Relevant bibliographies by topics / Experimental poetry

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Experimental poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Experimental poetry"

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Rahmawati, Aenun. "Reading poetry based on video modeling techniques of poetry performance records." LADU: Journal of Languages and Education 3, no. 3 (March 31, 2023): 129–38. http://dx.doi.org/10.56724/ladu.v3i3.198.

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Background: Reading poetry is an effort to convey the poet's message to his listeners. Purpose: This study aims to analyze the process of learning to read poetry and improve results. Design and methods: This experiment analyzes the improvement of the learning process, including the stages of attention, retention, reproduction, and motivation, as well as the improvement of student learning outcomes when reading poetry in terms of intonation, pronunciation, volume, gestures, and expressions. This research was conducted on Literary Club extracurricular students at SDIT ALIF. The method used in this study is a quantitative experimental method using the video modeling technique of recording a poetry performance by Helvy Tiana Rosa. Data analysis techniques in this study were in the form of videos during which students read poetry, observation sheets, field notes, and student test results in the form of performance tests. In this design, two groups are randomly selected and then given a pretest to find out the difference in the initial state between the experimental group and the control group. Each group that was randomly selected was the same for both the control group and the experimental group, namely 10 people Results: experimental class pretest data with an average of 14.10 while the control class obtained an average of 19.60. From the results of the posttest, it was obtained that the average posttest score of the experimental class was 17.50 and that of the control class was 26.30. Thus, it can be said that the skills of students have increased. However, based on the assessment with this technique, there is an insignificant increase in effect
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Conesa Tejada, Salvador, and José Mayor Iborra. "An Experiment in Experimental Poetry." International Journal of Humanities Education 10, no. 2 (2013): 25–31. http://dx.doi.org/10.18848/2327-0063/cgp/v10i02/43773.

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Lloyd, David. "Introduction: On Irish Experimental Poetry." Irish University Review 46, no. 1 (May 2016): 10–19. http://dx.doi.org/10.3366/iur.2016.0197.

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Damon, M. "Race and the Avant-Garde: Experimental and Asian American Poetry since 1965; Poetic Obligation: Ethics in Experimental American Poetry after 1945." American Literature 82, no. 1 (January 1, 2010): 216–18. http://dx.doi.org/10.1215/00029831-2009-088.

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Sommerer, Christa, and Laurent Mignonneau. "Living Poetry." Artificial Life 21, no. 3 (August 2015): 313–19. http://dx.doi.org/10.1162/artl_a_00172.

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We introduce three of our interactive artworks that translate text into artificial creatures or creatures into text by means of user interaction. These installations make use of experimental literature, media archaeology, surrealism, artificial life, and algorithmic methods.
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Gende, Mary, and Roy King. "Poetic Vividness and Aesthetic Preference: Individual Differences in Poetry Writing Styles." Perceptual and Motor Skills 86, no. 2 (April 1998): 428–30. http://dx.doi.org/10.2466/pms.1998.86.2.428.

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Mitka, Marek. "FORMS OF EXPERIMENTAL POETRY IN THE CENTRAL EUROPEAN CONTEXT SINCE THE 1960s." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 15 (December 1, 2023): 101–18. http://dx.doi.org/10.31338/2544-3143.si.2021-15.5.

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In the present study, the author deals with the literary-historical and poetological circumstances of the notion of experimental poetry, noting this type of writing mainly in Slovak and Czech literature but against the broader background of Polish and Hungarian literature, i.e., in the Central European context. In particular, the author reflects on the communicability of texts constructed in this way. He chooses the 1960s as the initial period of his observations, but he also notes the experimental tendencies in poetry that preceded the 1960s, and at the same time, he moves from the 1960s to the 1990s and the developments in (Slovak) literature after the year 2000. From Slovak literature in the 1960s, he pays particular attention to the experimental work of M. Adamčiak, and from the most recent Slovak literature, he reflects on the work of P. Macsovszky and K. Zbruž. From a developmental point of view, the author focuses primarily on the significant influence of Czech literature on Slovak literature in the 1960s – especially the influence of the texts of L. Novák and V. Havel. The author also creatively builds on the metatexts of some literary scholars or creatively polemicises with their findings or further conjectures them (K. Ihringová, V. Křivánek, J. Šrank, M. Součková and others).
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Farrar, Stephanie. "The Other Dickinson Sister: Lavinia’s Experimental Poetry." Legacy: A Journal of American Women Writers 38, no. 1-2 (2021): 26–66. http://dx.doi.org/10.1353/leg.2021.0001.

