Document:Q10146

The poem “Amor de Clarice” was written based on words, sentences, and metaphors taken from the short-story “Amor,” by Brazilian writer Clarice Lispector. I am interested in digital media to create collaborative, hypermedia wreadings of literary texts. Following Genette´s forms of paratextuality, the process of quoting or re-writing a text involves an hypotext - the antecedent, imitated literary text (Clarice Lispector's “Amor”); and an hypertext, the text that imitates the hypotext (the poem “Amor de Clarice”). From hypertext to hypermedia, both texts were recorded by the actor Nuno M. Cardoso, and later transcribed to Macromedia’s Flash program, where I made the integration of sound, animation, and interactivity.
To enter the poem and its main menu, click on the words “INICIAR POEMA” on the bottom. There are 52 flash movies, with an average duration of 1 minute each, which can be browsed from the main menu, or, in both linear of random ways, using the icons on the top of each movie. There are two different types of movies. From the main menu, on the left, there are links to 26 movies in which the main poem (the hypertext) appears as animated text, which can be clicked, and dragged by the reader, with sounds assigned to the words; the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for theses movies was created by Carlos Morgado using recordings with readings of the poem. On the right, there are links to 26 movies with the same animated hypertext/poem, but where the hypotext in the background of the previous is replaced by video frames, animated and manipulated by Ana Carvalho. The sound files for these movies was designed by Luis Aly, integrating recordings with readings of the short-story.
The use of the three basic matrixes (the verbal, the visual, and the sound) can be found in all experimental poetics: concrete, visual and sound poetry have challenged the order of writing. And digital media combine, in an articulate and intuitive manner, these three matrixes. Like experimental poetry, digital poetry promotes processuality (incompleteness, open-work); interactivity (wreading, re-writing); hypermediality (integration, convergence); and networking (interaction, collaboration).