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Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper focuses on a targeted occurrence within the larger area of modern literature - namely the 75 HP magazine. The literary-visual occurrence under scrutiny opens two possible approaches. The bodies of text present in the magazine either employ somewhat conventional grammar that embodies the spirit of unconventionality through the typographical dimension, or language that compiles almost entirely visual compositions, that involve the body of the reader to physically follow the new means of reading. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although Dylan Thomas and his poem ”Vision and Prayer” (1944) are usually not attributed to a specific kind of visual/concrete or ”shaped poetry,” his highly enigmatic and daring poetical articulation displays some interesting typographical features that can qualify him to be included in the label. It is a unique experiment of a kind mainly because of its two distinct geometric shapes, i.e. diamond and hourglass, within the two equal Parts, with six stanzas in each one of them. These shapes create a kind of “mystical geometry,” since they differ both in their pictorial presentation and the content matter. The paper tried to follow various attempts in English literature that might have served as a source of inspiration for Thomas in the works of George Herbert, Sir Thomas Browne, and W.B. Yeats. It also presents previous critical interpretations that revolved mainly around the themes of birth, death, and re-birth Resurrection of Jesus Christ, since religious imagery and poetic language seem to invite such an approach (Tindall, Burdette, Kidder, Bauer). However, a combination of Derridean deconstruction/restructuring and computer-assisted pictorial manipulation of the text produced yet an interesting experiment in analysis, having brought together all the stanzas into a ‘grand diamond’ shape. The newly reshaped version of the ‘poem’ opened up possibilities for interpretation while pointing out the central geometric shapes that emerged in the process.

De Laudibus Sanctae Crucis (DLSC) by Hrabanus Maurus is a seminal work in the medieval Christian literature that explores the Cross as the central structure of the universe through a unique amalgamation of poetry, prose, and visual art. The work employs a multi-layered narrative that enriches the reader's understanding, encouraging a meditative interaction with the text that emphasizes the contemplative over the recitative. This paper analyzes Hrabanus's intricate use of verbal and visual elements to guide his readers into a profound meditation on the universal significance of the Cross. [ABSTRACT FROM AUTHOR]

Northern Fennoscandia entered Christian Dotremont's (1922–1979) imagination in 1956. The Belgian avant‐gardist was comfortable in Central‐European artistic milieus through his involvement in CoBrA (1948–1951), but a total of 12 journeys to Sápmi between 1956 and 1978 had a profound effect on his creative work, especially the logograms he is best known for. This article studies Dotremont's travel writings and logograms as site‐specific forms of writing, which can be seen as precursors to ecopoetic approaches. Dotremont's journeys took place at a cultural turning point, when ethnographers had made their field trips but mass tourism was still in its embryonic state in Sápmi. His Sápmi‐inspired travel writings reveal how the idealism related to a hyperborean north initially intrigued him while he sought to elude modernity. Dotremont's cultural exchanges in Sápmi were non‐artistic but manifested in his art and writing. Sápmi brought about an ecological awakening through awe that was not sublimated but a lived experience. Dotremont immersed himself in Sápmi, with fundamental repercussions to his creative exploits. [ABSTRACT FROM AUTHOR]

The recognition of a pattern of abstract marks as language is simultaneously obvious and undertheorized. Contemporary "asemic poetry" splits the recognition of language from its lexicality, providing an opportunity to consider this recognition directly. It reveals the necessary intervention of an "intentional function" that justifies considering markings as if they were encoded, i.e., as language. This essential moment of sign formation in written communication typically passes automatically without the need for consideration, but asemic poetry specifically allows meditation on that point of transition, allowing the role of cultural knowledge to become apparent in its identification, as well as the Romantic heritage which rejects mechanical reproduction and automation. [ABSTRACT FROM AUTHOR]

