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Neste artigo se discute sobre a produção e o consumo de poesia online, entendendo o ciberespaço como um lugar onde há grande vitalidade na publicação e frequentação de receptores de criações artísticas e culturais, de modo geral, e inclusive de poesia. Faz-se um estudo de caso do perfil da rede social Instagram Pó de Lua, da poeta pernambucana Clarice Freire, de modo a explorar as especificidades do contato virtual entre produção e recepção de poesia. Considera-se a intermidialidade como uma característica importante na produção artística contemporânea, e verifica-se que esta atua como um recurso de estilo dos poemas visuais publicados no espaço digital. Observa-se, ainda, que nesse ambiente os leitores contribuem para a difusão das obras que ali se publicam a partir do compartilhamento dos poemas. Para este estudo, fez-se um recorte temporal da utilização da #pódelua nos meses de junho e julho de 2018, desde o qual se analisou as atualizações feitas por leitores e usuários das redes sociais nos poemas da autora.

Submitted by FERNANDA CRISTINA MARTINS PESTANA (ferfer.fernanda@gmail.com) on 2019-08-28T14:16:44Z No. of bitstreams: 1 pdf_biblioteca_final.pdf: 152624793 bytes, checksum: 4ed812d52136cad15385d3ee3411c51f (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2019-08-29T19:30:49Z (GMT) No. of bitstreams: 1 pestana_fcm_dr_ia.pdf: 152613950 bytes, checksum: 0ce592922603536e1015a4a1f0b4a88d (MD5) Made available in DSpace on 2019-08-29T19:30:49Z (GMT). No. of bitstreams: 1 pestana_fcm_dr_ia.pdf: 152613950 bytes, checksum: 0ce592922603536e1015a4a1f0b4a88d (MD5) Previous issue date: 2019-06-24 Livro: material da dobra e do labirinto pretende testar o fazer de um objeto livro, por entre experimentações e procedimentos artísticos (gráficos, plásticos e digitais), em aproximação com os conceitos de dobra e labirinto do filósofo pós-estruturalista Gilles Deleuze (1991). A inspiração para esta proposta foi a minha dissertação de mestrado intitulada Objetos e afetos (2014, IEL-Labjor, Unicamp), na qual experimentei dar visibilidade ao processo de escrita da pesquisa, deixando visíveis rasuras, correções, apagamentos, com desenhos, manchas de tinta e linhas de costura, em conversas com o artista brasileiro Arthur Bispo do Rosário e com o poeta Manoel de Barros. Com a vontade de dar continuidade à pesquisa, no doutorado buscamos ampliar a trama de conexões entre autores e artistas para investigar a própria tese enquanto abrigo dos diversos gestos e procedimentos da feitura de um objeto livro (ou um livro-objeto). Compor lâminas de espaços-tempos nas quais as relações imagem-texto se desdobrem pelos labirintos da poesia visual de Augusto de Campos, Haroldo de Campos e Julio Plaza, pelas escritas de Jorge Luis Borges, e pelos livros e instalações de Edith Derdyk. Uma pesquisa por superfícies artesanais-digitais que acumulam as camadas dos rumos perdidos, das escolhas traçadas, dos caminhos embaralhados, das referências inspiradoras dos processos do fazer-escrever um livro. Uma tentativa de entrelaçar o tátil, o visual, o sonoro e o semântico, por dobras e redobras da matéria a esculpirem um objeto que pode desviar de seus usos e funções, de modo a expandir e pluralizar as maneiras de lidar com o conhecimento. Book: fold and labyrinth material aims to test the making of a book object, through experimentation and artistic procedures (graphics, plastics and digital), in close proximity to the concepts of fold and labyrinth by the poststructuralist philosopher Gilles Deleuze (1991). The inspiration for this proposal was my master dissertation entitled Objects and Affects (2014, IEL-Labjor, Unicamp), in which I tried to give visibility to the research writing process, leaving visible erasures, corrections, sketches, with drawings, ink stains and sewing threads, in dialogue with the Brazilian artist Arthur Bispo do Rosário and the poet Manoel de Barros. With the desire to continue the research, in the doctorate we seek to broaden the web of connections between authors and artists to investigate the thesis itself as a shelter of the various gestures and procedures of making a book object (or an object book). A willingness to compose blades of spaces-times in which the imagetext relations unfold through the labyrinths of the visual poetry of Augusto de Campos, Haroldo de Campos and Julio Plaza, through the writings of Jorge Luis Borges, and the books and installations of Edith Derdyk. A search for handmade-digital surfaces that accumulate the layers of the lost directions, the choices drawn, the scrambled paths, the inspiring references of the process of making-writing a book. An attempt to intertwine the tactile, the visual, the sonorous and the semantic, through the folds and the refolds of matter to sculpt an object that can deviate from its uses and functions in order to expand and pluralize the ways of dealing with knowledge.

