ASEMIA - An Experiment in dilevering meaning from non-semetic content
示圖失能與當代漢字書法書寫的探索性研究

研究者:約翰 · 摩根(閻偉紅)

書法如果不與科學結合,它將會死亡。

Chinese Calligraphy is going to die, unless it becomes more scientific.

中國書法 · 語言學 · 醫學 · 視覺學

~基於漢字書法的跨學科研究,

看似這些學科毫無關聯,用哲學的方法去探索,可發現無盡的秘密。

 

ASEMIA醫學術語 · 意:示圖失能症

你有示圖失能症嗎?如果沒有,某些藝術會使你變成「示圖失能」患者,這是多麼的可怕!那麼這是何種藝術語言?我的研究不但是尋求其秘密所在,更是探索漢字書法的當代價值與跨文化語境下的創新,以及後文字社會語言文字書寫成為當代藝術形式所孕育出的新的來自東西方的認知......

作品研究對象:

  • 大我藝術

  • 趙宏藝術

  • 頓子斌藝術

  • 邵岩藝術

  • 亨利藝術(奥地利漢學家)

  • 徐冰藝術

  1. 古漢字字體的形與聲的傳統拆與裝均對漢語為非母語的旁觀者自然所構成了“Asemia”的認知,而患上了“Asemia”,這是一次美好的享受;如果在拆裝基礎上再以電腦技術為主的手段實施再創作,結果一定是形成了新的,對於旁觀者所感知的“示圖失能”的圖形加聲音識別的失能的新的藝術產品,這是極其有意義的探索。因此會找到一種新的方法,對於中國書法而言,它將會獲得或者被賦予其一種具有革命性的新生命,這樣一來,也拓寬了無論是傳統書法的傳承,還是書寫作為當代藝術形式的新的視野,乃至新的體系。依照此方法,可以不斷地研發和發掘新的藝術形式,尤其是東西方學界對中國當代漢字書寫藝術的新的(跨學科)認知。這項學術研究的成功,一定會給那些不斷付出努力的,甚至在吶喊要實現傳統書法和當代漢字書寫藝術的突破與創新的那些中國文人志士們帶來極大的喜悅。

  2. 以電腦技術手段再創作的多維設計中的漢字書法當代書寫“示圖失能”的視覺探索等......

  3. 漢字的語素、音素、字位與“示圖失能”視覺的轉化及關連的新圖型和動態藝術的探索;

  4. Litaray, texts and Visual status...

  5. 漢字書法~黑與白的世界,“示圖失能”患者的樂園。華夏祖先的文字的創造,單一的顏色(極簡主義)來自對宇宙萬物細膩的感知,文字以自然現實為模板,還原出既真實又抽象的一個個存在於萬花宇宙世界的事與物。這種文字的文明,無異是今天極簡主義藝術家,抽象藝術家和超現實藝術家全力追求的夢想,當用漢字以書法書寫和展示時候,它細膩,真實而虛幻,美得不可思議,使得“示圖失能”患者病情加重並享受其樂,不願放棄。

  6. 祖先以文字為看世界的窗口,通過一扇扇窗口,從中透視自然無比真實的模樣。漢字模擬世界真實影像,當每一個漢字述說其各自的故事時,供給觀者的是驚嘆與幻想,幾乎每一位旁觀者都是一個快樂幸福的“示圖失能”患者。

A standard practice in graphic design, and one that most designers cherish due to the freedom that it gives the design process, is the usage of so-called meaningless text during preliminary phases of page layouts that stands in lieu for the actual text with which it is meant to be replaced at later stages. The text most commonly used for such purposes is the famed ‘Lorem Ipsum’ compilation that has been the typesetting industry’s standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. 

 

Although used as a placeholder Lorem Ipsum is not random text. Instead, it has its roots in classical Latin literature, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, ‘consectetur,’ from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the source: Lorem Ipsum comes from ‘de Finibus Bonorum et Malorum’ (The Extremes of Good and Evil) by Cicero, written in 45 BC. 

