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anomaly-high-diaries · 2 years

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Tag type list:

Picture Day: art of the characters

Lore: official non-diary writings from the universe

Student body: Character reference pics

Logs: Character diaries

Creatures: pets :)

(Officially introduced) character list:

Lavande Merle, child of the Plague Doctor: a cheerful soul, though she unintentionally freaks people out a lot, since they haven’t really interacted with many people who weren’t related to them or a zombie. Uses they/she

Connie Tainer, daughter of a Foundation Scientist: Connie’s been sheltered most of her life, so while she’s confused and snarky, she is genuinely happy to be here. Uses she/her

Oozelle Manson, daughter of the Old Man: an over-competitive sporty girl from the track team, Oozelle is someone who despises being bored, and loves keeping herself busy. Uses she/her

Aviya El Asem, daughter of Able: Aviya is always always full of energy and a will to stay active. She loves to skateboard, and tends to be a show-off, but understands that she has limits. Uses she/her but doesn’t care about pronouns that much.

Scalett Reptile, daughter of the Hard To Destroy Reptile: Scalett has never really been treated with love in her life, and doesn’t show much in return. However, her time here is defrosting her soul. Uses she/her.

Rosé Copperhead, fae (with an ethically sourced name dw): Rosé is rather jumpy, and has trouble going through with actions that might hurt her. They’re one of the sweetest kids you’ll meet though! Uses she/they

Forrest Copperhead, member of the Serpent’s Hand: the one who freed Rosé and her older brother, Forrest is a sweet, smart, and chill practicing mage. Emphasis on “practicing”. Uses he/him.

Royal Masquerade, daughter of the Ambassador (somehow): Royal’s the school’s resistant mean girl, who’s as egotistical as their parent. They have a soft spot for their childhood friend Wobble. Uses she/they

Wobble Bobbleton, daughter of Bobble the Clown: Royal’s more reluctant second in command, who does most of the dirty work and isn’t gloomy about it (she’s just gloomy in the first place). Uses she/her

Scorchpia Embers, daughter of the Burning Man: the third of Royal’s trio who’s mostly just in this so she can insult more people. She never runs out of energy and over-the-top schemes. Uses she/her.

Daydream, daughter of the Dream Man: a big fan of fairytale stories and happy endings, Daydream is a sweet soul who just wants to help her friends, even when they don’t know how. Uses she/they

Zohar Bumero, child of Robert Bumero. A rocking soul and lead singer of their band “Golden Rust”, Zohar wants to make a difference in this world, preferably one that fixes it. Uses they/them.

Scabina Sick, daughter of Grand Karsist Ion. Resourceful and honest, Scabina is a significantly nicer person than her name implies, though his sense of humor is a little dark. Uses she/he.

Yulia Kaust, daughter of the Yule Man. A cold girl, Yulia has trouble trusting others due to how monstrous her father is, and wishes to stop the darkness of the world she lives in. Uses she/her.

Molly Lochet, daughter of Moloch. A prankster at heart, Molly doesn’t entirely understand what her classmates are cool with, but is genuinely trying to get better with her pranks. Uses she/her.

Beauty P., the daughter of a beautiful person. Beauty is someone who believes she must be perfect in the eyes of all, but doesn’t quite know how to get along with her peers. Uses she/they.

Ursae Night, child of the night. Sweet and a little odd, Ursae is just a big softie. He collects rocks, but hasn’t found a heartshape one yet (though he really wants to give his GF Rosé one). Uses he/him.

Pox Spittings, son of Vector. Unlike the above, his name actually accurately describes his personality. He’s loud and immature with an ego to rival anyone else here. Uses he/him

Namseong-Yeou, son of the polymorphic humanoid. While more socially aware and quiet, he’s somehow Pox’s best friend. He still is growing tired of Pox’s (and everyone else’s) garbage-ness. Uses he/him.

Emerald Shaw, Elijah Shaw’s distant cousin. Emerald is… something not quite human, but is genuinely as nice as she seems. She’s just as unsure of her identity as you dw. Uses she/they.

