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The objective of this article is to define, contribute and analyse to what is called nowadays Latin American electronic literature. Under a predominant global visual culture and following the visual poetry tradition, we aim to define these technopoetics – what –, the reasons to study them – why – and the possibility to develop a method – how. Particularly, we analyse Tatuaje (2014), a work that belongs to the Latin American field regarding the specific context of production and diffusion in this region.

This paper examines the poems of the contemporary Chilean poet and artist Cecilia Vicuña in her book Instan (2002) in order to show how they model visionary feminist and egalitarian social relationships. I demonstrate that her visual poems, which consist of letters or parts of words that she connects by drawn lines to form short words or phrases in English, Spanish, Latin and Quechua, invite the reader to follow the paths of the lines with his/her eyes and body in a kind of visual and kinetic consciousness and further to create their own connections between letters, words and phrases; their unusual poetic form emphasises a place between narrative, time and space. Poems that allow for such radical readerly involvement can be called, I suggest, plastic, that is, mouldable by the reader. This poetic space of between-ness both emerges from and transforms Vicuña’s biographical condition as an exile from Chile during Augusto Pinochet’s military dictatorship and as one alienated from the contemporary capitalist world. Vicuña both biographically and poetically inhabits a ‘non-place’ (a term used both by Marc Augé and Vicuña herself). Rather than seek to dissolve or overcome between-ness, she recreates it in her poems as a dynamic transformative position through constant change, crossing over, that is, translation, from language to language. This essay thus illuminates how Vicuña’s ‘non-place’, formed by translation on the page, is a highly energised and plastic field capable of ‘moulding’ new relationships for the exile and of imagining an egalitarian and feminist society.

Studying the works of two poets from different generations, Bernard Heidsieck and Anne-James Chaton, this article intends to evaluate the debt of contemporary practices to experimental poetry. How did “non-literature” lead to a revision of the literary paradigm?

Within the field of experimental writing, Vincent Tholomé’s work stands out for its simultaneous exploration of both sound poetry and visual poetry. At first sight, one might have the impression that both sides of the experimentation are elaborated in very different ways: Tholomé’s sound poetry makes more room for improvisation, while the author’s play with typography obeys strict constraints. In this article, I will describe this double logic in order to see to what extent it is possible to interpret them as two sides of the same experimental approach rather than stressing their differences.

The article presents several visual poems by David Felix.

Rather than comparing the different inventions of East-Central European avant-gardes with Western trends, one should turn his attention to the neighbouring literatures. Transnational dialogues are evident during the 1920s between the Czech, Hungarian, Romanian and Polish avant-gardes. Blendings of visual and textual elements in the early 1920s offer important case studies of circulating avant-garde ideas. The author argues that the timing of such 'inventions' in these cultures cannot be explained without reference to a cultural network that worked independently from the generally acknowledged influence- relationships along the Western- Eastern European axis. Visual techniques of the historical avant-gardes from East-Central Europe can thus provide a more transparent analysis of the transfers within this space [ABSTRACT FROM AUTHOR]

http://dx.doi.org/10.5007/1807-9288.2015v11n1p118 Rhetoric has been of great importance in philosophy, criticism and literature since Aristotle, through the Golden Age of Arabic studies and down to modern literary trends. Rhetoric is tightly bound with literary texts in all their manifestations and artistic, literary and analytic gradations. There are three aspects of rhetoric in every literary text of whatever type. One of these has to do with content, that is, with the author's ability to convince the receiver by alternately addressing his mind through logic and proofs and his heart by arousing in him feelings of desire and dread. This aspect of rhetoric is know in Arabic as ʿilm al-bayān (rhetoric in the strict sense). Another aspect concerns style, that is, a writer's ability to manipulate words and create novel linguistic modes through the use of metaphors, similes and other devices, which in Arabic is called ʿilm al-badīʿ ("the science of metaphors and good style"). The third aspect concerns form, that is, the text's structure, its forms and icons. This is known as al-balāgha al-baṣriyya ("visual eloquence"). Although there are various distinct types of balāgha ("eloquence, good style, rhetoric in the general sense"), they all have one purpose, namely to affect the receiver in some way.

