A Map of Different Digital Poetries by Jorge Luiz Antonio
A Map of Different Digital Poetries
by Jorge Luiz Antonio (PUC SP,
English revision by Maria do Carmo Martins
Fontes (PUC SP,
INTRODUCTION
We can now affirm that part of poetry that is in books, magazines and
newspapers, from many countries, has moved to the floppy disk, cd-rom,
computer hard disk or to the site URL. In spite of this, many books,
magazines and newspapers go on publishing verbal, visual and sound
poetries which are simply circulating also in the new digital-electronic
media, without, in many cases, assimilating what the new media provide.
There is no doubt that poetry still go on existing, and that poetry has
adapted to the new media, though always maintaining the origin, the root,
in other words, something that reminds verbal, visual, or sound existing
poetries. It is also true that there is an innovative poetry that
circulates on digital-electronic media.
Many denominations for this kind of poetry reflect concepts that
demonstrate an effort to set boundaries for this kind of poetic
communication. Because it is a world phenomenon, these terms are sometimes
translated in each country's language, but most of them are kept in
English.
Many scholars seek to delimitate this new poetry and, in a certain way,
differentiate it from other arts and literature. There are general
denominations that remain as concepts which cover different forms
throughout time such as experimental poetry, new visual poetry, new media
poetry, or digital poetry. In most cases the expression visual poetry
appears, without distinguishing it from a historical perspective or
according to the use of different supports (paper, canvas, wood, etc.).
Our aim here is hence to map the existing digital poetry and, to a certain
extent, configure it as one of the digital media discourse genres,
stemming from the genre idea as a combinatory of elements. There is
certain risk in using the term genre, because it reminds us of Aristotle,
poetry, prose and drama, and the like. It appears to be a preset
classification. But in this present study nothing is ready, everything
changes as we access a different site, as we present or listen to a new
presentation in a congress, festival, encounters, in an egroup's
discussion, and so on. It is work in progress, or even work in process.
Something that happened, that happens, that will happen, that is
happening, that has happened, that has been happening. The creations are
coming out on digital media, the reflections about them are generating
essays, and all of them are forming a theory and practice collection that
forms a hypertextual, interactive and multi-faceted whole, typical of
knowledge itself, not only the digital one.
Mapping the digital poetry as the continuation of oral poetry, which was
declaimed supported by old musical instruments as the lyre and the flute
in Classical Antiquity, is to establish an abstract route moving from its
spoken to its written form. The poetry which was originally accompanied by
musical instruments (Medieval Troubadourism) was followed by poetry
without music (Humanism and Renascence), which, when read, rescued the
orality and musicality of its previous forms, and evoked images through
the singular syntactic constructions that produced rhyme, metrics,
comparison, metaphors and metonymies, among other things.
The constant need for searching new languages in order to express the art
that comes from the existence of new technology, from the use of
interacting languages (Machado's concept (1)), the continuous relationship
between art and science, and the new media utilization as a means of
poetic expression: these seem to be the first elements we can identify as
we look for new artistic communication media, among which we find poetic
communication, that is, digital poetry. Like the character from "Asas"
(Wings), by Mario de Sá-Carneiro (2), or the bizarre American woman and
her five senses' party in "A Confissão de Lúcio" (Lúcio's Confessions)
(3), another type of communication comes up closely to Andrews' electric
word and his langu(im)age concept (4), a product in/of/from the
cyberspace. As it is a recent search, there is not only a single digital
poetry, but many forms of it which express the various endeavors of fusion
/ interaction / dialogue among languages.
We can paraphrase Lavoisier's law, slightly modified: in the poetry's
world, everything which is created remains transformed, adapted. Today's
poetry brings in itself yesterday's essentiality, absorbs what is
contemporary as a form of expression and turns these resources into a
powerful ally to stay alive and to expand itself on the new media, keeping
itself at once entire and adapted. That is the way the history of poetry
seems to have been for us: the declaimed poetry, with all its mnemonic
resources of rhyme, rhythms and metrics, survived in people's memory and
was registered in books. Yet, it was always remembered and revered as the
sound and word art. Poetry stopped being accompanied by musical
instruments, as it was the case in medieval troubadour poetry, to become
printed. It took several forms, became spatial, shaped itself in plastic
forms like the visual ones, incorporated images, and survived, always, as
poetry.
