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Visual poetry is a style of poetry that incorporates graphic and visual design elements to convey its meaning. This style combines visual art and written expression to create new ways of presenting and interpreting poetry. [1] Visual poetry focuses on playing with form, which means it often takes on various art styles.
But the heyday of the revival of shaped poetry came in the Baroque period when poets, in the words of Jeremy Adler, "did away with the more-or-less arbitrary appearance of the text, turned the incidental fact of writing into an essential facet of composition, and thereby…created a union of poetry with the visual arts". [7]
Her visual poems have been screened at the American festivals Flashbang! and Flashbang 4 (2001 and 2002), The. ME.Project. (2002; showcased in Toronto, New York and Los Angeles). Her work has appeared in art/poetry books and websites. [1] De Barros has been recognized for "trying to make poetry more dynamic and accessible."
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
In the essay titled Videopoetry, he writes, "Whereas I consider a line the unit of poem-making, like bricklaying, in video we substitute visual lines for printed lines and proceed to "layer" a poem: spoken words (the poet-performer); words heard (taped, dubbed); and seen (signs, subtitles, printed, painted). Naturally, a poem written with these ...
Epitacio Ramos Tongohan (born 19 November 1958), known in global literary circuits as Doc PenPen Bugtong Takipsilim, or simply Doc Penpen, is a medical doctor, indie filmmaker and producer, artist, and poet from Tanay, Rizal, the Philippines, and conferred by different poets organizations in different parts of the globe the title "Father of Visual Poetry". [1]
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Weaving together myth, memory, and history to narrate the fate of South African Bushmen, the long title poem expresses Sacks's complex feelings—sorrow, outrage, loss toward his homeland. Sacks is a visual poet – an image maker rather than an abstract or discursive one – and his images, like his feelings about South Africa, are double ...