Other concrete poets too have explored the possibilities of computers for their purposes, amongst them Reinhard Doehl, Emmett Williams and Augusto de Campos. Augusto de Campos uses the web primarily as a transmission medium for his poems, and exhibits static representations of concrete poems, some of them equipped with a soundtrack, usually recordings of a reading, such as “tensao” (1956) and “cidade/city/cité” (1975). In these pieces, the visual and the acoustic dimension do not enter into an innovative dialogue, as in more complex digital works, but remain separate entities.
And it is Augusto de Campos too who called for “new spatio-temporal modes of apprehension of the text by the reader”, arguing that concrete poetry has drastically redefined poetic space and poetic temporality and our perception of it.
And it is Augusto de Campos too who called for “new spatio-temporal modes of apprehension of the text by the reader”, arguing that concrete poetry has drastically redefined poetic space and poetic temporality and our perception of it.