And today, with the arrival of the computer and the revolution it brought
to our lives, poetry has remained as the art of the word in
digital-electronic media. Like the books, which changed from printed to
electronic, the printed poetry also became electronic. And it will remain,
in a certain way, indivisible, differentiated, precise in its contours,
even when it is adapted to other emergent media.
In short, the hypotheses that guide this paper are the following: the
digital artistic texts differ from other texts (verbal, visual,
audiovisual etc) in that they use the computer as a mediator between man
and the sign production with esthetic aims. One of the most fascinating
aspects of this study is that digital poetry is not limited only by the
use of the computer as a support, for it also comes in paper, video,
movie, holography, performance, and so on. The media are large and reach
many fields of knowledge. We can notice poetry in television programs, in
video demonstrations, almost all of it made through digital proceedings.
We can choose the best way to select and combine the medium we would like
to work with (5).
In a general sense, the digital artistic texts are seen from two
viewpoints: the digital arts or the digital poetics, with the predominance
of infographic images, holding a certain similarity with visual arts, and
the digital poetry, as the union of poem, moving image and sound in the
digital-electronic environment, by means of interactivity,
hypertextuality, hypermedia and interface.
As this paper aims at mapping several digital poetries from many countries
in order to classify them as genres of other existing poetries, we define
digital poetry as the several creative and artistic products which use the
word, the sound and the image bearing the poetic function. These products
use the features stored in internal and external hard disks, floppy disks,
cd-roms, videos, cassette-tapes, and internet sites.
THE DIFFERENT DIGITAL POETRIES
There is a significant variety of poetries which circulate in the
digital-electronic media (internal or external hard disks, floppy disks,
cd-roms, videos, microcomputers, internet). Without having the aim to
exhaust the subject, neither to trace a historic route, there follows a
mapping of the several kinds of digital poetry.
1 - There is verbal poetry, which circulated in books, magazines and
newspapers, and is now using the cyberspace. It is a transposition of
media, not only an updating, a fad or an optimization of another space: it
means a poet's attitude, and also a reader's one, in relation to the
modifications this exchange imposes. It is not only the changing of the
media as a way to reach more readers, but also the shaping of the graphic
spatial disposition of this poetry by computational rules. It is the
poetry which was digitalized in a microcomputer, with the use of text
and/or image editor, which now is part of a "digital" literature, that is,
it occupies the virtual medium. If it can be seen only as a historical
aspect - the first poems collected in electronic anthologies -, it is
necessary to emphasize that the contact with this kind of poetry is the
relationship between man and machine, which results in another form of
reading, even though this poetry doesn't present innovative elements, even
though it is nothing but a printed poetry that now occupies the
cyberspace, as a kind of reproduction of the print environment.
2 - There is sound poetry, which was transmitted orally as art of spoken
word, which has also become digital, mainly by the use of
electric-electronic-digital resources, like the sound laboratories. This
poetry, which had a great development during the historic vanguards
(Futurism, Dadaism, Cubism, etc.), is created by means of sounds which are
separated, in a certain way, from the meaning (the phonemes don't form a
word) and it represents a kind of digital poetry, usually named sound
poetry. In some cases, it is separated from sound and digital, because the
sound poetry is to be heard only, as Philadelpho Menezes's sound poetry
(Menezes 1996, and Menezes et al 1998). In other situations, especially in
several sites (Jim Andrews, Komninos Zervos, etc.), sound poetry is a part
of other languages, a kind of interacting languages (verbal, visual,
sound, electronic, digital poetries).
3 - All types of visual poetry are spontaneously and naturally adapted in
the computational medium. It is an adaptation of supports, like Arnaldo
Antunes' (6), Elson Fróe's (7), Melo e Castro's (8) sites, among others.
