A Collaboration between Jim Leftwich and Jeff Crouch
Under a theme of (your choice):
- How we obligate ourselves to the rule of the page, or
- How we conduct writing as an obligation to the page, or
- How we limit ourselves to the necessitated page of our choosing, or
- … ,
this series of asemic writings investigates the confluence of the page as writing made present by what is already there.
The titles of the images themselves give a general direction to this theme, and they nuance the meaning of the presented space.
And a theory in question: Does the page serve to direct the sense of the presented space as well as limit the non-sense of that space?
Bios:
Jim Leftwich is a poet and essayist. He is the author of Doubt (Potes & Poets, 2000), Six Months Aint No Sentence Books 1 -187 (Differx Hosting@Box, 2011 – 2016), Containers Projecting Multitudes: Expositions on the Poetry of John M. Bennett (Luna Bisonte Prods, 2019), and three volumes of essays entitled Rascible & Kempt Vols. 1 – 3 (Luna Bisonte Prods, 2016-2017).
Jeff Crouch is alive. In Texas.
Jim Leftwich – Theme: I Wish I Was In Heaven, Sitting Down (Robert Wilkins)
Jim Leftwich – “excursion on a wobbly rail”
Jim Leftwich – Asemic writing is polysemic, the opposite of itself.
Jeff Crouch – And the opposition is not a complete cancellation, a movement onto a clean and fresh tabula rasa, but a chalky kind of ghosting where the erasure does not remove the tabula so much as re-establish its outline as the smudge of the previous.
Opposition is not into nothingness so much as it is its near neighbor, the local version of everything else.
We forecast the dimensions of the blank.
Jeff Crouch – Alle paarden hebben een start.
Jim Leftwich – Since the late 1990s asemic writing has concerned itself primarily with the definitions of prefixes.
Jeff Crouch – Asemic writng, when it is seeking its ground in philosophy, fails to secure any more of a foothold than anything else, and it is still looking for a fix.
In part, this quest for a philosophical fix is the challenge of being logocentric without referencing logos, but the trend of philosophy here also lends itself to a particular denouement in asemic writing: the fulfillment of Lockean philosophy within a Husserlian frame (bracketed being) as well as the overflow of the margin (Hegel, Peirce, Derrida) onto itself.
Asemic writing is spirit writing, and it is parody writing, and this is just part of its Chinese history, but its practice today also has with it graffiti, automatic writing (William James), the Ouija Board, spontaneous writing, splatter painting, vispo, glitch, and and and.
Since the late 1990s, “asemic writing has concerned itself primarily with the definitions of prefixes,” in seeking to understand what it does as a practice and thereby, perhaps, justify itself as such, but outside of any need to justify itself, it also finds itself a subject in search thereof. This latter take on asemic writing is about dynamics, perhaps about the work of Pirandello …. . But outside of a dynamic, what is asemic writing—is it decoration, the same kind of cargo cult that other art becomes, … .
And as to the dynamics of its practice, what is this “wobbly rail”, a guitar performance from Randy Rhodes?
As for the treasure hunters–how is a asemic writing an archeological dig?
Jim Leftwich – When you go, your mind goes with you
1. Prove to yourself that you exist.
2. Find some things that exist and approve of their existence.
3. Existence does not think it needs to improve upon itself.
