Os Inícios da Poesia Computacional e a Poesia Concreta
DOI:
https://doi.org/10.14195/2182-8830_6-1_4Palavras-chave:
literatura eletrónica, programação, computação gráfica, poesia concreta, Max Bense, Cybernetic SerendipityResumo
Este artigo destaca a importância atribuída aos programas de computador e à computação gráfica nas primeiras experiências de Literatura Eletrónica. Com base nos textos analisados, a influência da teoria estética de Max Bense e da Poesia Concreta deve ser diminuída. As primeiras antologias da Poesia Concreta continham um número escasso de textos pertencentes a um subgénero que se poderia denominar “Poesia Concreta Computacional.” Quer Franke (1971), quer Bailey (1973) relataram uma presença maior de outros modelos textuais.
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Referências
Almanacco letterario Bompiani 1962 (1961). Milano: Bompiani.
[Anon.]. “The Pocketa, Pocketa School.” Time Magazine (May 25, 1962).
AUBERT, Jean-Paul, Serge Milan, and Jean-François Trubert, eds. (2018). De l’avant-garde, des avant-gardes: frontières, mouvements, III. Sampzon: Editions Delatour. Forthcoming.
BAILEY, Richard W. (1973). Computer Poems. Drummond Island, MI: Potagannissing.
BALESTRINI, Nanni (1961). “Tape Mark I.” Almanacco letterario Bompiani.
BALESTRINI, Nanni (1963). Come si agisce. Milano: Giangiacomo Feltrinelli Editore.
BALESTRINI, Nanni (1996). “Riflessioni sulla scrittura elettronica”. http://www.mediamente.rai.it
BANN, Stephen, ed. (1967). Concrete Poetry: An International Anthology. London: London Magazine editions.
BAUDOT, Jean A. (1964). La machine à écrire. Montreal: Editions du Jour.
BENJAMIN, Walter (1992). “The Work of Art in the Age of Mechanical Reproduction [1936]”. Illuminations. Ed. Hannah Arendt. London: Fontana Press.
BENSE, Max (1965). “Konkrete Poesie.” Sprache im Technischen Zeitalter 15: 1236-1244.
BENSE, Max (1966), “Stili sperimentali.” Modulo 1.1: 5-9.
BENSE, Max (1967/68). “Progetti di estetica generativa.” Il Verri 12.22: 17-23.
BENSE, Max (1969). Teoria testuale della poesia. Roma: Silva editore.
BENSE, Max (1971). Pequena estética. São Paulo: Perspectiva.
BENSE, Max, and Elisabeth Walter eds. (1965). “Konkrete poesie international.” Rot 21.
BURROUGHS, William S., and Brion Gysin (1978). The Third Mind. New York: Seaver Books.
CAIGNARD, Rolland (1998). “La poésie électronique.” Lo stato delle cose 2.6: 45-57.
Chercher le texte (2018). Morgantown: West Virginia University Press. EBook. Forthcoming.
D’AMBROSIO, Matteo (1979). “Sémiotique de la poésie concrete.” Canadian Journal of Research in Semiotics 6.3 / 7.1: 249-261.
D’AMBROSIO, Matteo (2009a). “Le disavventure della parola. Dalle avanguardie storiche all’ambiente multimediale.” Il testo, l’analisi, l’interpretazione, III: Letteratura, tecnologia, scienza. Ed. M. D’Ambrosio. Napoli: Liguori Editore: 1-19.
D’AMBROSIO, Matteo (2009b). Roman Jakobson e il futurismo italiano. Napoli: Liguori Editore.
D’AMBROSIO, Matteo (2018a). “Di come Carlo Belloli, partendo dal “Poema preciso” marinettiano, divenne il precursore della Poesia concreta,” De l’avant-garde, des avant-gardes: frontières, mouvements. Ed. Jean-Paul Aubert, Serge Milan, and Jean-François Trubert, eds. Forthcoming.
D’AMBROSIO, Matteo (2018b). “A ‘Poetry of Numbers’? Khlebnikov, Jakobson, Marinetti, Schwitters, Kostelanetz.” Chercher le texte. Morgantown: West Virginia University Press. EBook. Forthcoming.
DONGUY, Jacques (1997). “Poésie et ordinateur.”
http://www.sitec.fr/users/akenatondocks/theory_f/DONGUY. htm.