Considering its graphic and spatial characteristics, the same occurs with
the concrete poem, as Augusto de Campos says: "Since I, in the 90's, could
put a hand on a personal microcomputer, I noticed that the poetic
practices in which I am involved, emphasizing the materiality of words and
their interrelationship with the non-verbal signs, have a lot to do with
computer programs. The first animations came out from graphic and sound
virtuality of the pre-existing poems" (
We can affirm that the Brazilian concrete poetry, the Portuguese
experimental poetry, as well as the later visual poetry, which are going
to be "updated" on the new medium, can be called as the precursors of
digital poetry.
There is no doubt that visual poetry has its own characteristics which
differ a lot from digital poetry in various aspects such as support
material, paper, the handicraft that drawing uses, colors and materials
from the plastic arts, the use of the three dimensions limit, certain own
individuality of the handicraft, and so on. For Capparelli et al the
difference is: "Visual poem and cyberpoem have an indetermination of
content present in the object and/or attributed by the reader. In the
visual poem both are imbricated, despite the higher or lower reader's
ability to notice the links; however, they are finite by the very nature
of the object. Differently from the visual poem, the cyberpoem demands a
skillful and attentive reader, someone who has technical abilities.
Through the interactivity the reader becomes the work's co-author. The
old-fashioned idea of authorship is challenged. In the visual poem, the
authorship can be shared." (Capparelli et all 2000).
4 - The concept of writing machine, borrowed from linguistics and
developed by the Bense's and Moles' informational esthetics, is going to
incorporate the use of machines as the possibility of "creating artificial
texts with meaning" (Moles 1990: 149): "The writing of a text using a
machine, be it real, a great computer, be it "imaginary", that is,
constituted of a series of operations to be made or to be ordered by
operators without intelligence - is finally the synonym of intellectual
creation" (idem: ibidem).
It is experimental literature: "It comes from a very general definition of
language - it is a system of signs and symbols brought together according
to certain rules - and proposes a new idea of literary message,
distinguishing in the analysis the content and the continent, the semantic
aspect and the esthetic one." (idem: 150)
This is the concept of poster attributes constellation, proposed by Moles:
"It is a graphic crystallization of laws of association that the spirit
follows in joining a central sign (inducting word) with a series of other
signs (inducted word)" (idem: 151). In our opinion, the hypertext
principle seems to lie here: the spatial relation of the word, as in the
diagram-poem Diagram 4.1 by Jim Rosenberg, the virtual poem VP12 by
Ladislao Pablo Györi or the hypermedia poetry Antologia Laboríntica by
André Vallias.
5 - The text below shows one of the first uses of computational technology
as a form of artistic and literary expression, the permutational poetry,
in which a storage of word is treated by the resources of a machine, and
then produces similar texts, based on a computer program. Moles and
Barbosa studied exhaustively the subject and published several theoretical
studies and anthologies. This is an example taken from the Italian Nanni
Balestrini in early 60's: MENTRE LA MOLTITUDE DELE COSE ACCADE I CAPELLI
TRA LE LABBRA ESSE TORNANO TUTTE E ALLA LLORO RADICE L ACCECANTE GLOBO DI
FUOCO
GIACQUERO IMMOBILI SENZA PARLARE TRENTA VOLTE PIU LUMUNINOSO
SOLE FINCHE NON MOSSE LE DITA LENTAMENTE SI ESPANDE RAPIDAMENTE CERCANDO
DI AFFERRARE LE SOMMITA DELLA NUVOLA MENTRE LA MOLTITUDINE DELLE COSE
ACCADE L ACCECANTE GLOBO DI FUOCO ESSE TORNANO TUTTE ALLA LORO RADICE SI
ESPANDE
RAPIDAMENTE FINCHE NON MOSSE LE DITA LENTAMENTE
LA STRATOSFERA GIACQUERO IMMOBILI SENZA PARLARE TRENTA VOLTE PIU LUMINOSO
6 - Other endeavors to analyze and map different digital poetries have
been made by scholars like Funkhouser, Barbosa, Moles, Bense, Machado,
Tolva, Parente, Vallias, Capparelli, Andrews, etc. Poets like Nanni
Balestrini, André Vallias, Melo e Castro, Augusto de Campos, Cláudio
Daniel, Ladislao Pablo Györi, Jim Andrews, Ted Warnell, etc., who have
been devoted to the relationship between art and technology, have
established denominations and differentiations for their poetic
experiences with the computer. Moreover, we have had individual (certain
poet-operators) and collective (particular ways of producing digital
poetry) constitutive elements.