In recent years, terms from electronic music have been frequently used to describe practices of literary appropriation. One of these concepts is sampling, which has also been generally applied to other artistic disciplines. I’m interested, however, in highlighting specific aspects of sampling as it is understood in the field of electronic music, and particularly the considerations of Mark Katz, who states that this procedure corresponds to a form of “performative” quote. From there I propose an analysis of a series of works of visual poetry and sound poetry that corresponds to this form of appropriation, for they are based on the direct manipulation of the materiality of language and its media. This comparison, in my opinion, allows the arousal of new questions about the status of literature.

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the theatrical performance "Esta Breve Tragedia de la Carne," (This Brief Tragedy of the Flesh), by Angélica Liddell and Atra Bilis Teatro is presented. Topics mentioned include the music used in the performance, the emotional impression by the performance to audience, and the visual poetry of the performance. Also mentioned was the poem used in the play from poet Emily Dickinson.

By examining the poems of the contemporary Chilean poet and artist Cecilia Vicuña in her book Instan (2002), this essay shows how they, through their experimental form, model visionary feminist and egalitarian social relationships. Consisting of letters or parts of words connected by drawn lines forming short words or phrases in English, Spanish, Latin and Quechua, these visual poems invite the reader to follow the paths of the lines with his/her eyes and body in a visual and kinetic consciousness. The readers are encouraged to make their own connections between letters, words and phrases, producing a process that allows them to occupy a place between narrative, time and space. Poems that allow for such radical readerly involvement can be called 'plastic', that is, mouldable by the reader. This poetic space of between-ness both emerges from and transforms Vicuña's biographical condition as an exile from Chile during Augusto Pinochet's military dictatorship and as one alienated from the contemporary capitalist world. Vicuña both biographically and poetically inhabits a 'non-place' (a term used both by Marc Augé and Vicuña herself). Rather than seek to dissolve or overcome betweenness, she recreates it in her poems as a dynamic transformative position through constant change, crossing over, that is, translation, from language to language. This essay thus illuminates how Vicuña's 'non-place' is a highly energized and plastic field capable of 'moulding' new relationships for the exile and imagining an egalitarian and feminist society. [ABSTRACT FROM AUTHOR]

Beginning from the late 1950s, interest in intermedium experimentation prompted North American avant-garde artists and poets to explore the visuality of writing at an unprecedented level. Thanks to conceptualism and Fluxus, artists' use of writing during this time challenged the notion of medium specificity. Concrete poets' focus on writing's non-phonic visuality posed a related critique: questioning the necessity of linking one artistic discipline with its sign system (i.e. image or writing). Some artists/ poets went even further by breaking the letter as the smallest graphemic unit, thereby introducing textual illegibility. The essay argues that such illegibility carries import when: (1) treated as intersign illegibility, a clash of abstracted text and image that resists neat verbal and iconic interpretations and (2) understood as central to the 1960s/1970s intermedial questioning of disciplinary constraints. The above points are developed through further contextualization and selective interpretation of a drawing by the artist Cy Twombly and the hybrid book/panel work Carnival by the poet Steve McCaffery. [ABSTRACT FROM AUTHOR]

Copyright of Revista Gama is the property of Revista Gama and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Gama is the property of Revista Gama and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escritura e Imagen is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Carlfriedrich Claus and Ana Hatherly visual works are outside what is conventionally named poetry. A poetry without words remains impossible for the defenders of writing as a logocentric practice. Therefore, the authors studied here invite a deviant reading of the contemporary poetry. They assume contemporary poetry tends toward iconicity and even the complete illegibility as a way of aesthetically apprehending the chaotic world. Since they neither follow the same rules of the traditional lyric, nor can they be read from those regulating principles, these poets deliberately obliterate texts implicate an unequivocal transformation of the creative and reading methods, notwithstanding the resistance from some lines of criticism.