This article explores what we perceive as a lack of visual poetry studies in creative writing classrooms, largely due to its characteristic incompatibility to familiar literary devices, analytical tools, and ways of reading. While our inquiry initially sought to provide an approachable visual poetry curriculum for creative writing teachers, our doing so prompted us towards theoretical frameworks that take seriously subject matter oft-misunderstood as unfit for traditional educational practices, turning to how decolonial theorising might inform our pedagogy. From there, our priorities stayed rooted in decolonising pedagogy, working to de-center traditional forms of literary knowledge and support lesser-known, borderless, 'in-between' spaces – spaces effectively considered in visual poetry's liminality between visual art and written word. Working to equip ourselves with new poetic conceptions of language and image, we aim to consider visual poetry in a way that renders it more approachable and theoretically considered for the higher education classroom setting. [ABSTRACT FROM AUTHOR]

This article discusses the implications of multimodal artificial intelligence (AI), including image generators such as DALL·E, for the traditional concept of ekphrasis. Using ekphrasis as an example of 'thinking with AI', it takes up the suggestion that in the digital realm ekphrastic relationships should be understood as performative rather than representational. Since with the introduction of modern AI the digital realm needs to be divided into a sequential part (classic algorithms) and a connectionist part (artificial neural networks), the article shows how the latter part ultimately tends toward a collapse of the text/image distinction in the technical system. Artificial neural networks both encode images and text as the same type of information, and they do so differently from the sequential model. Only in the context of multimodal AI, unlike in analogue or sequential paradigms, ekphrasis goes beyond the separation of or transition between text and image, but rather transcends this difference. [ABSTRACT FROM AUTHOR]

Rebuses—visual riddles that replace words or syllables by images—were highly popular in early modern Europe. Many broadsheets containing rebus poems were printed in France and Germany in the late sixteenth and early seventeenth centuries. Although multiple theories on the intended audience and use of these rebuses have been formulated by historians, very little is known about their actual reception, since the extant broadsheets rarely contain any traces of their use by contemporary owners. However, several German rebus riddles have recently come to light that do contain evidence of how they were read and interpreted in early modern times. The broadsheets in question are political in nature: they pertain to the Thirty Years' War, ridiculing the opponent by means of visual satire. The solutions to these rebus puzzles have been added in early modern hands. These rare traces of the contemporary reception of rebus broadsheets make it possible to follow the thought process of their readers step by step, demonstrating how they tackled the visual riddles and which type of image was most difficult to decipher. In one case, multiple individuals even worked on the solution at different stages, showing how these visual games could be played over and over again. These sources give us a unique insight into early modern visual literacy at work. [ABSTRACT FROM AUTHOR]

Visual poetry is a hybrid genre that, by combining images of different natures and texts, triggers a psychic reaction of involvement or estrangement. Typically multimodal, the genre evolves around matter and language. The repositioning in the digital world of many visual poets has introduced an additional, "augmented", dynamic and performative dimension. The paper describes works with an anglosaxon cultural background attesting to the transition to the digital and the appearance of a further "semantic charge". In particular The Last Vispo Anthology of Visual Poetry 1998-2008 (Seattle, 2012), thingsithought.today by Lauren Holden and Enigma2022 by Jim Andrews.

The visual dimension related to Self realisation in art history, is analyzed as answer to control over the individual. This is verifiable both in the avanguardie and neoavanguardie period where takes place the rewriting of linguistic codes, meaning cultural refusal of oppression. In this essay the visual alphabetical letter is related to the rethinking of the subordinate subject theme, aiming to include postcolonial and extra-artistic reflections.

Writing poetry over finger-paintings that are created with natural dyes is an embodied reflexive practice that can help students connect with ideas about eco-justice as they develop a deeper relationship with the Earth. As Kimmerer (2013) explains, "The exchange between plants and people has shaped the evolutionary history of both" (p. 124). Writing practices also shape who we are becoming. Through the creation of visual poetry, I investigate the importance of engaging with language and landscapes to develop relationships with one another. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th-21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism-realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This poem was created in response and in relation to reading and re-reading soft turns's essay "Humans in a Bottle," which also appears in this issue. [ABSTRACT FROM AUTHOR]