Printed and electronic magazines and newspapers (in floppy disk, cd-roms,
cassette tapes, video cassettes, internet) have presented many essays
about the subject.
Many issues of Dimensão: Revista Internacional de Poesia (10) present
opinions of theorists and digital poets. In the 1995 issue, Cláudio Daniel
(
of differentiated poetic expression, and Ladislao
Pablo Györi (
introduced some criteria for virtual poetry which uses the third dimension
and is made in virtual space. In the 1998 issue, E. M. de Melo e Castro
(
which developed the concept of 3D transpoetic, with a series of 13
infopoems, synthesized in 1997 and 1998 in a PC, in Windows 95
environment, using the softwares Adobe Photoshop 4.0, Fractint V18 and
Corel Motion 3D 6. In the 1999 issue, Melo e Castro and his students
presented many comments about this kind of digital poetry. The newspaper
Folha de S. Paulo, in its section called "Folha Informática", introduced
many and different experiences related to digitality under the generic
denomination of digital poetry, without establishing any difference
regarding verbal, visual, sound, electronic or digital poetries. Some
authors, theoreticians, and also study centers, are cited: Eduardo Kac
(11), Ted Warnell (12), Electronic
Janam Platt, Loss Pequeño Glazier (14), Mark Napier, Mark America, among
others. Besides introducing some sites of digital poetry, the newspaper
presents some studies and sites about digital literary theory, by Allien
Flower, Augusto de Campos, Cyber Poetry Gallery, Komninos Zervos, George
Landow,
Christopher Funkhouser, John Cayley, etc. The articles printed on that
newspaper try to delimitate the concept of digital poetry, including an
interview with Augusto de Campos and Mark Amerika. As a first study,
trying to be general and to reach all fields of knowledge, though not
deeply, the material should be better developed in a further edition.
7 - Funkhouser refers to a "poetry created by writers (and
programmers/producers) who rely on the computer to bring their visions to
the world through the effusive light and linkage of the screen"
(Funkhouser 1996:1/7). For him, "all poetry which uses a computer screen
as hypertextual interface falls into at least one of the following five
categories" (idem: ibidem):
Hypermedia - includes graphics, moving visual images, and soundfiles
linked with (or instead of) printed text; a variety of intertextual
associations and graphical combinations are possible.
Hypercard: Alphabetic and visual texts are arranged in a series of digital
filecards and linked to each other; some files include sound; the
supercard enables the use of video.
Hypertext: Historically written text only, with links to other writing;
some titles include static visual images; it has been gradually evolving.
Network hypermedia - Predominantly exists on the World Wide Web (WWW);
currently without synchronous sound and video capabilities.
Text-generating software - Programs which automatically arrange words and
images.
8 - Focusing different cyberpoetries based in technologies, Capparelli,
Gruszynski and Kmohan (2000) have come to the following classification:
galleries and collections net - texts blocks or galleries, more
specifically visual poems; poems factory - computer programs which
generate text; sound poetry - some sound poetry sites which recapture
experiences from Marinetti's Futurism and Hugo Ball's Dadaism; declaimed
poetry - sites in which, for example, an actor or the poet him/herself
reads out his/her poems; new visual poetry - experiences which go beyond
the traditional visuality, producing 3D visual poems; kinetic poetry -
poetic genre in which animations are created in poetry by means of various
techniques;
9 - Among some study centers spread around the world, the Estúdio de
Poesia Experimental (Studio of Experimental Poetry) (15), site from the
Pontifical Catholic University of São Paulo, Brazil, which was coordinated
by professor Philadelpho Menezes (1960-2000), presents many verbal, visual
and sound poems that configure an on-line poetry anthology, with poems by
Katalin Ladik (
(
countries, turning the EPE into an online digital poetry world's
anthology.
10 - Although classified as digital poetics by Plaza and Tavares, we can
refer to Ricardo Araújo's experiences with Augusto de Campos, Haroldo de
are transformed into videopoetry and analyzed in the book Poesia Visual e
Vídeo Poesia (1999).