Commandra Warren, born of the demon of war, a sporty girl who loves stirring up conflict (because she has to), scary movies, and herself. Uses she/her but doesn’t mind if you use a different pronoun to refer to her.

Ooky Spooky, child of Too Spooky, self proclaimed Halloween spirit who only consumes Halloween related content. She loves scaring people and being mildly unsettling. Uses any pronouns

Endgeline Crucible, daughter of the welt in the crucible. A creative (but introverted) practicing coder. Rebellious, and while she wouldn’t start a fight, she’d finish one. Uses she/her.

#monster high #anomaly high #worldbuilding #oc #ocs #my ocs #lavande merle #connie tainer #oozelle manson #aviya el asem #scalett reptile #rosé copperhead #forrest copperhead #royal masquerade #wobble bobbleton #sorchpia embers #zohar bumaro

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hareki · 4 years

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bişey demeye çalışmıyorum

#kifayetsiz kelimeler #asemic writing #non-meaning #anlamlısız #darklight #zen

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viadescioism · 3 years

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Asemic Writing, and Magick

Asemic writing is a form of random, wordless, non readable writing that is more a form of random marks that take the form of what we could assume is a written language without the aspect of language. This can be used in magick in order to act as a way of implanting will in a physical form upon a surface. Once written out the asemic writing holds power given to it during the writing process, and can be further charged, and activated much like a sigil in order to be used in magickal working. This is different from a sigil due to the fact that its sigilization process is very quick and that for the most part it is not re creatable. This primarily leads to all forms of asemic works to be unique to their working, and pretty much an image of the will of the practitioner at the moment of creating it, which will be focused around a specific intention. The asemic writing allows you to direct energy through the positioning of it and it can be placed around sigils, and other markings in order to empower them. In order to create asemic writing the individual should focus intently in their mind on what they would like to bring forth, then with that greatly infix within the mind begin to strikeout mark's that look like you're trying to write something without writing anything. Form the words, and letters with your will, and intention in order to mark the page with it.

#magick #witchblr #Asemic Writing

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jenner-benjamin · 3 years

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Performance Writing

‘Letter of Resignation’ - performance writing.

This last year in particular I have started to become more comfortable with the fact that I am as excited by the performative act of making as I am by the consequential drawing or print. I think because my research has led to intense discourse about the disappearance of handwriting, I have become increasingly aware of this being an important aspect of my practice. As such I have started to document the process and creation of some artworks, regarding these performances just as important as than the finished outputs themselves.

These drawings were mostly produced at home, but eventually became tiresome and monotonous. I think because I was limited to the desk in my bedroom, I felt as though everything was whispered and restricted. Once university began to slowly reopen I was able to get hold of a space big enough that I could really spread out, and when not confined by space I was able to shout about how I was feeling rather than whisper. This release was exactly what I needed to breathe a bit of life back into my practice and I am very excited by the results.

The following performances are titled ‘Letters of Resignation’. The title is an homage to the works of the same name by Cy Twombly, an artist that is widely recognised for his works that have quite clear connections to asemic writing. Furthermore there are many suggestions that can be derived from this title; letters in the sense of individual written characters, letters that we write in correspondence, resigning from a job and resigning to the fact that this is just how life is now. I enjoyed the multiple meanings that can be deduced from this, just as there are multiple ways that we can read and understand asemic writing.

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‘Letter of Resignation’ - performance writing.

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‘Letter of Resignation’ - performance writing.

I conducted this series of performances because I wanted to spread out and enjoy not being limited to a domestic space. I unravelled a roll of Fabriano paper and performed a series of asemic written works to music with a mop, a handheld jug mop, and a drawing instrument that I made with bamboo cane and string. These instruments are all evidently larger than a pen or paintbrush, and so in writing with these on the oversized paper I was making myself more aware that this performance was more of a spectacle than writing at my desk with a pen.

