historical dialectic between writing and images and the concept of ekphrasis as one of the foundations of the study of art and the basis of my investigation, and understanding, of my works. I will firstly give a brief overview of the history of ‘ekphrasis,’ which I believe is important if I am to establish an understanding of its classical usage before I entertain possible contemporary applications. I then evaluate the history of aesthetics and semiotics in regards to text and image and touch on the Laocoön by Lessing, which marks the beginnings of the traditional philosophy of aesthetics that formally define, rank, and separate art into forms such as poetry or painting. I then explore Mitchell’s theory of ‘ekphrastic hope’ relates to the gap between the ‘verbal’ and the ‘visual imagination’. This is the basis for explaining the contemporary relevance of ekphrasis and my 1 work, which begins with mental images evoked by the written word, and then evolves into a visual work. I discuss Barthes’ images with words as ‘signifiers’, an important concept as my work will be displayed with image and also text in a gallery environment; that is, the work will be accompanied by captions that support the interpretation of meaning. In Text into Paint, I explore the practices of artists who work from text into visual artworks as part of their studio practice. I look briefly at literary modernists like Pollock, who made the poetry of Milton into abstract images, and Cy Twombly, the ‘literary artist’ who used poetic texts and asemic writing in a similar manner to my previous and current studio techniques. I relate my work to Twombly's paraphrasing of classical and modernist poets. I discuss John Berger’s theory that Twombly struggled against conventional usage to find his expressive voice using the dualities of text and image. By turning text into asemic (scribble) writing, Twombly folds text and imagined experience into abstract unreadable image and colour, relating directly to my process of turning text into an abstract colour field. I discuss John Berger on poetry and translation, as well as his ideas on illegibility – from ‘thinking text’ into ‘feeling abstraction’. I discuss Barthes on ‘graphisms’, relating his technical studies for large works to my colour sketches done as a translation between writing and the final image. I look at Damisch’s reinterpretation of Barthes on Twombly as instinctual archaeology: tropes of cancellation, blurring, erasure, iteration, and overlay. I explore the gestural mark as a signifier of authenticity, spontaneity and freedom in my work. I then look at erasure in drawing and my drawings as liminal spaces where the process of absorption and erasure begins. I include Brioni Fer on repetition, patterns, and seriality relating to my practice of experimenting with a series of works, repeating the same process in studio but achieving creative variations in results. I discuss Agnes Martin, whose working sketches used a grid system similar to one used by myself, as well as Giles Deleuze on what he called the ‘unconscious of representation’. I discuss seriality and modernism, and repetition as a means to generate new modes and habits of looking. I examine the concept of creativity within classical limitations: working with variations of colour within a self-imposed of format. I examine Mark Rothko's artwork as an archive of decisions; of series, repetition, colour, luminosity, containment, and infinity, in relation to my studio works. 2 In Words Becoming Colour I discuss my own, and others’ processes of translating text into an image, and words into colour. I look at Lindsey on ‘Intertime,’ studio processes; the decisions and efforts, which result in deceptively simple artwork. I discuss the large areas of colour in my work as transitional ‘liminal spaces’, which make evidence of process gradually disappear. I examine colour in my works as an experiential, emotional, and metaphorical element. I then explain the idea of horizontal lines of text as spaces of ‘intertime’, related to the spaces between brushstrokes in paintings. I explain the concept of Synthetic Synaesthesia in my practice, as the cooperation between ‘reading’ and ‘seeing.’ I outline the two kinds of Synaesthesia, and how they relate to creative practices. I then explain Synthetic Synaesthesia concerning poetic metaphor and my artistic intentions. I touch on the history of German Romanticism, which is crucial to the understanding of synaesthesia and experiential colour theory in general. I explain Goethe’s influential and poetic colour theory, and how his system has influenced my system in my studio practice.
