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of the contributions that the process/poem provides for
the artistic practice, four stand out as the most significant...


       by Neide Dias de Sá


Text originally published in the magazine BROUHAHA No. 10 -
Natal, Rio Grande do Norte, Brazil, Imprensa Universitária, 2007.


  1. The process – Core of creation


Everything presentes a constant evolution in time, and when changes or transformations occur, it is said there is a process. The movement in the structure of the poem takes place through the process, which happens at various linguistic , immediate, among others, covering the physical transformations of objects. However, there is a dialectal interaction, in such a way that the structures are Always subordinate to the processes. Because of this primacy, for the processçpoem it is important to establish new creative possibilities: it is only new if it inaugurates new processes.  At this moment, the avant-garde takes on a conscious and objective commitment in its field, against the immobility of structures, and for the invention of new processes. Hence the movement also  leads, through its products, to the exact conscience that the value and the nucleus of invention are located in the creation of new processes.


The process´s correlation with time does not envolve linearity. It is a dynamic of the unexpected. Therei is no beginning and end, or fixed sequence of events, because the processe develops int diferent direcions, opening a number of threads that take place simultaneously.


The transformation, movement, or participation is what lead the structue (matrix) to the condition of the process/poem creates a new consumer/participant/creative, who ceases to be a passive or contemplative spectator, and becomes an explorer of the probabililties of the process, its operational solutions and structural possibilities.



  1. Versions

    The version is the apprecition of the matrix. Once fully open, it is perhaps the only criterion for the evaluation of the process/poem. If a poem contains versions, it closes a process.

It is the participant/creatoave act that the poem is resolved, and not in the interpretation or justification. Only when the readers begin to   ´read” processes do they understand the possibilities to construction and exploration. Each consumer/participant/creative, when exploring the process, generates versions according to this repertoire. Tje good and bad concept is replaced by the creative opition of each.


  1. Project

The creator is free form transmitting processes through finished structures. His proposal has the value of a project, leaving the consumer to build their version.


  1. Counterstyle

The countestyle is born with the process/poem itself, and values the virtualities of poetic invention.   We understand counterstyle as the processing difference tha mark the poems; the triggering of new specific structures within these poems, allowing us to see each poet´s private informational coeficient. The counterstyle is the antireredudancy of solutions, while the style is a mannetism in which the creator records his mark by repeating microstructures, linguistic or semiotic, that identify him and are responsible for his original style.


 Neide Dias de Sá is a visual artist and poet.  She teaches courses about the process/poem in several cities of Brazil



Essay republished in this Portal in december 2019.










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