I write every single day, therefore I perform every day, and yet I was not consciously aware that the performance was taking place. It is interesting that the change in writing implement made me acutely alert to this fact. This is definitely something to think about in terms of the context of how or where the performance is taking place.

Does a performance need to be documented or witnessed in order to describe it as a performance? If I sit at my desk and write a letter, is it any less performance as it would be to do the exact same thing but go live on social media whilst doing it? Is every act of writing a performance, or is it a performance because it is labelled as such? I have begun to read more about some artists that explore performance in their practice in the hopes of learning more about why this method of communicating my ideas has peaked my interest.

Inoue Yûichi

Inoue Yûichi in his studio by Itô Tokio, 1984 - photograph.

‘Katsu (Sound of Metal)’ by Inoue Yûichi, 1977 - ink on paper.

Inoue Yûichi, was a Japanese artist who began working as a primary school teacher, before retraining under the tutelage of calligrapher, Ueda Sokyu. He came to the practice later on in life but is now regarded as one of the most esteemed Japanese artists of the last century. He co-founded the avant-garde society for calligraphy which in turn saw his push for liberation from calligraphy’s traditional roots, advocating documentation of the calligrapher’s physical movements and energy as being equally as paramount as the textual pieces themselves.

Yûichi depicts traditional Japanese kanji characters, having been predominantly inspired by traditional masters of Japanese calligraphy, but performs them in such a way that has been likened to abstract expressionist action painters. This meeting of Eastern and Western culture culminates in a performative practice that is a pure expression of being in the present moment. He allowed himself to enter a state of calm that is standard practice of the Japanese art of ‘Shodo’, which connects the mind with the body. This calm state of being is thus expressed in his written performance.

Nakajima Hiroyuki

‘Calligraphies Sonores’ by Nakajima Hiroyuki, 2018 - performance at Villa Cavrois Lille in France.

‘Shizen’ by Nakajima Hiroyuki, 2012 - performance at Galeria Nobili Milano in Italy.

Nakajima Hiroyuki is a performance artist, also from Japan, but learnt the art of Shodo from a young age. Hiroyuki understood that the art of calligraphy was highly sought after, but recognised that it had the potential to surpass tradition. He began to create abstract artworks based on his deep knowledge of Japanese calligraphy.

Not long after he began exhibiting his calligraphic abstract forms, he introduced elements of Tai Chi in to his practice, aiming to establish the process of calligraphy by way of performance. He begins his performances by standing in a meditative situation, as per traditional Shodo practices, and then in one swift movement he creates his written thoughts as an evidence of that point in time.

Hiroyuki says:

“Every work of "Sho" is created in one continuous motion, and therefore cannot be repeated or re-written. The power of "Sho" lies in this feature of non-recurrence. Even if you draw the same letter ten times, ten different forms will arise spontaneously.”

I am drawn to the sense of calm and quiet in both Yûichi and Hiroyuki’s performances. The influence of Zen Buddhism and traditional leanings makes for a great basis on which to build from. They utilise traditional ideas in conjunction with contemporary art practice to create performance writings that are not only dynamic but also speak of their cultural backgrounds.

James Nares

James Nares is a multi-disciplinary artist whose practice includes; film, music, painting, photography and performance. He uses these methodologies to explore ideas of physicality and motion.

In the 1980s Nares began creating what are now his iconic brush stroke calligraphic paintings. These paintings document a gestural and expressive moment, a record of motion across the surface, and are inspired by Roy Lichtenstein’s own depictions of brush strokes.

Nares suspends himself on wires above the canvas in what looks to be a slightly precarious Mission Impossible manner. This inclusion of an outside source in which to aid the creation of the painting further enhances the idea of performance, bringing an element of true action to the forefront of the drawing. The innovative employment of the wires does add an extra dimension to the works, though I would tend to think that they are required for logistic purposes as opposed to it being performance art. Nevertheless it is an interesting way in which to create a drawing, and an added point of interest.

‘Girl About Town’ by James Nares, 2017 - screenprint on paper.

