Asemic writing

Asemic writing is a wordless open semantic form of writing. The word asemic ei'si:mIk means "having no specific semantic content", or "without the smallest unit of meaning". With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. Where asemic writing distinguishes itself among traditions of abstract art is in the asemic author's use of gestural constraint, and the retention of physical characteristics of writing such as lines and symbols. Asemic writing is a hybrid art form that fuses text and into a unity, and then sets it free to arbitrary subjective interpretations. It may be compared to free writing or writing for its own sake, instead of writing to produce verbal context. The open nature of asemic works allows for meaning to occur across linguistic understanding; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work, that is, asemic writing can be polysemantic or have zero meaning, infinite meanings, or its meaning can evolve over time. Asemic works leave for the reader to decide how to translate and explore an asemic text; in this sense, the reader becomes co-creator of the asemic work. In 1997, visual poets Tim Gaze and Jim Leftwich first applied the word asemic to name their quasi-calligraphic writing gestures. They then began to distribute them to poetry magazines both online and in print. The authors explored sub-verbal and sub-letteral forms of writing, and textual asemia as a creative option and as an intentional practice. Since the late 1990s, asemic writing has blossomed into a worldwide literary/art movement. It has especially grown in the early part of the 21st century, though there is an acknowledgement of a long and complex history, which precedes the activities of the current asemic movement, especially with regards to abstract calligraphy, wordless writing, and verbal writing damaged beyond the point of legibility.