[-empyre-] Empyre Digest, Vol 14, Issue 12
Hi, Jim
Excuse for not answering sooner. I had to finish a chapter of my PhD
thesis in order to submit to my advisor professor until today afternoon.
Your comments about Ana Maria Uribe's opinions are very interesting and
do suit with the theme we are talking about.
I also want to know what poets are doing in Internet and on the web, not
only for studying their procedings, but also for learning more.
Electronic poetry is a so new poetics that I have seen so many
differents approachs even in one poet.
The other aspect I like to know from poets, and I always ask them in my
interviews, is how they feel the relationship with computational technology.
First of all, they are poets, but they feel, in a general sense, very
confident with technology.
Ana Maria is loyal to the letters as the source of her poetry. Even
having a concrete influence, her poetry is much more than concrete. Even
from 1950's, concrete poetry didn't use a computer as a way of making
poetry.
Concrete poets who started using computer as a way of making poetry were
influenced by this new language and went beyong concrete structure.
André Vallias started a diagramatic poetry, using the hypertext
structure, as we can see in "Antilogia Laboríntica".
Regina Vater, a great visual poet living in USA for many years, curated
a very important visual poetry exhibition. I like visual printed poetry and,
for me, it is the continuation of concrete poetry. And electronic poetry
came from visual poetry. So the site of Brazilian Visual Poetry is something
well done, the webdesigner made a good work.
When I was teaching Internet, Web and Hypertext in a postgraduated
course in a Brazilian university, my students stayed navigating in this site
during the whole classes, making questions, admiring the works.
Elson Fróes is a good visual poet from São Paulo and makes a good work
by divulgating poetries and poetry events.
Augusto de Campos is an excellent Brazilian example of poet who became
eletronic poetry. He learned to use a computer, webdesign techniques and has
good works. He calls his eletronic poetries as digital clip poems. I
included Augusto because he is not concrete poet, but became familiarized
with computational techniques.
Even being from Portugal, but living for many years in Brazil, E. M. de
Melo e Castro is another great visual poetry (in Portugal he was a pioneer
in videopoetry and one of the leader of Experimental Poetry - that is,
visual poetry) in 1960's) who passed to use computational technology for
poetry. During two courses in São Paulo, in 1997, he developed a
relationship between image and words in an image editor of a computer. He
called it infopoetry.
I am at entire disposition of the other members of Empyre to talk about
poetry.
Thanks for your good comments, Jim. I could notice you are more and more
interested in our electronic poetry.
Jorge Luiz Antonio
Brazilian Digital Art and Poetry on the Web
http://www.vispo.com/misc/BrazilianDigitalPoetry.htm
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Today's Topics:
1. RE: A Panorama of Brazilian New Media Poetry (Jim Andrews)
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Message: 1
Date: Thu, 11 Mar 2004 03:14:01 -0800
From: "Jim Andrews" <jim@vispo.com>
Subject: RE: [-empyre-] A Panorama of Brazilian New Media Poetry
To: "soft_skinned_space" <empyre@lists.cofa.unsw.edu.au>
Message-ID: <DCEIJDHNAAEEKPKFBEALGEDPDGAA.jim@vispo.com>
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Hi Jorge,
I liked what the Argentine digital poet Ana Maria Uribe said in your
interview
http://www.officinadopensamento.com.br/officina/entre-vistas/entre-vistas_an
a_maria_uribe.htm with her about collaboration, inspiration, and influence:
"Rather than being a source of inspiration, getting to know other digital
poets via the Internet has helped me a lot in many ways. My source of
inspiration - as I say elsewhere - are the letters themselves. I never
participated in a collaborative work, although I made pieces for certain
websites, like "Zoo", for "The Banner Art Collective"
(http://www.bannerart.org), and "Deseo - Desejo - Desire"
(http://www.ce.canberra.edu.au/inflect/01/uribe/eroticos.swf), for Muriel
Frega, who was putting up a page on desire. Exchanges in sites like
Webartery taught me many things I might otherwise have missed or never
tried..."
To me also it is not so much a matter of wanting to collaborate that is the
root of wanting to get to know other digital poets and artists and their
work, but what Ana Maria mentions, ie, a desire to see what other people are
doing, how they're doing it, why they're doing it, where they're publishing
it, why they publish where they publish, what they say is the phenomenology
of the media/um they use, what role the activity of making art occupies in
their life, where their work 'comes from' in relation to other art or
whatever, what sort of synthesis of arts, media, and whatever else they are
attempting...in other words, how they live it, their poetics, and what that
says not only about who they are and their art, but the larger contexts in
which they feel their work is operative.
Ana Maria says her source of inspiration is the letters themselves. That
attitude seems to be evident in her work, ie, the sense of language that I
get from her work, though it is concrete in influence, arises mainly from
the geometry of the letters themselves, the secret life of letters in
relation to actions and characters from this world. I wonder whether "the
letters themselves" is literal or an indication of artistic/intellectual
independence from any group or 'school' or whatever? Probably both, as it
should be. It is important to have one's artistic and intellectual
independence, whatever associations we may have. Also, this concentration on
the letters themselves, coincidentally, is part of what makes her work
accessible to an international audience.
Among the links you gave us, some of which I happen to have visited already,
was http://www.andrevallias.com/site/poemas and
http://www.refazenda.com.br/aleer , by André Vallias, which I had not
visited before. These 'poems' map poetry, the page, the verse, and the
'metric foot' into a more deformed space, and with no explanation but simple
actions. They are an interesting experience of poetry as other than it is
commonly realized.
I also enjoyed http://www.imediata.com/BVP , which has a pretty good
interface into a fairly large collection of works, although the central
space in which we view the work itself is a bit small for much of the work,
ie, the work is sacrificed to the interface, somewhat. Not so in the case of
http://www.desvirtual.com/recycled , which is part of the show. And this is
part of Giselle Beiguelman's http://www.desvirtual.com which is a pretty
significant site in digital poetry.
I also revisited http://www.popbox.hpg.ig.com.br by Elson Fróes, which has
been up on the Web for many years and keeps changing, ie, it is an active
site by someone who treats their site as an important part of their artistic
publication.
And I revisited http://www2.uol.com.br/augustodecampos/poemas.htm by Augusto
de Campos, a granddaddy of concrete poetry, a page which has poetry by him
dating from 1953 to 1997. It is interesting to sample different times and
compare them.
Thanks for the links and the introduction to your concerns, Jorge. I wonder
if others have questions or comments for Jorge?
ja
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