E. M. de Melo e Castro has written poetry in different physical media – in the same way as “peso pesado do átomo” [atom’s heavy weight] (Castro 2006) – such as paper, textiles, canvas, wood, metal, stone, plastic, early opting for a dematerialization of word and image, something that became apparent, from the outset, in the pioneering videopoem Roda Lume [Wheel of Fire] (1968). This dematerialization of the artwork was taken as a guideline for the retrospective exhibition “O Caminho do Leve” [The Way to Lightness] (2006) at the Serralves Museum of Contemporary Art, in Porto. Melo e Castro states:
“Bust Down the Doors!”, a videopoem by Young-Hae Chang Heavy Industries, opens with a countdown, preparing the reader to the challenge he or she is about to encounter. Quick flashing words that compose the poem begin to blink in and out of the screen, daring the reader to catch each word properly and keep up to rhythm. The contrast of the black letters against a white background creates an almost hypnotizing pattern to this race. This format is repeated in all three different language versions, which are English, German, and French.
Take it (2013) is a digital videopoem created by the Brazilian digital poet Wilton Azevedo. Conceived originally in English, this videopoem consists of video images that intertwine the verses constantly moving across frame according to the soundtrack frequency through an interface with a Processing script.
Ricardo Aleixo, Brazilian poet, musician and performer is one of those artists who do not fit into labels. Attentive to media art, poetry, music and performance transformations, Aleixo weaves his poetic textures with diverse elements that often converge in the digital media. Openly interested in the poiesis, his eclectic performances are not restricted to poem reading. In these performances poetry, dance, music and multimedia projection go scene with the performer’s body. As such performance presentations are ephemeral and unique, it need to be recorded on video, edited and expanded with the introduction of sound and visual inserts to be published later.
The title sequence for the 1995-1998 animated television series Pinky and the Brain is best known for its memorable theme song but its kinetic typography, created by Bryan Evans, is worthy of attention as an unexpected e-poem. Its lyrics, penned by series creator Tom Ruegger, consist of comical rhyming verses in iambic trimeter (mostly) that introduce the characters and their motivations, as can be seen in the first stanza below.
They’re Pinky and The Brain
Yes, Pinky and The Brain
One is a genius
The other’s insane.
They’re laboratory mice
Their genes have been spliced
They’re Pinky and The Brain, Brain, Brain, Brain
Brain, Brain, Brain, Brain
Performed by the Brazilian musician, poet and multimedia artist Arnaldo Antunes, “Não tem que” (Don’t have to) is a video poem composed of photographic images synchronized to voice and song. It is part of a transmedia project titled Nome (“Name”) released in book, CD, and VHS in 1993, and remastered and reissued in CD and DVD in 2006. Nome consists of 30 multimedia works that are situated between songs and poems. Despite not having been developed exclusively for the digital medium, it was composed and designed with animation, audio editing, image and video digital techniques.