Pese a acercamientos teóricos y críticos a la obra Sociedades americanas en 1828 de Simón Rodríguez, es necesario profundizar en un análisis que valore la expresión de sus ideas como una forma del ensayo. Importa cómo el pensamiento se manifiesta a partir de imágenes/textos y cómo conjuga una labor intelectual y artística, rasgos que sugieren la concepción de un tipo de ensayo visual que antecede la poesía visual, la concreta y algunos modos de organización del pensamiento. Se busca atender aproximaciones al tema, pensando la obra desde su forma y acudiendo a la teoría del ensayo para apreciar sus características. Despite theoretical and critical approaches to Simón Rodríguez Sociedades americanas in 1828, to dive into an analysis that values the expression of his ideas as a form of an essay, is necessary. How thought manifests itself through images/texts and how it combines intellectual and artistic work is important. These features suggest the conception of a visual essay which constitutes a predecessor of visual and concrete poetry, and a way of organizing thought. The aim is to use the form as a basis to think about the work and then turn to the theory of the essay to appreciate its characteristics. Apesar das abordagens teóricas e críticas da obra Sociedades americanas en 1828, de Simón Rodríguez, é necessário aprofundar uma análise que valorize a expressão de suas ideias como forma de ensaio. É importante aprofundar como o pensamento se manifesta a partir de imagens/textos e como aproxima o trabalho intelectual do artístico, características que sugerem a concepção de um tipo de ensaio visual que antecede a poesia visual, a poesia concreta e alguns modos de organização do pensamento. Este texto procura tratar abordagens sobre este tópico, pensando a obra a partir de sua forma e recorrendo à teoria do ensaio para apreciar suas características.

The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson recounts the story of a man divided against himself, oscillating between two identities – one decent (named Jekyll) and one wicked (named Hyde). This short essay by Christian Bök examines the transitions that occur in the narrative, when the proper names shift from one moniker to the other in reference to the protagonist: each name vying for 'citation' in the story, thereby attempting to predominate, as a signifier, throughout the course of events. The narrative (perhaps coincidentally) maintains an almost equal usage of these two names, as if preserving an equilibrium of tensions between their contrarian identities, balancing them almost perfectly, giving each character 100 chances to be mentioned. The form of the story thus seems to perform the idea of eponymic division, indicated within the plot. [ABSTRACT FROM AUTHOR]

Since the sixties of the twentieth century, different algorithms for using poetic texts in the transformation of urban space have emerged. Poetic discourse is being increasingly contextualized in space, whose role in the contemporary cultural system and specific tasks of urbanism has been growing. In the urban context, poetry may acquire different forms — street performances, advertisements, murals and other types of visual poetry. It may turn the city into a venue for a festival of urban poetry. The poetic text interacts with urban objects (monuments, train stations, airports, bus stops, and benches), including QR codes and other technical means. The article explores the process of integrating poetic texts into urban space using the example of the Netherlands, Belgium, Russia, Spain and countries of Latin America. Urban poetry contributes to overcoming the linearity and elitism of the poetic text, shifting the emphasis from verbal to the visual or performative component of the text, and strengthening the function of the addressee. As a result, poetry acquires an applied character. The city becomes an instrument of mediated poetic communication and can be used for the representation of the city.

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Versants: Revista Suiza de Literaturas Románicas is the property of University Library of Bern and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the spirit of Dada and/or Fluxus, these works of visual poetry (vispo) explore the relationship between language and meaning, figures and grounds, highlighting the materiality of letters and ways of seeing. [ABSTRACT FROM AUTHOR]

This article deals with 121 exercises in self-translation by the Colombian poet Amílcar Osorio, which were found in his personal archive. In these poems, at first sight English translations from his poetry book Vana Stanza, we can actually observe exercises of self-translation, but also incursions into concrete and visual poetry. We consider Vana Stanza to be an incomplete work that only partly portrays Osorio's poetic production. In the archive, we manage to expand on the poet's experimental explorations in which a dialogue not only between different semiotic systems but also between two languages is evident. [ABSTRACT FROM AUTHOR]

The books VISO I (Aproximación a una Imaginería Visual en Venezuela) and II (Irrupción de la Visualidad Lírica, after VISO), are part of a visualization of the experimentalisms and holistic handling of the word as a multi-form enlargement from Venezuela, and as an open and attentive research-action to the unstoppable creative moment. [ABSTRACT FROM AUTHOR]

