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Asemic writing is a wordless open semantic form of writing.〔(【引用サイトリンク】title=TwentyFourHoursOnline )〕〔(【引用サイトリンク】title=Tim Gaze. Asemic Magazine )〕 The word ''asemic'' means "having no specific semantic content". With the nonspecificity 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. The open nature of asemic works allows for meaning to occur trans-linguistically; an asemic text may be "read" in a similar fashion regardless of the reader's natural language.〔(【引用サイトリンク】title=SCRIPTjr.nl )〕 Multiple meanings for the same symbolism are another possibility for an 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 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. ==Styles of asemic writing== Some asemic writing includes pictograms or ideograms, the meanings of which are sometimes, but not always, suggested by their shapes. Asemic writing, at times, exists as a conception or shadow of conventional writing practices. Reflecting writing, but not completely existing as a traditional writing system, asemic writing seeks to make the reader hover in a state between reading and looking.〔(【引用サイトリンク】author=Jaime Morrison )〕 Asemic writing has no verbal sense, though it may have clear textual sense.〔(【引用サイトリンク】title=Varieties of Visual Poetry )〕 Through its formatting and structure, asemic writing may suggest a type of document and, thereby, suggest a meaning. The form of art is still writing, often calligraphic in form, and either depends on a reader's sense and knowledge of writing systems for it to make sense, or can be understood through aesthetic intuition.〔(【引用サイトリンク】author=Michael Jacobson )〕 True asemic writing occurs when the creator of the asemic piece cannot read their own asemic writing. Relative asemic writing is a natural writing system that can be read by some people but not by everyone (e.g. ciphers). Between these two axioms is where asemic writing exists and plays.〔(【引用サイトリンク】title=PRATE )〕 Influences on asemic writing are illegible, invented, or primal scripts (cave paintings, doodles, children's drawings, etc.). But instead of being thought of as mimicry of preliterate expression, asemic writing may be considered to be a global postliterate style of writing that uses all forms of creativity for inspiration. Other influences on asemic writing are xenolinguistics, artistic languages, sigils (magic), undeciphered scripts, and graffiti.〔(【引用サイトリンク】title=SCRIPTjr.nl )〕 Asemic writing occurs in avant-garde literature and art with strong roots in the earliest forms of writing. The history of today's asemic movement stems from two Chinese calligraphers: "crazy" Zhang Xu, a Tang Dynasty (circa 800 CE) calligrapher who was famous for creating wild illegible calligraphy, and the younger "drunk" monk Huaisu who also excelled at illegible cursive calligraphy. In the 1920s Henri Michaux, who was influenced by Asian calligraphy and Surrealism, began to create wordless works such as ''Alphabet'' (1925) and ''Narration'' (1927).〔(【引用サイトリンク】title=‘Leaking the Squalls': The Art and Letters of Henri Michaux )〕 Michaux referred to his calligraphic works as "interior Gestures." The writer and artist Wassily Kandinsky was an early precursor to asemic writing, with his linear piece ''Indian Story'' (1931) exemplifying complete textual abstraction. In the 1950s there is Brion Gysin, Isidore Isou, Cy Twombly, and Morita Shiryu/Bokujin-Kai Group all of whom expanded writing into illegible and wordless visual mark-making; they would help lay the foundation for asemic writers of the future. Mirtha Dermisache is another writer who had created asemic writing since the 1960s.〔(【引用サイトリンク】title=Witness Mirtha Dermisache )〕 Dermisache actively said that even though her graphisms have no meaning, they still retained the full rights of an autonomous work. 1971 was the year when Alain Satié released his work ''Écrit en prose ou L'Œuvre hypergraphique'' which contains asemic writing throughout the entire graphic novel.〔Alain Satie, Écrit en Prose, Éditions PSI, 1971.〕 León Ferrari was another artist/poet who created many asemic works in the 1960s and 70s, such as ''Escritura'' (1976).〔(【引用サイトリンク】author=Buzz Poole )〕 A modern example of asemic writing is Luigi Serafini's ''Codex Seraphinianus''. Serafini described the script of the Codex as asemic in a talk at the Oxford University Society of Bibliophiles held on May 8, 2009. Roland Barthes was also involved with asemic writing; he titled his asemic works Contre-écritures.〔(【引用サイトリンク】title=Drawings on Writing )〕 1974 saw the release of Max Ernst's work ''Maximiliana: The Illegal Practice Of Astronomy: hommage à Dorothea Tanning''; this book is a major influence on asemic writers such as Tim Gaze, Michael Jacobson, and Derek Beaulieu.〔(【引用サイトリンク】title=PRATE )〕 In the 1980s Chinese artist Xu Bing created ''Tiānshū'', or ''A Book from the Sky'' which is a work of books and hanging scrolls on which were printed 4000 hand carved meaningless characters.〔(【引用サイトリンク】title=Free writing )〕 The 1980s also saw artist Gu Wenda begin the first of a series of projects centered on the invention of meaningless, false Chinese ideograms, depicted as if they were truly old and traditional. One exhibition of this type was held in Xi'an in 1986, featuring paintings of fake ideograms on a massive scale.〔(【引用サイトリンク】title=asemic writing - Donna Tull )〕 Also in China, during the 1990s, an abstract calligraphy movement known as "Calligraphy-ism" came into existence, a leading proponent of this movement being Luo Qi. Calligraphy-ism is an aesthetic movement that aims to develop calligraphy into an abstract art. The characters do not need to retain their traditional forms or be legible as words. In Vietnam during the 2000s a calligraphy group called the Zenei Gang of Five appeared. To this group of young artists, “Wordless” means that which cannot be said, that which is both before and beyond the specificity of naming. To be without words is saying nothing and saying everything. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「asemic writing」の詳細全文を読む スポンサード リンク
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