Plano Piloto Para Poesia Concreta
Concrete Poetry: product of a critical evolution of forms. Assuming that the historical cycle of verse (as formal-rhythmical unit) is closed, concrete poetry begins by being aware of graphic space as structural agent. Qualified space: space-time structure instead of mere linear-temporistical development. Hence the importance of ideogram concept, either in its general sense of spatial or visual syntax, or in its special sense (Fenollosa/ Pound) of method of composition based on direct-analogical, not logical-discursive juxtaposition of elements. "ll faut que notre intelligence s’habitue à comprendre synthético-idéographiquement au lieu de analytico -discursivement" (Apollinaire). Elsenstein: ideogram and montage.
(English translation by the authors)
Forerunners: Mallarmé (Un coup de dés, 1897): the first qualitative jump: "subdivisions prismatiques de l’idée"; space ("blancs") and typographical devices as substantive elements of composition. Pound (The Cantos); ideogramic method. Joyce (Ulysses and Finnegans Wake): word-ideogram; organic interpenetration of time and space. Cummings: atomization of words, physiognomical typography; expressionistic emphasis on space. Apollinaire (Calligrammes): the vision, rather than the praxis. Futurism, Dadaism: contributions to the life of the problem. In Brazil: Oswald de Andrade (1890-1954): "in pills, minutes of poetry. João Cabral de Melo Neto (born 1920—The Engineer and The Psychology of Composition plus Anti-Ode): direct speech, economy and functional architecture of verse.
Concrete Poetry: tension of things-words in space-time. Dynamic structure: multiplicity of concomitant movements. So in music-by, definition, a time art-space intervenes (Webern and his followers: Boulez and Stockhausen; concrete and electronic music); in visual arts-spatial, by definition-time intervenes (Mondrian and his Boogie-Woogie series; Max Bill; Albers and perceptive ambivalence; concrete art in general).
Ideogram: appeal to nonverbal communication. Concrete poem communicates its own structure: structure-content. Concrete poem is an object in and by itself, not an interpreter of exterior objects and/ or more or less subjective feelings. Its material word (sound, visual form, semantical charge). Its problem: a problem of functions-relations of this material. Factors of proximity and similitude, gestalt psychology. Rhythm: relational force. Concrete poem, by using the phonetical system (digits) and analogical syntax, creates a specific linguistical area-"verbivocovisual" -which shares the advantages of nonverbal communication, without giving up word's virtualities. With the concrete poem occurs the phenomenon of metacommunication: coincidence and simultaneity of verbal and nonverbal communication; only-it must be noted-it deals with a communication of forms, of a structure-content, not with the usual message communication.
Critical writing that references this:
| Title | Author | Publisher | Year |
|---|---|---|---|
| Electronic Literature | Scott Rettberg | Polity | 2018 |
| Of Presence and Electronic Literature | Luciana Gattass | Bloomsbury Academic | 2018 |
