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sexta-feira, 2 de setembro de 2011

TCC-EXPANDED ABSTRACT




TITLE:
Visual Correspondence: A Journey through the Image
KEY WORDS: concrete. Semiotics. Photography. Visual poetry.

INTRODUCTION:
Visual poetry is a kind of poetry in which the images are responsible for forwarding the poetic sense, without relying on the written or spoken about that, as in it's own image is the text. This transmission through the poetic form was the hallmark of the concrete movement, emerged in 1950, whose goal was to bridge the gap between form and content, emphasizing a rational way of doing art, giving more importance to reason and science. However, the hallmark of the movement is the image enhancement in union with the word, forming a very expressively. Thus, based on that inspiration concretely, this research is guided by the semiotic theories that talk about the communicative expressiveness of photography and aims to analyze the presence of poetic content in the work of photographer Chris Orwing, considering it a form of visual poetry.
OBJECTIVES:
Analyze the presence of poetic content in the photographic image.

MATERIALS AND METHODS:
This is a bibliographic research on poetic content in the photographic image and its first step is to conduct a brief history of the movement concrete and visual poetry. 
The next step focuses on researching the views of semiotic studies over the image in general and particularly in the photographic image. Next is presented the work of poet and photographer Chris Orwig and his proposal to construct a poetic through the photographic image.

RESULTS AND DISCUSSION:
Poetry has many ways of manifesting itself as there are ways to express themselves. 
She has different ways according to culture and time that produces and may appear almost anywhere. Chris Orwig, a photographer, has proposed the development of visual poetry through images, viewing in common between poetry and photography the ability to convey not only information but also experience in concentrated form. This proposal requires a critical and sensitive to the service of poetry, since there are beautiful images that are not visual poetry, as one of its features is its ability to just focus on something that little space can be translated as an experiment [1] . This view is the picture according to Barthes [2] on the drawing power of the image on the concepts of studium and punctum, because the image can lead to diverse and contradictory feelings in the beholder and often can not explain the emotion experiencing.

CONCLUSION:
The Concerti’s reordered the words in the page space, forming images associated with meanings transmitted in poetic content. 
Orwig, however, only uses photography to convey their message poetic, composing his works with images that go beyond the material, adding meaning and significance of poetry. Its value as a means of expression is unanimous to increase the size of words and the photographic image in a new language.
REFERENCES:
"[1] Orwig, Chris. Visual Poetry: a guide for inspiration and creativity fotográfica.Rio January: High Books, 2010.
[2] Barthes, Roland. Camera Lucida: note on the photograph. Rio de Janeiro: Nova Fronteira, 1984. "

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