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The recognition of a pattern of abstract marks as language is simultaneously obvious and undertheorized. Contemporary “asemic poetry” splits the recognition of language from its lexicality, providing an opportunity to consider this recognition directly. It reveals the necessary intervention of an “intentional function” that justifies considering markings  as if  they were encoded, i.e., as language. This essential moment of sign formation in written communication typically passes automatically without the need for consideration, but asemic poetry specifically allows meditation on that point of transition, allowing the role of cultural knowledge to become apparent in its identification, as well as the Romantic heritage which rejects mechanical reproduction and automation.

On the recognitions of asemic poetry as language