ARRANJOS DA SEMIÓTICA ESPACIAL NO OBJETO LITERÁRIO POEMÓBILES

Abstract

Over time, creators from different fields have explored the book form as an aesthetic resource, experimenting with its spatiality and materiality. The recent reedition of Poemóbiles, by Augusto de Campos and Julio Plaza, provides a fruitful opportunity to investigate the role of spatiality in the meaning-making processes of literary objects. Originally published in the 1970s, this volume is a sort of poetic, handheld sculpture composed of a dozen pop-up poems, where graphic elements acquire movement and three-dimensionality through cuts and folds. The new edition reproduces the original graphic design, inviting us to reread this work through the lens of discursive semiotics and its developments in plastic semiotics, spatial semiotics, and sociosemiotic studies of objects and interactions. The central question is: what role does spatial semiotics play in the meaning-making processes of Poemóbiles? The systematization of certain recurring spatial categories throughout the volume, such as open versus closed, expanded versus compressed, and volume versus surface, reveals the articulation between the three-dimensional materiality of the literary object, the reader’s kinetic gesture, and the work’s meaning-making processes. In Poemóbiles, the expansive spatial configuration of the poems, shaped through cutting and folding techniques, is directly connected to the central notion of creative freedom, which functions as a semantic isotopy throughout the reading experience.