Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (p. 43-44). / Poetry is one of the oldest forms of communication. The poet is interested in finding new ways of expressing universal truths. Science and technology also are looking for new ways to communicate universal truths. Through the use of the computer and other technologies language can be transformed, so that it can be perceived as well as read. / by Joan K. Shafran. / M.S.V.S.

Ao atentar para os trabalhos de François Rastier (1976) e Antonio Vicente Pietroforte (2011) sobre a metalinguagem, observou-se, na poesia de Augusto de Campos, um interessante objeto de pesquisa sobre o assunto. Assim, é investigado como se dá a metalinguagem no decurso de sua obra, já que desde o concretismo o autor promoveu diversas mudanças em sua poesia, que investe massivamente na metalinguagem, proporcionando um rico material de pesquisa. A investigação se inicia pelo estabelecimento de uma sistemática das temáticas discursivas desenvolvidos por Rastier, em seguida, é promovida uma reflexão sobre a metalinguagem para chegar a uma formulação de uma tipologia metalinguística. A partir dessa tipologia, são analisadas poesias de Augusto de Campos, que foram eleitas por sua capacidade de representar um conjunto de poemas com características semelhantes. A hipótese que move as análises é a de que há um movimento de expansão metalinguística, orientada pela tipologia, ao longo da obra de Augusto de Campos. Ela possuiria uma relação com as escolhas da instância da enunciação, ou seja, as marcas enunciativas, omitidas e reveladas no discurso de Augusto de Campos, produziriam uma concentração ou uma expansão de seu campo metalinguístico. Essa tensão, metalinguística, é observada pelo viés da semiótica tensiva desenvolvida por Claude Zilberberg (2011). Desse modo, pelo uso da semiótica, como ferramenta de análise, é possível verificar os mecanismos operados na construção do sentido, na metalinguagem da poesia visual de Augusto de Campos. Porém, além de focar o uso da metalinguagem, esse trabalho tem como objetivo mostrar a engenhosidade linguística dos textos poéticos do autor, pois entender como se desenvolve diacronicamente suas mudanças poéticas e atentar de forma sincrônica para seu labor linguístico se torna importante tanto para o desenvolvimento de uma tipologia recémformulada quanto para a apreensão de uma obra tão inventiva. / By attending to the works of Rastier (1976) and Pietroforte (2011) on the metalanguage, it was observed, in the poetry of Augusto de Campos, an interesting object of research on the subject. It is investigated how does the metalanguage in the course of his work, since from the concrete poetry, the author made several changes in his poetry, which invests heavily in providing a rich metalanguage research material. The investigation begins by establishing a system of discursive themes developed by Rastier, then promoted a reflection on the metalanguage to reach a metalinguistic formulation of a typology. From this typology, we analyze the poetry of Augusto de Campos, who were elected by their ability to represent a set of poems, with similar characteristics. The hypothesis that drives the analysis is that there is a movement of expansion metalinguistic, guided by the typology, along the work of Augusto de Campos. It possess a relationship with the enunciative choices omitted and revealed in the discourse of Augusto de Campos producing a merger or an expansion of its field metalinguistic. This tension, metalinguistic, is anchored in tensive semiotics developed by Claude Zilberberg (2011). With the use of semiotics as a tool of analysis, it is possible to verify the mechanisms operated in the construction of meaning in the metalanguage of visual poetry of Augusto de Campos, but in addition to focusing on the use of metalanguage, this paper aims to show the linguistic ingenuity of the poetic texts of the author, because understanding how it develops its changes diachronically poetic, metalinguistic via thematic, and look synchronously language for his labor becomes important for the development of a typology newly formulated also for the apprehension of a work so inventive.

Birth Cage is a trilingual and genre-bending approach to poetry. It is a postmodernist blend of visual and concrete poetry inspired by Deconstructivist architecture. Through different languages and voices, Birth Cage investigates the evolution of an individual. The transformation of a body, the search for home and the need to communicate are themes in the journey of a fragmented self towards unity. With a visual and linguistic emphasis on the idea of borders and access, various possible reading paths are related to the immigrant experience of a new culture. Language is treated as a cultural construct shaping the self as it defines the experience of space, on pages or in material space surrounding us. The idea of the self as architecture is a poetic reflection on living space, whether that is body, building or city. Architecture’s double-coding is present as a metaphor and followed in the visual formats which further question the graphic possibilities of words. The different languages and shifting visual elements allow a multifaceted reading experience that is a playful challenge for the reader. As a hybrid book, Birth Cage is a multidisciplinary approach to poetry and a blueprint for a cognitive architecture.

