Technology And Poetic Creation

João Rosa de Castro, Marcos Philipe

• Publisher: Babelcube Inc.
• Year: 2020
• ISBN:
  9781071567265
• Topic: Art
• Subtopic: Art Theory & Criticism

An attempt to answer the question of scientific initiation: "can technological instruments change the meaning of poet and poetry?"Technology and poetic creationThe objective of this work is to present, as much as possible, the network of relationships of technology and poetic composition, and was proposed in the Scientific Initiation program of the CCHSAE (Center for Human and Social Sciences, Arts and Education) at the Cruzeiro do Sul University, in 2003.
Although these relations seem recent, due to the growing development of technologies, in the 20th century, the conclusions demonstrate that technology has always been present, in some way, as an extension of human activities.
This indisputable presence starts from the need for technology for Education, Health and Politics, as a factor of social and digital inclusion, from the pencil, through the technological resources in the processes of artistic and cultural production, such as, for example, holography, reaching the electronic literary hypertext, where it finds its peak in Literature.
The method of this research is predominantly inductive, with the characterization of facts and the establishment of principles and concepts, in the relations of individuals with technological instruments to improve the quality of poetic creation.
The result is the deconstruction of oppositions, such as art x technology, technology x sensitivity, technology x creation; in a perception of how technological instruments, used in a coherent way, that is, as an extension of human action, and not the other way around, can be prime for the transformation of paradigms in the interpretation of reality or in the composition of their portraits.
It is concluded, therefore, that despite this extension, often controversial, as it may suggest inertia itself, it is still up to humanity, being composed of cooperative individuals, regardless of the technological resources at hand, their socio-cultural impro

INTRODUCTION

This work consists of surveying some of the aspects in the relationship between technology and poetic composition and aims to present an opinion for the debate on the directions of literary and teaching institutions, as well as other interested parties in view of the technological advances of today.

Despite its limits, since the initial focus is on the relationships between poetic creation and technology, this monograph exposes some technical approaches, when dealing with written registration instruments, in genetic criticism, in literature; historical, drawing a parallel between the press revolution in the Renaissance and the present day; scientific, demonstrating the ineffectiveness of the philosophy of science in assessing the importance of technological instruments; economic, by presenting statistics on readers' access to information technology; philosophical, with a chapter for information on the new philosophy of technology; artistic, as it analyzes how modern and contemporary poetry assimilates technological instruments in their theme.

As this is a monographic work for scientific initiation, the theme was proposed by CCHSAE, from Cruzeiro do Sul University, in the form of the question: “The resources of image and sound recording can modify the meaning of the terms 'poet' and 'poetry' ? "

So, the second chapter, The Poet and Computing, after presenting a brief trajectory of poetry and its herald, from Aristotelian prescriptions, passing through genetic criticism and culminating in the conceptual modifications of concrete poetry, maintains that, as, without limitation, in the Relations between Technology and Poetic Creation “Meanings” are implicitly linked to “functions”, it is natural that both are modified in the same proportion of the latter. The poet’s functions, and therefore their meaning, accompany technological inventions and result in a natural or inevitable modification, due to the accumulation of new data from reality, the same occurring with poetry, its meaning and its function, from the point of view of readers and their own transformations.

From this decisive chapter, all other chapters seek to reiterate the importance and naturalness in changing the meaning and functions of the poet (whether in lyrical, epic or dramatic production), using the most recent concepts on the subject. This importance and naturalness, however, are implicit in the meaning of poetry and the poet since Aristotle’s prescriptions in his Poetic Art, which had already distinguished the functions of the poet and the historian. The distinction suggests that “the more a poet can know among the elements of the absolute, in which he is inserted, with all its particularities, the more comprehensive the ideals can be, that is, the more his work can contain of what it could or should be, contrary to the historiographical description, which is limited to what was or what is”.

Therefore, it is possible that, in recent years, the context in which poets and poetry have been changed, that is, the depreciation of their social and cultural importance, by the public authorities and the State, or by “sensible men”, also ancient — on duty since the Socratic-Platonic Republic. The resources of the country’s budget, destined for culture, for example, natural, even with the ex-Minister of Culture Gilberto Gil, have also seemed stagnant, among other reasons, because what is urgent in Brazil is the development of Education, Health and improving income.

The result of this context is that, currently, there are countless poets who, in the matter of poetry and in other aspects, are supported by their relatives, since many literary institutions limit themselves to publish and / or promote the poetry of consecrated poets, to the detriment of of the latest generation of poetry, anonymous. This factor, of rigid structures, is more related to the political context than to the function or meaning of the poet, which are more mobile, and increasingly expressive, although, for this very reason, increasingly expensive and difficult to maintain.

With regard to scientific systematization, this research presents two symmetrical chapters (The reader and information technology and The poet and information technology), an independent chapter (Technology as a resource), plus two symmetric chapters (Technology in a phenomenological approach and A technology in a post-structuralist approach) and an independent one (The theme of technology in poetry).