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The environment was grouped around a central tree, whose foliage was comprised of the same asemic text. Deconstruction, in the case of this installation, was not achieved through motion, transparencies, layering or any other such visual means, but instead the confusion was achieved through the very semantic absence itself. It was hoped that this lack of semantic content would enable visitors to draw their own meanings by taking clues from what surrounded them, and how the text was used in conjunction with other visual elements. Yet another addition was a custom designed soundscape, consisting of human sounds such as screams, grunts, sighs, and cries – all of which were devoid of words and meaning, but instead conveyed emotions such as being bound, being helpless, being petrified within a fate.

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The sphere of the Asemic Avatars was created upon the invitation of Bryn Oh, who asked me to participate in a collaborative building project called "Further Along the Path" which took place in Second Life in the Spring of 2012. 

 

Although the Asemic Avatar is quite different from its precursor Uranometria, both visually as well as through the presence of this soundscape; nevertheless I think that there are conceptual overlaps; to the point where it could be said that they are sister projects: In both locations what I aimed at was to bring about a sense of immutable fate and claustrophobia. In the case of Uranometria this was represented through the petrified avatar sculptures that could not join the free floating words around them but were confined to living inside the cage, in fixed positions and poses. These petrified sculptures made a re-appearance inside the Asemic sphere, however this time as the main protagonists of the piece, heaped in masses all over the floor. In both installations visitors could join the fate of these solidified avatar sculptures by donning the attire that was provided at both locations, thus increasing the sense of presence, immersion, identification and empathy that both domains called for.

Bök, C., (2006) Aleatory Writing: Notes Toward a Poetics of Chance, Public: Art | Culture | Ideas, Vol 33, pp: 24 - 33.

 

Parish, N., (2008) Between Text and Image, East and West: Henri Michaux’s Signs and Christian Dotremont’s ‘Logogrammes’, RiLUnE, 8, pp. 67-80.

View more images of the sphere and its inhabitants here: 

http://www.flickr.com/photos/alpha_auer/sets/72157630435589142/

 

To contact the author go here:

http://www.citrinitas.com/

SOURCE: http://asemicavatar.blogspot.com

What is Asemia?

​什麼是示圖失能症?

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JOHN MORGAN(约翰 · 摩根)

约翰 · 摩根简历

BIO, JOHN MORGAN (Weihong Yan)

  • 美中教育、中国文化海外本土化及高级商业咨询顾问。

  • 现任美国世界中国学研究学会首席执行官;休 • 麦考(银行家,美国银行行长)当代艺术中心国际委员会主席,美国高等教育禅学会会员和北京外国语大学中国文化研究院研究员。

  • 2006~2017年,美国北卡州费佛尔大学文学院教授、中国学研究中心主任、第46所(现112所)孔子学院美方院长。

  • 艺术评论、策展。

研究領域:

  • 汉字书法与人工智能以及机器学习。(汉字5000年AI);

  • 汉字艺术与技术素养教育;

  • 中国文化国际传播学、中西美学与跨文化比较研究与推广。

  • 汉字书法文化与美国STEM/STEAM教育研究。(Science科学、Technology技术、Engineering工程、Art艺术和Mathematic数学);

  • 汉字书法文化与脑可塑性研究;

  • 汉字的后文字社会的研究;

  • 多语种翻译者。

翻譯:

  • 《說文解字》540部首,德文和英文翻譯等;

  • 英文翻譯《漢字講述的文明脈絡》2014年中國最美的書等。

John Morgan (Weihong Yan)

American curator, author, US-China strategist in education, culture and Business Senior Consultant and strategic specialist and research professor of Chinese studies in Beijing Foreign Studies University, China. He is also the CEO of the World Association Chinese Studies.

Academic:

1. International relations focus on Chinese studies.

2. Chinese and Western aesthetics and cross-cultural research.

​3. Interdisciplinary studies of Chinese calligraphy and neuroplasticity. 

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Contact:

y.weihong@gmail.com

86-13903511910 (China)

001-980-428-0550 (USA)