A tiny program for the big screen; a classic computer driving the latest, cinematic display. My contribution to the Art Exhibition for Creativity & Cognition / Design Interactive Systems 2019 is a 256-byte executable for the Commodore 64, written in 6502 assembly, for the auditorium's 8K display. This non-interactive program will produce graphical effects using only the character-based facilities of the Commodore 64's VIC-II and producing sound via the system's SID. I describe its relationship to my practice and concrete poetry, retrocomputing, sizecoding, the demoscene, and platform studies. The program's output is suitable for presentation as a "short" with other short experimental motion pictures/executable artworks or prior to one or more longer works. Bridging the border of time and different eras of computing, the program will be run on an original hardware NTSC Commodore 64 (not in emulation) with the video output upscaled. Keywords: Concrete poetry; visual poetry; non-interactive; demoscene; sizecoding; retrocomputing; Commodore 64; platform studies and practices; computer history

Pictures of Jap Girls in Synthesis, is a machine that creates live, visual poetry. The machine reads, or listens to poetry in a variety of languages. It synthesizes in real-time, visual images illustrating its understanding and interpretation of the text. As an interactive installation, poets can perform live poetry, with the machine simultaneously translating it into visual imagery, allowing a synesthetic and a more universal experience.

This chapter reads Elizabeth Bishop’s poem ‘Arrival at Santos’, with its famously odd breakage of the letter S from the word falls (‘Glen Fall / s, New York’), as an experiment in visual poetry shaped by the work of the international avant-garde. The breaking of a word between consonants is unusual for Bishop, but it was not at all unusual for her avant-garde precursors and peers. Scholars have explored Bishop’s relation to the visual arts as a painter of watercolors, as a lifelong student of modernist painting, sculpture, and architecture, and as a writer who derived poetic strategies from the visual arts and wrote many ekphrastic poems. However, we have paid less attention to the importance of the visual design and spatial layout of Bishop’s poems in the context of avant-garde experiments with visual poetry.

International audience; La performance de l’archive dans la poésie visuelle de bpNichol et Derek Beaulieu”En s’adonnant à la dimension matérielle de l’écriture, la poésie visuelle s’engage dans une voie exploratrice qui pense ensemble matériau, écriture et mémoire. La figure de l’archive se decline au sens métaphorique pour dire cette relation. Elle traverse la tradition poétique en suivant la trace des formes adoptées par les divers supports de l’écrit. Si la poésie visuelle peut se dire archive de l’expérience scripturale, ses inscriptions sont le reflet du flux qui caractérise une esthétique et un environnement conditionnés de maniére croissante par des supports technologiques. Cet article interroge le geste performatif de l’écriture avec l’exemple de deux poètes canadiens, bpNichol et Derek Beaulieu au travers des XXème et XXIème siècles. Ressort de l’enchevêtrement de la poésie visuelle et de l’archive, ce geste met en scène la traversée de la mémoire, ses temporalités et ses espaces.“Performative Archives: the visual poetry of bpNichol and Derek Beaulieu”Abstract:By taking to task the materiality of writing, visual poetry asks what can be remembered and through what channels. Though the archive may function in poetry in the broadest sense as a metaphor for memory, the boundaries of that narrative change along with the shape of the print medium. If visual poetry is an archive of scriptural experiment, its recordings are subject to the flux of a dynamic aesthetic and an environment increasingly grounded in technology. This paper will concentrate upon the dramatization of textuality through the example of two Canadian poets, bpNichol and Derek Beaulieu across the twentieth and the twenty-first century. It shall be considered how their visual poetries engage with archival processes and in doing so, bring into focus the changing temporality and spaces of memory.