The first correlation is original and necessary, since the author-reader-work triangle could not fail to introduce the bases of the research. The second symmetry comes from the introductory work of Terry Eagleton (2003), who, in his book Theory of Literature: An Introduction, starting from phenomenology, passing through hermeneutics and ending with psychoanalysis, dissect the different sets of research that were used in literary criticism to form the corpus of his theory of literature. The first (phenomenology) and the penultimate (post-structuralism) were chosen to demonstrate an overview of technology in the context of these research sets.

Finally, the method used in this research is predominantly inductive, since, in addition to presenting a general, probable and positive answer to the research theme question, establishing principles and criteria for the investigation, consists of the evaluation of works by theorists and specialists in areas of technology and literature, namely Ferreira Gullar (poetry and Internet), Philadelpho Menezes (concrete poetry), Décio Pignatari (poetic communication), Eduardo Kac (art and technology), Don Ihde (philosophy of technology), Adair de Aguiar Neitzel (electronic literary hypertext), and others.

In addition, from the reading of these authors, or about them, it is possible to define some concepts useful in deconstructing oppositions, often produced from superficial, ephemeral or innocuous evaluations. The experience of these reflections allows the characterization of some facts and, therefore, the identification of principles and the establishment of meaningful concepts. What is experimental about the approach is that some texts, about the object of research, are naturally electronic hypertexts.

With regard to the field of research, in Literature, the delimitation of borders concerns the emphasis given to Lyric, to the detriment of Epic and Dramatic, despite its correlation with these genres; and, in relation to the period, despite the brief mention of the press revolution in the Renaissance, the delimitation concerns the contemporary period, that is, the focus on some poetry from the end of the 19th century to the present day; de Mário de Andrade, Manuel Bandeira, Carlos Drummond de Andrade and Manoel de Barros, including the poetry of poets of the last generation. As for technology, despite the symbolic mention of the pencil, the work focuses on technologies that are the most complex possible.

Finally, the theme is treated in such a way that it can describe and encourage the use of technology in poetic composition, without sacrificing one another, and without losing sight of the fact that technology cannot be used to lend aesthetic value to works that are fundamentally empty. The praise of technology for social benefit never implies the renunciation of sensitivity and imaginative and creative power that is increasingly essential for art and science and, no less, for technology.

1.1 THE READER AND COMPUTER SCIENCE

The analysis of the network of relationships between technology and poetry, from the point of view of the author / reader positions, in addition to reiterating the affirmative answer regarding the modification of the meaning of the terms “poet / poetry”, refers to a question to be answered along of this first chapter: will technology — in the case of poetry, its possible modes of presentation (Internet or other technological instruments, such as hypertext, computer-animated poetry, holography, generative literature, etc.) — be a link that facilitates communication between the author and the reader or, on the other hand, a limit that still separates them?

A reflection on the relationship between the reader and information technology in Brazil implies considering a probability: that poetry readers are divided among those who do not have access to information technology and, therefore, do not read poetry on the computer, although eventually do so in a printed book; those who have access and, even so, do not read poetry to the computer, only in printed book; and those who have access to computers and read poetry, whether on the computer or in a printed book.

There are authors and literary institutions that publish poetry using technological resources and also do so in a printed book, or vice versa; an example of this double dissemination is the poetry and other texts by Ferreira Gullar, made available with the support of Petrobras, on the Literal Portal, on the Internet. The poet’s page, on this portal, is divided into the links Bio Biblio, by himself, side B, Grumblings, e-poems (electronic poems) and Baú, all containing texts in different genres; in “for himself”, for example, there is poetry, chronicles, fiction and essays. In the e-poems, there are four animated and colorful electronic poems: Olderish, Sunflower, Red and Blue Sea.

In addition to Ferreira Gullar, other writers are also part of the portal: Luis Fernando Verissimo, Lygia Fagundes Telles, Rubem Fonseca and Zuenir Ventura. Some of the poet’s works have already been printed in a book. The Literal Portal is curated by Heloísa Buarque de Holanda.

It can be concluded, therefore, that the electronic media, with regard to the dissemination of Literature, seem, for the time being, to complement (or re-read), extended to (or predictor of) printed editions; if an author released his texts only in electronic mode, he would run the risk of not reaching his entire audience, for the reasons presented below.

The first factor is that, proportionally to the Brazilian demography, just over half of the population uses the Internet or has access to it. According to 2017 data from IBGE (Brazilian Institute of Geography and Statistics), 63% of Brazilian households have access to the global network. The 50% of households with this same access only reached it in 2014.

In 2011, according to PNAD (National Household Sample Survey), from IBGE, the number of households with Internet access was 39.40%.

Statistics compiled by the government stated that only 13.9 million Brazilians had access to the Internet in 2004.

In 2013, the proportion of people over ten years old and with access was 49.4%, totaling 85.6 million users.

Countries with a population number below the Brazilian registered, in 2013, a higher percentage of people w...