‘Damian’ by James Nares, 2014 - screenprint on paper.

Janine Antoni

‘Loving Care’ by Janine Antoni, 1993 - performance with hair dye. Janine Antoni’s work sits in the space between performance and installation. She addresses everyday activities such as eating and bathing and transforms these routines in to art, chiefly using her own body as her method of conveying these ideas.

Antoni has performed pieces where she has scraped away at both lard and chocolate with her teeth, as well as washing away exact replicas of her face made from soap. The piece I am most drawn to is ‘Loving Care’, a performance whereby Antoni mopped the floor with her own hair, soaked in ‘Loving Care’ hair dye. She explains that in doing this she learns and reconnects with her body, finding an understanding with what happens when she puts her body in such an uncompromising space. I am reminded of the body prints by David Hammons and the performative prints that I studied in the Research Practice module. Hammons expressed a sense of cultural identity by using his body as a matrix for printing and mark-making.

Antoni could also be seen to be putting forth a thought-provoking address of antiquated views of femininity in the domestic setting in collusion with action painting. Mopping been seen as a domestic chore and action painting popularised by abstract expressionism which was predominantly populated by men.

This is a great instance of performance drawing, an example of the artist claiming the space as her canvas, and forcing the audience out of the room as she did so. Again, I enjoy the sense of performance art as a means of describing one's identity, this case being an emotional articulation of gender identity.

Franz Erhard Walther

Politisch (Political), no. 36 by Franz Erhard Walther, 1967 - performance.

I came across the work of Franz Erhard Walther during my research of the Fluxus movement. He is a German artist that rose to prominence with his participatory and activated sculptural works.

‘Werksatz’ is a series of roughly fifty wearable sculptures that are activated through audience interaction, and an exploration is made of the demands that they place on the human body. These demands are furthered by the possibility of the relationships that the objects prompt between additional participants. The fabric objects consist of a multitude of openings, fastenings and straps that encourage the user to wear and initiate them, either as a solo performance or as a collective effort.

Walther explains that the motivation behind the wearable sculptures was to understand the negotiation between dormant and active states. This in turn suggests how the materiality of the works might change the body’s behaviour. It is also interesting to note how some of the pieces depended upon the audience’s ability to achieve an awareness of harmony within the structure, making the piece a confrontation as opposed to a simple Happening. I do like this sense of participation from the audience, if it weren't a risk to health and safety this would be something I would have been keen to explore at my end of degree show. Perhaps urging the audience to create their own asemic works in response or alongside my own. This is still food for thought for further study, as restrictions begin to ease.

Körpergewichte (Body Weights), no. 48 by Franz Erhard Walther, 1969 (performed in 2008) - performance.

Nancy Murphy Spicer

‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy Spicer, 2015 - installation and performance.

I met Nancy Murphy Spicer as an undergraduate student after she gave a talk to my year group about her drawing practice. I have since read that she created a participatory drawing performance that questions the very nature of drawing. She establishes the line as a sensuous object that can be touched, moved and manipulated. The result is a participatory installation that invites the audience forth to engage with the line and create their own drawing.

It is an interesting conception of the physicality of drawing. The artist has brought forth the tools in which the drawing is to be made, but ultimately it is the spectator that activates its agency as a drawing. This notion not only melds the roles of artist and audience, but also gallery and art studio.

The hanging drawings also touch upon the idea posited by Hiroyuki about the same drawing never being able to be repeated - ‘even if you draw the same letter ten times, ten different forms will arise spontaneously’. This is a thought that I have come back to multiple times throughout this course, the idea of the multiple and the edition. I am a printmaker that is excited by the accidental and incidental unplanned marks, and so the notion of works that can never be repeated is something that I have explored time and time again through print, drawing, writing, and now performance.

‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy-Spicer, 2015 - installation and performance.

