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ano 2 n.3 2006 –
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AZEVEDO, W. Interpoesia e interprosa: escrituras poéticas digitais. Texto Digital, Florianópolis, ano 2, n. 2, Dezembro 2006.
INTERPOETRY AND INTERPROSE: digital poetic writing
Wilton Azevedo
Doutor em
Comunicação e Semiótica – PUC/SP
Universidade
Presbiteriana Mackenzie
Translation by Jorge Luiz Antonio
ABSTRACT: This work points out to the importance of extracting from the concept of
intepoetry interprose the concept
of expanded writing – already pointed out in my previous texts – taking into
consideration the change in perspective of what we adopt as credibility, and
the notion of volatile content of the hypermedia discourse.
KEYWORDS: Hypermidia, poetry, poetics, literature, linguistics and
communication
Ts'ui Pên, learned man in several disciplines,
governor of his province, famous poet, decides to resign to everything to
dedicate his life to build a labyrinth and write a book. During many years his work
is not understood: who reads it notices a chaotic and disordered text, in which
it is not possible to recognize a sequential development of the axes. A man who
knows how to correctly interpret this creation recognizes Tsúi
Pên intention: the book and the labyrinth were not
independent works, but a single object. What the writer intended was to create
a text that need not to choose for a single alternative, but that could gather
all of the possibilities of a narration (VOUILLAMOZ, 2000, p. 80): “in Ts'ui Pên´s work, all of the
endings happen; each one is a starting point of other bifurcations. (BORGES, 1972, p. 105).
Digital
world brought for us the possibility of creating alternatives in the
communication process and establishing several levels in these interactive
relationships. It was, in this trajectory, that some time ago I wrote a paper
emphasizing and pointing up the relevant aspects of these relationships, which
I opportunely called "Hyperdesign: A Culture of
the Access." (AZEVEDO, 1998, p.28). This text
began quoting Michael of Certaux that says: "The
memorable is what one can dream of a place". It was, thinking about the
possibility of the memory to occupy a space in a virtual atmosphere,
that I intend to clarify, in this text, what is instigating me.
In 1989,
Philippe Quéau wrote the book Metaxu
(QUÉNEAU, 1989) in which he pointed to the importance of a revision for the
texts about the human cognition before virtual atmospheres, pointing out an
evolution of the biological concepts and the need of an improvement in the
simulation processes through digital technological apparatuses, as it had
already described in his work,
If we
observe artistic productions as a language in evolution, we will notice that
the established frontier notion of code for code is much clearer when we worked
with apparatuses that propitiate a expanded product,
that is, digital media. The poetics in digital supports crosses the sphere of
the metaphors and enter with determination in the world of the mathematical
models of binary language so that we can simulate and, at the same time, to
give to the receiver the opportunity to complete the work.
Verbal,
visual and sound languages are always operating in the limit of the
representation, proposing analogies or metaphors in the context of this
expanded deed, “The metaphor can explain, sometimes with a lot of light, but it
lacks true decline capacity. One always represents a character more or less
appropriate." (QUÉAU, 1995, p. 35). As for the
mathematical model in deed form, this can try proving his/her internal
coherence inserted always in a real context.
Starting
from that, we can say that the intermediary concept only happens among
interdisciplinary processes as it is the natural case of the hypermedia, and,
reminding Certaux again, we open this comment with
the possibility that "dream and memory" can be read as two entities
that we have always tried to represent and simulate to break the frontier
limits among the languages, that is, we tirelessly continue inventing machines
to transpose the limits of our so programatic human
language.
In the
exercise of the transposition it is that we give, to the these entities, the
power of wining the established limits, and we remember for some instants our
histories recognizing them registered by these technological creatures that
apprehend our souls inside of the machines which work according to its
creator's pattern. With this, the artists of these new media end up producing
"intermediate" languages for they could be expressed in an expanded
way, "... and it will take advantage of their 'artificial life' to create
works in perpetual genesis, almost alive processes that modify themselves in
function of a context." (QUÉAU, 1995, p.35).