Studying the diverse, experimental, and unconventional work—particularly poetry—of Canadian writer bpNichol requires a better understanding of the material characteristics he used to give his writing unique significance. Nichol’s poems call for a plurality of new analytical methods, since traditional editorial and critical approaches often overlook the importance of materiality. This thesis presents three different approaches to critically considering Nichol’s work and highlighting its material aspects: comparing Nichol’s poetry to Dada aesthetics, examining multiple versions of individual poems using genetic criticism, and looking at the changes and similarities between print and digital material characteristics from the even wider perspective of media archaeology. Additionally, the benefits of a digital edition are argued in relation to all three editorial approaches, as digital presentation augments the focus on the materiality that is so integral to reading Nichol.

This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.

Orientador: Omar Khouri / Resumo: A proposta desta dissertação foi estudar as bases teóricas e os princípios formais apresentados no "Plano-piloto para a Poesia Concreta", 1958, que foi publicado em Noigandres 4 pelos poetas Augusto de Campos, Haroldo de Campos e Décio Pignatari, os quais conceberam a poesia como "uma arte geral da palavra" e "o espaço gráfico como elemento constitutivo estrutural do poema". A partir dos conceitos da semiótica desenvolvida por Charles Sanders Peirce, pretendeu-se compreender a forma como uma estrutura em movimento ou isomorfismo estrutural, que foi desenvolvido pelo grupo Noigandres na sua fase ortodoxa, entre 1955 a 1959, quando predominaram a forma geométrica e a matemática da composição. Finalmente, foram analisados cinco poemas representativos da Poesia Concreta Paulista elaborados entre 1955 a 1959. / Abstract: The proposal of this dissertation was to study the theoretical basis and formal principles set forth in the "Pilot-Plan for Concrete Poetry", 1958, published in Noigandres 4 by the concrete poets Augusto de Campos, Haroldo de Campos e Décio Pignatari, who used to conceptualize poetry as the "general art of the word" within which "the graphic space acts as structural agent of poem". On the basis of Charles Sanders Peirce's semiotics, we have hereby undertook to understand the concept of form as structural movement or structural isomorphism that has been worked out by the group Noigandres in their orthodox phase, between 1955 and 1959, when the geometric form and the mathematics of composition used to prevail in their poetry. Accordingly we have analyzed five representative poems by Concrete Poets from São Paulo, that were written by then. / Mestre

O presente trabalho propõe uma leitura de certa poesia brasileira produzida na década de 1970 em suas relações, explícitas e implícitas, com a reflexão teórica e a criação textual dos poetas concretos oriundos da década de 1950. Para tanto, optou-se por uma pesquisa panorâmica, atenta aos documentos de época e às mudanças gradativas na postura dos próprios poetas concretos durante as décadas de 1960 e 1970, que iluminasse os modos de incorporação ou refutação dos pressupostos concretistas no quadro geral daquele período. Além disso, o estudo abordou a obra, dispersa em revistas, antologias e edições não-comerciais, dos jovens poetas que se autointitulavam como herdeiros da poesia concreta, sobretudo Paulo Leminski, ainda que, como contraponto necessário, tenha se detido em algumas considerações sobre a chamada poesia marginal. / The following study offers an interpretation of a specific phase in the Brazilian poetry of the 1970s, taking into account the relations, both implicit and overt, that can be established between it and the theoretical and textual creations of the Concrete poets of the 1950s. In order to do so, a broad range was chosen for this research, in which documents from the period as well as the gradual changes in the Concrete poets stances during the decades of 1960 and 1970 were noted, as a means of clarifying the forms of incorporation or denial of the Concretes general assumptions at that time. Moreover, this study paid attention to the works scattered in magazines and non-commercial anthologies and editions of the young poets who were self-proclaimed inheritors of Concrete poetry, more specifically, Paulo Leminski, although some considerations were made concerning the socalled poesia marginal.