In researching ideas of performance drawing and performance writing, I again find myself being reminded of the Fluxus movement. I would propose that these performances are both Happenings and event scores. I think that this might be an avenue to explore going forward, the capacity for asemic writing to exist both as performance and event score. I do not see Letters of Resignation as a finished piece, but as a starting point to which I could further investigate. Perhaps I could record more written pieces that are less dramatic and focus more on the every day written works. These are just as much performance even without the great expanse and exaggerated writing implements.

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basic-channel · 4 years

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[non asemic writing], Frank Lepold

#design #drawing

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marcogiovenale · 4 months

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costituire e ampliare reti sociali indipendenti

INSISTO, anche sulla scorta del continuo #shadowbanning / #censura che i social generalisti operano nei confronti delle notizie dal medio oriente e ovviamente dalla #Palestina: è pressoché indispensabile e sicuramente URGENTE costituire e ampliare #comunità online e #retisociali altrove, direi soprattutto su #Mastodon, che al momento sembra raccogliere il maggioor numero di #partecipanti (basta…

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jesswsc1 · 4 years

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My gif revolves around my article regarding half a million signatures against animal cruelty in France, including putting an end to animal testing - hence the syringe and imagery of rabbits being tested on. Seeing as cruelty is a darker topic, i opted for a background that reflects the sinister and morbid themes it encompasses, utilising a rich red with darker splotches to represent bloodshed, alongside one of my asemic writing weaves. The scribbly, broken and swirly lines convey the non sensical reasoning behind torturing animals in this way, especially for non essentials such as makeup and shampoo. We have enough shampoo and surely enough knowledge about whats harmful and what isn’t to opt out of animal testing.

I blatantly show a definition of cruelty as those responsible for performing cruel acts on animals presumably become desensitised and are in need of a reminder.

My written typeface reflects that the cruelty is done by us people, personally and knowingly, in the same way i personally wrote the type. In order to create the illusion of the text flashing i duplicated my type and added a blend to the lower one and kept the one on top normal. Almost like those neon light text signs which have a darker outline and bright light.

Another reason as to why i’d chosen it is because of the syringe. After tracing around the silhouette using one of the selection tools, i selected the detail outlines and duplicated them to form a new syringe without the ‘ma’ of ‘animal’ on. Once i had all the required pieces i merged the layers down and animated the syringe to appear as though it was being used on one of the rabbits, making it look as though its eye closed - in pain or drowsiness. In order to create an eyelid closing I traced around a portion of the rabbit’s eye using a selection tool and created a new layer to then fill with the colour of the rabbit (found using colour picker tool). I believe i made 3 separate eyelids to give a slowly closing appearance, making sure the last one was slightly darker as it’d be most closed and therefore have a slight shadow compared to the rest.

At the end of my gif I duplicated a rabbits head in a row and had them quickly scribbled over as if their lives are insignificant, the ‘x’ indicating death.

#jessreadallaboutit

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drawinginwater · 4 years

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EVALUATION

Given our project was based on a book, mine was “The Figure In The Carpet” the project was more digital based with the way we created most of our final outcomes.

We researched a multitude of artists some stood out more to me than others. Starting with Frank Moth, though his work style did not translate into my final outcomes, I loved how his work stood out gave a new perspective and a futuristic feel to it, his work almost feels nostalgic like someone looking back on the life they had. His work greatly inspired a lot of my drawing sessions making connections to the future hidden meanings and messages. The simplicity of his work only combining a few images as well was a great inspiration to one of my final pieces. David Carson, his method of work and use of typography greatly influenced a lot of my outcomes including a few of my final ones as well. He uses a lot of overlapping techniques in this image which reality distorts the text, making it difficult to read, this technique I wanted to include into my own work especially in parts I wanted to make stand out. His work and style had a massive effect on my work especially the typography aspect and whether I should include serifs or non-serifs, there were so many different font options I could use to make my work stand out. Such as overlapping fonts and lettering sizing just like he did. Finally, Annegret Soltau, her work impacted my traditional work more so with her use of stitch transforming collages and work. Taking her approach with stitch and thread work I added it into one of my final outcomes stitching her mouth shut and stitching all the lettering I thought it would be much more impactful.