Before this
new realm, the largest border to be passed over is the bordering line that
migrates from an atmosphere-material-real to an atmosphere-potential-virtual
one. "The virtual spaces are equivalent to fields of data and each point
can be considered as an entrance door to other field of data, having a new
virtual space that drives its time to other spaces of data." (QUÉAU, 1995,
p. 38)
Every language
exercise associated to the hypermedia concept, inside of this aspect, begins to
provide an open system of communication - originator and receiver - without
defined limit, starting to configure a new space notion in which one does not recognize neither the beginning nor the end of this
system.
as
conceptual outline, it has many meanings and offers multiple occurrences,
multiple accesses and reading, so that it is possible to recognize a certain
analogy among the hipertextual model developed by the
computer science and the multiple meanings so complained by the field of the
literature. (VOUILLAMOZ, 2000, p. 74).
The transit
of this new expanded writing ends up winning for consequence an entire new
concept of what can mean: the words, the sounds and the images. I say this in
the plural, because it is not treated here of having signs always with generic
characteristics and yes a program in which one can identify the subtle
differences that happen when they migrate from a system to another one, as explains
Núria Vouillamoz:
The
historical projection of the language makes the word to see itself overloaded
of multi-linguistic intentionality and, for so much, it contains a constant
dialogue of its ambiguous semantics: the significant condition of the word 'is
not ended, but open; it is capable to discover in each new dialogic context,
new semantic possibilities (BAKHTIN apud. VOUILLAMOZ,
2000, p. 76).
Concerning
to the questions of the linked virtual element to the meaning of the words, it doesn't
remain more doubt, mainly after Ferdinand Saussure's
studies, that the word always carried with itself a condition of open meaning
in the formation of new language products and, why not to say, of new poetic
ones. With this point of view we started understanding better that every fruit
of an hypermedia operation has its source in the processes of literary
construction and its writing characteristic, once its mathematical model in the
simulation process goes on expanding – not only in the literature but also in
the hypermedia - trying to occupy more and more in the virtual atmospheres a
moving writing, without beginning, middlef and end,
without originator and predetermined receiver, being this writing of digital
synthesis the bearer of an almost artificial intelligence.
We need to
understand that digital supports of the hypermedia world started configuring a
new space notion, concerning to representation.
The form of
the poetic text is own. It is already a drawing, it is shown in verse, it
configures a new space in the parchment, on the page or on the screen, time and
space looking for themselves, being put upon. The
first theoreticians noticed this collusion in forms and of codes. (OLIVEIRA, 1999, p. 12).
What the
vision embraces in an only glance, he (the poet) enumerates for us slowly,
little by little, and a lot of times it happens that, when the last presented
line is shown, we already forgot the first one (...) for the vision, the
contemplated parts are constantly conserved present, it can travel them how
many times one wants to; for the ear, however, the heard parts are lost, if one
didn’t have recorded in memory. (LESSING, 1992, p. 122)
It is, then, that, in the
hypermedia realm, we see this traffic of writings. The virtual world is an imaginary
border, of ethnos, languages, cultures and ideologies, that end to a
globalization before this writings / software which allow that the human being
today is recognized in his/her digital writing, with the same index of the
digital marks of the palm of the hand that immortalized him/her in the desktop
of the caves.
There is no
innovation as the virtual power of the language, whatever is the code.
The signs
created by the human being in images sequences, that were if transforming
little by little into intertextual texts, always
proved the capacity of virtually migrating before the materiality that this
world was presenting through the unfolding of their phenomena for other fields
of our perception, definitively conquering new places which are characterized
and are presented in these virtual environments.
This
expanded product, which came from this virtual migration of codes, is being
only possible with the poetic exercise in the digital supports, exercise that
began from programmatic form with the manifestos of the modernity of the
century XX.
We can say that the culture
of the representation, of the simulation and of the emulation, already this
impregnated in our minds which lives together much more with the copy and the
simulation through the technological apparatuses, than with the world that
comes before our eyes, without the intermediation of these same
apparatuses.