ECO, Umberto (1965). Opera aperta. Milano: Bompiani.
ECO, Umberto, ed. (1972). Estetica e teoria dell’informazione. Milano: Bompiani.
EDELINE, Francis (1969). “Une syntaxe topologique.” Le Journal des poètes 39.2: 12-15.
Event One. London: Computer Arts Society, 1969.
FERRAN, Bronac (2017). The Smell of Ink and Soil: The Story of (Edition) Hansjörg Mayer. Köln: Walther König.
FRANKE, Herbert W. (1970). Impulse Computerkunst. Grafik – Plastik – Musik – Film. München: Kunstverein.
FRANKE, Herbert W. (1971). Computer Graphics / Computer Art. London: Phaidon.
FUNKHOUSER, Christopher (2007). Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa: University of Alabama Press.
FUNKHOUSER, Christopher (2012b). “First-Generation Poetry Generators”. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Ed. Hannah B. Higgins and Douglas Kahn. Berkeley: University of California Press. 243-265.
GARNIER, Pierre (1968). Spatialisme et poésie concrete. Paris: Gallimard.
GARVIN, Harry R., and James M. Heath eds. (1983). Science and Literature. London-Toronto: Bucknell University Press.
GOMRINGER, Eugen, ed. (1972). Konkrete poesie: Deutschprache autoren. Stuttgart: Philipp Reclam.
GROUPE μ. (1977). Rhétorique de la poésie: Lecture linéaire lecture tabulaire. Bruxelles: Edition Complexe.
HARTMAN, Charles O. (1996). Virtual Muse: Experiments in Computer Poetry. Hannover-London: Wesleyan University Press.
HIGGINS, Dick (1970). Computers for the Arts. Somerville, MA: ABYSS Publications.
HIGGINS, Hannah B., and Douglas Kahn (2012a). “Introduction”. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, Berkeley: University of California Press. 1-14.
HIGGINS, Hannah B., and Douglas Kahn, eds. (2012b). Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.
KLÜTSCH, Christoph (2012). “Information Aesthetics and the Stuttgart School.” Mainframe Experimental-ism: Early Computing and the Foundations of the Digital Arts. Ed. Hannah B. Higgins and Douglas Kahn. Berkeley: University of California Press. 65-89.
KOSTELANETZ, Richard, ed. (1980). Text-Sound Texts. New York: William Morrow and Company.
KRAUSE, Manfred, und Götz F. Schaudt eds. (1967). Computer-Lyrik. Düsseldorf: Droste Verlag.
JACKSON, K. David, Eric Vos, and Johanna Drucker, eds. (1996). Experimental – Visual – Concrete. Avant-Garde Poetry since the 1960s. Amsterdam: Rodopi.
JAKOBSON, Roman (1983). Letter to V. Khlebnikov [February 1914]. Italian trans. Remo Faccani. Il Verri 28.31/32: 71.
Longman Dictionary and Handbook of Poetry (1985). New York.
LUTZ, Theo (1959). “Stochastische Texte.” Augenblick 4.1: 3-9. English translation: http://www.stuttgarter-schule.de/lutz_schule_en.htm.
LUTZ, Theo (1960). “Über ein Programm zur Synthese stochastisch-logischer Texte.” Grundlagenstudien aus Kybernetik und Geisteswissen-schaft 1.1: 11.
MARCUS, Adrian (1974). “An Introduction to the Visual Syntax of Concrete Poetry.” Visible Language 8.4: 333-360.
MARINETTI, Filippo Tommaso (1912). I poeti futuristi, con un proclama di F. T. Marinetti e uno studio sul Verso libero di P. Buzzi. Milano: Edizioni futuriste di “Poesia”.
MASTERMAN, Margaret (1971). “Computerized haiku.” Cybernetics, Art and Ideas: 175-183.
MINGUET, Philippe (1969). “La poésie comme art de l’espace.” Le Journal des poètes 39.2: 2-5.
MOLES, Abraham [1962]. “Erstes manifest der permutationellen kunst.” Rot 3.8.
MOLES, Abraham (1972). “Analisi delle strutture del messaggio poetico a differenti livelli della sensibilità. L’aspetto informazionale dei problemi di una poetica.” Estetica e teoria dell’informazione: 131-152.