MY INITAL IDEAS & CONCEPTS

While it took me quite a long time to grasp this topics concept and ideas. Once I did I came up with varying ideas on how to approach it. We made mind maps about typography, hidden meanings analysing our books. In short, the book I was given was about a book with a hidden meaning no one could figure out. So, I took that basic meaning and applied it to my work giving all my pieces quite a twisted outcome. Taking quotes from our books we were told to create post cards or art based off theses quotes phrases etc. the words that grabbed my attention were usually quite dark imagery ones. Quotes I could do a lot with visually. My colour scheme initially was to be reds blacks and vibrant colours keeping a sinister approach to it.

Why I came up with this approach.

After reading the book and analysing it, the book was all about secrecy and hidden meanings so taking that I translated that into my own work creating ideas and concepts based on that. I loved the twists and turns as well as the madness the characters ended up having desperate to find out this books hidden message.

Main things I learnt

The main thing I took away from this course is my photoshop skills, starting from scratch to being able to edit and develop pieces and create art and animations just from photoshop!

It is a skill I will be trying to develop further as It is something that has proven to be useful. While photoshop and all the skills I learnt from that have been extremely useful, I also experimented with many new drawing techniques.

Such as, tracing paper layers making it look like the background was furthest away, giving depth to the drawing. Another process I really enjoyed was the stencil screen printing technique it was something completely different it proved quite challenging to get right especially with all the fiddly parts and all the details. However, the outcomes turned out awesome I loved it!

Thursdays sessions

Thursday’s drawings lessons have always been one of my favourite parts of the week. This term we focused on lots of different techniques such as asemic writing, which was the typography aspect part while at first, I did not enjoy it as much once I got round to completing the outcomes from that lesson, I ended up loving them. One of my favourite techniques we learnt as I mentioned was the tracing paper one, we focused on depth and layers within a drawing making it look almost apocalyptic.

A few pieces of the work I created over this project I feel has been impactful to my learning are any of the photo shop work & the printmaking work as these things I had no idea how to without the class and being taught how to do it. So, I am thankful I had the opportunity to learn as I love the outcomes of all of them. From the colours I chose to the layout of each piece. So, from not knowing how to producing good quality work it is something I am quite proud of.

my journey creating my final pieces

From initial ideas and the final outcomes, I have learnt a lot from the history of typography to how to use font properly and including all this knowledge within my work. I also learnt about colour theory and what colours mean what and If I wanted a darker presenting collage of work, I should use blacks’ reds and greys etc. Though I already knew this is was interesting to learn about why.

I ended up creating 8 outcomes 4 digital 4 drawn, they all share similar colours and themes.

I was inspired for the 4 drawn ones by music I listened too as well as quotes from the book. The images it gave me in my head which were all creepy and dark. My main idea given from the book was hidden meanings and secrets, so I applied this to my work by giving all the pieces hidden meanings which only I know. Though the 4 drawn ones if you line them up right will make one giant image which I thought was cool.

The 4 digital ones were based of collages and dark imagery from quotes within the book these ones were interesting and slightly challenging to make taking inspiration from many artists in the process learning about all the different techniques I could use to create the works. Overall, I am really pleased with my outcomes they all worked well, and all have the intended reaction to them it makes you think and question the work etc.

If I had to list 10 words describing the overall outcomes it would be

· Creepy

· Dark

· Sinister

· Repetitive

· Secrecy

· Intriguing

· Busy

· Sombre

· Overwhelming

· Thought out

sound track

If I needed a soundtrack for this project, it would be a soundtrack from a horror film as the pieces I did are creepy and dark it would fit well and would make the pieces even creepier to look at. it would give the pieces a whole new meaning and would make you look at them differently maybe even creep the audience out more.

hours spent on it

I spent a long time on this project, it would vary how long I spent on it each week. However, on average I would spend maybe 10 hours to 5 hours each week depending how much I had planned for myself to do and what I had planned if it were an extensive amount of research and analysis then it would take me 10 hours+ a week to do. If it were drawing or finishing off work, I could do that relatively quick and get it done within 5 hours + a week. So, it really depends on the week I had planned for myself.