The Indian performative art of Avadhāna (attention, attentiveness) is based on the showcasing of the mastery of memory, creativity, retention, multitasking and task-switching as well as other cognitive abilities. It examines not only a person’s capacity to focus and respond simultaneously to multiple task demands given by questioners (pṛcchakas) and demonstrate outstanding memory skills, but also specialized knowledge. The Avadhāna event, which involves partial improvisation, takes the form of an entertaining spectacle based on the set of rules assigned to its particular type. It becomes the ‘ritual of memory’, the celebration of innate and developed mental techniques performed by the avadhāni in front of an audience. The present paper aims at presenting the centuries-old tradition of Avadhāna from the point of view of its relation to ritual and other performative arts, as well as its performers and its contemporary components, such as the inclusion of painting, stage drama or elements of visual poetry. It stems from a field study conducted in 2015–2016 in Karnataka and Andhra Pradesh and from interviews with practitioners of the art of attention, Dr. R. Ganesh, Dr. Shankar Rajaraman and Dr. Medasani Mohan.

This is a short (fragmentary) history of fragmentary writing from the German Romantics (F. W. Schlegel, Friedrich Hölderlin) to modern and contemporary concrete or visual poetry. Such writing is (often deliberately) a critique of the logic of subsumption that tries to assimilate whatever is singular and irreducible into totalities of various categorical or systematic sorts. Arguably, the fragment (parataxis) is the distinctive feature of literary Modernism, which is a rejection, not of what precedes it, but of what Max Weber called “the rationalization of the world” (or Modernity) whose aim is to keep everything, including all that is written, under surveillance and control.

The main objective of this study, framed in a semiotic and poststructuralist context, is to analyze how the alphabet, central motif of ABCDario (2015) by Calleja et. al., becomes a systemic and techno-visual language without abandoning its verbal nature. This compilation maximizes the experimental use of algorithmic language and graphic design, as well as symmetrical and asymmetric formal processes that activate a polyvalent relation between letter, sign, and code. In this context, iconicity and systematicity cease to be paralinguistic elements to become aesthetic codes and operate in meta-writing. The inclination for these technical-compositional procedures constructs an autopoietic writing throughout the book and is a central element in the process of signification that confers a privileged and autonomous status in each of the four compilations. This analysis aims to contribute to more general theoretical discussions between text and image. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gruppo 70 was an Italian neo-avant-gardist group of artists and critics, including Lamberto Pignotti, Eugenio Miccini, Lucia Marcucci, Luciano Ori, Ketty La Rocca, Giuseppe Chiari, Emilio Isgrò, Roberto Malquori, and Michele Perfetti, which opened up the genre of poetry to the performative and visual languages of mass communication. In this article we focus on some of the key debates revolving around the Gruppo 70, in order to explore what form of impegno developed in their theoretical writings and creative interventions, and how this impegno was negotiated in the works of artists such as Lamberto Pignotti and Ketty La Rocca in particular. More specifically, we are concerned to investigate the interconnections between impegno, media and gender in the shift from theory – the theory of impegno was principally developed by male artists and critics – to artistic practice, a field in which, as we shall see, the work of female artists developed a strong critique of mass society and technological culture but remained largely marginalised. [ABSTRACT FROM AUTHOR]

