Pequena bibliografia• Adler, Jeremy (3 1990):; Text als Figur : visuelle Poesie von der Antike bis zur Moderne

[Ausstellung im Zeughaus der Herzog-August-Bibliothek vom 1. September 1987 - 17. April 1988]. Weinheim : VCH-Verlagsgesellschaft, Acta Humaniora.

• Bohn, Willard (1986) : The Aesthetics of Visual Poetry. 1914-1928. Chicago and London: The University of Chicago Press.

• Dencker, Klaus Peter (2010): Optische Poesie: Von den prähistorischen Schriftzeichen bis zu den digitalen Experimenten der Gegenwart. Berlin: De Gruyter.

• Drucker, Johanna (1996) : The Visible Word. Experimental Typography and Modern Art, 1909-1923. Chicago and London: The University of Chicago Press.

• Mitry, Jean (1974) : Le cinéma expérimental. Paris : Seghers.• Motherwell, Robert (2 1981): The Dada Painters and Poets. An Anthology. Boston, Mass.:

G.K. Hall.• Ottinger, Didier (dir.) (2008): Le futurisme à Paris. Une avant-garde explosive. Paris :

Éditions du Centre Pompidou.• Pozzi, Giovanni (1981): La parola dipinta. Milano: Adelphi edizioni.• Tomiche, Anne (2015): La naissance des avant-gardes occidentales 1909-1922. Paris :

Armand Colin.• Wall-Romana, Christophe (2013) : Cinepoetry. Imaginary Cinemas in French Poetry. New

York: Fordham University Press.

O Disco de Festo, descoberto em 1908. é um achado arqueológico, provavelmente datado do metade ou do final da era do bronze da Civilização Minoica. Seu propósito, significado e até mesmo o local de manufatura, permanecem disputados, fazendo do disco um famoso mistério da arqueologia, atualmente em exibição no museu arqueológico de Heraclião.

O Professor de História Geral do Colégio Dom Pedro II do Rio de Janeiro, Alberto Mendes de Oliveira, nos idos da década de 70 alegou ter decifrado o Disco que supostamente conteria o seguinte texto:"Eu sou o senhor todo poderoso, supremo arquiteto universal, onisciente, onipresente e onipotente, criei os céus, a terra, o mar e tudo que neles há e conservo a verdade para sempre, para todos os povos, nações, raças e tribos dos meus domínios."

Carmen figuratum ( technopaignion)

Simias de RodesPublilius Optatianus Porfyrius Venantius Fortunatus

Carmen cancellatum (in-textus)Hrabanus Maurus (780-856): De laudibus sanctae crucis (825/826) - 28 poemas

Poesia manierista barroca (na Alemanha)Catharina Regina von Greiffenberg Theodor Kornfeld

Simias de Rhodos: o ovo

Publio Optaciano Porfirio, Laberinto IX

HRABANUS MAURUSLIBER PRIMUS

Poema em louvor de Santa Cruz, pelo monge beneditino Hrabanus Maurus, com surpreendentes exercícios gráficos.

Original pertencente à biblioteca de Guita e José Mindlin, agora na Universidade de São Paulo

Abraham AbulafiaZaragoza, séc. XIII

Discos com palavras giratórias

Ramón Lllull(Raimundus Lullius, 1232-1315)

Ramón Lull

François Rabelais: La dive bouteille (aus dem Roman Gargantua et Pantagruel)

Giovanni Battista Palatino Sonetto Figurato, Parte ICompendio del Gran Volume de l'Arte del Ben Scrivere (Roma 1566)

Juan Caramuel y Lobkowitz (Madrid, 1606-1682)Poema dedicado al Creador(poesia permutatória)

George Herbert“Easter Wings” (1633)

(1633)

Catharina Regina von Greiffenberg(1633-1694)

GREGÓRIO DE MATOS (1623-1696) Em Às altas prendas do desembargador Dionísio de Ávila, o poeta explora visualmente virtualidades e equivalências estruturais das palavras, dispondo-as na página sob forma de uma constelação gráfica.

Douto, prudente, nobre, humano, afável.Reto, ciente, benigno e aprazível.Único, singular, raro, inflexível.Magnífico, preclaro, incomparável.

Do mundo grave juiz. Inimitável.Admirado, gozais aplauso incrível,Pois a trabalho tanto e tão terrível,Dais pronto execução sempre incansável.

Vossa fama, senhor, seja notóriaLá no clima onde nunca chega o dia.Onde do Erebo só se tem memória

Para que garbo tal, tanta energia!Pois de toda esta terra é gentil glória,Da mais remota seja uma alegria.

Juan Díaz Rengifo, "Aquinas“Arte Poetica Española" (Barcelona 1726)

http://bdh-rd.bne.es/viewer.vm?

id=0000142917&page=1

The design itself, the craft of marbling, which flourished in Turkey and elsewhere in the Middle East, first became known to Europeans only in the 16th and 17th centuries, and commercial production in England did not begin until the 1770s. One reason this took so long is that making marbled paper is complicated: liquid pigments are suspended on a liquid medium, creating the colorful swirls, and then transferred to paper laid upon them.In the case of Tristram Shandy's first edition, this was done by hand and repeated on both the front and back of a single page with the margins folded in—a process so involved that later versions of the book usually resorted to mechanized reproductions. Stranger still was that the book, the first volume of which appeared in 1759, used marbled paper at a time when it was still almost unknown in England. The appearance of the material in the novel, Wolfe writes, was "a curious and intriguing development that has about it some of the mysterious elements of a modern spy thriller."

The marbled page also has unusual literary significance. As the Sterne Trust puts it, on the preceding page "Sterne tells the reader that the next marbled page is the 'motly emblem of my work'—the page communicating visually that his work is endlessly variable, endlessly open to chance." In encapsulates the spirit of the pioneering book as a whole, and gets at the good old—or, in Sterne's case, not yet invented—theme of the reader's personal subjectivity. In the words of Sterne scholar Peter de Voogd, "Each marbling is unique, as is each reading of Tristram Shandy. It is fitting that your copy of Tristram Shandy is different from mine, since your subjective experience of the book is different."

Charles Nodier:Kapitel IX des Romans Moi-même (1799-1800)

Charles Baudelaire: Correspondances

La Nature est un temple où de vivants piliersLaissent parfois sortir de confuses paroles ;L'homme y passe à travers des forêts de symbolesQui l'observent avec des regards familiers.

Comme de longs échos qui de loin se confondentDans une ténébreuse et profonde unité,Vaste comme la nuit et comme la clarté,Les parfums, les couleurs et les sons se répondent.

Il est des parfums frais comme des chairs d'enfants,Doux comme les hautbois, verts comme les prairies, - Et d'autres, corrompus, riches et triomphants,

Ayant l'expansion des choses infinies,Comme l'ambre, le musc, le benjoin et l'encens,Qui chantent les transports de l'esprit et des sens

Stéphane Mallarmé:Un Coup de dés jamais n‘abolira le hasard(in Cosmopolis, 1897)