This article analyzes Diarios del odio, an installation by Roberto Jacoby and Syd Krochmalny, from a triple perspective. In the first place, as a site-specific work that critically dialogues with its location in what once was the residence of Victoria Ocampo; secondly, as a work in dialogue with the tradition of visual poetry that allows it to capture and materialize hate speech that circulates on the networks; and, finally, as a work of media art that reflects on the future of the communicative utopias imagined from the sixties. In all three cases, hatred as contemporary affect is at the center of reflection. [ABSTRACT FROM AUTHOR]

Copyright of Didacticae: Revista de Investigación en Didácticas Específicas is the property of Didacticae: Revista de Investigacion en Didacticas Especificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the evolution of visual poetry in the Salento dialect through the works of Carlo Stasi, emphasizing the fusion of ancestral traditions with futuristic visual expressions, bridging past and present through sensory-rich compositions. It states that Stasi's poetry transcends linguistic boundaries to create multi-dimensional sensory experiences, revitalizing dialectal forms within a contemporary context.

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Layli Long Soldier's debut collection of poetry, WHEREAS, has been primarily framed as a defiant counter-discourse to the allusive 2009 federal apology to native communities, particularly her poems addressing the document directly. Little attention, however, has been given to Long Soldier's unpredictable aesthetic choices as she translates her experience of motherhood, daughterhood, and womanhood through a subjective female lens, which equally emphasize the gravity of this unapologetic federal document. I argue that Long Soldier reinvents lyrical prose and visual poetry through what I call thought-music—the poet's mode of accessing and translating her inner dialogue using alternative punctuation, inventive forms, and white space or 'functional white' [White, Orlando (2015), 'Functional White: Crafting Space & Silence', The Poetry Foundation, 3 November, at ]. In doing so, she interrogates the body's modes of receiving and transference, and composes 'embodied geographies' [Goeman, Mishuana (2013), Mark My Words: Native Women Mapping Our Nations, Minneapolis: University of Minnesota Press]; poems tethered to mental and physical intimacies as a mother and Lakȟóta language learner within her community. The poet's punctuation, typographical architecture, and white space construct a somatic perspective, suggesting that communication is physical, contrary to the colonial rhetoric in the federal apology. [ABSTRACT FROM AUTHOR]

This article considers the visual poetics of the prominent contemporary Russian poet and poetry translator Andrei Sen-Senkov whose work is examined through the Deleuzian lens as a prime example of rhizomatic poetry. Senkov's poetics is that of the commonplace: working with cultural cliches, and primarily visual material, it embeds very private concerns within a global matrix, with astounding and often theoretically challenging results. [ABSTRACT FROM AUTHOR]

The article offers an original close reading of some of Marcucci's most famous works between the early 60s and late 70s, chosen as examples of a situated gendered specificity of the artist's poetics. Despite the self-declared distance from neo-feminist stances, Marcucci shines for originality and controversy in the themes and practices of creation in her contemporary landscape, mostly dominated by male artists. On the one hand, we observe Marcucci’s artistic and cultural operation in Italy amid an economic boom but still suffered from the retrograde nature of the still deviously dominant fascist thinking, in conjunction with the bigotry of the catholic church, concerning women’s emancipation. On the other hand, we also observe Marcucci’s productive singularity in the context of her contemporary counterculture, which had not freed itself at all — although preaching it — from sexist power dynamics. The article aims to present a feminist lens (from male gaze to self-objectification) not as the absolute and only way of interpreting Marcucci’s verbal-visual poems, but as useful in highlighting the specific qualities of Marcucci’s research and poetics. Through the analysis of “Il Fidanzato in Fuga” (The Runaway Bride; 1964), “Noxin” (1970), “AH!” (1972), “Aa Bb Cc” (1977), and “Culturae” (1978), an attempt will be made to offer a viable course of inquiry that does not isolate Marcucci’s work from that of her male contemporaries but considers its situated specificity as a necessary stand.