The visual poem, “The loom,” is an ekphrastic response to Ilona Pappne Demecs’s article “Woven Narratives: A Craft Encounter with Tapestry Weaving in a Residential Ages Care Facility.” By drawing words and phrases from Demec’s article, the author wove a word tapestry, in a technique learnt from a child in a South Auckland primary school in New Zealand.

The article is devoted to the visualization of the poetic text and modern visual poetry. Formal-graphic transformations of the text are considered in a diachronic and synchronic key. It is noted that the use of visualization techniques in verse speech was observed even in the time of the ancient Greek poets.However, visual poetry as a separate type of poetic art had taken shape in the second half of the 20th century. Special attention is paid to the methods of visualization of the text, which were used by the most famous contemporary visual poets of Russia., Статья посвящена визуализации поэтического текста и современной визуальной поэзии. Формально-изобразительные трансформации текста рассматриваются в диахроническом и синхроническом ключе. Отмечается, что использование приёмов визуализации в стихотворной речи наблюдалось ещё во времена древнегреческих поэтов. Однако визуальная поэзия как отдельный вид поэтического искусства сложилась во второй половине XX века. Отдельное внимание в статье уделяется приёмам визуализации текста, которые в своём творчестве используют самые известные современные русские визуальные поэты.

Статья посвящена исследованию поэтики книги стихотворений Е. А. Мнацакановой "ARCADIA"., The article is devoted to the study of E. A. Mnatsakanova's poetry book's "ARCADIA" poetics., Уральский филологический вестник, Issue № 4, Pages 177-186

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2021-02-11T00:11:55Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) As_coisas_memoria_na_arte_da_performance.pdf: 855719 bytes, checksum: 9982464ece6dd9ff1c8b2fdfed5bc196 (MD5) Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2021-02-11T15:18:20Z (GMT) No. of bitstreams: 2 As_coisas_memoria_na_arte_da_performance.pdf: 855719 bytes, checksum: 9982464ece6dd9ff1c8b2fdfed5bc196 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2021-02-11T15:18:30Z (GMT). No. of bitstreams: 2 As_coisas_memoria_na_arte_da_performance.pdf: 855719 bytes, checksum: 9982464ece6dd9ff1c8b2fdfed5bc196 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2019 A pesquisa intitulada “As coisas-memória na arte da performance”desenvolvida no PPGAVI/UFPel é vinculada à linha de pesquisa Processo de Criação e Poéticas do Cotidiano, sob orientação da Profa. Dra. Eduarda Gonçalves e versa sobre o processo poético da performance como resultado de resgate de memórias vividas no contexto familiar e adquiridas no contato com produções artísticas. A prática artística desta pesquisa, em específico nos seus processos performáticos, conduz ao conceito de coisas-memória imbricando a linguagem das artes visuais e da dança. A reflexão é articulada à produção de performance evidenciando o conceito de coisa,revisto por Foucault e Deleuze, assim como o conceito de memória evidenciado pelo filosofo Henri Bergson. Colocando questões do presente e de um passado (infância com a avó, através de vídeos, objetos, roupas e fotografias), o conceito de coisas-memória reinventa as percepções ao se tornar ação performática. As vestimentas e objetos são algumas das visibilidades que vão dar a ver as dizibilidades expressadas nos atos em performances. Por estas questões se versa sobre duas performances realizadas: O que é daqui? Processos e Trajetos; Voz e Matéria, são igualmente evidenciadas nas referências artísticas de Marina Abramovic e Sophie Calle, abordando aspectos referentes à linguagem da performance que tem como disparo as relações interpessoais e da memória.

