DIALOGUE OF COLORS, DIALOGUE OF SHAPES
Moacy Cirne
Falve Silva’s aesthetic contribution to the history of poem/process is invaluable. (The same can be said of the contributions of Jota Medeiros, Dailor Varela and Anchieta Fernandes.). From a semiotic reading focused on the metagraphic references of Wiademir Dias Pino, the Rio Grande do Norte-born poet constructed, with ruler, talent and compass – and also a good dose of creative intuition -, more than a work in progress. Strictly, he constructed in 40 years a true work in process.
In this sense, his O diálogo das cores is the necessary and updated answer to the critical eye that, in Natal and in Brazil, dates back to 1967 and subsequent years. And what could be merely formal redundancy, through apparent visual repetitions, becomes metacreation (we have to ask: desired metacreation or simply significant?), considering, here, the practical models that resize the structure of the comics and, by extension, in this particular case, the Álvaro Sá’s aesthetic-informational proposals.
But if, in Falves Silva, there is a dialogue of colors, there is equally, a dialogue of shapes, then it must be said: there is a dialogue of transformations. Yes, when it comes to poem/process the shape implies transformation, as well as the text implies, ultimately, context and the poem necessarily implies poem-action. There is no inert and/or passive poem/process, finished work to be contemplated in its "closed" concreteness (only as documental register): any poem/process results in "metacreative dialogue" with the reader, potentially a co-author of the poem, since the "dialogue", thus particularized in the field of metacreation, is established from projects that are, by definition, inaugural.
Certainly, in this perspective, every poem/process is a political gesture: transforming gesture. Or better: politically political. Like Godard’s cinema. Like Straub & Huillet’s cinema. Like Brecht’s theater. Like Maiakóvski’s poetry. Like Picasso’s painting. Like Hélio Oiticica’s art. Like Vertov’s cinema. Like Luiz Rosemberg Filho’s cinema. Let’s be clear: it’s not about a party or ideological politics, or even sociologically understood politics. It’s something else. It’s about politics constructed from premises and experimental readings, readings that make FORM trigger transformations. We’ll say more: in the poem/process, unless eventually and even then depending on some kind of subjective reading, there is no space for poetry, poetical abstraction; there’s space for product, semiotic concretion. Concretion that reveals the capacity to open ways and paths in the name of a given (and possible) "aesthetic of the libertine poetics".
Therefore, O diálogo das cores doesn’t escape the experimental, the reading based on the project to be inaugurated. The double tribune is paid by the author (to the structure of comics/ to Álvaro Sá’s poemics) is not gratuitous. After all, if in Falve Silva’s book there is no place for poetry (although there is for aesthetic emotion), there’s space for the poem – the poem that explores, graphically and plastically, the productive meanders of poetics as non-verbal language.