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Djurić, Dubravka. "Experimental Poetry in Yugoslav and Post-Yugoslav Literary Spaces: Socialism, War Transition, and Beyond." boundary 2 51, no. 2 (May 1, 2024): 97–136. http://dx.doi.org/10.1215/01903659-11083869.

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Abstract From historical perspectives, this article points to the interactions between official politics, official literary culture, and radical poetry in socialist Yugoslavia and postsocialist post-Yugoslav cultures. The complexity of parallel political and poetically antagonistically opposed poetry formations and the role of feminism are discussed within this constantly changing social and political environment. At the same time, connections and interactions between different parts of this cultural spaces are revealed, which are concealed within the dominant methodological nationalism approach to poetry studies. The focus is put on the intensive relation between radical poetry and radical art practice connected with transnational flows in Yugoslav socialism from the late 1960s and 1970s, and later its reappearance in 1990s during the war in Yugoslavia. At the end, the article discusses the function of translation of American poetry in articulation of radical postsocialist poetry in Serbia, and the role of feminism as a political frame for this kind of work.
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Fatihah, Erina. "Pengaruh Model Pembelajaran Kontekstual terhadap Kreativitas Menulis Puisi Siswa Kelas 5 Sekolah Dasar." Jurnal Pendidikan Guru Sekolah Dasar 1, no. 2 (December 7, 2023): 9. http://dx.doi.org/10.47134/pgsd.v1i2.139.

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This study explores the impact of Contextual Learning Model (CLM) on the creativity of writing poetry in fifth-grade elementary school students. An experimental method was employed by dividing students into an experimental group receiving CLM and a control group receiving conventional teaching. Data were collected through creativity tests for writing poetry before and after the intervention. The results indicate a significant improvement in poetry writing creativity in the experimental group compared to the control group. Students engaged in contextual learning demonstrated better abilities in producing unique and meaningful poetry. CLM provides opportunities for students to actively participate in the learning process, fostering creative thinking and linking learning to real-world contexts. This research contributes to practical and theoretical understanding of the effectiveness of CLM in enhancing poetry writing creativity at the elementary school level.
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Dissertations / Theses on the topic "Experimental poetry"

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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.

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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Matore, Daniel. "Experimental typography in twentieth-century poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:34bd524a-74ec-467d-8f70-0b0e825de0e5.

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Experimental Typography in Twentieth-Century Poetry, by Daniel Matore, New College, University of Oxford. A thesis submitted for examination for the degree of Doctor of Philosophy in English Literature in Hilary Term, 2017. This thesis is a study of the typographical experimentation in the verse of twentieth-century poets writing in English. Typography and poetics, it contends, became indissolubly linked in the last century, and this work traces why this is so. It chiefly deals with poetry written roughly in the period 1908 to 1970, rooted in the work of Ezra Pound, E.E. Cummings, and Charles Olson, but with substantial considerations of poets such as Marianne Moore, William Carlos Williams, and David Jones. Typographical experiment in European languages, particularly the work of Stéphane Mallarme, Guillaume Apollinaire, and F.T. Marinetti, is recurrently invoked to comprehend the idiosyncrasies of the graphical innovations of British and American poets. At the heart of this thesis is the question of why so many poets throughout the last century employed typography as a signatory part of their style. It hopes to show how authorships and the span of a poet's career can be read through their typography. Its methodology is eclectic. Archival research into manuscripts, drafts, typescripts, and proofs has provided the empirical groundwork as well as interpretative insights. Essays and periodical articles are drawn upon to trace the intellectual history which informs literary style. Close reading, sometimes within the parameters of established stylistic vocabulary and sometimes at the limits of this, is undertaken to illuminate the expressive possibilities of typographical form. The introduction prefigures the debates and motifs of typographical experiment through the seminal work of Stéphane Mallarmé. It considers whether there was a typographical revolution in poetry in English at the start of the last century and examines how the advents of free verse and experimental mise-en-page intersected. Chapter 1 traces the foundational importance of Ezra Pound in the genealogy of typographical experiment in English. His graphical innovations are read through lenses such as musicology, psychophysics, and ophthalmology. Chapter 2 considers the audacious and celebrated visuality of E.E. Cummings, focussing on his early unpublished experiments, his debut volume Tulips and Chimneys (1923), and his 1935 collection No Thanks. How sexuality and the material text interrelate is examined, and his typography is interpreted through his theories of reading. Chapter 3 is concerned with the post-war experiments of Charles Olson, especially his magnum opus The Maximus Poems. The respective vocations of the poet and the typographer are examined through his relationships with printers and designers, and the influence of philosophies of space on his poetics is explored. The conclusion situates modernist experiment in relation to the aesthetics of graphic design. The categories of printing reformers and reactionaries are employed to cast into relief the idiosyncrasy of typographical experimentation in poetry.
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Quint, Arlo. "Nine New Poets: An Anthology by Arlo Quint." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/QuintA2004.pdf.