The beginning of any
communication system was always the obvious: send and receive messages. What we
attended is the sophistication of this method, is the
human language going by an important period of our history, these digital
apparatuses that disseminate images, text and sounds, in an expanded way, copy
and simulate with such competence that we ended to forget our vicarious state.
This sophistication puts us
impotent due to the amount of received information, and we ended to lose the
notion of what can be believable, to administer the reception. If coincidence
or no, the frontier relationships through the virtual spaces, proposed by the infoways, are bringing fundamental changes for the mankind,
in what concerns behavior, attitude and ideology, however, the virtual
migration of the cyberspace is going much more beyond than any experience lived
by the humanity, for it is a language that locates in the limit of the
applicability, that tests our levels of interactivity of the point of view of
the cognitive, perspective and of the intervention, giving to the public also
originator the possibility to turn into a site in traffic, bearer of a writing
in that the limit will still be under the responsibility of the human language.
There is why to make
ourselves threatened if we raised thoughts came from the registrations produced
by the technology, and I refer here all of the registrations produced by the
technology, the verbal, resonant and images ones, as those in writing
form.
Since we can have access
anywhere and time to those grocery stores of signs, files that contain the
human knowledge in a partial and aseptic way, which is contained in a click of
a mouse, it started to be opportune to unmask this new writing that we are
having contact many years ago through videos, television vignettes, internet,
CD-ROM, blog, fotolog and
the pocket cameras used as pens. In other words, what understood today for
book, text and literature, and their narrative consequences, will not be
analyzed by the new digital supports - hypermedia - if we don't turn our
attention to the larger need than the human being has in producing writings
with or without "the blood of his/her own body", in the intention of
throwing the exercise of the ephemeral in form of eternal.
According
to Plato, in 'Fedro' (2002), when Hermes - or Thot, supposed inventor of the writing - introduced his
invention for the pharaoh Thamus, he praised such an
unheard technique, that must allow to the human beings to remember that, in
another way, they would forget. But Thamus was not
entirely satisfied. 'My skilled Thot' he said to him,
'the memory is an important talent that one should maintain alive by a
continuous exercise. Due to your invention, people won't be more forced to
exercise their memory. They will remind things in reason of an interior effort,
but just because of an external need. (ECO, 2003, p. 6)[1]
This external procedure produced by the technologies have brought new epistemological cuttings for the
investigation of those new writings. The new proposals for historiography methods
makes us to review us some theories on the human language, not only as a system
of memory registration of the species, but also as a system of articulation of
signs which live stay in interdisciplinary migratory traffic in what concerns
to the language as a system in expansion.
Historiographical
and archeological documents they stop more and more being documents as the
papyrus, bones, or even the stone workmanships, but the one of the language
that we spoke and the studies of the genes. The idea of an evolutionary
language in expansion can be noticed by the articulation of the writings
adopted by the software of digital culture and of as, every day, we can
elucidate that a cultural reformulation of making poetry and of the production
of the knowledge which doesn't just go by the verbal writing, but in the
composition of a writing that embraces image and sound signs in an expansion
apprenticeship. It is inevitable to consider the technological progress as an
information for the expanded writing, for it puts in check the own artistic
production and making poetry of the last hundred years.
The
population density was already detected as an agent propeller of the
geographical and cultural expansion, and the language as expansion form and its
language due to the use. What still didn't get to detect is that the human
language is in a moment of hybridism as a result of this demographic and
technological expansion.
As well as
the first navigations they were one of the main factors for the human expansion
of culture and ethnic mixtures, the digital culture, through their hypermedia
systems, offered this same transformation diagram through the virtual migration[2]. It is not worthless that we use the same verb “to
navigate" for this same action of clicking and to penetrate this narrative
labyrinth, a new stage so that codes that lived in isolated matrix systems,
verbal, visual and sound ones, pass, starting from the era of the software, to
explore new forms of making to notice themselves as language.