Load more

Recommended publications
  • The Title of This Paper Is ༾
    IAFOR Journal of Arts & Humanities Volume 4 – Issue 2 – Autumn 2017 The Title of This Paper Is ༛◌༾༶◌༙༑༒ On Asemic Writing and the Absence of Meaning Law Alsobrook Virginia Commonwealth University in Qatar Doha, Qatar Abstract Asemic writing is a wordless form of textual communication, with semantically open content left to the reader’s interpretation. By contrast, graphic designers are taught to conceive of text as image in order to compound meaning through graphic representation and typographic nuance. Graphic designers consider the linguistic container beyond its semantic substance, in effect, and attempt to expand the sematic load of language with visual modulation. Analogously, in Empire of Signs, Roland Barthes contemplates Japanese culture as a series of signs that exist in relative ataraxia with their signifying instance, where the alliance of sign and signification mingle as meditative components in a relative yin-yang balance as exemplified by the society within which they exit as philosophical constants. For Barthes, this notion confronts a Western temperament wherein a Platonic ideal seems to foment a continual search for the existence of pre-eminent signs that function as pinnacles of signification. However, when signs are devoid of intentional meaning, what can we glean from the mechanics of sign operations that attempt to establish and create, especially with regards to visual narrative and the heterotopic and temporal devices used by writers, artists and designers, a sense of “otherness?” This paper examines the heterotopic relationship of asemic writing as a mediated agent of narrative in our post-literate society. Key words: asemic, narrative, otherness, hypermediacy, heterotopia 5 IAFOR Journal of Arts & Humanities Volume 4 – Issue 2 – Autumn 2017 Introduction As a child, I loved the Sunday comics; a supplemental section of the weekend newspaper devoted to games, trivia, and of course, cartoons.
    [Show full text]
  • Transcendent Topologies
    Transcendent Topologies: Structuralism and Visual Writing tom hibbard LUNA BISONTE PRODS 2018 TRANSCENDENT TOPOLOGIES: STRUCTURALISM AND VISUAL WRITING © Tom Hibbard 2018 One and the same has lost us, one and the same has forgotten us ~ Paul Celan Cover and title page art © Jim Leftwich & John M. Bennett Book design by C. Mehrl Bennett & Tom Hibbard ISBN 978-1-938521-45-4 www.johnmbennett.net https://www.lulu.com/lunabisonteprods LUNA BISONTE PRODS 137 Leland Ave. Columbus, OH 43214 USA This collection of prose writings is respectfully dedicated to my cousin, Bill Dawes. TABLE OF CONTENTS Logos, Discourse, Daring, and the Geneology of the Visible (on Jim Leftwich, De Villo Sloan) ….……1 Writing on the Wall: Koppany, Hungary, and The Economy of Form………………………………………………9 Luc Fierens, Iconography and Flexibility, Is Mankind Burning…………………………………………..….…….…15 Reed Altemus, Planck and The Unblemished Logos of Transformation…………………………………...……19 Nico Vassilakis, Language as the Structure of Being…..…………………………………………………….……………21 David-Baptiste Chirot L’Amour Marxist, Presence in The Ontological Epoch…………………………………..25 Rain on Foreground-Background Street (on Guy Beining)………………………….………………………………….33 Difference, Diversity and The Infinite Trace.………………………………………………………………………………….37 Karl Kempton and “The Enigma of the Other”..………………………………………………………….………………….43 Visual Writing: Consciousness and Existence.…………………………………………………….………………………….51 Repetition and Variation: John M. Bennett, Quantum Difference & The Topographies of Meaning..57 The Land of Freedom: Michael
    [Show full text]
  • The Modernist Studies Association Conference 2018 “Graphic Modernisms” Hilton Columbus Downtown Columbus, OH November 8-11, 2018
    The Modernist Studies Association Conference 2018 “Graphic Modernisms” Hilton Columbus Downtown Columbus, OH November 8-11, 2018 Statement on Transgender Inclusion The Modernist Studies Association affirms and stands in support of the rights and dignity of our transgender and gender non-binary members and all other persons associated with our organization and conference. We believe that inclusivity, diversity, access, and equality are critical to the strength of our organization and the effectiveness of our academic mission. We are committed to maintaining a welcoming and inclusive organization where everyone can be their full self. This goal includes the practice of using individuals’ preferred name and pronoun reference when introducing speakers or citing their work or ideas. Special Events Plenary Sessions Plenary Session 1: A Conversation with Joe Sacco Thursday, 7:00pm - 8:15 pm Joe Sacco is an acclaimed graphic journalist and author of Palestine and Footnotes in Gaza, on the Israel-Palestine conflict, and Safe Area Gorazde and The Fixer, on the Bosnian War. He’s lived in Malta and the U.S., and has published additional pieces on blues music, war crimes, and Chechen refugees. His work has won the American Book Award, a Guggenheim Fellowship, and the Eisner Award. His recently published collaboration with Matt Hern and Am Johal, Global Warming and the Sweetness of Life, explores ecology and climate change in the tar sands region of Canada. Joe Sacco will be interviewed by Jared Gardner, Professor of English at Ohio State University and author of Projections: Comics and the History of 21st-century Storytelling (2012), The Rise and Fall of Early American Magazine Culture (2012), and Master Plots: Race and the Founding of an American Literature 1787-1845 (1998).