This study investigates the ways in which visual poems have expanded their creation and interpretation possibilities in digital environments. A significant poetic contribution of these media is the possibility of physical interferences by the reader, thus transforming the reader into an interactor. Another fundamental element for the materialization of electronic poetry (or e-poetry) is typography. Contrary to what occurs on paper, it is possible to interact, deform and transform the types that constitute poems in digital interfaces, which brings the novelty of inserting gestures as creative poetry potentialities. In order to explore these hypotheses, this article comprises two stages. In the first, we will establish a relation between the following poems: lygia fingers (1953), dias dias dias (1953), Poemobile vivavaia (1974) and criptocardiograma (2003), all by Augusto de Campos, and the theory raised by Plaza [1] concering the degrees of interpretation that influence interactivity. In the second stage, we will discuss the subjectivity of implicit gestures in digital poetry, based on two works: Segundo Soneto Meio Barroco (2000), by Alckmar Luiz dos Santos and Gilbertto Prado, and Between Page and Screen (2012), by Amaranth Borsuk and Brad Bouse.

This design study focuses on the importance of primary school students’ reading and visual association. According study of the readability of Chinese books, to help establish the background information of the primary school children reading comprehension. However, among the styles less discussed is children’s poetry which is often used in primary school education to nurture children’s creativity. Described by Lin Liang as “the art of plain language”, the verse’s legibility and readability are explained and underwritten by rhyming or easy to understand sentences. The poet often uses the technique of “constant meaning, not text”, whilst deliberately fragmented text represents the poet’s “blank” space. This blank, or imaginary space, is the part that the reader can infill. This process demonstrates the reader can read between the line. This pilot study through the children’s poetry of Lin Liang, aims to present the pictures that children see, along with the appropriate blanks will become elements in illustration through looking at the picture to practice illustration communication and inspire young readers’ poetic imagination.

Dog Star Man shows us a different, unusual film world in which images are continually transformed and vanish into apparent chaos. It is a poetic and visionary world, a world full of images that, before representing places, objects, and people, offers the filmgoer feelings, emotions, and visual experiences. It is a world whose space has uncertain and blurred boundaries. It is a world that exists in psychic and dreamlike, not physical and measurable, time. It is an image of the unconscious throbbing beneath ordinary consciousness, which habit has tamed to accept formal order and the schematism of objectivation. The first perception of the film world is a visual poetry of vision. However, as soon as we have perceived the film world, we are faced with symbolic expressions that give shape to a mythology. The lyrical and visionary flow of images becomes a cosmic force that symbolically actualizes and expresses itself through in form of a myth. In this mythopoeic dimension, original visions tend to materialize and become the expression of an impetus in which life flows and a world is created.

Avec André du Bouchet, « l’énonciation éditoriale » tient de la manifestation auctoriale accompagnée, tant elle soutient, avec les moyens matériels du livre, le projet d’une poésie spatiale, fondée sur la relation phénoménologique au monde. L’article évalue d’abord l’importance des ressources typographiques (bivalence du support et réversibilité du blanc comme de l’imprimé) dans l’œuvre publiée, puis analyse les motifs de mésentente et les facteurs de dialogue entre du Bouchet et ses éditeurs., In the case of André du Bouchet, “editorial enunciation” is the result of the auctorial event accompanied, since it provides so much support, by the material resources of the book. Together, they form the project of a spatial poetry, based on the phenomenological relationship to the world. The article first assesses the importance of typographic resources (bivalence of the medium and reversibility of both the white page and print) in the published work, then analyzes the reasons for disagreement and the factors behind the dialogue between du Bouchet and his publishers.

