Archivi tag: differx
poesia macerata / differx. 2022
ancora sul romanticismo
“the re-appearing pheasant”: an encounter of american and italian poets and critics: nov. 2022
a poem by Charles Bernstein (in The Brooklyn Rail, April, 2022) here:
https://slowforward.net/2022/05/27/one-from-charles-bernstein-from-the-brooklyn-rail-april-2022/
a prose piece by MG in the same issue of TBR, together with poems by several authors:
https://brooklynrail.org/2022/04/criticspage/from-Excesses-on-a-little-flight
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editor Luigi Ballerini wrote an introduction (https://brooklynrail.org/2022/04/editorsmessage/RADICAL-POETS-OF-DIFFERENT-FEATHERS) to the “gathering of American and Italian poets, scheduled to take place at the Casa Italiana Zerilli-Marimò of New York University and at the Italian Cultural Institute of New York on November 11, 12, and 13” (see the images).
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All the texts in the issue of TBR:
from Floodgate of Wind
By Antonella Anedda Translated from the Italian by Eleonora Buonocore
From Scraps
By Mariano Bàino Translated from the Italian by Luigi Bonaffini
The Trip
By Mary Jo Bang
three
By Charles Bernstein
Mandy
By Anselm Berrigan
Nest, Hospice, Prison Camp
By Susan Briante
(°) – seed
By Maria Grazia Calandrone Translated from the Italian by Nicholas Benson
from Every Five Strokes
By Vincenzo Frungillo Translated from the Italian by Christina Vani
from Excesses (on a little flight)
By Marco Giovenale Translated from the Italian by V. Joshua Adams
Romanticism
By Peter Gizzi
Gap and Erasure
By John Latta
Dreamlike (Homo Bulla)
By Laura Liberale Translated from the Italian by Murtha Baca and Federica Santini
Porta Westfalica
By Valerio Magrelli Translated from the Italian by Jamie McKendrick
from Acavity of an Odyssey (Unfinished Mandala)
By Ivan Schiavone Translated from the Italian by Alessandro Giammei
three
By Rosmarie Waldrop
due prose per i termoregolatori delle italie: u.s. in testa
uno:
metodo della mediocrità spiando un lavoro in corso: strada serale / differx. 2022
https://pontebianco.blogspot.com/2022/09/metodo-della-mediocrita-spiando-un.html
due:
ci sono volute ore di nostalgia, è che la nostra vita è un’altra / differx. 2022
https://compostxt.blogspot.com/2022/09/ci-sono-volute-ore-di-nostalgia-e-che.html
installance #0171: transparent fragment
installance n. : # 0171 type : asemic piece on a transparent fragment size : ~ cm 3,5 x 2,5 record : highres shot additional notes : abandoned date : Sept. 12th, 2022 time : 5:48pm place : Rome, via Pietro Cartoni footnote : --- copyright : (CC) 2022 differx
come ci siamo allontanati / differx. 2022
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differx’ “textus celatus” in ‘word for / word’, n. 39
differx.tumblr.com
asemic s/imp. / differx. 2011
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gian luca picconi: recensione a “il cotone” (zacinto/biblion, 2021) – sul n. 331 de ‘l’immaginazione’
Grazie a Gian Luca Picconi per la sua attenta/esattissima recensione al (e alle implicazioni del) libro Il cotone. Il pezzo è uscito sul n. 331 de “l’immaginazione”.
cliccare per ingrandire
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on some hypothetical categories of asemic writing / marco giovenale. 2022
Perhaps it is possible, in the field of asemic writing, to distinguish a few —completely hypothetical— categories. I insist that these are mere hypotheses, and that I am not interested in structuring a rigorous theory.
We have (1) concrete asemic writing when only the asemic glyphs and calligraphy, only the asemic letters and sentences are present on the page. No images, no colors.
We can also say asemicrete, a term coined by Michael Jacobson.
We can say we have (2) visual asemic writing when we see the asemic symbols are intertwined, superimposed or when they —in any other way— simply share the page with abstract or realistic images.
We have (3) glitchasemics when an asemic text is evidently disturbed by some kind of glitch: it may even be severely disturbed, but not so much as to make the asemic part completely disappear.
We can say we have (4) abstrasemics when an abstract drawing or image turns itself into something resembling an illegible text, an asemic piece. Or, on the contrary, when a fragment of asemic writing gradually loses any vaguely linguistic aspect and is transformed into an abstract image.
Post scriptum.
At the same time, there are examples of works that marginalize —or do not include at all— an asemic aspect, and I would refer to them as: abstract or realistic paintings (pictorial works, photographs etc.) weirdly called “asemic writing” by their authors; legible alphabets and texts weirdly called “asemic writing” by their authors; monotonous decorations that would hardly be taken for words or sentences.
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https://t.ly/tZH_
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https://slowforward.net/2022/08/30/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/
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https://asemicnet.blogspot.com/2022/08/on-some-hypothetical-categories-of.html
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https://www.platformplee.nl/2022/08/30/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/
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https://scriptjr.nl/on-some-hypothetical-categories-of-asemic-writing-marco-giovenale-2022/5022#.Yw5GTn1BzMX
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https://differx.tumblr.com/post/694030139131068416/on-some-hypothetical-categories-of-asemic-writing
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https://archive.org/details/on-asemics-categories-mgiovenale-2022/
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https://www.academia.edu/85898197/On_some_hypothetical_categories_of_asemic_writing
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https://puntocritico2.wordpress.com/2022/09/02/on-some-hypothetical-categories-of-asemic-writing/
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installance #0169: asemic polyethylene curved stele
installance n. : # 0169 type : an asemic polyethylene curved stele size : ~ cm 12 x 7 record : highres shot additional notes : abandoned date : Aug 27th, 2022 time : 1:22pm place : Rome, viale Trastevere footnote : --- copyright : (CC) 2022 differx