    [Show full text]
  • No Longer a Horizon, but Infinity”
    Suheyla Takesh INTRODUCTION: “No Longer a Horizon, but Infinity” In 1964 the Algerian weekly Révolution africaine published “Éléments pour un art nouveau” (Elements for a New Art), an essay by the painter Mohammed Khadda that contended with the role of the artist in post-independence Algeria and in the formation of a socialist state.1 In the text, Khadda argued for a function of art beyond propaganda or agitation.2 The history of painting, he wrote, had been one of successive revolutions and of a continuous liberation that eventually culminated in the emergence of abstraction, allowing painting to become an art unto itself, no longer reliant on a physical subject. In Khadda’s account, the birth of abstract art was tied to the moment Wassily Kandinsky created “the first nonrepresentational work” in 1910—most likely a reference to Untitled (Study for Composition VII, Première abstraction).3 Whether or not we attribute the beginning of abstraction to Kandinsky’s watercolor alone, discussing it prompted Khadda to make compelling observations about abstraction’s potential. “There was no longer a horizon, but infinity,” he wrote.4 Transcending the limits of represen- tation, of physical reality, and thereby the bounds of a metaphorical “horizon,” the artist would be able—in Khadda’s imagination—to tap into an infinite range of “creative” experiences and expand what art could achieve.5 The promise of nonobjective abstraction, purporting, as it does, values of multiplicity, plurality, and heterogeneity, would be to encourage a more genuine expression of individ- uality than had been hitherto possible. The place from which Khadda’s thoughts emerged is one that is shared across geographies of decolonization: a breaking away from the entrenched colonial vision and a questioning of what it means to formulate a distinct national identity.
    [Show full text]
  • Asemic Writing: Recent History and Ongoing Research Jim Leftwich
    asemic writing: recent history and ongoing research jim leftwich ||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||| Jim Leftwich, Jan 27, 1998 (to Tim Gaze): A seme is a unit of meaning, or the smallest unit of meaning (also known as a sememe, analogous with phoneme). An asemic text, then, might be involved with units of language for reasons other than that of producing meaning. Tim Gaze preface to The Oxygen of Truth The word “asemic” means “having no semantic content.” November, 1999 ||||||||||||||||||||||||||||||||||||||||||| from Wikipedia Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content". 1) Asemic writing is a wordless open semantic form of writing. When did asemic writing become wordless? Who made the decision? Why was it important for this kind of writing to be without words? Does the person who made this decision know that the definition is historically inaccurate? 2) The word asemic means "having no specific semantic content". When did the word "specific" get added to this definition? Who made the decision to add it? Why was it important that the semantic content not be specific? In this context, how is asemic writing different from polysemous writing, or ambiguous writing? Would it not be more accurate to define "asemic" as "having no semantic content"? Jim Leftwich 07.09.2015 ||||||||||||||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||| Google Groups, ASEMIC On Fri, Jun 10, 2011 at 12:38 PM, Jim Leftwich <[email protected]> wrote: ​ ​ there is no such thing as asemic writing. in fact, there is no such thing as asemic anything. everything is readable, ie., can be and will be given meaning.
