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Various places and years of publication, media, and formats. Collection of rare ephemera on the work of the experimental poet Melo e Castro, who, in addition to his commitment as a pioneer of the Portuguese neo-avant-garde, also worked as an engineer in the textile industry. He did not see these two areas of work as separate, but rather as interrelated. His guiding principle was not only the terminological connection between text and texture, but above all the technical parallelism he observed between the production of texts and the manufacture of textiles. For Melo e Castro, this parallelism was especially evident with regard to technical developments both in textile production and in the increasing automation of text production. In a revealing interview, he stated, among other things: "It is an indisputable fact that my life has taken place between fabric and text! (.) The first 'cybernetic' machine to be controlled in the system is the Jacquard loom, which was invented in the 18th century by the Frenchman Jacquard. The Frenchman Jacquard, who used punched cards for the first time. The forerunner of what was later used in the first computers. (.) I am connected to both technology and writing poetry in a very organic way. I have never made a distinction between my work with verse, prose, visual poems or cyber-poems, nor between my textual work and my poetic work. (.) On the other hand, working with visual poetry is closest to working with textile design in terms of principles, methods and materials - today all textile design is done on the computer, nowhere is textile design done by hand anymore. So I pioneered computer-aided textile design in Portugal, just as I pioneered infopoetry! I think this complementarity is, shall we say, substantial, organic, profound, and to those who sometimes say to me: 'You're a bad poet because you're an engineer' or 'You're a bad engineer because you're a poet', I have always had and will always have only one answer: a big laugh!" The group contains: (I) "Orgasmo". Word and letter experiment written respectively drawn by hand. Red and blue ballpoint pen on paper (30 × 21 cm), signed and dated by hand "May 70". (II) Amor Lume. Lithograph. 1967. 40.6 × 40.6 cm. Visual poem printed in red and black. (III) Publications: (a) Poesia Experimental: Supplément spécial au "Jornal de Fundao". Organisateurs Antonio Aragao et E.M. de Melo e Castro [Experimental Poetry: Special Supplement to the Jornal de Fundao. Organized by Antonio Aragao and E.M. de Melo e Castro]. Fundão, 1965. Folio (51 × 35 cm). Vertically and horizontally folded newsprint; one section to [4] pp. It contains texts and manifestos by the Portuguese movement for experimental poetry. Contributions by Antonio Aragao, E.M. de Melo e Castro, Antonio Ramos Rosa, Jose Blanc de Portugal, Maria Alberta Meneres, Herberto Helder, Jose Alberto Marques, Luis Veiga Leitas, Salette Tavares, Antonio Barahona. (b) José Alberto Marques. Do punto ao final [From point to end]. Portugal: self-published, 1980. Octavo (22.7 × 15.5 cm). Original printed, opened envelope and inside original illustrated wrappers; 30 separate paginated plates on coated art paper with printed geometric variations. José-Alberto Marques was also one of the Portuguese representatives of experimental, visual poetry. This series was created for the exhibition "Experimental Poetry" at the Modern Art Gallery, Lisbon, 1980. (c) Emilio Villa. Carta para Ruggero Jacobbi [Paper for Ruggero Jacobbi]. Octavo (27.5 × 14.5 cm). N.p.: n.p., no year. Once folded leaflet; [4] pp. with one illustration. The Italian linguist and biblical scholar as well as former candidate for the priesthood Emilio Villa was not only active as a translator of ancient texts, but also as one of the most advanced neo-avant-gardists. Initially, he was particularly influenced by Brazilian concrete poetry. He became known not only for his texts, but also as the editor of the Roman neo-avant-garde journal "Appia Antica: Atl.
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