Poetry for seers or the peruvian visual poetic tradition in front of new media

Since the first decades of the twentieth century, Peruvian poetic tradition has been characterized by experimental uses of language. Among these possibilities, some records tensioned this medium from the link with the plastic arts, as in the case of the poetry of José María Eguren, while others opted for the playing with the spatiality and visuality of the blank sheet, such as in the case of the work of Carlos Oquendo de Amat. However, it is not until the appearance of the poetry of César Vallejo, specifically with a poems like Trilce in 1922, that these breakages force us to think and analyze how subsequent generations or productions have been linked to language, not since its communicative instrumentalization of emotions, but from its experimental tension, of avant-garde roots, which reconsiders the visual and spatial character of the word, which we will call the plastic dimension. In that sense, this conference proposes to make a critical journey on the experimental lines of peruvian poetry during the twentieth century, based on the fixation in this plastic dimension that we define as visuality in the poetry. For this, our review will approach the work of poets in different time ranges such as that made from the editorial world by Javier Sologuren, the plastic arts by Jorge Eduardo Eielson, the interdisciplinary collage of César Toro Montalvo, the breaks with the written medium of José Luis Ayala, among others. In the same way, as a consequence of the above, we will also show what has been produced by new artists in these first two decades of the 21st century who explore the liminality of the digital medium from a conscience of the written medium as done by José Aburto from Web design, Enrique Beó from hypertext and transmedia narratives, Ánima Lisa collective from philosophy and video projection, Michael Hurtado from art and new media, or Michael Prado from graphic design and conceptualism. In this way, this balance will allow us to present four possible lines of action: the importance to show language games, the relevance of conscience of the use of the support, the need to return to the plastic dimension of writing and the reconsideration of other dimensions of the word. To demonstrate and exemplify our proposal, this conference will introduce the works by the artists Enrique Beó, Michael Hurtado y Michael Prado, who will reflect on how their practices, from multiple disciplines, are installed in the peruvian experimental poetic tradition, that not only embraces the complex, but also presents the problematic figure of the creator as an agent that transits and transgresses his limits. Therefore, this intervention will value our peruvian poetic tradition, in which the idea of tradition does not necessarily mean continuity, but creation since a work in which to revisit is to question the above done and question ourselves like creators that came from another record or discipline