This paper examines the interaction between the visual and the verbal modes, that is, the multimodality of transferring the meaning in Persian visual poetry in terms of cognitive base of different types of integrations which occur in the brain after different sensory channels transferring the visual and verbal data. Although contemporary poetry is multimodal, the visual poetry is considered a type of poetry that has both the verbal and the visual as the dominant, mixed modes that tend to construct the poetic meaning. Different arrangement of words and images, which has a neurological ground, requires different kinds of cognitive processing and will therefore induce different feelings, impressions, and connotations. Consequently, the general meaning of a multimodal text goes beyond that of the combination of the two modes. Drawing on cognitive semiotics, this paper demonstrates how the multimodal poem is conceptualized through embodied experience. Furthermore, it shows how various types of visual/verbal synthetization in a poetry text are differed by a number of distinctive features. Moreover, it is shown how the meaning-making process and the resulting affection become possible in each type of visual poetry. Through modifying Aarhus's model (2005, 2012), itself based on Fauconnier and Turner's conceptual blending theory, this research puts forward twelve different types of interaction between the verbal and visual modes, which, in this paper, are mentioned just the three super basic classified categories due to the limitation of the journal's space. In fact, the three super categories are: It is about the general relations among the two or more modes or media. In this kind of relation, each mode/medium comprises separable and individually coherent texts in different mode/media to improve the meaning space at the end. It is divided into two sub-groups, which are Mode-adjacency and Multimodality. It is a kind of transformations from one medium to another. An inter-medial text could be divided into Duplicating and Iconicity (Image iconicity, Relational diagram iconicity and Structural diagram iconicity). Duplicating could not presents an indissoluble connection of diverse modes as a fusion of different modal processes, while in the second one (Iconicity), the verbal and visual modes are fused together to represent the similarity or adjacency. The Duplicating could also be based on similarity or contiguity as well, that is the whole or a part of the text could be duplicated due to similarity of the verbal mode to visual mode or the contiguity of both together. The third and the last type of relation between verbal and visual modes is mixmodal text, which is the combination of modes in a way that the complex signs in different modes would not be coherent or self-sufficient outside of that context. It is divided into four groups which are called in this research Counter-iconicity (Counter iconicity of mis-matching and Paradox-counter iconicity), Modesituational inclusion, Mode-overlapping and complementary relation. Cognitively, these three basic types are processed respectively as following: bottom-up, topdown and integrated processing. Furthermore, these types are based on the structure of human brain and the functions of neurological cells, to study multimodal, especially visual poetry. Since both brain and literature contain similar patterns, it is inferred that each type of verbal-visual interaction that is constructed through a particular cognitive process will necessarily form specific emotions and impressions. [ABSTRACT FROM AUTHOR]

This article explores a trend in contemporary Cuban art that takes the book as its subject and object. It attributes the renewed interest to factors ranging from a changing textual environment in public spaces to the rise of digital content to newly re-discovered traditions from historic and neo-avant-gardes, among others. It first maps out a number of new artworks about books, then turns in the second half to focus on two book-based art projects of particular note: La Maleza, an editorial project by Lester Álvarez, and a series of 2015 interventions into Havana's Fayad Jamís bookstore organized by Yornel Martínez, whose own artworks are also analyzed. [ABSTRACT FROM AUTHOR]

The Indian performative art of Avadhāna (attention, attentiveness) is based on the showcasing of the mastery of memory, creativity, retention, multitasking and task-switching as well as other cognitive abilities. It examines not only a person's capacity to focus and respond simultaneously to multiple task demands given by questioners (pṛcchakas) and demonstrate outstanding memory skills, but also specialized knowledge. The Avadhāna event, which involves partial improvisation, takes the form of an entertaining spectacle based on the set of rules assigned to its particular type. It becomes the 'ritual of memory', the celebration of innate and developed mental techniques performed by the avadhāni in front of an audience. The present paper aims at presenting the centuries-old tradition of Avadhāna from the point of view of its relation to ritual and other performative arts, as well as its performers and its contemporary components, such as the inclusion of painting, stage drama or elements of visual poetry. It stems from a field study conducted in 2015-2016 in Karnataka and Andhra Pradesh and from interviews with practitioners of the art of attention, Dr. R. Ganesh, Dr. Shankar Rajaraman and Dr. Medasani Mohan. [ABSTRACT FROM AUTHOR]

A visual poetry is presented.

A visual poetry by Ava Hofmann is presented.

Active integration of intermedia literary technique results in a paradigm shift as well as in poet’s intention to overcome traditional forms and genres and represent the message by means of other semiotic signs. The incorporation of the visual component into the verbal poetic structure ensures the development of the visual poetry – a new genre of intermediality. The article reviews the most common understandings of the visual poetry and its place in the contemporary literature. It suggests a particular strategy for the interpretation process of the verbal and visual components. The author also presents the analysis of two poetic texts with the dominant visual component within their structure.