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Katko, Justin Nathaniel. "Realizing the Utopian Longing of Experimental Poetry." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1144688600.

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Brown, Nathan. "The materials technoscience and poetry at the limits of fabrication /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1678685111&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Fitch, Toby Patrick Brian. "Themparks: Alternative Play in Contemporary Australian Poetry." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15993.

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Themparks is a creative and critical thesis consisting of a book of poems—The Bloomin’ Notions of Other & Beau—and two experimental essays that illuminate the praxis behind the book of poems, not by auto-critique, but via a study of other contemporary Australian poets whose poetry involves similar compositional approaches. The Bloomin’ Notions of Other & Beau hijacks the prose poems of Arthur Rimbaud’s famously incomplete manuscript Illuminations and re-verses their content—a “Down Under conceit”—to create “inversions”, radically new poems that are ludic and multiple in form, that complicate authorial subjectivity by employing various methods of (mis)translation and appropriation, and whose subject matter reflects and refracts political and personal fragmentation in twenty-first century Australia. “Themparks”, the first critical essay, is a divagation into thempark by contemporary Australian poet Michael Farrell, the poems of which transpose/depose the structures of poems by John Ashbery; “Themparks” also analyses John Ashbery’s translations of the Illuminations of Arthur Rimbaud via a re-reading of Rimbaud’s famous formulation, “I is an other” (Je est an autre). “Aussi/Or”, the second critical essay, is a disquisition on Stéphane Mallarmé’s late innovative poem Un Coup de dés and its various antipodean versions and (mis)translations written by Christopher Brennan (in 1897), Chris Edwards and John Tranter (both in 2006). Both essays/assays explore the (anti)genre of poetic rewritings of previous poems; both trace certain homosocial poetic lineages from self-consciously “experimental” contemporary Australian poets back through American and Australian postmodernists to early modernist French poets; both raise/raze issues of translation, appropriation, plagiarism, and reproduction while employing—metonymically—some parallel theoretical tropes from psychoanalysis, linguistics, philosophy, and science. The guiding thread—the fil conducteur latent in Mallarmé—between the creative and critical components of this thesis is a poetics of the pun. The pun’s promiscuity highlights the highly libinal nature of language-tampering while working to both associate and dissociate parataxis and parapraxis.
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Joosten, Jos. "Feit en tussenkomst geschiedenis en opvattingen van Tijd en Mens (1949-1955) /." Nijmegen : Vantilt, 1996. http://catalog.hathitrust.org/api/volumes/oclc/79874209.html.

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Havelda, John. "MEANINGLÊS : John Havelda's multilingual poetry and language-based art." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/meaningles-john-haveldas-multilingual-poetry-and-languagebased-art(bf810005-4092-4040-93e9-6f9041ab2128).html.

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This PhD by publication focuses on over fifteen years of my cultural production, including poetry, translation, critical essays, and work produced in the context of the visual arts. Ranging from my earliest published work in mor (1997) to my most recent writing projects such as pulllllllllllllllllllllllll: Poesia Contemporânea do Canadá (2010) and the “:”s, published in Open Letter (2012). I have consistently produced work in dialogue with the international context of linguistically innovative writing. The fourteen texts collected here provide clear examples of my approach to practice-led research. Accompanying this portfolio, I have produced a critical essay which reflects on the work. This essay employs a modular rather than a standard hypotactic structure to trace the influences on and the connections among the disparate group of texts which make up my portfolio. A crucial element in my work is the notion—expressed by various proponents of Language Writing and other key influences—that literary production and reception are political as well as aesthetic activities. The critical essay thus contextualizes my work in relation to the politicized experimentalism of North American and European poetics, and clarifies how my writing has consistently challenged the social authority of standard
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Cooper, Michael T. "WELCOME TO THE PLANET: FORT LIVING ROOM O ROTTING SUN." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/192.

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O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.
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Evans, Meagan. "Sounding Silence: American Women's Experimental Poetics." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12946.