11 - At the Communication and Semiotics Program at the Pontifical
University of
Studies on Hypermedia and Labyrinth (16) presents some digital arts by
Silvia Laurentiz, Daniela Kutschat, Rejane Cantoni, and Lucia Leão. For
our study, the important contribution is Sílvia Laurentiz's (17)
recreation of the poem "O Eco e o Icon" (1994), by E. M. de Melo e Castro,
in 3D visual and sound interactive environment, produced in VRML2, in
1997.
12 - There is a "group of experiences which represents the convergence
between verbal language, image (static or dynamic), and audio in poetry
(Capparelli 2000). It is the hypertext poetry which presents "like a
number matrix in files and columns in the memory of a computer. Numbers
and pixels can be changed and manipulated, individually or in groups, and
the set can be translated into images on a TV monitor, or even in a
printed form. Any change in the numbers matrix implies a change in image."
(Plaza and Tavares 1998: 73).
13 - The interpoetry, that is, the hypermedia interactive poetry, created
by Philaldelpho Menezes and Wilton Azevedo, is another contribution to the
digital poetry: "Interpoetry has two meanings: interaction and
inter-signal poetry. The name, inter-signal poetry, summarizes the idea of
poetry that uses verbal and non-verbal signs. In the second semester of
1997 we started to produce poems in which sounds, images and words are
mixed, a complex inter-signal process, in a technological environment that
favors the presence of verbal, visual and sound signs, together with
hypermedia programs." (Menezes in Domingues 1999/2000: 98).
14 - Leading the creative use of the electronic media to the specific
objectives, creating a relationship between word and image by means of an
image editor: this is one of the many Melo e Castro and his Brazilian and
Portuguese students' experiences. In his route through verbal, visual,
concrete and digital poetry, Melo e Castro uses many denominations for the
digital poetry he creates. Infopoetry has the first meaning of
permutational poetry as he presented in Álea e Vazio (18), poetry book of
1971, especially with the poem "Tudo pode ser dito num poema (19)" (Castro
1990: 225-226). Videopoetry will be a concept, and in this field he is a
pioneer in
and video, in Roda Lume, 1968-1969, Signagens, 1985-1989, and Sonhos de
Geometria, 1993. Besides being a poet, Melo e Castro is also dedicated to
essay writing. Among his several critical and theoretical works, he is the
author of Poética dos Meios e Arte High Tech (1988) (20), in which he
discusses the media poetics (the intersemiotic net between oral and
visual, the photographic vision, movie, and mail art) and high tech art
(infoart, infopoetry, videopoetry, holopoetry, fractal esthetics, zero
gravity poetics, dematerialization, teleart, robotics, etc.). The same
infopoetry becomes another concept, that is, the poetry treatment related
to an image, which was called in his first experiences "Infopoesia /
Videopoesia: 1985-1993", and they are brought together in Visão Visual
(1994). In Finitos mais Finitos (1996), the poet registers two experiences
of 1995: the first, named infopoetry, resulted from a working paper in
Yale Simphosophia on Experimental, Visual and Concretic Poetry in 1960, in
word and image in a microcomputer, by means of Adobe Photoshop. The
second, called Cibervisuais (Cybervisuals), was part of the exhibition
"Poesia Visiva e Dintorni" in
1995. During 1997, Melo e Castro was an invited professor at Communication
and Semiotics Program at PUC SP and he conducted two courses: one on
Infopoetry and Sound Poetry, and another on Infopoetry in 3D. From these
courses, he created two other concepts: the 3D transpoetics, which
represents his individual and his students' poetic experiences with Adobe
Photoshop 4.0, Fractint V.18 and Corel Motion 3D 6; and pixel poetics,
which resulted in Algorritmos (1998).
15 - Holopoetry and the media poetry by Eduardo Kac, using interactive
work, transgenic art, telepresence art, and so on, are one of the most
important digital poetics. Holopoetry is a "new verbal/visual language
that exploits the formal semantic and perceptual fluctuations of
word/image in the holographic space-time", whereas the telepresence art is
"a new artistic creation area based upon the dislocation of cognitive and
sensitive processes from the participant to a telerobot's body, which is
placed in another space geographically remote.
