My distant Australians (among you)

this man Gaze is an Australian

he is, therefore, a good thing

he once published me; he is therefore a doubly good thing

support him

L


Xerolage 49 - scriptions by Tim Gaze

http://xexoxial.org/is/xerolage49/by/tim_gaze

    The thing I like about Tim's new book is that it shows the full
range of styles that he is capable of creating. It has some of his
line drawing asemics, and his nebulous decalcomania.  This is a great
general survey of the instincts of an asemic master at work and honing
the tip of his pen. "Zen calligrapher" is what I think of this grand
author's expressions, as they soar overhead and land in a field of ink
and honey. This is the real thing! Get a hold of it and learn.
    —Michael Jacobson

    Writing OR drawing—either category sets up a filter through which
we interpret what we are seeing. But if these pages of marks on paper
are allowed to exist in the un-coded, uncultivated, lawless area
BETWEEN writing and drawing, we have nothing to rely on but our own
perceptions. These visual gestures—non-coercive, un-systematized,
a-centric—I myself have been looking at them with great interest as
visual indications of sound.
    —Rosaire Appel

    Yes, the traces and signs and glyphs by Tim Gaze presented here,
come from the wide realm of the "Asemic." This term is common in the
area of verbovisual poetry. It deals with graphic works resembling
alphabetic writing, but being "other," unknown, illegible too.

    We can focus on this:

    Any writer, anyone, can really be the one with no (political,
social, economic) power. One can really realize and actually grasp,
today, what's the meaning of the term "loss" (loss of influence, for
example): the alphabetical dominion over men is still strong, but on
the other hand the writers have definitely lost their power, and they
often get rid of any kind of power, not to mention that they can
intentionally deprive their speech of politically oriented
superstructures, and of the instinct of prevailing over others'
speeches. This means that Baudelaire's and Deleuze's heritage has
become the water we can definitely choose to swim in.

    But there's a further step consisting in the neverending
production of series of signs with faint resemblance rather than
reference to any already known alphabetical series of signs. In Tim
Gaze's work this kind of resemblance shows brilliant evidences of how
the folded parts of our minds work, in making themselves unknown, and
still meaningful.

    It's like making shadows without starting from "things + sun," or
resisting to the action of the light over the objects.

    —Marco Giovenale

From the Introduction

What are the pieces that writing is made of?

I hope these shapes & signs can speak to people around the world, no
matter what kind of writing they were taught as children.

Our ancient, pre-literate ancestors saw such complex patterns as their
own fingerprints, markings on plants & animals, geological formations,
ripples on flowing water, clouds, & conglomerations of flotsam &
jetsam deposited by wind & water. I would suggest that these are much
more powerful roots of writing than Sumerian cuneiform, which
mainstream Western history says is the beginning of true writing.

About Tim Gaze

I live in the Adelaide Hills of South Australia, between outer
suburbia & the beginnings of the countryside. Walking is important to
me. A lot of the time, I make, research, publish & share illegible
writing. The polar ice caps are melting. It's time to go beyond old
patterns of thought.


The primary investigation of Xerolage is how collage technique of 20th
century art, typography, computer graphics, visual & concrete poetry
movements & the art of the copier have been combined. Each issue is
devoted to the work of one artist.

24 pages, 8.5 x 11, $7 includes postage (for overseas $10 includes postage)
Subscriptions: 4 issues/$20

XEXOXIAL EDITIONS
10375 Cty Hway Alphabet
La Farge WI 54639

[log in to unmask]


-----
collaborative visual work:-
http://www.poetrybeyondtext.org/upton-begbie.html
http://www.poetrybeyondtext.org/begbie-upton.html
----
Lawrence Upton
AHRC Creative Research Fellow
Dept of Music
Goldsmiths, University of London