The Italian
author Luigi Luca Cavalli-Sorza has been making a
study called Genic Geography, analyzing the forms of
expansions that include the breaking of the barriers of the language, about
what we spoke before, and its growth as for a numeric expansion of the
geographical occupation. The author says:
Our analyses show that, in
general, all the great expansions were due to important technological
innovations: the discovery of new sources of foods, the development of new
means of transportation and the increase of the military and political power
are particularly potent agents of expansion. (CAVALLI-SFORZA, 2003, p.130)
The problem proposed by Cavalli is that not always the technological revolutions produce
demographic growth and population expansion; and I can say that is exactly in
this o apparent growth that the language, or better, the human writing expands;
it grows in the migratory sense and semiotic one, articulating other signal
sources to divide the cake of the spread of the poetic knowledge.
It is logical that this
expansion process - expanded writing - doesn't just happen for the propagation
of the knowledge of this technology, diffusion of a digital culture, but for
the use of this as manifestation of hypermedia making, taken ahead by the
artists, poets, philosophers, educators and many others who found in those
authorship softwares a new form of making oneself
understood or to try. Today, the form of population diffusion is given in way not
only by presence - tumbleweed -, but also my migratory presence is made by the
language that I propose to the other to be able to navigate, or better,
potentially write, to interfere in my writing. Phillipe
Bootz (2003, p. 5-6) gets the attention for this
process when he talks about the concept of the interpoetry,
"... Manipulating flows of moving signs among different semiotic systems
and that its role consists of dominating the aesthetic possibilities (...) as a
new one 'reading area'... ".
Bootz continues mentioning a
passage of the Digital Manifesto:
[...] it comes a poetry that
puts the public as main agent in the creation and intervention, in the way to
read and of obtaining new signs every minute. So it was born the Interpoetry, an intersign exercise
that leaves evident the meaning of sign traffic of the digital media,
unchaining what one can denominate of a new one Era of the reading. (AZEVEDO apud BOOTZ, 2004, p. 5-6)
In general
and without a doubt, it is through the inventions and through the use of new
technologies that the poetic experiment was made present in the new media.
The
languages change very fast and it is hardly difficult to establish clear
relationships among those distant ones. With the time, great phonological and
semantic changes happen in all of them. The magnitude of those changes makes
complex the reconstruction and the evaluation of the common aspects among
languages. Grammar also develops, although almost always in a rhythm
sufficiently slow to allow the recognition of older linguistic relationships.
Under the pressure of the phonetic and semantic changes, a language soon
becomes incomprehensible. (CAVALLI-SFORZA, 2003, p. 182)
As well as a word loses,
with passing the time, its original meaning, there are note precise methods yet
to notice how much this loss makes a new language to appear or, with the time,
a new language.
In biology,
we have the advantage of using several proteins or sequences of DNA to obtain several
independent estimates of date of separation of two species. Unhappily, in
linguistics it doesn't exist the same variety and
wealth of data to corroborate our conclusions. (CAVALII-SFORZA, 2003, p.183)
The study
of the poetic to the beginning of the XXth century
turned the verbal code as privileged part of that focus, but it was in the
semiotics that the poetics found a larger transit - inter- and intra-codes,
making us to remember of the poiesis that means
creation.’
The
cultural aspects as for the credibility of the understanding and the knowledge
production were linked just to the technology of the writing, as questions
Alberto Manguel (1997). So, we will see that the
attempts of a semiotic practice make us attentive to the fact that the verbal
code, as articulating of signs - software -, made change its outrage
referential of this to historical "come to be" as registration form.
With the world of numeric writing which came from culture of digital supports,
the verbal language, which has as model an alphabet, had its praxis transformed
into a lot in the obtaining what we could call as analytical content.
With this tradition, we noticed that the algorithm is nothing else than a
writing that, every day, stops being a mathematical model of simulation,
passing to the condition of hypermedia intercode or
expanded writing.
Pierre Lévy (1996) points out to this information that belongs to
the own action of reading, and that, one way or another, more and more the
conventions belonging to the own code can be rotten:
The
passages of the text virtually establish a correspondence, almost an epistolary
activity that we, well or badly, update them, following or no, in fact, the author's instructions. Producers of text, we travel from
a side to another of the space sense, upholding on a
reference system and of points, the ones which the author, the editor, and the
typographer have based on. We can, however, to disobey to the instructions,
take traverse roads, to produce interdict folds, clandestine knots of nets, and
do to emerge other semantic geographies. (LÉVY, 1996, p. 36)
If
everything improves, why would not the poetic go by this improvement process,
or better, of updating? To each step, the specialists see each other in the
impulse of creating new terms for a classification of their studies or test the
“effectiveness of a method” (TELES, 1996, p.14).