Esta dissertação pretende ser uma apresentação de dois sistemas de pensamento que implicaram em mudanças profundas, primeiro no quadro da poesia brasileira de matriz visual (no caso, aquelas influenciadas pelo desenvolvimento da poesia concreta) e devido a isso no desenvolvimento da ideia de Tradução Intersemiótica como elaborada por Julio Plaza. Os sistemas de pensamento em questão são a Semiótica, ou Teoria geral dos signos, desenvolvida por Charles Sanders Peirce, e o método ideogrâmico apoiado na ideia de Paideuma, como desenvolvido por Ezra Pound, apoiado na obra de dois antecessores, o sinólogo Ernest Francisco Fenollosa e o etnólogo Leo Viktor Frobenius. Plaza, artista plástico espanhol com formação múltipla, engajou-se ao vir viver no Brasil no quadro dos colaboradores do grupo ligado à poesia concreta em São Paulo e passou a desenvolver também uma arte híbrida, anfíbia, entre o verbo e o visual, de certa forma refletindo aquilo que chamou de \"oscilação de consciência entre arte e vida, entre poética e política\". Esta mesma oscilação marca a vida e a obra de Ezra Pound, poeta que exerceu enorme influência no desenrolar da poesia concreta. Ao adentrar a vida acadêmica, Plaza passaria a dedicar-se aos estudos da tradução, mas de um tipo diferente de tradução. Equalizando o paideuma e o método ideogrâmico à semiótica, Plaza desenvolveu uma obra teórica que ombreia sua produção artística. Nosso trabalho trata, como seu título indica, da transformação ocorrida no artista (em Pound, em Plaza, e em outros) quando este passa a dedicar-se à produção entre-signos ou intersígnica. A semiótica de Peirce nos serve de guia para o percurso. / This dissertation aims to present two systems of thought that implied profound changes, firstly in the Brazilian concrete poetry panorama and due to this in the development of the idea of Intersemiotic Translation as elaborated by Julio Plaza. The systems of thought in question are Semiotics, or the General Theory of Signs, as developed by Charles Sanders Peirce, and the ideogramic method endorsed by the concept of Paideuma as developed by Ezra Pound, sustained by the work of two forerunners, the sinologist Ernest Francisco Fenollosa and the ethnologist Leo Viktor Frobenius. Plaza, a Spanish artist with multiple training, when he came to live in Brazil he got involved with the group linked to the movement of concrete poetry in São Paulo, then he began to develop a hybrid and amphibian art, somewhere between the verb and the visual, in a certain way reflected in what he called the \"oscillation of consciousness between art and life, between poetics and politics\". This same oscillation marks the life and works of Ezra Pound, a poet who exerted enormous influence in the development of Brazilian concrete poetry. When Plaza entered the academic life, he would dedicate himself to the studies of translation, but to a different sort of translation. Equalizing the paideuma and the ideogramic method with semiotics, Plaza developed a theoretical work that stands alongside with his own artistic production. This research deals, as its title suggests, with the transformation that took place in the artist (whether Pound or Plaza or any other) when he/she happens to dedicate him/herself to intersemiotic composition. Peirce\' semiotics guides us along this path.