    [Show full text]
  • Text Panel Taking Shape
    Taking Shape: Abstraction from the Arab World, 1950s–1980s Grey Art Gallery, New York University January 14–April 4, 2020 Main Text Panel and Individual Object Labels Main Text Panel Taking Shape: Abstraction from the Arab World explores mid-20th-century abstract art from North Africa, West Asia, and the Arab diaspora—a vast geographic expanse that encompasses diverse cultural, ethnic, linguistic, and religious backgrounds. Comprising nearly 90 works by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and the United Arab Emirates (UAE), the exhibition is drawn from the collection of the Barjeel Art Foundation based in Sharjah, UAE. The paintings, sculpture, drawings, and prints on view here reflect the wide range of nonfigurative art practices that flourished in the Arab world over the course of four decades. Decolonization, the rise and fall of Arab nationalisms, socialism, rapid industrialization, wars and mass migrations, and the oil boom transformed the region during this period. With rising opposition to Western political and military involvement, many artists adopted critical viewpoints, striving to make art relevant to their own locales. New opportunities for international travel and the advent of circulating exhibitions sparked cultural and educational exchanges that exposed them to multiple modernisms—including various modes of abstraction—and led them to consider their roles within an international context. The featured artists—a varied group of Arab, Amazigh (Berber), Armenian, Circassian, Jewish, Persian, and Turkish descent—sought to localize and recontextualize existing 20th-century modernisms, some forming groups to address urgent issues. Moving away from figuration, they mined the expressive capacities of line, color, and texture.
    [Show full text]
  • SPRING 2019 Coursebook
    SCHOOL COLUMBIA UNIVERSITY OF THE ARTS SPRING 2019 Coursebook Workshops Seminars Lectures Master Classes Updated: February 13, 2019 TABLE OF CONTENTS LIST OF COURSES BY DAY AND TIME WORKSHOPS 1 SEMINARS 2 LECTURES 5 MASTER CLASSES 6 COURSE DESCRIPTIONS SEMINARS 7 Translations Workshops 24 Hybrid Forms Lab 26 LECTURES 27 MASTER CLASSES 31 SPECIAL PROJECTS WORKSHOP 41 WORKSHOPS FICTION – OPEN (6 points) FICTION – THESIS (9 points)* Lynn Steger Strong Sam Lipsyte Tue., 10am-1pm Mon., 12:05pm-3:05pm Charles Bock Joshua Furst Tue., 12:05pm-3:05pm Mon., 3:10pm-6:10pm Paul La Farge Rivka Galchen Tue., 5:15pm-8:15pm Mon., 3:10pm-6:10pm Eli Gottlieb Ben Marcus Wed., 12:35pm-3:35pm Tue., 1:05pm-4:05pm Gary Shteyngart Binnie Kirshenbaum Wed., 3:40pm-6:40pm Wed., 3:40pm-6:40pm Anelise Chen Paul Beatty Fri., 10am-1pm Thu., 1:05pm-4:05pm Elissa Schappell Thu., 1:35pm-4:35pm Ben Metcalf Thu., 4:40pm-7:40pm POETRY – OPEN (6 points) NONFICTION – OPEN (6 points) Lynn Melnick Leslie Jamison Mon., 12:05pm-3:05pm Mon., 10am-1pm Major Jackson Morgan Jerkins Tue., 10am-1pm Mon., 10am-1pm Mark Bibbins Phillip Lopate Fri., 1:10pm-4:10pm Mon, 1:05pm-4:05pm Lis Harris POETRY – THESIS (9 points)* Tue., 1:05pm-4:05pm Richard Locke Alan Gilbert Tue., 2:10pm-5:10pm Tue., 4:30pm-7:30pm Michael Greenberg Dorothea Lasky Tue., 4:15pm-7:15pm Tue., 4:30pm-7:30pm Meghan Daum Timothy Donnelly Wed., 12:35pm-3:35pm Thu., 4:10pm-7:10pm Mitchell Jackson Shane McCrae Thu., 10am-1pm Thu., 10am-1pm *Second-Years only SEMINARS ——MONDAY—— ——TUESDAY—— Rob Spillman (FI) Monica Ferrell
    [Show full text]
  • Exhibition Didactics