MORRIS, John (1967). “How to Write Poems with a Computer.” Michigan Quarterly Review 6.1: 17-20.
PREMINGER, Alex, Terry Brogan, and Frank Warnke, eds. (1993). The New Princeton Encyclopedia of Poetry and Poetics. Princeton, N.J.: Princeton University Press.
NEWELL, Kenneth B. (1983). “Pattern, Concrete, and Computer Poetry: The Poem as Object in Itself.” Science and Literature. Ed. Harry Raphael Garvin, Harry Garvin, and James M. Heath. Lewisburg: Bucknell University Press.159-173.
PUTAR, Radoslav (1969). “Cybernetic serendipity an exhibition in the institute of contemporary arts in London, August 2-October 20 1968.” BIT international 1.1: 84-100.
QUENEAU, Raymond (1950). Batons, chiffres et lettres. Paris: Gallimard.
REICHARDT, Jasia, ed. (1968). Cybernetic Serendipity. The Computer and the arts. A Studio International special issue. Ed. London: W. & J. Mackay.
REICHARDT, Jasia (1971). Cybernetics, Art and Ideas. Greenwich, CT.: New York Graphic Society.
SHARKEY, John, ed. (1971). Mindplay. An Anthology of British Concrete Poetry. London: Lorrimer Publishing.
SOLT, Mary Ellen, ed. (1968). “A World Look at Concrete Poetry.” Artes Hispanicas / Hispanic Arts 1:3/4.
TZARA, Tristan (1918). “Manifeste Dada 1918.” Dada 2.3: 2-4.
VOSTELL, Wolf, and Dick Higgins (1969). Fantastic Architecture. New York: Something Else Press.
WALTHER, Elisabeth (1996). “The Relations of Haroldo de Campos to German Concretist Poets, in Particular to Max Bense.” Experimental – Visual – Concrete. Avant-Garde Poetry since the 1960s. Eds. K. David Jackson, Eric Vos, and Johanna Drucker. Amsterdam: Rodopi. 353-366.
WILLIAMS, Emmett (1973). A Valentine for Noël. Four Variations on a Scheme. Barton-Brownington-Berlin: Something Else Press.
WILLIAMS, Emmett, ed. (1967). Anthology of Concrete Poetry. New York: Something Else Press.
WORTHY, R. M. (1962). “A New American Poet Speaks: The Works of A. B.” Horizon 4.3: 96-99.
[Anon.]. “The Pocketa, Pocketa School.” Time Magazine (May 25, 1962).
AUBERT, Jean-Paul, Serge Milan, and Jean-François Trubert, eds. (2018). De l’avant-garde, des avant-gardes: frontières, mouvements, III. Sampzon: Editions Delatour. Forthcoming.
BAILEY, Richard W. (1973). Computer Poems. Drummond Island, MI: Potagannissing.
BALESTRINI, Nanni (1961). “Tape Mark I.” Almanacco letterario Bompiani.
BALESTRINI, Nanni (1963). Come si agisce. Milano: Giangiacomo Feltrinelli Editore.
BALESTRINI, Nanni (1996). “Riflessioni sulla scrittura elettronica”. http://www.mediamente.rai.it
BANN, Stephen, ed. (1967). Concrete Poetry: An International Anthology. London: London Magazine editions.
BAUDOT, Jean A. (1964). La machine à écrire. Montreal: Editions du Jour.
BENJAMIN, Walter (1992). “The Work of Art in the Age of Mechanical Reproduction [1936]”. Illuminations. Ed. Hannah Arendt. London: Fontana Press.
BENSE, Max (1965). “Konkrete Poesie.” Sprache im Technischen Zeitalter 15: 1236-1244.
BENSE, Max (1966), “Stili sperimentali.” Modulo 1.1: 5-9.
BENSE, Max (1967/68). “Progetti di estetica generativa.” Il Verri 12.22: 17-23.
BENSE, Max (1969). Teoria testuale della poesia. Roma: Silva editore.
BENSE, Max (1971). Pequena estética. São Paulo: Perspectiva.
BENSE, Max, and Elisabeth Walter eds. (1965). “Konkrete poesie international.” Rot 21.
BURROUGHS, William S., and Brion Gysin (1978). The Third Mind. New York: Seaver Books.
