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Holopoetry and Perceptual Syntax
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.
Luciana Gattass - 25.11.2012 - 13:09
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Holopoetry and fractal holopoetry: Digital holography as an art medium
A holographic poem, or holopoem, is a poem conceived, made and displayed holographically. This means, first of all, that such a poem is organized non-linearly in an immaterial three-dimensional space and that even as the reader or viewer observes it, it changes and gives rise to new meanings. Thus as the viewer reads the poem in space — that is, moves around the hologram—he or she constantly modifies the structure of the text. A holopoem is not a poem composed in lines of verse and made into a hologram, nor is it a concrete or visual poem adapted to holography. The sequential structure of a line of verse corresponds to linear thinking, whereas the simultaneous structure of a concrete or visual poem corresponds to ideographic thinking. The poem written in lines, printed on paper, reinforces the linearity of poetic discourse, whereas the visual poem sets words free on the page. Like poetry in lines, visual poetry has a long ancestry, which runs from Simias of Rhodes, through the Baroque poets, to the Modernists Marinetti, Tzara, Cummings and Apollinaire, and most recently to the experimental poets of the 1960s and 1970s.
Luciana Gattass - 25.11.2012 - 13:24
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Poesia Holográfica: as três dimensões do signo verbal
Lá pelos idos da primeira década do nosso século, no turbilhão dos movimentos de vanguarda, o desenvolvimento da linguagem cinematográfica levou Guillaume Apollinaire a afirmar que a era da tipografia havia chegado ao fim e que no futuro o poeta conheceria liberdades que naquele momento não eram sequer imagináveis. Se o famoso poeta calígrafo-cubista pecou ao ser taxativo sobre a futura simbiose entre a poesia e as artes gráficas, não se equivocou ao sentenciar profeticamente que a poesia ainda seguiria rumos imprevisíveis. Da mesma forma que a galáxia de Gutenberg provocou profundas alterações na cultura humana e a eletrônica, em plena era da telemática, é responsável igualmente por mudanças radicais -- a holografia traz um contundente questionamento das formas convencionais de percepcão visual e, ao introduzir um método de registro tridimensional, abre possibilidades totalmente novas nos campos da expressão artística e do conhecimento científico.
Luciana Gattass - 25.11.2012 - 16:45