What we see
of this linguistic tradition is that the language figures or signal creatures
is that, created when we are in the exercise of the torment which is the
creation, a lot of times and, frequently, they are identified in other codes,
as the sound and visual one, but we hardly see situations in that a code
doesn't illustrate the other, what does with that a lot of times these
languages are endowed with extreme technical wealth, but of an incomparable
poetic emptiness.
Terminologies
are created as a type of “verbal disease” or, as pointed for Max Muller (apud TELES, 1996, p. 14), in the attempt of creating a
scientific knowledge, what is not different in the study of the poetics. In
this, it is necessary to have the same rigidity if we want to place her inside
of the digital world. Then, why did the humanity run behind a technology that
could update the concept more and more of “to read”, “to see” and “to hear”, if
the sign systems of the word were already ready for thinking?
We are
still experimenting how to use this new digital media for thinking of thematic
contents, but certainly with a media that, besides containing the word, it also
contemplates, in its support, sound and image, taking us to another world that
is not just verbal, but sound-visual one, simulating a sensitive world of the
perception, formatting the culture of the human glance in numeric models -
programs.
In this
sense, we can say that the cognitive relationships for the
acquisition of the reflection has changed. As it was already said, the
memory exists, today, in the electronic files of easy access, in an
interdisciplinary activity that it contains human entities and machines, put in
nets of accesses in the whole world.
If we think
with attention, nothing is new in what refers to virtual image and its concept.
Only to remind, in
Wanting or
no, the whole speculation on virtual spaces and how to write them and to enroll
them seem to have metaphysical data. That is because nor is everything that we
see in these environments simulation (HEIM, 1993). The body of the hypermedia
writing brings us formidable information that it is the articulation of codes.
Anything that it is in a computer screen has to see with manipulation, but with
articulation. With the property of the verbal and sound sign, there were never
doubts regarding to the virtual character in those two ways of signs. The sound
only passed to be manipulated with Pierre Scheaffer's
concrete music, and the same can say of the concrete poetry by the Noigandres group, then the concrete information of those
signs that have passed to be manipulated, or better, mounted and not just
articulated[3].
The
typographic aspects of the words and of the sentences cannot be forgotten as a
signal process for the formation of the writing. (DUBOSC: BÉNABOU: ROUBAUD,
2003, p.106)
Plastic
arts always operated the manipulation, the matter, from their pigments to the
sculptural resistances with the law of the gravity; therefore the resistance
with the computer on the part of some artists. Marcel Duchamp,
with his sentence "Dream of an art type that one doesn't have to put hand
on it", it already pointed for this state of
articulation state which came from the physicality of the
artistic object, giving for the future artists from the last century the
responsibility of the artistic concept: to create virtual creatures, ready-made
and, later, the Art as Idea, as proposed by Joseph Kosuth
in One and Three Chairs, in 1965.
In the poetics
of numeric synthesis or expanded writing, everything is articulated, nothing is
manipulated, nothing is not set up, one says
“reading", as in the mathematical origin one thought of algorithms. Of
course a long time one thought on the subject regarding the asepsis this new
from of writing:
Asepsis of the simulacra is not combated introducing in them noises,
dirties or gestures which break stabilization, but building algorithms richer
and richer and more and more complex... closer and closer to organisms of the
alive ways. (MACHADO apud.
AZEVEDO, 1994, p. 155)
The question is to know what
the most expressive poetic way becomes concerning to its autonomy, without
having to combat the asepsis. The established traffic between the daily
language and the poetic language is what is characterizing an exercise of
endless citation in the digital supports. Here it is important we make a
distinction of the term "citation". For this focus I am proposing, in
the action of programming a language, we noticed that this exercise of
articulating parts seems to us as if it were a wholeness of a word, of a sound
or images, that makes and becomes these poetic interpoems.
