A short history of animated poetry. Includes the history of the group "L.A.I.R.E.", and the group "Transitoire Observarble".
Oscar Martín Centeno said "the aim of my videoprojections is to impregnate the audience with all the senses". El rumor de los álamos -The Murmur of Poplars- suceeds in reinforcing the poetic meaning with the expressive reading of the author, the relaxing piano music and the image of hands getting together in a liquid atmosphere, like if they were inside of a river in an imaginary forest in a memory or dream (Maya Zalbidea 2014).
Oscar Martín Centeno dijo que el objetivo de sus videoproyecciones es el de impregnar de todos los sentidos a la audiencia. El rumor de los párpados lo consigue al reforzar el significado poético con la lectura expresiva del autor, la música relajante del piano y la imagen de las manos uniéndose en un ambiente líquido, como si estuvieran en un río dentro de un bosque imaginario en un recuerdo o un sueño (Maya Zalbidea 2014).
Martín’s multimedia poems take part of his poetry readings. They are not video poems, they are not thought to be visualized in an autonomous way, but to take part of a show of live music, scenic presence and interaction with main elements. However, the author intends to get the users closer to the symbiosis of artistic languages that this poetic genre provides. Cuando enciendas los párpados -When you light your eyelids- is a multimedia poem which includes music, computer animated poetry, images and the voice of the poet reading the poem. The verses, music and video have been made by the author himself. In the poem words move in spirals and there are lights that appear in the corners, there are shadows of people who look like the audience who is watching the multimedia. The poem is about love, hope and the sea, there are fish dancing in the water when the poet mentions the sea. This poem belongs to the book of poems Je suis le diable - Las Cántigas, published by Ya lo dijo Casimiro Parker. Versos, música y vídeo: Óscar Martín Centeno (Maya Zalbidea Paniagua 2014)
Los vídeos multimedia de Oscar Martín Centeno forman parte de la sección visual de los recitales multimedia. No son videopoemas, es decir, no están pensados para ser visionados de forma autónoma, sino para formar parte de un espectáculo donde la música en directo, la presencia escéncia y la interacción son elementos fundamentales. Aún así, el autor pretende que puedan acercar a los usuarios a la simbiosis de lenguajes artísticos que este género poético propicia. Cuando enciendas los párpardos es un poema multimedia que incluye música, poesía animada por ordenador, imágenes y la voz del poeta recitando el poema. Los versos, la música y el vídeo han sido creados por el propio autor. En el poema las palabras se mueven en forma de espiral y aparecen luces en las esquinas, hay sobras de personas que parecen la audiencia que está viendo la instalación como en una acción performativa. El poema trata del amor, la esperanza y el mar, aparecen peces danzando en el agua cuando el poeta menciona el mar. Este poema pertenece al libro de poemas Je suis le diable-Las Cántigas punlicado por la editorial Ya lo dijo Casimiro Parker (Maya Zalbidea Paniagua 2014).
Three eMac computers present three of Danish poet Per Højholt´s concrete poetry: Turbo, +1, and Punkter (Points). These celebrated poems were first written in 1968, 1969, and 1971 respectively. They focus on language play, and the visual forms of language, often at the expense of language meaning. Turbo, in particular, is considered a milestone in the history of Danish poetry. This installation, Turbo på ordet (Turbo on the Word), re-presents Højholt's poetic forms with Flash animation. In 2005, it was first unveiled at the Audatur festival for ny poesi (Audiatur Festival for New Poetry) in Bergen, Norway, and was subsequently set up at two libraries in Roskilde, Denmark in 2006.
There is no video documentation of this work. The URL provided shows only screen shots and gives an idea of the environments in which the installation was shown.
I argue that there is an intrinsic connection between concrete poetics as a theory of the medium (i.e., of language, of written language, and of poetical forms) and digital poetics as a theory of poetry for the digital medium. This link is clearly seen in the use of concrete poems as storyboards and scripts for electronic texts, both in composing text for graphic interface static display and for animation. This essay deals with the adoption of electronic media by concrete poets, with examples from the work of Brazilian poet Augusto de Campos (1931-), and Portuguese poets E.M. de Melo e Castro (1932-) and Tiago Gomez Rodrigues (1972-).
(Source: Author's Abstract)