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1. IO (Kac)

   Three-dimensional navigational poem in which the letters/numbers I and O appear as elements of an imaginary landscape. IO is "I" in Italian. In this piece it also stands for reconciled differences (one/zero, line/circle, etc.). The reader is invited to explore the space created by the stylized letters/numbers and experience it both as an abstract environment and as a visual text.

   Scott Rettberg - 30.01.2011 - 23:38

2. Ouroboros (aka. Uróboros)

   Ouroboros is a visual poem whose words are surrounded by the connection wire of a computer. It associates words and image of the cyberculture. "Ouroboros" is the metaphor of the ouroboros, a circular symbol of a snake or dragon devouring its tail, standing for infinity or wholeness, which starts to represent the connections of the human beings to the world of the computer science, therefore, an electronic uroboros.

   (Source: Jorge Luiz Antonio)

   Luciana Gattass - 08.11.2012 - 16:15

3. Electric Poem

   November of 1960, date of the “Electric Poem”, by Albertus Marques (1930-2005), can be considered as the pioneering time of a poetic experience with the electronic media. It is

   "one electric poem, in which the energy is supplied through piles. The reader pushes a button and it appears in the center of the screen - white field - the word END. Until the moment that the person completes the action of pushing the contact, anything is revealed, or else, the possibility and the power of an action. As soon as the reader releases the button, the word disappears, therefore its emergence and permanence depend exclusively on the action of pushing the contact." (MARQUES, 1977, p. 156).

   To the similarity of the future electronic poetries, and reminding the 0 and 1 of the binary system, the poem demands the reader's interaction that will produce meanings starting from the white field, button and of his/her initiative of pressing it.

   (Source: Jorge Luiz Antonio, 2008: 19)

   Luciana Gattass - 08.11.2012 - 17:06

4. Abracadabra

   Multicolor hologram (WL transmission).

   Luciana Gattass - 25.11.2012 - 02:24

5. 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

6. 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

7. Quando? (When?)

   360 degree hologram with 720 degree textimage: 10 x 50 inches, 16 inches in diameter. Self-contained display includes clear acrylic cylinder and rotating metal display unit with bulb.

   Luciana Gattass - 25.11.2012 - 13:55

8. Lilith

   Pulsed hologram (WL transmission).

   Luciana Gattass - 25.11.2012 - 14:11

9. Albeit

   Multicolor hologram (WL transmission)

   Luciana Gattass - 25.11.2012 - 14:15

10. Não

    Created in 1982 and presented on an electronic signboard in 1984 at the Centro Cultural Cândido Mendes, Rio de Janeiro (in Portuguese). "Não!" is organized in text blocks which circulate in virtual space at equal intervals, leaving the screen blank prior to the flow of the next text block. The visual rhythm thus created alternates between appearance and disappearance of the fragmented verbal material, asking the reader to link them semantically as the letters go by. The internal visual tempo of the poem is added to the subjective performance of the reader. The poem was realized on a LED display.

    (Source: Author)

    Luciana Gattass - 25.11.2012 - 17:05

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