16 - André Vallias is a graphic designer who works with multimedia, visual
poetry and electronic art. He had exhibitions in
action: each letter or fragment of image allows access to different parts
of his "Antilogia laboríntica [poema em expansão]". There is a fusion of
the present poetry, and many times it is written, with or without cuts,
and the set combines high-quality webdesign with an excellent visual
effect.
17 - "Computers poem", or "electronic poetry", by Gilberto Prado (from
Unicamp - State
poetry which presents a relationship that links Brazilian verbal poetry,
image and sound: a multimedia artist and a poet, both university
professors, join their theoretical, practical and creative knowledge in a
product that combines plastic arts and literature.
Without trying to exhaust the subject, which is in process and progress
day by day, these are some of the possible different digital poetries we
have searched up to present moment, which does not allow us to present a
general panorama, like Funkhouser or Capparelli, but enables us to notice
a delimitation: the denomination digital poetry refers to experiences that
involve a fusion of poetry with digital image in their various forms.
VARIOUS NAMES FOR DIGITAL POETRY
What terminology can be given to the poetry that yields, goes beyond,
superposes, interposes, passes by the word and "goes" to the computer? If
the mapping of the constituents of digital poetry as a genre has been a
constant problem, the denomination of these experiences has been another
and difficult problem also. Our searches lead us to a various names that
are sometimes based on experience, and sometimes based on the different
ways of making digital poetry. The list below is the first result of our
study: the title of the poetry, its brief description, and the authors who
named it. We adopted the alphabetical order.
Cine(E)Poetry - creative work of film and poetic video makers. The group
involved in this experience called LTV (Literary Television), is from the
file to be distributed to television, cable broadcaster, educational
institutions, and internet webcasters. The Cine(E)Poetry makes experiments
with visual image, using a video arrangement, film, animation, sound and
computational techniques, and all these non-verbal languages share a
special focus with spoken and written poetry as something essential as a
whole.
Click Poetry - David Knoebel's site (http://www.clickpoetry.com) (1996)
and his concept of uniting voice, words and images by means of clicking a
mouse.
Computer poem - Théo Lutz (1959,
Cybervisual - named by E. M. de Melo e Castro for a series of infopoems
which were presented in a collective exhibition in
Diagram-poem - non-linear experiences by Jim Rosenberg since 1966, with a
series of multi-linear poems called "Word Nets", that, from 1968 on,
evolved to the "Diagram Poems". Digital Clip-poem - Augusto de Campos in
his site (1997).
Digital poetry - newspaper Folha de S. Paulo (1999); term used since 1990,
especially derived from digital poetics.
Electric word - although using word, instead of poetry, Jim Andrews
presents some considerations about the use of the poetic word in a
digital-electronic context. (Andrews 1997-1999).
Electronic poetry - generic name given to the poetic experiences on the
computer (Funkhouser 1996).
Experimental poetry - name adopted by many countries, poets and poetic
movements: the Portuguese Experimental Poetry (decades of 60's and 70's),
a general Hispanic-Brazilian-American movement, according to Clement
Padin, from 1950 to 2000. In the International Poetry Festival of
poetry, gesture poetry, poetic performances, poetic actions and
interventions, videopoetry, virtual, digital or multimedia poetry,
holopoetry, and sound poetry.
Galleries and net anthologies - texts blocks or galleries, more
specifically visual poems (Capparelli et al 2000);
Holopoetry - denomination given by Eduardo Kac in 1983.
Hypermedia poetry- "includes graphics, moving visual images, and
soundfiles linked with (or instead of) printed text; a variety of
intertextual associations and graphical combinations are possible"
(Funkhouser 1996: 1/7)
Hypercard: Alphabetic and visual texts are arranged on a series of digital
filecards and linked to each other; some files include sound; the
supercard enables the use of video (Funkhouser 1996: 1/7)
Hypertext: Historically, written text only, with links to other writing;
some titles include static visual images; gradually evolving (Funkhouser
1996: 1/7).
