Or that it is a visual poem and main examples

A visual poetry consists of a large junction between literature (or text of the poem) with visual arts (an image created through words). In a simplified way we can say that the visual poem is a poetry that is protected na imagem.

A visual poem works based on the união of words with special attention to the appearance of the final composition. A visual poetry to the organization of letters and words is fundamental, because a formed image transmits a meaning.

Despite being associated many times to a more recent movement (to concrete poetry), to truth than to visual poetry, which use both words and graphics available to communicate, there is much more time.

There are records of visual poems present from Antiguaidade. Approximately in 325 a. C. was produced, for example, or poem O Ovo, authored by Símias de Rodes, which is the oldest visual poem that was newsworthy.

Examples of visual poems

O ovoby Símias de Rodes

O Ovo This is the first visual poem that we have news and was written by volta from 325 BC. C., by Símias de Rodes, a nome important da grega literature.

Through the above translation, feita by José Paulo Paes, we observe how a child is about a poem that fails to do birth of one's own singing. The verses imitate or format of a ovo, fazendo with what form and content dialoguem addressing or theme of origin.

In spite of the concept of visual poetry that seems to be an innovation, it is worth noting that all of it has been written in origin and numbered (the word was originally handwritten, unmade). This is, a written word born of an image, which was socially convened by a common code. Despite the origin of the image, the writing was deglued from its graphic, visual component.

There are few ancient examples that survive from productions that explore the visual aspect of the text - two rare examples of O Ovo.

Lixo, luxoby Augusto de Campos

Or the most famous poem of concretism in Brazil, maybe it will be Lixo, luxo, written by Augusto de Campos in 1966.

A very tanned and visually powerful criação uma face criticism of society ao jump with the words Lixo e Luxo.

To use only two words - or luxo, which visually helps to compor lixo - or Brazilian poet provokes or readers to think about a series of interpretations possible.

Some of them will be: or would I want a luxurious life from thermos, would it sprout in us, or what would be better (or lixo)? Are we loose because we are inclined to search hardly or luxury? Those who are only looking for luxo são, na verdade, lixo? Does a consumer society stimulate us to accumulate lixo?

A creation of Augusto de Campos, bem happened, manages to provoke or read.

Aranhaby Salette Tavares

Published in 1963, Aranha is two main poems of Portuguese experimental poetry. Salette Tavares (1922-1994) was a Portuguese artist who began to breed from the 1960s.

Jumping like words, we see the creation of a feita aranha from simple oito traços. A word aranha, which is decomposed and recomposed, is transformed into the animal's own format. Além de carregar or contour of an aranha, make in each line in the presence of phonetic signs that allude to the animal in question.

Second to author Salette Tavares, the creation was inspired by the same numa brincadeira com os filhos, which goes to the top and to the bottom with a brinquedo aranha during the carnival.

Choveby Guillaume Apollinaire

Or French poet Guillaume Apollinaire (1880-1918) created in 1914 or celebrated Chove (not genuine Il pleut), a visual poetry that puts water drops in the direction of a or chão for the movement.

The verses, which imitate chuva caindo, are not written as usual, in horizontal, and in no vertical format, oblique, meant to be alone.

Or text it if it also fails, transmitting to the same message both through it and how much content is contained:

Chovem voices de mulheres as estivessem mortas immortal in remembrance
Chovem also found marvelous da minha life or droplets
And these steep clouds begin to neigh a universe of minimal cities
Escuta is chove enquanto a mágoa and or desdém choram uma old music
Escuta caírem os elos who challenged you at the top and embezzled
(translation by Sérgio Caparelli)

Carmina figurataby Rabanus Maurus

Carmina figurata was a kind of two older visual poem that was news, tendo commeçado to be bred by a volta of 350, during the Baixo Império Romano, and extended during a long period of story.

This type of creation appears in a cross format in the middle of a text, not a merely decorative principle, jumping with words in order to make a reference to the divine.

A top image is of a few creations feitas by Rabanus Maurus, a two writers who most work in figurative carmines. This type of poetry was deeply marked by faith and clarification of the devotion of both the author of the poem and the creation where it was inserted.

Snail, by Augusto de Campos

Or concrete poem snail He was raised in 1960 and digitally animated by his own artist from three decades, in 1995.

No visual poem three elements are displayed: a word, an image (in form) and or some of the poet's own reciting.

Na criação or poet jumps with the phrase "Place a mask", finding inside the word a snail, enquanto He presents an image of the snail animal, turning without stopping, appropriating the design of his own helmet.

Rio: or go, by Arnaldo Antunes

Um dos grandes nomes da contemporary visual poetry and poet and musician Arnaldo Antunes (1960).

Or seu poem Rio: or go It was built with a circular format, an octagon, giving an idea of ​​constant movement, which would be a metaphor for one's own life. A vogal o, positioned bem not meio do poem, is also a circumference. Or i, for the time, in capital letters, it can also be read as a bar. Or I play as words can result in other readings such as "hear" (which in Spanish wants to say ouvir) or even "laugh".

A word also lends itself to another reading: lay out the page differently or reader can experience lê-la ao contrarário: o go.

Poem object Marvelous by Ferreira Gullar

Ferreira Gullar was two artists of Brazilian concretism who most investigated the creation of object poems.

Marvelous This is an example of the type of parenting where the word is written on its physical support and has a need for interaction as a reader / spectator for the poem to function.

Nesse specific case of a side of the cube is written in the Greek word παράδοξον, which wants to say incomum, unexpected. That is the word that fica at the top, I charge the word marvelous. The object poem communicates not only through its own words, but also through the structure / content.

As different forms of visual poems

A expressão visual poetry can be used to define um amplo group of artistic produções that understand from object poems, going through digital poems, poems linked to or video, ao som, etc.

Uma forte produção em crescimento é a infopoesia, a new way of fazer poetry, not a computer, from a visual linguagem.

There are many possible ways to produce a visual poem. In a fairly generic way we summarize that, in this type of production, there is a mixture between a verbal linguagem (composts words) and a verbal non-verbal (composts images). Or support, for the time being, can be varied: or poem can be unpacked on the page, displayed on a computer cloth or projected on a surface, for example.

To visual poetry no Brazil

We are not a country to visual poetry we started in the 50's as a concretist movement. Some two great names of concretism for Décio Pignatari, Ferreira Gullar and the irmãos Augusto and Haroldo de Campos.

The year of 1956 was especially important for the group of poets because they will be able to bring the Exposição Nacional de Arte Concreta no MASP to the public.

We are all united by the same ideal: um desire for renovation of poetry e uma vontade to experiment uma nova aesthetic. The writers dessa geração investiram numa produção more enxuta, rigorous, that, despite being short, stimulated or read to think about multiple interpretações possíveis.

This new way of looking at poetry, jumping as an imaginary aspect, approximates this type of artistic creation of Design.

Another interesting point is that, despite worrying about aesthetics, concrete poetry is long overdue to be an empty form of writing poetry. The artists dessa geração will turn especially to the questão da social criticism, creating a series of denunciations that achavam that the Brazilian society was running wrong and, in a more general way, not a capitalist West governed by consumerism.

For this geração, poetry passed to be seen in another way, no more like a poem about something, but sim uma poetry centered on the same, uma realidade em si.

It is quite frequent to find succinct poems among the concretists, marked by repetition or by a word game, abolished or traditional verse (linear, rhymed and pontificate, for example).

Dessa epoch or the most famous book Theory of Concrete Poetry (1965), published by Pignatari e pelos irmãos Campos, bringing together the great works of contemporaneousness.

Find out more about this subject lendo or artigo Poems to understand concrete poetry.