[pt] Esta dissertação constitui uma abordagem do signo verbal (gráfico/tipográfico) no design gráfico. A questão motivadora da pesquisa foi o modo como são expressas as dimensões sonora e visual presentes no signo verbal. A partir dessa reflexão nos deparamos com o seguinte problema: em que fundamentos lógicos se apoiam os signos verbais manifestados pela materialidade visual (tipográfico), apreendidos, articulados e expressos no design gráfico para além de seu peso linguístico? Partimos da premissa de que o signo verbal, da maneira como vem a ser empregado no design gráfico, composto pelas mais diversas formas tipográficas, leva em consideração sua dimensão sonora e, principalmente, visual. Este aspecto o transporta para além da sua dimensão verbal. Essa particularidade encontra ressonância na poesia verbivocovisual dos poetas concretos que preconizou a materialidade da palavra. Estabelecemos como objeto empírico os projetos de design gráfico selecionados para as Bienais de Design Gráfico da Associação dos Designers Gráficos (ADG Brasil), e publicados nos catálogos das respectivas mostras. Empreendemos as análises desse corpus segundo os aportes teóricos da semiótica, considerando as dimensões sintática, semântica e pragmática dos objetos de design. Conforme os resultados desta pesquisa, concluímos que o signo verbal no design gráfico apresenta um amplo repertório baseado nas hibridizações com as dimensões sonora e visual. A conclusão a que chegamos permite ainda depreender que a semiótica peirciana se constitui tanto como um percurso analítico de projetos de design já concebidos, como também, como um mapa orientador e metodológico que vem se somar aos demais processos da ação projetual. / [en] This dissertation constitutes an approach to the verbal sign (graphic/typografic) in graphic design. The motivating question for this research is how the sonorous and visual dimensions showed in the verbal sign are expressed. From this reflection we are faced with the following problem: in which logical grounds are supported the verbal signs expressed by their visual materiality (typographic), seized, articulated or expressed in graphic design to beyond their linguistic weight? We depart from the premise that the verbal sign, from the way it s being employed in graphic design, considers his sonorous dimension and, mainly, the visual one. This aspect takes it beyond its verbal dimension. This particularity encounters ressonance in the verbivocovisual poetry of the concrete poets, that preconized the materiality of the word. We ve established as empirical object the graphic design projects selected for the Biennial of Graphic Design of ADG Brazil (Associação dos Designers Gráficos), and published in the catalogs of their shows. We have managed analysis of this corpus according to the theoretical contributions of semiotics, considering the dimensions syntactic, semantic and pragmatic of design objects. As a result of this research, we conclude that the verbal sign in graphic design features a large repertoire based on hybridizations with the sonorous and visual dimensions. The conclusion we reached also allows infer that peirce s semiotics constitutes so much as an analytical course for conceived design projects, but also as a mastermind and methodological road map that adds to other kinds of design process.

Através de design, de tecnologia, de arte e de filosofia, esta pesquisa movimenta o modo de construção do livro sob uma força que tende, conceitualmente, a deformá-lo. Nesse contexto, sobre três faces de um mesmo enunciado, entre livro e palavra, são construídos seis livros dúcteis por duas efetuações paralelas: o modo de escrita quasefala e a tecnologia de corte e gravação a laser. O modo de escrita sendo o fora preso na linguagem, potência por vir a ser, devir; e a tecnologia a laser sendo o rúptil da matéria, corte da linguagem, construção dos livros. Uma vez que, por um triz, o rompimento da matéria não fala, expondo-se por esta diferença que há entre não falar e falar, cedendo seu lugar à fala da matéria. Por quasefala, portanto, tem-se essa demonstração do que poderia ter sido a fala, impossível de não ser efetuada ao mesmo tempo em que é crucial não ser efetuada - a que depende sua morte, impossível de se cuspir ao mesmo tempo em que é vital não a engolir - a que depende sua vida. Por rúptil, matéria-pensamento; e por dúctil, pensamento-matéria. Sendo que nessa transição rúptil-dúctil prevalece o livro dúctil por um pensamento que deforma também o rúptil, ou seja, traz-se o corte para dentro da dobra conceitual do estudo. Dualidades que culminam na expressão latente do processo: quasefalas enquanto corte e falas enquanto matéria. Desdobradas, por fim, entre papéis, tecidos, polímeros e velcro, nos protótipos adotando abandono, ataques melindrosos, inventania, maracujamelão, tipos de chuva e quebra-cabecedário. / Through design, technology, art and philosophy, this research moves the mode of construction of the book under a force that tends, conceptually, to deform it. In this context, on three faces of the same utterance, between book and word, are made six livros dúcteis (“ductile books”) by combining two parallel made: quasefala (“almost speaks”) writing mode and laser technology for cutting and engraving. The writing mode while the off imprisoned in language, potency for coming into being, devir; and laser technology as ruptile of material, cutting of language, construction of the books. Since, by a whisker, the disruption of material not speak, exposing itself for this difference there is between not talking and talking, ceding its place to speech of the material. For quasefala, therefore, has this demonstration of what could have been speaking, impossible not to be made at the same time as it is crucial not to be made - that depends their death, impossible to spit out at the same time that it is vital not swallow - that depends on their life. For ruptile, material-thought; and ductile, thought-material. Being that, in this ruptile-ductile transition prevails the ductile book because of the thought that deforms also the ruptile, ie, bringing the cutting into of the conceptual fold of study. Dualities that culminate on the latent expression of the process: quasefalas while cutting and speaks as a material. Developed, finally, among papers, fabrics, polymers and velcro, in the prototype adotando abandono, ataques melindrosos, inventania, maracujamelão, tipos de chuva e quebra-cabecedário.