    Taking Shape Abstraction from the Arab World, 1950s–1980s This exhibition explores mid-twentieth-century abstract art from North Africa, West Asia, and the Arab diaspora—a vast geographic expanse that encompasses diverse cultural, ethnic, linguistic, and religious backgrounds. Comprising nearly ninety works by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and the United Arab Emirates (UAE), the exhibition is drawn from the collection of the Barjeel Art Foundation based in Sharjah, UAE. The paintings, sculpture, drawings, and prints on view here reflect the wide range of nonfigurative art practices that flourished in the Arab world over the course of four decades. Decolonization, the rise and fall of Arab nationalisms, socialism, rapid industrialization, wars and mass migrations, and the oil boom transformed the region during this period. With rising opposition to Western political and military involvement, many artists adopted critical viewpoints, striving to make art relevant to their own locales. New opportunities for international travel and the advent of circulating exhibitions sparked cultural and educational exchanges that exposed artists to multiple modernisms—including various modes of abstraction—and led them to consider their roles within an international context. The artists featured in this exhibition—a varied group of Arab, Amazigh (Berber), Armenian, Circassian, Jewish, Persian, and Turkish descent—sought to localize and recontextualize existing twentieth-century modernisms, some forming groups to address urgent issues. Moving away from figuration, they mined the expressive capacities of line, color, and texture. Inspired by Arabic calligraphy, geometry, and mathematics, Islamic decorative patterns, and spiritual practices, they expanded abstraction’s vocabulary—thereby complicating its genealogies of origin and altering the viewer’s understanding of nonobjective art.
    [Show full text]
  • Issue Eight April 2017 (Poetry, Fiction & Art) SONIC BOOM
    SONIC BOOM ... for writing that explodes Issue eight April 2017 (Poetry, Fiction & Art) SONIC BOOM …for writing that explodes Issue Eight April 2017 (Poetry, Fiction & Art) Founder/Chief Editor: Shloka Shankar Poetry Editor: Shobhana Kumar Webmaster: Dwarakanathan Ravi Proofreader: Dishika Iyer Cover Art: ‘Five Birds’ by Phil Openshaw Copyright © Sonic Boom 2017 All rights revert to the authors/artists upon publication. For re-prints in future, please credit Sonic Boom as the original publisher. Works may not be reproduced in any manner or form without prior consent from the individual artists. http://sonicboomjournal.wixsite.com/sonicboom CONTENTS EDITORIAL 5 THE POETRY SHACK 6-17 The Year of the Dragon by Amber D. Tran 7 Underwater attraction by Eddie Donoghue 8 Theodicy by Gary Glauber 9 What Is Death? by Jennifer Met 10 A Sonnet from 555 by John Lowther 11 Story by Matt Dennison 12-13 Painting Diego’s Feet by P. C. Vandall 14 Pair of Dice by Robert Beveridge 15 Shopping for Pomelos at Central Market on Chinese New Year by Robert Flinn 16 Ida Sessions, Method Actress by Todd Mercer 17 PAPER LANTERNS 18-25 Michael Stinson Helen Buckingham Jay Friedenberg William Scott Galasso Ben Moeller-Gaa 19 Hansha Teki Marietta McGregor Elmedin Kadric Helen Buckingham Marianne Paul 20 David J. Kelly Nika Johannes S. H. Bjerg Christina Sng S. M. Kozubek Billy Antonio 21 Gabriel Bates Johannes S. H. Bjerg Hansha Teki Tom Montag David J. Kelly 22 Michael Dylan Welch Maeve O’Sullivan Elmedin Kadric Susan Beth Furst Gregory Longenecker Robert Kingston 23 Elmedin Kadric Marilyn Fleming Gabriel Bates Jennifer Hambrick Hansha Teki 24 Maria Corado Mark Gilbert Jennifer Hambrick Peter Jastermsky Susan Burch Marianne Paul 25 FICTION 26-31 Kenosis by Hansha Teki 27 Crowd Control by Jennifer Hernandez 28 A Discussion in Form by Jennifer Met 29 Keyholes by Johannes S.
