The poet Wlademir Dias-Pino (b. 1927), a figure associated with the Poema/Processo [process poem] and the editor of the Boletim Diário, may have written this text. It demonstrates that certain visual poetics were widely disseminated throughout Brazil. This was due mostly to reproductions in graphic media and the creation of regional centers with specific types of communication, centers that did not depend on large metropolises like São Paulo or Rio de Janeiro. The Projeto Cinco e Meia [Five and a Half Project], organized by the Museu de Arte e Cultura Popular, was held at the library of the Universidade Federal de Mato Grosso in the city of Cuiabá from June 15 to June 30, 1984.
The Boletim Diário, edited by Wladepino (Wlademir Dias Pino) and artist Clóvis (Clóvis Irigaray), was a visual document with images from films, graphic poems, and other illustrations. The articles “URGÊNCIA da atualização” and “AMÉRICA Latina, ahora! Acción postal” were published in conjunction with the Cinco e Meia (see ICAA digital archive doc. no. 1111018 and doc. no. 1111014, respectively).
The Museu de Arte e Cultura Popular da Universidade Federal de Mato Grosso was opened in 1973 by art critic Aline Figueiredo de Espíndola (b. 1946) and artist Humberto Espíndola (b. 1943), its director until 1982.
Poet, visual artist, and graphic designer Wlademir Dias Pino created a variation of Concrete poetry known as the “process poem” whose advocates included Mário Chamie. Born in Rio de Janeiro, his career began in the forties. Dias Pino participated in the Exposição Nacional de Arte Concreta held in 1956, and in the IX and XIV editions of the São Paulo Biennial held in 1967 and 1977, respectively. He was a professor at the Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio) from 1973 to 1978 and at the Universidad Federal de Minas Gerais (UFMG) from 1978 to 1993, where he worked on the Mail Art project.
Clóvis Iragaray—along with Adir Sodré and Gervane de Paula—formed part of a group of artists that emerged in Mato Grosso in the seventies.
Note: A natural phenomenon occurring at the mouth of the Amazon River where it meets the sea, the “pororoca” produces a loud noise and destroys anything that comes in its path. The Tupi-Guaraní word “puã,” which means finger, is also used to refer to the claw of a crab or to the crab itself. In this text, the author uses that word to mean tool or useful instrument.