- A/ In a world increasingly marked by surveillance, censorship, and widespread misunderstanding, some platforms (like Post-Asemic Press) still open new avenues, allowing poets to transcend the limitations of traditional publishing and the absolute, sometimes constricting, definitions of words. This is particularly vital in visual poetry and asemic writing, where optical language is explored in ways that surpass the conventional boundaries of lexical textuality.
- In our era, defined by overwhelming complexities and a stifling impact on the free flow of expression, asemic writing and visual poetry becomes increasingly vital. This necessity arises not just from a politically polarized landscape but also from the pervasive influence of technology on our communication methods. Seemingly minor intrusions like autocorrect indicate a broader trend of technological interference, which often hinders our ability to express ourselves directly and authentically. These instances are just a glimpse into a world where more insidious forms of technological intrusion are emerging. All art requires technology, but it is new for technology to stop you and ask, did you mean to say that?
- Set against this backdrop: the works of Michael Jacobson and Kristine Snodgrass. Jacobson's handmade id est: neo scribalist asemic expressionism eschews traditional linguistic structures, creating a realm of synesthesia-like expression, and framing it beyond the constraints and gatekeeping of conventional literary publishing. His asemic writing emphasizes personal, intuitive communication as a form of resistance. Meanwhile, Snodgrass's approach, though rooted in technology, takes a unique turn by creating calligraphic asemics directly on the body. Her engagement with glitch art and the human form turns technological errors and bodily inscriptions into mediums for critique and expression. Through their distinct methods, both circumvent barriers of traditional publishing, censorship, and technological interference. Their work is a potent political and social commentary, with a remit to empower others.
- Visual Telepathy: Deciphering id est: neo scribalist
- Michael Jacobson's innovative platform Post-Asemic Press is not just about showcasing non-linear and nonlinguistic modes of writing and communicating; it's about actively encouraging, embracing and sharing these forms and diverse spiritual and ideological expressions.
- id est: neo scribalist is an extraordinary example of storytelling, where narratives are as improvisational for the reader as for Jacobson himself. Unlike experimental lexical poetry, which often requires the reader to delve into the artist’s process or undertake extensive archival research, Jacobson’s work invites the reader to engage with archetypal understandings of imagery, an engagement where resonances between images are seen, felt, and imagined.
- Poems/images can be perceived as visual vibrations, echoing emotions and ideas that words cannot fully capture. In some instances, these images could be sung, played, coloured. Gouache and watercolor add a tactile, organic feel, imbued with a deep emotionality. One can sense a kind of almost-telepathy, close-wired into perception itself, navigating mentality and existence, the nonhuman or imaginary, a 'celestial computer'. What makes this process even more intriguing is the direct and kinesthetic transmission from the receiver – in this case, Jacobson himself – to the page, a dance of hand and mind that captures the essence of these otherworldly communications, positioning the artist as both a receiver and a translator of messages. Jacobson's journey is into the depths of communication, an optical vibratory translation of ethereal letters into tangible art.
- Glitch Rebellion: Unraveling
- Gradients by Kristine Snodgrass is a commentary on the power dynamics of representation, the role of technology in art, and the ongoing battle for self-expression and autonomy in an increasingly complex and controlled societal landscape.
- My early experiences with glitch art, around 2001 during an internship at Asphodel Records in San Francisco, were significantly influenced by the legendary experimental artist Naut Humon. This was a pivotal moment for me, opening my eyes to the radical use of technology in art, particularly striking in the post-9/11 world, a time marked by intensified surveillance, censorship, and a creeping authoritarianism. Glitch art emerged as a potent form of new beauty birthed from technological mishaps, challenging the intended uses of various media. This period was characterized by a unique dichotomy in technological development. On one hand, a relentless drive towards advancement and efficiency. On the other, a movement to subvert and challenge this progress, pushing technology beyond its intended limits and finding artfulness in its malfunctions.
- Kristine Snodgrass also utilizes malfunction, transforming technological error, employing glitch to reclaim autonomy. Gradients goes beyond mere aesthetic disruption; it carries significant socio-political weight, particularly in its challenge to established cultures and oppressive states. The most striking aspect of which is the blurred boundary between what is tattooed and what is inscribed on the body, creating a dialogue between permanence and transience in her art. This interplay is brought to life through beautifully-crafted "glitches" layered with erosion, making them unpredictable and dynamic, potent statements about control, resistance, and the inherent contradictions within societal structures. Specifically, Snodgrass's work powerfully comments on the representation and perception of women's bodies, minds, and experiences, spotlighting this complex interplay.
- The text transcends post-literate boundaries, weaving together elements that are at once erotic, sublime, and, in certain instances, disturbing. This fusion of themes and styles imbues it with a dynamic energy reminiscent of the transformative quality of acousmatic music. Just as acousmatic compositions are designed for speaker-based performances, obscuring the origin and manipulations of sound, Snodgrass's text is crafted for photographic representation and subsequent alteration. This method underscores a more profound narrative within Gradients: a narrative that speaks to the ongoing struggle for power and autonomy in a world where identity is often overshadowed and defined by overarching tradition. Like the elusive nature of acousmatic music, Gradients leaves the observer to decipher origins and meanings—differentiating between what is directly written on the body, what is permanently tattooed, what is digitally manipulated, and what elements blend these techniques. This ambiguity challenges the observer to probe intersections between physical inscription, technological intervention, and artistic expression. Through this complexity, Snodgrass finds identity, blurring mediums and maker, inviting a re-evaluation of how we perceive and interact in the digital age.
ABOVE
(Top) from Glitches by Kristine Snodgrass
(Above) from id est: neo scribalist by Michael Jacobson
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