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                                               Moacy Cirne



The comic-book is not the same thing for poema/processo as it was for Pop Art. For while Pop Art had its own struc-ture - and only trangressed into the field of comics from time to time, and then only in a recreational way - the most evident manifestations never left the stage of a "family size comic" (Sergio Augusto) whose results are questionable.


The proposals of poema/processo are quite different:

-       introduce new information processes

-       establish creative probabilities

-       launch projects that enable consumer versions

-       create critical awareness towards the counter-style

-       fight for a logic of consumption.


Poema/processo, therefore, intervenes at the root of the contemporary aesthetic-informational problematics: against the old structures it proposes that "everything is allowed" and a demystification of the art object.  And using comics as a critical basis, some of their poets have sought to establish higher creative stakes for the investigation of the poem. They are


Alvaro de Sá

Nei Leandro de Castro

Jose Luis Serafini

Márcio Sampaio

Sebastian Nunes

Dailor Varela

Jose Neumanne Pinto

Regina Coeli do Nascimento

Anchieta Fernandes

Falves Silva

Alderico Leandro

Marcus Vinicius de Andrade

Marcos Silva

Ivan Maurício

Humberto Avellar.


Of these, Alvaro de Sá is the one who entered most deeply into the formal problems of comics. His book 12X9 is, in the words of Wlademir Dias-Pino, "a true x-ray structure of comics". It is, in our opinion, the most creative poetic experience yet extracted from the contextual elements of comics. We are not facing the mere enlarged copy (as in Pop Art): Alvaro de Sá penetrates their meta-language, to achieve a direct communication from frame to frame, from crosslink to crosslink.


In one of the poems, the frame a frame that pulls a new frame:  each new frame contains of the previous frames until they explode forming the word "TRAC", as a result of the interference of triangles and circles. The other poets above make - or made - a less comprehensive explora¬tion of the possibilities offered by comics (some are creating stories: Falves Silva, Alderico Leandro, Ivan Mauricio, Humberto Avellar), drawing upon more certain onomatopoeia - "BUUM", among others: Marcus Vinicius de Andrade (Idolatrina), Dailor Varela (Scrash, A/do ao ndo), etc.  As living, active realities, poema/processo and comics - despite the radical differences regarding consumption and formal structuring - polarize the attention of scholars, critics and young poets who knowingly return to the avant-guard: dialectic questioning.





["Poema/processo e quadrinhos" was first published in A explosão criativa dos quadrinhos (Vozes, 1970).]



*1  In comics, there is only the logic of consumption; in poema/ processo the consumption is only logical: the difference is important for the understanding of both.

 *2  In a recent document "Poema/processo is a complex whole, which has contradictions, but mostly there is a basic commitment to research into new information processes, looking at them from a certain socio-cultural reality."

*3  Márcio Sampaio and Sebastido Nunes, poets from Minas Gerais, are not directly related to poema/processo. But other poets in the movement are interested in comics: Hugo Mund Jr., Peter Bertolino, Oscar Kellner Neto, Joaquim Branco, Sebastido Carvalho, Ronaldo Werneck, Aquilles White, J.P. Ribeiro, Jose Arimathea, Jose Claudio, Marco Polo, Aderaldo Tavares, Anselmo Santos, Neide Sd, Walter Carvalho, Mark Frederick, Wlademir Dias-Pino, Moacy Cirne.

*4  The concrete poets in 56/57 already indicated the importance of comics in theoretical articles. In Invengdo # 5 (1967) there was a (encoded) comics poem by Ronaldo Azeredo.


Extracted from:

OEI MAGAZINE# 66: POEMA / PROCESSO [ PROCESS POEM ]  Stockholm, Sweden. 2014.  ISSN: 14045095 – ISBN 978-91-85905-69-0  Ex. bibl. Antonio Miranda




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