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Traditional feminist readings have valued women's writing that voices silenced experiences. In contrast, other twentieth-century theoretical formulations regard absences, refusals, and silences as constitutive of aesthetic practice rather than as imposed upon it. This dissertation attends carefully to how U.S. women writers approach the nonlinguistic, accounting for how they have been silenced as well as for the kinds of silencing that women poets themselves perform. It argues that U.S. women's experimental poetry is driven by contradictory relationships to language and silence: in one strain, gendered cultural repression spurs American women poets to push language into new territory, often figured as speaking out. But in another mode, female identification with the nonrational or nonlinguistic, whether externally enforced or strategically inhabited, impels women to develop poetic silences in order to resist the impositions of language on a feminized other. Meeting these simultaneous and opposed goals--creating poetic forms capable of greater expressive range while signaling the inadequacy of linguistic expression--necessitates formal experimentation. My primary claim that an unresolved ambivalence toward the nonlinguistic drives innovation dictates an emphasis on formal technique, including syntax, rhyme and meter, sentence and stanza structure, and figuration. This attention to poetic particulars grounds my contextualization of the work of each poet I consider--Emily Dickinson, Lorine Niedecker, and Gwendolyn Brooks--in relation to her own life, to broader literary and cultural histories, and to poststructuralist theories of language. The first chapter of my dissertation explores the role that early American, particularly Puritan and Transcendental, attitudes toward wilderness shape poetic motivations both to extend and limit the reach of language throughout the nineteenth and twentieth centuries. In subsequent chapters, I evaluate how those motivations change in the context of Dickinson's nineteenth-century spirituality, Niedecker's modernist and postmodernist anxieties about the role of the poet, and Brooks's engagement with the politics and aesthetics of black nationalism. Reading U.S. women's poetic innovation as simultaneously breaking and cultivating silences opens a dialogue among historically feminist understandings of silence as oppressive, theories that put silence at the heart of poetic impulse, and avant-garde theoretical conceptions of linguistic experimentation as a feminist project.
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Books on the topic "Experimental poetry"

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Clarke, Cheryl. Experimental Love: Poetry. Ithaca, USA: Firebrand Books, 1993.

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Clarke, Cheryl. Experimental love: Poetry. Ithaca, N.Y: Firebrand Books, 1993.

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King, Doreen. Short essays on experimental poetry. Shrewsbury: Feather Books, 2003.

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Reisman, Rosemary M. Canfield. Experimental poets. Ipswich, Mass: Salem Press, 2012.

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Museu d'Art Contemporani (Barcelona, Spain), ed. Poetry Brossa. Barcelona: MACBA, 2018.

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Gatza, Geoffrey, ed. Cheltenham (poetry). Buffalo, New York, USA: Blazevox Books, 2012.

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Félix, Morales Prado, ed. Poesía experimental española (1963-2004): Antología. Madrid, España: Marenostrum, 2004.

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Lurie, Toby. Word-scales. Lewiston, N.Y: Mellen Poetry Press, 2000.

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Braichet, Thomas. Conte de F---: Livreaudio. Paris: P.O.L, 2007.

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Choura, Martin. Ženy. Praha: Kentaur, 1994.

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Book chapters on the topic "Experimental poetry"

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Bruno, Cosima. "Experimental and opaque poetry." In Routledge Handbook of Modern Chinese Literature, 491–501. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-40.

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White, John J. "Perspective in experimental shaped poetry." In From Sign to Signing, 105–27. Amsterdam: John Benjamins Publishing Company, 2003. http://dx.doi.org/10.1075/ill.3.10whi.

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Sheppard, Robert. "Taking Form: Experimental and Avant-Garde Forms." In The Portable Poetry Workshop, 76–84. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_11.

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Hamilton, Ross. "“The Science of Feelings”: Wordsworth's Experimental Poetry." In A Companion to Romantic Poetry, 393–411. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444390650.ch23.

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Golding, Alan. "“Isn’t the Avant-garde Always Pedagogical”: Experimental Poetics and/as Pedagogy." In Poetry & Pedagogy, 13–29. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11449-5_2.

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Williams, William Carlos. "Experimental & Formal Verse." In Contemporary Poetry: A Retrospective from the "Quarterly Review of Literature", edited by Theodore Russell Weiss, 124–28. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-042.

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Huntsperger, David W. "The Tactics of the Text: Experimental Form in David Antin’s “Novel Poem”." In Procedural Form in Postmodern American Poetry, 71–95. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106109_4.

