This doctoral project aims to explore the boundaries between literature, visual poetry, sound poetry, noise, music and installation art. It builds on academic research by Philip Meersman into the definition, rhizomatic genesis and transdisciplinary research methodology of visual poetry. It aims to create a 4D sound-symbolic language as visual representation through intonation, timbre, tempo, loudness, accent, body language, attitude and position in the environment; more universal than the phonetic alphabet and only making use of its own voice and body, without the help of technological tools. In doing so, Meersman relies on the writings of René Magritte and the work of the Russian Cubo Futurists from the beginning of the 20th century.
How did the (neo) avant-gardes bring visual poetry on stage and how does Meersman do that himself today? Are there specific text = image = sound = meaning performances? How do typography, color, shape, positioning on the sheet, determine the (3D) form of visual poetry, ... the performance in terms of positioning of the performer, the timbre and the intonation of the voice? How does the spatial positioning on the page or reading direction relate to the performance space? What influence does paper, color, texture, used material, ... have on performance and how decisive is language for performance?
Promoters: Johan Pas & Luc Van den Dries