Oricum, textul de fata nu se doreste a face istoricul fenomenului, ci doar a oferi un flash inside... Asadar,


Parerea mea


motto: eu sunt perdeaua de cuvinte colorate>



Visual Poetry - este imbinarea tinzand spre perfectiune (sau asimptotic spre plus infinit) a doua mijloace artistice de expresie foarte dragi mie: poezia & arta grafica. Sau Cuvantul (logosul-gandul-glasul) si Fapta (vizualul-tactilul-semnul). NU este ilustrarea uneia cu cealalta. Este exacerbarea uneia de catre cealalta. Este cea de-a patra dimensiune, un grad in plus de libertate. Adancimea exponentiala. Oglinda concava oglindita in oglinda convexa.

Cred ca in secolul 21 gandul este perceput cu totul altfel decat in secolul 20. Si nu este vorba aici neaparat de viteza, ci de interdisciplinaritate. Omul a invatat sa primeasca mai mult, fiind bombardat cu informatie din toate partile, motiv pentru care s-a invatat si sa ceara mai mult. Spiritual vorbind. Camil Petrescu scria acum aproape un secol despre omul care a vazut idei (1918 – Jocul Ielelor). Suna oarecum inspaimantator la ora respectiva. Poate ca este inca. Si mie imi este inca frica de mersul cu viteza mare, pariatul la ruleta totul pe rosu, jucatul cu margele de sticla. (Dar cat imi mai place...:)
Cateodata de iesitul din casa. (era raspunsul pe care il dadeam mamei cand imi spunea ingrijorata aoleu, sa ai grija cum conduci, in ce locuri mergi... ce treaba ai tu cu oamenii aia... Cel mai periculos este sa iesi din casa. Odata ce ti-ai asumat acest risc, poti foarte bine sa explorezi imprejurimile... pana la poarta intai... pana la coltul strazii... si daca tot ai ajuns pana acolo cu bine, poti foarte bine sa incerci macar pasul acela mic pentru tine, mare omenire. Sau invers. Pana la loc comanda.)

Dar frica asta este insasi combustibilul creatiei. Mi-e frica - deci creez. Sau pro-creez. De la caz la caz.

:)

e, eu cred ca asta e singura salvare... pe masura ce inaintam in varsta, sa ne punem frumosul in altceva, care sa creasca el pe masura ce noi ne micsoram.





Parerea Gisellei Beiguelman


1 - What does Visual Poetry mean to you?

Visual poetry is born of the encounter between the artist and the page's materiality and the hybrid nature of letters and symbols capable of making relevant the limits between images and texts.

2 - Who were and/or are your sources of inspiration, your models (either poets or artistic movements) in this artistic medium?

In the area of the poetics of literature my references are Oswald de Andrade, Augusto de Campos, Mallarmé and the Calligrams of Apollinaire. But also narratives are important forms and in this respect I point out: Hemingway, John dos Passos, Virginia Woolf and Ignácio de Loyola Brandăo (Zero). I can’t forget to mention the cyberpoets that marked my literary horizon: the twosome JODI, , Mark Napier, Mark Amerika and Olia Lialiana.

3 - Why did you choose to create, or why do you enjoy creating, Visual Poetry as one of your artistic expressions?

What I write above all is a digital poetry, fruit of the encounter with an alphanumerical cyberspace. I try to always deal with the font symbols as if I were entering the underside of the screen in order to face and converse with the specificity of a writing and a reading that is executed on the web. It’s the poetics of the web that interests me.

4 - When did you first adopt Visual Poetry as a mode of expression?

Then I realized that the production of a critical discourse on the Internet implied the necessity of weaving this discourse dealing with the Net’s own plots, that in itself is poetic, as it mixes with the limits of texts, images and places. On the Web, the text is a condition of the visualization of images that are all addressed in relation to the server, and for that reason make the written text become its own reference to a space without volume.


Biografie

Giselle Beiguelman, Ph.D, is a professor in the graduate program at the Communication and Semiotics Department of PUC -SP. A multimedia essayist and web-artist who lives in Săo Paulo, Brazil, where she was born (1962), Beiguelman has presented her web works in exhibits, festivals and scientific events devoted to new media art, such as Net_Condition (ZKM, Karlshrue, 1999), P0es1s (Munich, MedienForun, 2000), Netáforas (MECAD, Barcelona 2001) and (re)distributions (Voyd.com, 2001). A member of the 10th ISEA International Program Committee since 1998, she currently runs desvirtual.com, an editorial where her personal projects, such as "The Book After The Book," and "Wopart," are based.

Link catre pagina Gisellei


http://www.desvirtual.com


Link catre Early Visual Poetry


http://www.ubu.com/historical/early/early.html