Conceptual Metaphor Theory (Lakoff and Johnson, 1980) and work on multimodal metaphors (Forceville, 2006) has opened up a new approach to the study of language and other modalities. However, relatively few cognitive linguistic investigations of visual art have been performed. We analyzed paintings done by Spanish Surrealist Juan Miró (1893-1983), focusing on diagrammatic iconicity, i.e. how his pictorial elements are arranged structurally in ways that correspond to their meaning. In particular, we examined the artist’s paintings between 1940 and 1970, based on the model advanced by Hiraga (2005). Our results show that iconic mappings like SIMILARITY IN MEANING IS SIMILARITY IN FORM, MORE CONTENT IS MORE FORM, and SEMANTIC RELEVANCE IS CLOSENESS, function as cognitive principles prevalent in these paintings. The current study therefore supports the proposal that diagrammatic iconicity operates across different semiotic systems, and at the same time contributes to the description and explanation of artistic practices involving language and painting.

Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the presentation and manipulation of text. Interactivity is potentially a differentiator between electronic literature and cinema, but this distinction is negated by the fact that not all works of electronic literature are interactive (that is, they do not require an interactor in order to function). The increasing digitisation and, to a lesser extent, interactivity of cinema also argues against placing a gap between electronic literature and cinematic works that utilise the textual screen. Text movies, visual poetry, and other digital works featuring moving text can be seen as belonging to the same family; they are united by the aesthetic experience of perceiving them, which derives from a dynamic tension between the act of reading and the act of watching. Taken together, they form a continuum of countertextual practice that involves the destabilisation of reading and the displacement of literary significance away from traditional means of sense-making and towards the use of text-as-objects that do not always achieve the status of language.

This paper discusses several visual poems that both translate and adapt Bashō's popular frog haiku; such works are theorized here as multimodal transaptations. Bashō's poem blends form and meaning, action and stasis, sound and silence. Traditional translations struggle to incorporate some of these features because of the limitations of the target language. Visual poetry, by drawing on the affordances of print – which includes verbal, visual, and diagrammatic cues – is better equipped to reflect and extend the style and content of Bashō's haiku into the more limited forms of English textuality, while also engaging in the playfulness of the haiku and calligraphic traditions. Produced through a hybrid, multimodal approach, these visual transaptations present the reader with a range of cues that are neither strictly mimetic nor adaptive, and which challenge assumptions about stylistic choices, translation, authorship, and poetic meaning.

Changes in the Visual Form of Aaro Hellaakoski’s Poem ”Vieras” (”The Stranger”) The present article shows how genetic criticism (critique génétique) can enrich our understanding and interpretation of visual poetry by examining the manuscript, proofs and published versions of the poem ”Vieras” (” e Stranger”) from the typographically experimental collection Jää- peili (”Ice Mirror”, 1928) by the Finnish poet Aaro Hellaakoski (1893–1952). e collection is regarded as a forerunner of Finnish modernism, and particularly its experimental typography got successors only as late as in the 1960s. Besides omitting punctuation and upper case letters, Hellaakoski experiments with the auditory and visual dimensions of ”Vieras” by dividing metrical stanzas and line units into typographically separate groups. In his later selected poems Valitut runot (”Selected poems”, 1940) and Runot (” e Poems”, 1947), Hellaakoski stripped ”Vieras” from these experimental features. e examination of the manuscripts and proofs of ”Vieras” shows that Hellaakoski’s later revisions actually revert the poem to a form closer to its early, visually more traditional, manuscript versions. e article suggests, that it was probably the integrity of Jääpeili as a modernist collection that motivated Hellaakoski into the experimental typography and ortography of ”Vieras”. ese features became dispensable when the poem was released from the context of the collection.

The article deals with the Ukrainian futurist Mykhail' Semenko (1892-1937) in order to remember this figure of the European avant-garde movement. Firstly, his poetological and ideological positions are contextualised by looking at his activities within the literature scene in Kiev and Charkov. Secondly, his poetry's characteristics are analysed, which are intertextuality, intermediality, synaesthetic efforts to amalgamate different arts and ways of perception, especially visual poetry, accompanied by a parodistic tendency. Besides, he was striving for a new language, fascinated by distant and exotic destinations and the idea of communism. Semenko's poetry has successfully combined contradictions between Western and Eastern European futurists, internationalism and Ukrainian traditions, urban and rural life.

This article argues for the advantage of applying the analyticalperspective of “visual iconicity in poetry,” rather than trying todelimit the problematic category of “visual poetry,” which hasbeen ...

