Consisting of a series of visual poems, Poetrica's Nomadic Poems are construed with non-alphabetic fonts (dings and system fonts). The process for composing these pieces involves using algebraic operations and non-alphabetic fonts (system fonts and dings). This results in imagetic meanings independent of textuality, which inverts concrete art assumptions, undoing verbal and visual ties through the combination of fonts and numbers, languages and codes, thus investigating and exploring the interconnection of networks and supports.

Every no-poem has in its title the equation that was typed before the sequences of operations (additions, superpositions, divisions, etc.). In addition, each no-poem has a colophon, placed at the bottom, specifying the name of the font, size of the font, and whether or not it has a vector effect.

Conceived for PDA's, the Web, cell phones, electronic panels, different-sized papers, and different digital printing methods, Poetrica also explores reading and perception contexts. Re-dimensioned and saved as something new, images are made from the same information, but are not connected to a specific support, emphasizing the cloning logic that permeates digital creation.

All the Poetrica materials (my nomadic poems, and the contributors visual texts and textual images) are reproduced in different devices (mobile phones, Palms, computers, DVDs, cinema screens) and, in some cases, printed in large formats. Nevertheless, their meanings are always unlinked to their places of production and transmission. By this way, Poetrica inverts the concrete and land art assumptions that feed and base it: undoing verbal and visual ties through the combination of languages and codes, and projecting itself as a net specific intervention.

Everything that is created is seen, read and perceived in different ways, according to its reception context and this is not a consequence of the screen sizes to which the submitted images adhere. But due to a particular esthetic phenomenon pertaining to nomadic literature: on being hybrid and unlinked to support, it dematerializes the medium, and the interface construes itself as the message.

Giselle Beiguelman

Poetrica has among its sources of inspiration:
Rafael Lain, Brazilian typographer, author of some fonts used here, "Introduction to the Letter T", poem by Barrett Watten (Sun & Moon Classics, 2000), "desbragada", by Edgar Braga (Regis Bonvicino ed., 1984), Ideograma by Haroldo de Campos and the work of his brother, Augusto.
The teleintervention owes a lot to Orson Welles e Jenny Holzer.
Borges, as always is everywhere...

The original is unfaithful to the translation
Jorge Luis Borges