Hipertextual poetry - George Landow (1995), use of non-linear model,
applying hypertext. Infopoetry - Melo e Castro, with two different
meanings, one in Álea e Vazio (1971) and another, in the paper The Cryptic
Eye at
Internet poetry - poetry in WWW. Interpoetry or hypermedia interactive
poetry - Philadelpho Menezes and Wilton Azevedo (1997/1998).
Intersign poetry - Menezes (1999) in the Studio of Experimental Poetry at
the Communication and Semiotics Program at PUC SP.
Kinetic poetry - poetic genre in which animations are created in poetry by
means of various techniques (Capparelli et al 2000).
Looppoetry - a cd-rom and concept created by Wilton Azevedo (2001) which
expresses the sameness as a poetical expression in multimedia environment.
Net poetry - poetry in the WWW.
Network hypermedia - Predominantly exists on the World Wide Web (WWW);
currently without synchronous sound and video capabilities (Funkhouser
1996:1/7).
New media poetry - term used by Eduardo Kac in an anthology of essays
under the same title (1996) written by Jim Rosenberg, Philippe Bootz, E.
M. de Melo e Castro, André Vallias, Ladislao Pablo Györi, Eduardo Kac,
John Cayley and Eric Vos.
New visual poetry - experiences which go beyond the traditional visuality,
producing 3D visual poems (Capparelli et al 2000)
Palm poetry - an experience made by Fatima Lasay (2001)
(http://digitalmedia.upd.edu.ph) and his students of Digital Media for DMF
2001 at the
the Universidade Presbiteriana Mackenzie, in
Permutacional poem - Nanni Balestrini (1970,
(1981,
Pixel poetry or pixel poetics - Melo e Castro (1998).
Poem on computer - Gilberto Prado and Alckmar Luiz dos
Poems factory - computer programs which generate text (Capparelli et al
2000); Poetechnic or digital poetics - Plaza and Tavares (1998: 119) do
not separate poetry from poetics, for they only denominate digital poetics
the several ways of making infographic image. The word, for the authors,
is the infographic image inserted in a larger context, although it has
meaning with the image, besides it, and/or independent of it. Plaza and
Tavares use Luigi Pareyson's concept of poetics (the various forms of
poetics have operative and historical characteristics) and Umberto Eco's
(poetics is an operational program initially proposed, or even better, it
corresponds to the project of formation or attribution of a given work).
Skin poetry - an experience made by Aloice Cristina C. Secco, Cecilia N.
I. Saito, Heloisa Helena da F. Carneiro Leão e Vera Sylvia Bighetti in a
cd-rom (2001) for the II Interpoetry Exhibition.
Sound poetry - some sound poetry sites which recapture experiences from
Marinetti's Futurism and Hugo Ball's Dadaism (Capparelli et al 2000);
Text-generating software - Programs which automatically arrange words and
images (Funkhouser 1996:1/7). 3D transpoetic - Melo e Castro (1998).
Videopoetry- although it refers to poetry made with video techniques (Melo
e Castro, Arnaldo Antunes and
can mean the video treatment to poems, as Ricardo Araújo did with some
Brazilian poets.
Videotext - language media and distributor of information by means of a
telephone as a means of broadcasting. Despite the use of the suffix text,
it was used for poetic production (Plaza 1986).
Virtual poetry or vpoem - Ladislao Pablo Györi (1995).
Web poetry - poetry in WWW since 1990.
As stated before, this list has not had the intention of covering the
subject as a whole, but only intended to show many names which have been
appearing as the digital poetry is being developed.
A KIND OF CONCLUSION
By decomposing the whole in parts, as we have done, does it allow us to
delimitate a "form" of digital poetry? Is it a valid process?
The sample we have collected throughout this essay has shown us different
routes which configure the digital poetry as one of the genres of the
present poetries. Above all, it is possible to notice that the use of the
poetic word as an unchaining element of the reading process that links
word, image and sound in a digital-electronic context.
>> NOTES and BIBLIOGRAPHY
Also by Jorge Luiz Antonio
Review: O Branco e o Negro >>
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Copyright 2001 Digital Media Festival.
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Fatima Lasay, Faculty-in-charge FA100/FA101/VC36
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