It is the no breaking of this
autonomy that daily language has, and that is what makes poetry when it is
programming. The metalanguage already comes ready
because today we may have the collection of almost everything produced by the
humanity. Cristóvão Tezza
talks about the concern that there was with the idea of breaking with certain
degree of the autonomy of the words:
The function of the art
would be then to break this automatism, to call the attention for the own
medium, for the own word. It is in this ' to look for himself/herself' that the
poetic language would stay, standing out of the vulgar, prosaic, common and
practical language. Starting from this dichotomy, they grow up new analysis
categories: the 'disautomatization', the
'strangeness' or, in the most precise words of Jakobson
(1923), the 'organized deformation' of the common language for the poetic one.
(TEZZA, 2003, p. 118)
It is
interesting to notice that even the strangeness idea was already explored by Jakobson in his proposal of "organized
deformation"; the one that one didn't know is that exactly the opposite,
in other words, the sameness, would be explored in the sense of creating this
"strangeness". Carlo Ginzburg proposes this
same "strangeness" as a moral "attitude before the world"
(TEZZA, 2003, p. 119), but the truth is that the strangeness proposed from that
time of the Dadaism belonged to a condition of the signs in form of codices,
seen and understood as "noise."
On the
direction contrary to that that I pointed to articulate and to disappear any
aseptic information of those programs in Looppoesia[4], when we started to understand them as writing, and I
insist that we are articulating again in a signal registration that gives us
the possibility of practicing traffics of interpoetic
intermediarities of the word, sound and image towards
an expanded writing [5].
If we
articulate this writing of the digital supports, its aseptic information
disappears almost entirely, because we are not be
limited for we be bearers of an alphabet. The same happens with the software or
this form of writings. Inside of this picture I can affirm that it was never
written as much as now. We wrote the sound, the image and, more than never, the
text, registering our knowledge in a less plane, two-dimensional way. With
that, we started to win the three-dimensional space of the writings that is the our own form of thinkomg,
trying and knowing, as it stated Theodor Nelson.
However,
one could not leave, once again, to say that are just representing our speech
to the humanity. It is a moment of extreme importance in that experiment and
practice started being very close. Everything we articulated in these writings
doesn't exist in natural way, raw, of full syntax. What called "post"
is just our reduced and comical way of not assuming that we started mentioning
our own knowledge, in other words, we articulated what already know, the
modernity still didn't become exhausted.
It is
exactly this articulator power that we, human beings, have to experiment signs
not always conventional in our daily like, mainly when the technology puts us
in use true semiotic machines, with them we should learn how to leave our
poetic registrations in a new format of vocabulary, "... one of the
amazing things of the human language is this of, starting from a small and
closed system of phonemes without sense, to arrive to the articulation of
thousands of words and the thousands of possible significances in the common
vocabulary,... (TELES, 1996, p.19).
To end, the practices of
this experiment with languages is old as a science of the experimentation, it
is part of the signal body of the codes to be articulated in form of semas that serve and they will continue serving as line
moved forward for the human aesthetic creation, but with our certainty of
putting in practices a new one era of the narratives.
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<REVISTA
TEXTO DIGITAL>
[1] Lecture pronounced for Umberto Eco in
[2] There is a study I
made which was registered in a lecture given in
[3] This concept made me
to remember of one story Décio Pignatari
told me, in 1983. He didn't get to find somebody in São
Paulo that managed to do graphic types of lead - typography - starting from a
size of enlarged body, so that he produced the visual aspect of the word that
he wanted for the poem to become visual. Until then he found a gentleman in the
Vila Verde district, a neighborhood of the North Area of São
Paulo city, that intended to do it for him.
[4] Looppoetry. The Poetic of the Sameness - Cd Rom 2001.
It will be launched this year by the Presbyterian University Mackenzie through Mackpesquisa. This work was presented for the first time in
the E-Poetry, in
[5] Availabe in: www.mackenzie.com.br/interacao/www2003/