The article explores the ways in which the Greimasian method of semiotics can be applied to the analysis of contemporary Lithuanian poetry texts, specifically visual poetry. Bearing in mind the nature of visual poetry, I consider a semiotic approach, which allows explaining the strategies of meaning making in visual poetry. The methodological question goes back to the origins of Algirdas Julius Greimas’ semiotics, in particular the works of Louis Hjelmslev. I draw attention that based on Hjelmslev’s approach, it is important not only to treat any unit of meaning as a certain relationship between the plane of content and the plane of expression, but in the case of visual poetry, also to supplement it with a more detailed description of Hjelmslev’s levels of language (form–substance–purport) and their interrelations. It calls attention to the plane of expression, which has a special status in visual poetry. I argue that one of the most important conditions for the emergence of signification in visual poetry is the phenomenon of unstable correlation, which is a semiotic relationship between the plane of expression and the plane of content that appears as a process of production of reciprocal presupposition, which, in turn, is dependent on the focus point of reader’s gaze. In the first part of the article, in which I address theoretical considerations regarding all the above-mentioned topics, I examine how the model of structural linguistics can assist in complementing the semiotic analysis of visual poetry. In the second part, I analyze two works by contemporary Lithuanian visual poets using the proposed model of meaning creation: “PASTAZENKLAS ISLEISTAS KREPSINIO CEMPIJONATUJ” (“A POSTALSTAMP ISSUED FOR THE FOOTBALL CHEMPIONSHIP”) by Gytis Norvilas (2006) and “om rekonstrukcija I“ (“om reconstruction I”) by Donaldas Apanavičius from his three-poem cycle (1999). The analysis reveals the points of unstable correlation and various reading possibilities.

The work of the British poet Christopher Logue is characterized by variation, collaboration, and intermedia projects. His output includes poetry set to jazz, printed poster-poems, public poetry performances, film scripts, collaborations with artists, and translations from Portuguese, German and, most significantly, ancient Greek. War Music, an 'account of Homer's Iliad' according to its subtitle, became Logue's life's work, eclipsing many of his earlier projects. But collisions of word, image, and sound—the intermedia formats that characterize his early work—endure in Logue's Homeric translations in the form of radical typographic experiments and textual images, such as inch-high capital letters marking the arrival of the god Apollo, and graphic shapes formed by variation in line lengths. This article demonstrates that War Music is a key text in the intersection of translation and visual poetry, which can be best understood in dialogue with other forms such as concrete poetry and the text-inspired art of Cy Twombly. [ABSTRACT FROM AUTHOR]

In this essay I demonstrate how Barbara Guest's experiments in visual poetry were influenced by Frederick Kiesler's architectural designs: both artists, inspired by Surrealist poetics, sought to build visionary structures that took shape on the page but moved beyond it. Following Kiesler's 1965 death, Guest published a poem in 1968 inspired by Kiesler's "Galaxy" structures, titled "Homage", and included a shortened version in Durer in the Window (2003). Kiesler composed a number of works under the name "Galaxies", all of which shared an interest in merging architecture with other art forms, including sculpture, mobiles, drawing, and painting. In "Homage", Guest was less interested in describing Kiesler's "Galaxies" than in building a commensurate architecture of the page, dependent on the spatial arrangement of lines and stanzas, the visual impact of white space, and the reader's imaginative navigation of both. Putting Kiesler's "Galaxies" and Guest's "Homage" in dialogue illuminates a model of inter-arts reception as co-creation or what Kiesler called "Correalism" that depends on the spatial dimensions of the poetic imagination. Both works can be understood as open, mobile, "museums without walls" that anticipate the future by inviting dynamic collaboration and future transformation. Finally, I argue that the relationship between these works models the kind of affiliation important to experimental women artists and poets such as Guest, affiliations that helped form an En Dehors Garde "in the shadow" of the avant-garde. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many competing theories of the Indigenous inscription practice known as the khipu have been offered, from L. Leland Locke's long-standing postulation that khipus are accounting devices, to Walter Ong's description of them as aide-mémoire, to Gary Urton's more experimental theory that they constituted an early form of binary composition. Just as fraught is the history of the khipu, which were utilized by the Inka, intermediated by Spanish and Catholic authorities in their legal and religious systems, and, finally, banned and burned as seditious and sacrilegious. Contemporary khipus are primarily limited to those used by herders, but Chilean American poet-artist Cecilia Vicuña utilizes the khipu form to compose artworks such as Quipu in the Gutter, Skyscraper Quipu, Quipu That Remembers Nothing , among many others. This article argues that Vicuña utilizes the formal possibilities of khipu materiality, refusing to either limit her khipu-based works as simply mathematical or to romanticize their history. Instead, she intermediates the khipu form with elements of conceptual, visual, and performance art. In doing so, she participates in the colonial history of the khipu—just as Spanish authorities intermediated khipus with written Spanish in colonial courts and in khipu-based religious confessions. However, Vicuña in turn rejects the colonial violence imposed on the khipu in the same process, indicating that the possibilities of the form continue through the form's intermediation and growth. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We argue that the visual poetic works of the Chilean poet Cecilia Vicuña and the Argentinean poet Ana María Uribe resist traditional expectations for poetry by foregrounding sensual apprehension as a conduit to active readerly involvement in making meaning. Both poets attempt to eliminate the boundaries between spirit and reality by emphasizing that the immanence, or 'spirit', of language paradoxically resides in its materiality and is actualized in the relational (in the reading and writing process). Our theoretically informed readings of their poems illustrate that this 'spirit' exists as a continuous self-organization that allows for a democratic poeisis. [ABSTRACT FROM AUTHOR]