I work at my desk either at my mums or dads, it has all the supplies and tools i would need though digital tools and software are limited all non digital tools i basically have access too.

My final outcomes in my opinion turned out successful with lots of interesting aspects to them. Artists that helped me with my work are, Annegret Soltau. Her work inspired me to use stitch within my work and it turned out well in the end its one of my favourite pieces that I have done for this project.

Artists that helped my digital work are David Carson & Peter Bankov as their use of typography and collage really inspired my final digital outcomes, they really helped my ideas flourish and make my work what it Is now.

My original idea of secrecy and hidden meanings never changed I made sure to include that in any piece of work that I could but over learning about all the artists and techniques it just evolved and became really cool to draw and create work for.

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ions-in-the-ether · 4 years

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Quarantined I’m in quarantine (isolation). Day 7. I don’t normally post stuff like this, but I’m getting antsy and decided to post something about myself:1.Favorite Color: Red2.Scorpio3. Some of my favorite books: The God of Small Things, Arundhati Roy. Ask the Dusk, John Fante. Beautiful Losers, Leonard Cohen. And the Ass Saw the Angel, Nick Cave. Crime and Punishment, Fydor Dostoyevsky. The Stanger, Camus. A Wild Sheep Chase, Haruki Murakami. Foucault writings.4.Music:Nick Cave, Leonard Cohen, Velvet Underground,Autechre, Boards of Canada, Brian Eno, Roxy Music, Kyoka, Sisters of Mercy, Black Marble, and Electrelane (and many others).5.Artist6.HistorianAbstract art inspires me, especially non-representational abstract art. Asemic writing fascinates me as it plays on the philosophy of language.I like New Topographic photography. Some New Topographic photos reflect wastelands, this emptiness of people provides a background for stories I imagine.Isolation is lonely. I hope everyone is doing well. And thank all the artists out there for sharing your works with us!

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summergimurne · 4 years

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De Villo Sloan recently sent me a copy of Whistle, his collaborative visual poetry book with Kristine Snodgrass. As a preface to the review, I would like to express my gratitude for DVS's generosity that he has shown me and other members of the vispo community. By "vispo community" I have in mind the intersection between three communities that I cannot imagine existing separate from one another in the early 21st century: visual poetry, mail art, and asemic writing. I am almost tempted to say that DVS is at the "center" of these communities, or movements, or whatever you might call them - but, of course, there is not, or shouldn't be, a center, and that's precisely the point of his critical and artistic activity. Thank you, DVS, for sending me this wonderful gift.

What stayed with me throughout the book, from start to finish, was a sense of motion and vertigo. There is no place in the book to get "ground under one's feet". What is responsible for this feeling, I believe, is that it is a collaboration where no voice admits itself to be subsumed by the other. The authors themselves speak of the the pieces with various metaphors (aggression, power, gender, sexuality). But present in all of this heavy artistic territory is something light and playful. I would interpret Whistle as play or sport - art done collaboratively as a sort of intimate contest, where the one responds to the moves by the other. It may also be interpreted as a creative dance between two partners, which may look elegant to outsiders, but inside the minds of each member of the dancing couple there is an intense semiotic activity occurring - signs are given, interpreted, and then given in exchange. Another metaphor the authors used is that the collaboration here is a sort of conversation. It is certainly a bright and lively one.

It seems to me that the intense energy of the sequence arises primarily because both Sloan's and Snodgrass's voices remain distinct. I could discern multiple voices, and none of these meld into one monologue, nor should they. In some pieces, they seem to be playfully echoing one another while remaining identifiable and distinct. The spread in the book where variations on the phrase "I don't do faces" are typed or written repetitively, as if one voice typed as another teased the other with handwriting. The result is obviously a book neither author could have possibly written on their own. I should clarify that I do not mean to say that there is Sloan's "voice" and there is Snodgrass's "voice" as if each is a singular strand one can easily separate from the whole and examine on its own; that is not the case at all. Sometimes the book seems like a massive chorus of expressive energy coming from all directions, giving it a feeling of endless life and possibility.

