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OEI 112-113: A Cosmology of Bliss
OEI 112-113: A Cosmology of Bliss
OEI 112-113: A Cosmology of Bliss [signed] - 2
OEI 112-113: A Cosmology of Bliss [signed] - 3

OEI 112-113: A Cosmology of Bliss [signed]

€27

Keyword: Semantography, language, symbols, icons, Charles Bliss

Size: 195 x 297 mm
Pages: 320
Format: softcover
Language: English
Illustration: richly illustrated in colour & b/w
Editor: Rowan McNaught
Text: Rowan McNaught, Charles Bliss
Book design: Rowan McNaught
Printing: Narayana Press
Publisher: OEI Pub
Year: 2026
Weight: 973 gr
ISBN: 9789188829443
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    Description

    Article no.: 9789188829443

    An extraordinary story and research on Bliss – a symbolic language

    From the publisher:
    OEI #112–113: A Cosmology of Bliss concerns Bliss (aka Blissymbols or Semantography) — an unspoken language made of countless little geometric symbols, many resembling the things they point to, others remaining more mysterious. Charles K. Bliss (1897–1985) began the project in 1942 while a stateless refugee in the Shanghai International Settlement, and who, after emigrating to the Australian beach town of Coogee, worked on it for the rest of his life. After 30 years of obscurity, the language was picked up as a communication system for nonverbal children in a small hospital school in Canada, with great promise. This, however, led to acrimony between its creator and its first genuine users, who sought to amend it for their needs—an event which Charles likened to ‘a new Babel of symbols’.

    A Cosmology of Bliss reconsiders the histories, forms, and dreams of Bliss and its many contributors. It includes a new picaresque biography of Charles, the chemical engineer, wounded refugee, and amateur semanticist; essays that draw out affinities and resistances, such as with the history of 20c Australian poetry and experimental pedagogy; unpublished material from Bliss’s manuscripts and correspondences, including an extensive selection of the barely-published Blissymbols Picture Book—Charles’s final work; and commissions by some thirty artists and poets who put the symbols to new and unruly use. Together they seek to lodge Bliss into the history of Australian visual art and poetry as a remarkable exception. Against received accounts of a failed auxiliary language or an outmoded therapeutic aid, A Cosmology of Bliss is the first study to insist that Bliss is a poetic project. Taken as such, the symbols begin to speak—silently—of a world of lucky faults, chemical grammars, speechless inscriptions, and untenable, incandescent loves.

    Rowan McNaught is an artist-researcher based in Melbourne, where he is secretary of Darpa (https://darpa.press).
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