After initially forging links with the Dada movement, from 1926 Edouard Léon Théodore Mesens (Brussels, 1903-1971) became an active member of Belgian Surrealism. He was one of the most polyhedral figures of Belgian cultural scene: during his long career he was an artist, collagist, musician, poet and writer, as well as gallery owner, collector and art dealer, constantly involved in the sales and purchases of modern art, in particular Dadaist and Surrealist artworks. Since the beginning, in the 1920s, he used the collage as a medium to subverted the visual representation and develop a new epistemological artistic object, undermining the canonical dialogue between text and image. This methodological approach remained the major trat of his post-war artworks as well, when after a period of inactivity, on the occasion of the 1954 Venice Biennale, he decided to create new collages, finding in Italy a fertile receptive context for his experimentations. Starting from the analysis of unpublished archival materials, as well as visual sources, the article aims to analyze Mesens’ artistic approach to collage and shed new light on his post-war production, characterized by new linguistic and semantic experimentations.

Because of its implications with Fascism, Futurism experienced a long critical misfortune, slowly regaining ground only from the end of the 1950s. Luciano Caruso, initially flanked by Stelio Maria Martini, made fundamental contributions to this re-evaluation along an intense twenty-year long activity. His profound commitment has in fact made it possible to read and get to know many theoretical and poetic texts of the first Italian avant-garde that had long remained ignored and to understand or rethink some of its most critical junctions. Caruso associated the redemption of Futurism from its fascist connotations with a re-evaluation of paroliberismo not only from a historical-critical point of view but also from an aesthetic-philosophical one: the poet, in fact, acknowledged the merit of having tried to heal the too clear fracture that had occurred over the centuries between "words and things" by reintroducing the expansive forces of matter into the circuit of language. The contribution intends to retrace the main points of this critical rehabilitation by placing the reflection of Caruso and Martini on the relationship between writing and matter within the aesthetic and epistemological horizon traced by Jean-François Lyotard (Discourse, Figure, 1971) aimed at the revenge of the sensitive on the secular Western logocentric paradigm.

Este artículo propone un acercamiento a la poesía visual del artista uruguayo Clemente Padín, haciendo hincapié en la heterogeneidad y la forma gráfica del texto como los elementos dadores del significado. Se analizan cuatro ciclos de poemas, provenientes de diferentes etapas de la trayectoria artística del autor: “Signografías y textos” (1967-1972), “Signo” (1974), “Homenaje al cuadrado” (1999) y “Sonetario” (2000), en los que la manipulación del código se realiza como una propuesta teórica y política. A través de una lectura basada en los planteamientos de estructuralismo y semiótica, se investiga la construcción del significado en un poema visual. This research paper presents an analysis of visual poems of the Uruguayan artist Clemente Padín, emphasizing their heterogeneity and graphic form as the elements that enable the meaning of the text. The investigation is based on four cycles of poems that belong to different phases of the artistic path of the author: “Signografías y textos” (1967 – 1972), “Signo” (1974), “Homenaje al cuadrado” (1999) and “Sonetario” (2000), where the manipulation of the linguistic system is performed as a theoretical and political proposal. The construction of the meaning in visual poems is analyzed through the lenses of structuralism and semiotics.