    [Show full text]
  • Text for the Potential Uncovering of More Framing Poems
    Text for the Potential Uncovering of More Framing Poems Despite the fact that so many literary journals advertising their consideration of poetics in any form (experimental, edgy [sic], odd, visual) don’t, in fact, want anything to do with such poetry, it stands that the amount of work being created at this time which engages the possible limits of poetry, which hangs around the intersection of borderblur, is quite significant in mass. Whatever the quality of the work turns out to be, once it has spread through the veins of the creative class via print, or more likely websites and social media, if it has been presented as poetry, it is. That’s the way it works now. Very egalitarian. The breadth of permissiveness is both exciting and dulling. It means, at least in theory, the possibility of accessing formal approaches and territories of content without limit. That said, as I stand in my backyard and look down admiringly at my daughter’s chalk drawings/ writing/ scrawls I can’t conceive of any vast difference between her work and many other visual practices by poets and/or visual artists. Consider asemic writing, a practice in which the creator produces a text which does not engage an alphabet or other system of regulated symbols, but which, at least in theory, contains its content in the physicality of the mark, in the act of writing itself. Now, I remember, as a child, or at least I believe I remember, the act of writing and drawing before I had sufficient skill to produce the agreed upon symbols which transmit meaning.
    [Show full text]
  • Semiotic Review
    Semiotic Review 2: Monsters - article published March 2016 https://semioticreview.com/ojs/index.php/sr/article/view/25 Text, Image, Asemic: “Reading” Luigi Serafini’s Codex Seraphinianus as Paratextual Metalepsis Kane X. Faucher [email protected] Abstract: The task of this article is to situate the Codex Seraphinianus in a series of multiple frames, not least of which being that of the teratological (following Italo Calvino), but also that of the pre-linguistic or post-writing frame of asemic text. This combination is less a convergence of disparate themes, but rather a disciplined parallel reading with some intriguing points of overlap and intersection. It is my hope that bringing the asemic and teratological together that it may generate insights germane to both. Ultimately, however, we still must ask if the Codex can be read as a cipher (concealed meaning), or if it is truly asemic and thus “unreadable” in any conventional or systematic sense. Keywords: Luigi Serafini, Codex Seraphinianus, paratext, metalepsis “An order always and already concerns prior orders, which is why ordering is redundancy” (Deleuze and Guattari 1987, p.75) The task of this article is to situate the Codex Seraphinianus in a series of multiple frames, not least of which being that of the teratological (following Italo Calvino), but also that of the pre-linguistic or post-writing frame of asemic text. This combination is less a convergence of disparate themes, but rather a disciplined parallel reading with some intriguing points of overlap and intersection. It is my hope that bringing the asemic and teratological together that it may generate insights germane to both.
    [Show full text]
  • Collaborative Calligraphy: an Asemic Writing Performance
    Liminalities: A Journal of Performance Studies Vol. 13, No. 2 (2017) Collaborative Calligraphy: An Asemic Writing Performance Roland Buckingham-Hsiao Keywords: Chinese calligraphy (中國書法), performance writing (書寫藝術行為表演), asemic writing (非語意書寫), collaboration (協同), language game (語文遊戲). Have the idea in your head before you take up the brush. Design the composition only af- ter you have thoroughly considered it. Be very careful with the general shape and the spac- ing, and do not let the character tilt sideways. […] Do not spoil a character by over- pliancy, nor cause discomfort by imbuing it with quarrelsome feeling. Let all four sides be evenly proportioned and all parts co-ordinated. Short and long strokes must be calculated in relation to one another, and a compromise effected between the coarse and the fine. […] The animation and spirit of a character depend largely upon its proportioning. — Ou Yang Xun (歐陽詢) (557-641).1 1 Ou Yang Xun, The Book of Calligraphy, qtd. in Yee, Chinese Calligraphy, 145. ISSN: 1557-2935 <http://liminalities.net/13-2/calligraphy.pdf> Roland Buckingham-Hsiao Collaborative Calligraphy When one shews someone the king in chess and says: “This is the king”, this does not tell him the use of this piece—unless he already knows the rules of the game up to this last point... — Ludwig Wittgenstein (1889-1951).2 Background My research is concerned with Chinese calligraphy in a globalised context, ex- amining, among other things, the areas of signification available to non-readers of Chinese. In C.S. Pierce’s terms such
    [Show full text]