Since the middle of the XX th century, paper or object collage is a modality of Visual poetry. In experimental poems, the heterogeneity of fragments, which defines the collage, is added to the heterogeneity of processes and arts in presence (writing, painting, photography, etc.). Alfonso Lopez Gradoli is certainly the only author who practices the collage with such a constancy. He published in 1971 Quiza Brigitte Bardot venga a tomar una copa esta noche, and in 2013, the anthology Libro de collages. First, we will observe that the heterogeneous objects "stuck" on the page testify of a material, of a past, and in some cases of a central figure o character. The collage is often chosen as a form for homage, in A. Lopez Gradoli's work. But the plurality of "places" (Marc Auge, lieu), mentioned on the page, constructs a new space which transforms and transcends the original places. The collage appears to be a "non-space", a utopia or a heterotopia (M. Foucault). Its internal organization evokes the "troubling strangeness" defined by Freud. The collagist process is the vehicle of phantasms, which enable the emergence of a subjectivity. The page of the collage is converted into the space for a quest of the poetical voice. This is the second aspect we explore in this article. Beneath the heterogeneity of fragments, there is a unique voice, born with the interaction of objects (documents, pictures) and discourse. Some compositions of Libro de collages deals precisely with the artistic and poetic experience of the author. Moreover, the introduction of a subjective perception constitute the main question of the book Quiza Brigitte…, in spite of the fact that it is apparently dedicated to the interlocutory (the actress B. Bardot). The repetition determines the structural dynamic of the book and, consequently, the collage seems to cease the essence of the object. It forms the erotic discourse, close to fetishism, which leads to a will of appropriation and the foundation of a proper an unedited discourse, fed with its relation to the other. Moreover we will observe that the voice seems often fragile. On the collage, blank and empty spaces, aporia, constitute the paradoxical space, yet necessary to the voice. In the collage, there is contrary dynamic: chock of the multiple fragments for the construction of a unique voice, strangeness and recognition of the objects, identity and permanency of the subject. Resume : Depuis le milieu du XXeme siecle, le collage de papiers ou d'objets constitue une modalite de la poesie visuelle. A l'heterogeneite des fragments definitoire, du collage, la poesie experimentale ajoute celle des procedes et des arts en presence. Alfonso Lopez Gradoli est certainement le seul a avoir pratique le collage avec une telle constance. Il publie en 1971 le recueil Quiza Brigitte Bardot venga a tomar una copa esta noche, puis, en 2013, l'anthologie de collages Libro de collages. Premierement, nous observerons que les objets 2

Resumo: Esse artigo apresenta um relato autobiográfico no qual o autor procura recuperar seus primeiros contatos com a poesia visual-concreta-experimental ao longo dos anos 1980 em função de deslocamentos provocados por diferentes sujeitos presentes nas relações estabelecidas no meio universitário do curso de graduação em História. Escapando de uma perspectiva histórica teleológica e de supostos encadeamentos lógicos e objetivos de causa e efeito, entende sua trajetória lítero-poética como decorrente de improváveis intercorrências no campo social em que se inseria. Ressalta, por isso mesmo, a importância dos processos educativos básicos e acadêmicos na promoção dos deslocamentos criativos e poiéticos. Traz, finalmente, um poema-visual de sua autoria em que relaciona história, memória e o fazer poético.Palavras-chave: poesia visual; poesia experimental; concretismo; autobiografia; memória.Abstract:This article presents an autobiographical account in which the author seeks to recover his first contacts with visual-concrete-experimental poetry throughout the 1980s due to displacements caused by different subjects present in the relationships established in the undergraduate course in History. Avoiding a teleological historical perspective and supposed logical links and objectives of cause and effect, he understands his literary-poetic trajectory as a result of unlikely complications in the social field to which he belonged. It therefore emphasizes the importance of basic and academic educational processes in the promotion of creative and poietic dislocations. Finally, he brings a visual poem of his own in which he relates history, memory and poetic making.Keywords: visual poetry; experimental poetry; concretism; autobiography; memory.