Reflections on Verbivocovisual Ideograms
1982; Duke University Press; Volume: 3; Issue: 3 Linguagem: Inglês
10.2307/1772394
ISSN1527-5507
Autores Tópico(s)Cultural, Media, and Literary Studies
ResumoThe publication of noigandres 4 in 1958, the portfolio edition of eleven ideograms by Augusto and Haroldo de Campos, Ddcio Pignatari, and Ronaldo Azeredo, printed as poster poems, accompanied by D&cio's kinetic poema-livro LIFE and the plano-piloto para poesia concreta, marks the high point of what the poets themselves would later call the heroic phase of Brazilian concrete poetry. All of these texts correspond to the basic tenets of the theoretical program elaborated in the manifesto. They are all spatio-temporal structures in which highly reduced verbal material has been submitted to a rigidly controlled process. They are almost completely impersonal: there is no lyrical I in these texts, nor is there a narrative voice. Rather than communicating a subjective experience or formulating a they exploit the visual, aural, and semantic qualities of their verbal material and explore the possibilities inherent in the accidents of phonic and visual correspondences. Even in the text that comes closest to carrying a message, Pignatari's antiadvertisement coca cola, the textual operation proceeds strictly by analyzing the letters and sounds contained in the advertising slogan and by making use of the semantic ambiguities offered by a Portuguese reading of the US-American trade name1:
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