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d‘Amizade, Edgar Cambaza a. k. a. Jorge. "A Love Poetry to Poetry." In Experimental Writing, 270. Mwanaka Media and Publishing Pvt Ltd, 2023. http://dx.doi.org/10.2307/jj.8217348.87.

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"Nonintentional Poetry." In Experimental – Visual – Concrete, 203–10. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_021.

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"Ithell Colquhoun’s experimental poetry." In Surrealist women’s writing. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526132031.00014.

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Conference papers on the topic "Experimental poetry"

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Goldman, Harvey. "Poetry Inspired, Physics Driven, Experimental Animation." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.83.

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Chen, Huimin, Xiaoyuan Yi, Maosong Sun, Wenhao Li, Cheng Yang, and Zhipeng Guo. "Sentiment-Controllable Chinese Poetry Generation." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/684.

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Expressing diverse sentiments is one of the main purposes of human poetry creation. Existing Chinese poetry generation models have made great progress in poetry quality, but they all neglected to endow generated poems with specific sentiments. Such defect leads to strong sentiment collapse or bias and thus hurts the diversity and semantics of generated poems. Meanwhile, there are few sentimental Chinese poetry resources for studying. To address this problem, we first collect a manually-labelled sentimental poetry corpus with fine-grained sentiment labels. Then we propose a novel semi-supervised conditional Variational Auto-Encoder model for sentiment-controllable poetry generation. Besides, since poetry is discourse-level text where the polarity and intensity of sentiment could transfer among lines, we incorporate a temporal module to capture sentiment transition patterns among different lines. Experimental results show our model can control the sentiment of not only a whole poem but also each line, and improve the poetry diversity against the state-of-the-art models without losing quality.
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Dos Reis, Jorge. "Computer mimetics in visible performance: the late work of the Portuguese experimental poet Ernesto Melo e Castro." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.

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Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.
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Đurić, Dubravka. "The Language Poetry Experiment and the Transformation of the Canon." In The (Un)usable Pasts in American Studies. Filozofski fakultet u Zagrebu, FF Press, 2018. http://dx.doi.org/10.17234/wpas.2018.3.

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Ponzio, Christina. "Be Some Translation: A Poetic Experiment in Language, Identity, and Agency Among Refugee Youth." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1437279.

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Paros, Felipe Martins. "Decifrando códigos: entendendo o papel e o lugar da revista Código no cenário da poesia visual brasileira das décadas de 70, 80 e 90 do século XX." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3966.

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Este artigo oferece aos seus leitores uma “panorâmica” sobre a trajetória de Código - publicação independente, editada e publicada em Salvador (Bahia – Brasil), do ano de 1974 até o ano de 1990 do século XX, pelo engenheiro, poeta e estudioso da literatura mineiro Erthos Albino de Souza. Código funcionou como um pequeno fórum sobre poesia e literatura experimentais - mormente aquelas que surgiram a partir dos desdobramentos diretos do Movimento da Poesia Concreta, tornando-se uma das responsáveis pela sobrevivência e pela assimilação desse legado teórico-estético por toda uma geração de jovens criadores. Também a trajetória particular de Erthos (o grande pioneiro da poesia por computador no Brasil), além de sua obra (rara e dispersa) como poeta visual/intersemiótico será aqui brevemente re-visitada.
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da Silva Lopes, Almerinda. "A poesia concreta e o poema/processo no fluxo da arte postal." In Colóquio do Comitê Brasileiro de História da Arte. Comitê Brasileiro de História da Arte, 2021. http://dx.doi.org/10.54575/cbha.40.25.

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Este texto analisa o movimento de poesia visual ou poema/processo, iniciado na década de 1960, como desdobramento da poesia concreta, criado por iniciativa de poetas e artistas do Rio de Janeiro e Natal (RN), que propunham a criação de uma arte participativa, livre de regras e teorias, recorrendo a variada gama de materiais, meios e processos e que tocasse diretamente na problemática sócio-política local. Analisa, ainda, a rápida propagação e internacionalização desse gênero de poesia, de caráter experimental e conceitualista, de modo especial na América Latina, por meio de um eficiente sistema de comunicação, que foi se estabelecendo em pleno período de recrudescimento militar, através de publicações elaboradas pelos próprios signatários do movimento, exposições e através da rede de arte correio ou arte postal.
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Costanza, David, and Pierianna Mazzocca. "Shared Beds: Ragdale Ring 2019." In 109th ACSA Annual Meeting. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.12.