CAIGNARD, Rolland (1998). “La poésie électronique.” Lo stato delle cose 2.6: 45-57.
Chercher le texte (2018). Morgantown: West Virginia University Press. EBook. Forthcoming.
D’AMBROSIO, Matteo (1979). “Sémiotique de la poésie concrete.” Canadian Journal of Research in Semiotics 6.3 / 7.1: 249-261.
D’AMBROSIO, Matteo (2009a). “Le disavventure della parola. Dalle avanguardie storiche all’ambiente multimediale.” Il testo, l’analisi, l’interpretazione, III: Letteratura, tecnologia, scienza. Ed. M. D’Ambrosio. Napoli: Liguori Editore: 1-19.
D’AMBROSIO, Matteo (2009b). Roman Jakobson e il futurismo italiano. Napoli: Liguori Editore.
D’AMBROSIO, Matteo (2018a). “Di come Carlo Belloli, partendo dal “Poema preciso” marinettiano, divenne il precursore della Poesia concreta,” De l’avant-garde, des avant-gardes: frontières, mouvements. Ed. Jean-Paul Aubert, Serge Milan, and Jean-François Trubert, eds. Forthcoming.
D’AMBROSIO, Matteo (2018b). “A ‘Poetry of Numbers’? Khlebnikov, Jakobson, Marinetti, Schwitters, Kostelanetz.” Chercher le texte. Morgantown: West Virginia University Press. EBook. Forthcoming.
DONGUY, Jacques (1997). “Poésie et ordinateur.”
http://www.sitec.fr/users/akenatondocks/theory_f/DONGUY. htm.
ECO, Umberto (1965). Opera aperta. Milano: Bompiani.
ECO, Umberto, ed. (1972). Estetica e teoria dell’informazione. Milano: Bompiani.
EDELINE, Francis (1969). “Une syntaxe topologique.” Le Journal des poètes 39.2: 12-15.
Event One. London: Computer Arts Society, 1969.
FERRAN, Bronac (2017). The Smell of Ink and Soil: The Story of (Edition) Hansjörg Mayer. Köln: Walther König.
FRANKE, Herbert W. (1970). Impulse Computerkunst. Grafik – Plastik – Musik – Film. München: Kunstverein.
FRANKE, Herbert W. (1971). Computer Graphics / Computer Art. London: Phaidon.
FUNKHOUSER, Christopher (2007). Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa: University of Alabama Press.
FUNKHOUSER, Christopher (2012b). “First-Generation Poetry Generators”. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Ed. Hannah B. Higgins and Douglas Kahn. Berkeley: University of California Press. 243-265.
GARNIER, Pierre (1968). Spatialisme et poésie concrete. Paris: Gallimard.
GARVIN, Harry R., and James M. Heath eds. (1983). Science and Literature. London-Toronto: Bucknell University Press.
GOMRINGER, Eugen, ed. (1972). Konkrete poesie: Deutschprache autoren. Stuttgart: Philipp Reclam.
GROUPE μ. (1977). Rhétorique de la poésie: Lecture linéaire lecture tabulaire. Bruxelles: Edition Complexe.
HARTMAN, Charles O. (1996). Virtual Muse: Experiments in Computer Poetry. Hannover-London: Wesleyan University Press.
HIGGINS, Dick (1970). Computers for the Arts. Somerville, MA: ABYSS Publications.
HIGGINS, Hannah B., and Douglas Kahn (2012a). “Introduction”. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, Berkeley: University of California Press. 1-14.
HIGGINS, Hannah B., and Douglas Kahn, eds. (2012b). Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.
KLÜTSCH, Christoph (2012). “Information Aesthetics and the Stuttgart School.” Mainframe Experimental-ism: Early Computing and the Foundations of the Digital Arts. Ed. Hannah B. Higgins and Douglas Kahn. Berkeley: University of California Press. 65-89.
KOSTELANETZ, Richard, ed. (1980). Text-Sound Texts. New York: William Morrow and Company.
KRAUSE, Manfred, und Götz F. Schaudt eds. (1967). Computer-Lyrik. Düsseldorf: Droste Verlag.
JACKSON, K. David, Eric Vos, and Johanna Drucker, eds. (1996). Experimental – Visual – Concrete. Avant-Garde Poetry since the 1960s. Amsterdam: Rodopi.