To return to this collaboration-as-conversation: the pieces themselves are in a continual unfolding dialogue with one another as the sequence moves forward. For example, a poem that occurs earlier in the the book ("Concrete Kristine") is cut up and photographed in a latter part of the book. While the book does not become settled at any point, the little bits of autobiography hinted at indicate that the artists have changed one another as all friends do. In this life, of necessity we remain individuals, but others enter our stories and histories and without them, we would not become who we are. Whether by hurt or healing, everyone ends up altered by others to such an extent that we may be tempted to swap masks by the end of the play.

One final note: Whistle seems rooted in the collaborative practices of mail art, such as add-and-pass and add-and-return. In mail art, retaining your "style" and adding to it is critical to the collaborative performance. It is the element of play, and the surprise that comes from play, that is important. And it is a democratic, open practice - no one's art is too bad (or too good?) to be part of the piece. Nothing is "ruined'; it just becomes something unexpected. By publishing such a book - a "real book" with an ISBN and everything - the spirit of mail art crosses over into the practices of the non-mail art world. It's happened before, and it will happen again, and I hope this crossover is always welcome.

(reviewer: c.r.e. wells)

#visual poetry #vispo #De Villo Sloan #Kristine Snodgrass #summergimurne

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hareki · 4 years

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Hu Nu Khu

#asemic writing #sunguage #funguage #new language #non-lingual writing #asemik yazı #güneş sesi #güneş dili #light language #ışık dili #sevgi dili #türk tabipleri birliği #ayrılığın hediyesi #oneness #separation #unity #singularity

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viadescioism · 2 years

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Kavaa, asemic writing, speech, and movement:

Kavaa is asemic writing, speech, and movement. It is primarily used in order to release or express kna through its usage, so that the practitioner can performed the act of magick, especially divination, and owa. Kavaa is a form of random, wordless, non readable writing, speech, and movement in which the practitioner lays out randomly, and in the moment. The individuals skaknao extends from this act allowing their intentions to be imprinted and sent out through it to impact the rest of the existence. The writing, speech, and movement holds power from their creation process along with the will of the practitioner who laid it out through their action. Marking the air or a surface with its power brought on from its kna through kavaa. Written forms of kavaa could be increasingly given kna to give it even more power to act out the will of the practitioner, and could be used much like a sigil. This is different from a sigil due to the fact that its sigilization process is very quick, and that for the most part it is not re creatable. This primarily leads to all forms of kavaa to be unique to their working, and pretty much an image of the will of the practitioner at the moment of creation, which will be focused around a specific intention. kavaa allows you to direct kna through the positioning of it within the existence using it as writing speech or movement in magical workings to direct your kna and because of that your power.

Kavaa writing:

In order to create kavaa writing the individual should focus intently in their mind on what they would like to bring forth, then with that greatly infix within the mind begin to strikeout mark's that look like you're trying to write something without writing anything. Form the words, and letters with your will in order to mark the page with it. These markings will be the kavaa and will contain the will of the practitioner.

Kavaa speech:

In order to create kavaa speech all you must do is make random utterances that come to your mind, while focusing on and feeling out your own kna in order to give substance to your will, allowing it to be brought forth. It's really just going to sound like gibberish and a bunch of noises, but it will affect anything in the vicinity that is able to feel, or hear the sound. It is also able to be whispered in order to focus it upon something or it can be used internally through internal thought.

Kavaa movement:

In order to create kavaa movement you must move randomly while focusing on what you are trying to will. These random movements will express your kna sending your will out to manifest. As long as the body is moving or posing in ways that give fourth that intention the kavaa movement will be able to help manifest.

#magick #witchcraft #witchblr #sigils #sigil magick #occultism #original content

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