Holopoetry and Perceptual Syntax

Critical Writing
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Abstract (in English): 

The Holopoetry project creates a new poetic language through the improbable possibilities of immaterial, textual volumes, produced through the holographic process. The main problem in poetic expression today is not one of compositional unit (from letter to sentence), but one of syntax, which is no longer organized in a line (“undimensional flow of signs” — Max Bense), or structured on a flat surface (“a textual surface” — Bense). With holopoetry, syntax is organized in discontinuous space. Instead of reducing the rhythm to the limitations of a flat surface, holopoetry makes it possible to create a poetic language in which it does not matter if one is using phrasal, vocabular, syllabic or literal structures — expression is similar to the enigmatic states of conscience and spaciotemporality is used on an extreme, pluridimensional level of complexity. This new holistic perception, source of the fruition of real immaterial objects, volumes without mass, requires a response in the structure of language: the possibility to transform the instrument of intellectualization — the word — into a sign as fluid and elastic as thought. By taking over an optic or, better yet an optronic system of production, distributing the elements of the composition in the surrounding space and registering this information on a flat device, holopoetry launches a perceptual syntax, relativizing the cognitive process according to the different points of observation in space.

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Luciana Gattass