now its this:
Part of Blue Black Semantic and The Curious B series. (The Authentic Massacre of the Innocent Image – Painting number 78).
Blue-Black Semantic had been stationery for over 2 days, silently evaluating the person of Probability Theory. As a random subset of Planes in the Boolean Fields, it was difficult to set activity parameters for further moves forwards (or backwards for that matter). The Continuum of Percolation was serving no one any good, least of all Curious B.
That’s the difficulty with theoretical bounds of information capacity – the Grammar Rules were unruly and generally extremely excitable (something to do with compound possession?). Further problems were alternative subjects and verb agreement – no wonder the Curious B had wandered off with a tattered and battered map indicating overlapping sets of realisations.
Like most people, when I was first introduced to the concept of Asemic Writing it came as quite a shock that there was TITLE and a genre and a community of people who practiced this writing form.
I received – I can only call them snippets of Asemic writing over quite a long period. Instead of them disappearing into storage, I have gathered them into a book.
These samples entrench my feeling of the elasticity of the term ‘asemic’. I have stitched asemics (Marie Wintzer (Japan), asemics on fallen wall plaster (Heather Miller – South Africa), painted asemics (Sue Bowen – USA) and printed asemics (Samual Montalvetti – Argentina) to name but a few.