In its most extreme form, this can lead to concrete poetry or asemic writing.

Currently, there is a robot that performs asemic writing live.

More recently there have been architecture models which utilize asemic writing in the design process.

Between these two axioms is where asemic writing exists and plays.

These particularly include asemic writing created for artistic purposes.

Since the late 1990s, asemic writing has blossomed into a worldwide literary/art movement.

Asemic writing has no verbal sense, though it may have clear textual sense.

Mirtha Dermisache is another writer who had created asemic writing since the 1960s.

Asemic writing is a wordless open semantic form of writing.

The concept of syntax, semantics, or even communication does not exist in asemic writing.

Asemic writing, at times, exists as a conception or shadow of conventional writing practices.

People with asemia sometimes may take up asemic writing, which is "wordless" writing.

Some asemic writing includes pictograms or ideograms, the meanings of which are sometimes, but not always, suggested by their shapes.

Asemic writing has appeared in books, artworks, films and on television but it has especially been distributed via the internet.

Relative asemic writing is a natural writing system that can be read by some people but not by everyone (e.g. ciphers).

With the nonspecificity of asemic writing there comes a vacuum of meaning which is left for the reader to fill in and interpret.

Asemic writing occurs in avant-garde literature and art with strong roots in the earliest forms of writing.

Through its formatting and structure, asemic writing may suggest a type of document and, thereby, suggest a meaning.

Satu Kaikkonen, a contemporary asemic artist/writer, had this to say about asemic writing:

Roland Barthes was also involved with asemic writing; he titled his asemic works Contre-écritures.

Other influences on asemic writing are xenolinguistics, artistic languages, sigils (magic), undeciphered scripts, and graffiti.

A modern example of asemic writing is Luigi Serafini's Codex Seraphinianus.

Reflecting writing, but not completely existing as a traditional writing system, asemic writing seeks to make the reader hover in a state between reading and looking.

Influences on asemic writing are illegible, invented, or primal scripts (cave paintings, doodles, children's drawings, etc.).

In 2011 a full issue of William Allegrezza's poetry journal Moria was focused on the participants and theory of asemic writing.