Affective aspects are key mediators in the learning process. Whereas some of them can be associated with a certain discipline, others are situational and connected with specific activities that trigger positive emotions. This study analyzes these affective aspects based on two ways of approaching mathematical problems: problem posing and problem solving. In both cases, the starting point will be situations presented in multimodal representation, but with three different mediating elements: a real situation close to the students' reality (text with data and image), a real situation far from the students' reality (text with data and image), and a visual poem (hybrid text with implicit mathematical content that generates critical reading and provokes an aesthetic emotion). The aim is to explore the extent to which the mediating elements have affective and performance implications. To this end, an investigation was designed with future primary school teachers. As will be shown, the results, both in terms of performance and affective factors, are different for problem posing and problem solving. Problem posing based on a visual poem is a stimulating challenge for future teachers. However, in problem solving, as this study shows, the problem posed in a remote real situation is more successful in both performance and affective aspects. [ABSTRACT FROM AUTHOR]

The article is devoted to the study of visual and graphic features of the E. A. Mnatsakanova’s texts in the book “Steps and Sighs” published in Vienna in 1982. The relevance of studying visual poetry is substantiated. A brief review of articles and dissertations, which highlight the work of the poetess, is given. At the same time, a significant gap was revealed in the study of her work - the poorly studied visual aspect in the presence of a layer of works in which the visual-auditory nature of poetry by E. A. Mnatsakanova was noted, which abandoned the traditional grammatical structure in favor of the traditional musical structure. Two types of visual-graphic techniques are considered that are most clearly manifested in the book “Steps and Sighs” - firstly, the location of the text on the page, among which the following techniques are highlighted: continuous writing of text, dividing the text into several vertical streams, fragmentation, indentation, spaces , holophrastic constructions and, secondly, typeface accidents, within which the use of foreign and uppercase fonts is considered. Comprehensive research methods led to the conclusion that the visual-graphic techniques used by Mnatsakanova are due to the visual-auditory nature of her work and the “stereo-scopic-phonic” thinking of the poetess. Also identified are three functions that the visual-graphic techniques considered by the author of the article perform in the text: organizing the sound structure of the poem with the help of indents, spaces, holophrastic constructions, meaning-forming, i.e. creating additional semantic accentuation using font accentuation and the function of holistic perception of the text, providing the possibility of multidirectional reading (writing solid text, dividing text into several vertical streams).

Mathematical visual poetry is a poetic genre whereby metaphorical expressions are created using mathematical structures. Within the structure, the poetics are understood by the cross-mapping of numerous conceptual domains including visual, lexical, and mathematical. Here I focus on one particular mathematical visual poetic structure: what I call a Similar Triangles Poem or Proportional Poem. To illustrate the ideas discussed, I present “Pandemic Meditation,” a mathematical visual poem; in particular, I discuss how this mathematical poem uses the mechanisms of poetic metaphor in the context of the embodied mind. The intent of this paper is not to explain “Pandemic Meditation,” for explanations of poetry serve only to kill it. Instead, the intent here is to give the reader the tools to access similar triangles poems in general, and this expression in particular, and to show how it functions within the definitions of poetic metaphor. This paper can be used as a template to study all similar triangles visual poems, and more generally, as a source to study visual poetry. [ABSTRACT FROM AUTHOR]

The issue of censorship was central in the work of Ernesto de Melo e Castro (1932-2020). This importance was constituted from the very experimental vocation of this artist, which led the processes of censorship by PIDE to his artistic production, especially theatrical, presented in his book Teatro de um Homem (L)ido (Theater of a Read/Gone Man) (2006), to have constituted an important trigger in the search for artistic alternatives. It took him to deviate his path for artistic fields less exposed to political surveillance, such as visual and experimental poetry, happening and performance, a process that can be inscribed in the metaphorical concept of scarto (GINZBURG, 1989), or the movement of the horse in the chess game of the Estado Novo. [ABSTRACT FROM AUTHOR]