Because I often ask myself “What is the signature of the artist when compared to the gesture of the machine?”, I returned to the compound sine waves I explored years ago as “harmonographs”, this time to further interrogate the question of “line” and “hand” under the rubric of pseudo writing.
In asemic writing, the style and gesture of writing becomes divorced from meaning. Examples are found in the modernist works of Cy Twombly and Henri Michaux, or in the more contemporary work of Mirtha Dermisache.