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Launched as an international competition in 2013 to reinterpret Howard Van Doren Shaw’s Ring as a temporary, experimental environment, the Ragdale Ring competition has provided young architects and designers the annual occasion to conceive and construct a temporary performance venue and public gathering space on the Ragdale campus in Lake Forest, Illinois. The premise of the competition responds and reinterprets Shaw’s original Ragdale Ring, which was conceived as an open-air theatre for his poet and playwright wife, Frances Wells Shaw.1 As the winning proposal of the competition and built on the grounds of the Ragdale Foundation in June 2019, Shared Beds sought to challenge the role of the individual vis-à-vis the collective by reconsidering the seemingly inanimate quality of everyday objects such as beds and their assumed immutable location inside private domains. Thus, beds are used in this project to invoke a shared public life through a nuanced, abstract language of simple geometrical forms.
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Prado, Gilbertto. "El Cocinero de las Almas 2006/2022." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15330.

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A partir del libro “El Perfecto Cocinero de las Almas de este Mundo”*, un diario de la garçonnière mantenida por Oswald de Andrade** entre 1918 y 1919, el Grupo Poéticas Digitais (ECA-USP) desarrolló un videojuego experimental en 2005/06. En el juego el personaje principal (el visitante) se pierde en São Paulo de 1918 y visita interactivamente varios ambientes en los que va descubriendo la trama. Todo sucede en uno solo día. De esta forma, se trata de un guión de un entorno virtual doblemente laberíntico: son laberintos espaciales (los diversos entornos) y temporales (ya que las tramas dentro de cada entorno son lineales, pero el jugador puede entrar en ellas en cualquier etapa de su desarrollo). En 2015, la garçonnière que todos imaginaban perdida y derribada es redescubierta casi 100 años después en la misma calle, pero con diferente número. La instalación artística (2022) fusiona diferentes momentos ficticios y el juego en cinco pantallas simultáneas, 1918, 2006, con imágenes de la propia garçonnière revisitadas en la actualidad. * El diario trata sobre la relación entre Oswald y Deyse, quien en ese momento es una estudiante de secundaria de 17 años y otros visitantes del apartamento de soltero. Deyse muere a consecuencia de un aborto a la edad de 19 años y se casa in extremis con Oswald en su lecho de muerte. * * Oswald de Andrade, poeta, escritor, uno de los fundadores del movimiento modernista brasileño y autor del Manifiesto Antropofágico.
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Barrale, Julián, and Bruno Sève. "Elogio a la deriva: relatos del paisaje como experiencias de aprendizajes." In Jornadas sobre Innovación Docente en Arquitectura. Grup per a la Innovació i la Logística Docent en l'Arquitectura (GILDA), 2023. http://dx.doi.org/10.5821/jida.2023.12321.

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The article promotes urban drifts and their various ways of communication to be implemented as analysis tool and project at schools of architecture. Researching with our bodies through different drifts allows us to appraise and narrate the space we experience. This proposal as an instrumental teaching develops the audiovisual production of poetic mappings from two drifts coordinated by Francesco Careri in Madrid (2022) and in Barcelona (2023). Drifting associated to several recording devices is a sensitive practice that triggers imagining, creating, and experimenting with space. Finally, the optional subject "Art and City Workshop: An Introduction to Spatial Perception" of the Faculty of Architecture, Planning and Design of the National University of Rosario, Argentina, is presented in which drifts and videos mentioned are spread as references to practical exercises organized in three scales of approaching reality: domestic, daily and urban. El artículo promueve las derivas urbanas y sus diversas maneras de comunicar para su implementación como herramienta de análisis y proyecto en escuelas de arquitectura. Investigar con el cuerpo a través de la deriva permite apreciar y relatar el espacio vivido. La propuesta como enseñanza instrumental desarrolla la producción audiovisual de cartografías poéticas de dos derivas coordinadas por Francesco Careri, en Madrid (2022) y en Barcelona (2023). La deriva asociada a herramientas de registros es una actividad sensible sugerente para imaginar, inventar y experimentar con el espacio. Finalmente, se presenta la asignatura optativa ‘Taller Arte y Ciudad: introducción a la percepción espacial’ de la Facultad de Arquitectura, Planeamiento y Diseño de la Universidad Nacional de Rosario (Argentina), en donde las derivas y los videos mencionados se difunden como referencias para los ejercicios prácticos organizados en tres escalas de aproximación: la doméstica, la cotidiana y la urbana.
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