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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. Albeit

   Multicolor hologram (WL transmission)

   Luciana Gattass - 25.11.2012 - 14:15

3. 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

4. Deus

   Minitel animated poem shown online in the group exhibition Brazil High-Tech (1986), a minitel art gallery organized by Eduardo Kac and Flavio Ferraz and presented by Companhia Telefônica de São Paulo. Upon close scrutiny, the apparently random letters and numbers that form the bardcode reveal hidden meanings (in Portuguese). When viewers logged on they first saw a black screen. Then, a small white rectangle appeared in the middle of the screen. Slowly, vertical bars descended inside the horizontal rectangle. At the bottom, viewers saw apparently random letters and numbers, reminding one of conventional bar codes. Upon close scrutiny the reader noticed that the letters formed the word "Deus" (God, in Portuguese). The spacing of the letters revealed "eu" (I, in Portuguese) inside "Deus". The numbers were not random either. They indicated the date when the work was produced and uploaded to the Brazilian videotex network.

   (Source: Author)

   Luciana Gattass - 25.11.2012 - 17:40

5. Storms

   An interactive hypertext piece based on the sefirotic tree of the Kabbalah. "Storms" is organized in vocalic and consonantal bifurcations. To navigate through the poem one is invited to click on a letter at any given time. In some instances, navigation can also take place by clicking outside the word. If the reader does not make a choice, that is, if he or she does not click on a vowel or consonant, or in some instances also on empty space, the reader will remain stationary. The poem does not have an ending. This means that one can continue to explore different textual navigation possibilities or quit at anytime. Originally a Hypercard stack, it is available below in an identical Flash translation. (source: author)

   Luciana Gattass - 25.11.2012 - 19:49

6. Accident

   Runtime looped animation in which language continuously emerges and disappears. As a speech fragment is repeated and letters disappear from it, new meanings emerge. (source: author)

   Luciana Gattass - 25.11.2012 - 19:55

7. Le tombeau de Mallarmé

   An engineer by training, Erthos Albino de Souza applied conceptual or physical mathematical models to the construction or deconstruction of texts. The graphic poem Le Tombeau de Mallarmé is a good demonstration of this process. He created a program for distributing temperatures and applied them to a heated fluid that runs through the interior of a tube. This program allowed a different design to be obtained based on the different temperatures of the fluids in the various sections of the tube. But since the engineer-poet coded his graphic system in such a way that each temperature scale corresponds to one of the letters of Mallarmé’s name, the result is that the letters are spatially arranged and form configurations that are vaguely reminiscent of Mallarmé’s “tomb.” By heating the fluid at different temperatures, he achieved different graphic schemes and thus different configurations of Mallarmé’s name, where the graphic sequence composes the poem.

   (Source: Itaú Cultural. English translation: Luciana Gattass)

   Luciana Gattass - 03.07.2013 - 00:54