JAKOBSON, Roman (1983). Letter to V. Khlebnikov [February 1914]. Italian trans. Remo Faccani. Il Verri 28.31/32: 71.
Longman Dictionary and Handbook of Poetry (1985). New York.
LUTZ, Theo (1959). “Stochastische Texte.” Augenblick 4.1: 3-9. English translation: http://www.stuttgarter-schule.de/lutz_schule_en.htm.
LUTZ, Theo (1960). “Über ein Programm zur Synthese stochastisch-logischer Texte.” Grundlagenstudien aus Kybernetik und Geisteswissen-schaft 1.1: 11.
MARCUS, Adrian (1974). “An Introduction to the Visual Syntax of Concrete Poetry.” Visible Language 8.4: 333-360.
MARINETTI, Filippo Tommaso (1912). I poeti futuristi, con un proclama di F. T. Marinetti e uno studio sul Verso libero di P. Buzzi. Milano: Edizioni futuriste di “Poesia”.
MASTERMAN, Margaret (1971). “Computerized haiku.” Cybernetics, Art and Ideas: 175-183.
MINGUET, Philippe (1969). “La poésie comme art de l’espace.” Le Journal des poètes 39.2: 2-5.
MOLES, Abraham [1962]. “Erstes manifest der permutationellen kunst.” Rot 3.8.
MOLES, Abraham (1972). “Analisi delle strutture del messaggio poetico a differenti livelli della sensibilità. L’aspetto informazionale dei problemi di una poetica.” Estetica e teoria dell’informazione: 131-152.
MORRIS, John (1967). “How to Write Poems with a Computer.” Michigan Quarterly Review 6.1: 17-20.
PREMINGER, Alex, Terry Brogan, and Frank Warnke, eds. (1993). The New Princeton Encyclopedia of Poetry and Poetics. Princeton, N.J.: Princeton University Press.
NEWELL, Kenneth B. (1983). “Pattern, Concrete, and Computer Poetry: The Poem as Object in Itself.” Science and Literature. Ed. Harry Raphael Garvin, Harry Garvin, and James M. Heath. Lewisburg: Bucknell University Press.159-173.
PUTAR, Radoslav (1969). “Cybernetic serendipity an exhibition in the institute of contemporary arts in London, August 2-October 20 1968.” BIT international 1.1: 84-100.
QUENEAU, Raymond (1950). Batons, chiffres et lettres. Paris: Gallimard.
REICHARDT, Jasia, ed. (1968). Cybernetic Serendipity. The Computer and the arts. A Studio International special issue. Ed. London: W. & J. Mackay.
REICHARDT, Jasia (1971). Cybernetics, Art and Ideas. Greenwich, CT.: New York Graphic Society.
SHARKEY, John, ed. (1971). Mindplay. An Anthology of British Concrete Poetry. London: Lorrimer Publishing.
SOLT, Mary Ellen, ed. (1968). “A World Look at Concrete Poetry.” Artes Hispanicas / Hispanic Arts 1:3/4.
TZARA, Tristan (1918). “Manifeste Dada 1918.” Dada 2.3: 2-4.
VOSTELL, Wolf, and Dick Higgins (1969). Fantastic Architecture. New York: Something Else Press.
WALTHER, Elisabeth (1996). “The Relations of Haroldo de Campos to German Concretist Poets, in Particular to Max Bense.” Experimental – Visual – Concrete. Avant-Garde Poetry since the 1960s. Eds. K. David Jackson, Eric Vos, and Johanna Drucker. Amsterdam: Rodopi. 353-366.
WILLIAMS, Emmett (1973). A Valentine for Noël. Four Variations on a Scheme. Barton-Brownington-Berlin: Something Else Press.
WILLIAMS, Emmett, ed. (1967). Anthology of Concrete Poetry. New York: Something Else Press.
WORTHY, R. M. (1962). “A New American Poet Speaks: The Works of A. B.” Horizon 4.3: 96-99.
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2018-08-10
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D’Ambrosio, Matteo. 2018. «Os Inícios Da Poesia Computacional E a Poesia Concreta». Matlit: Materialidades Da Literatura 6 (1):51-72. https://doi.org/10.14195/2182-8830_6-1_4.
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