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Not to be confused with Spread Eagle Cross the Block.
Not to be confused with Hypergraphia.
Not to be confused with Hypergraphia.
Not to be confused with Hypergraphia.
Not to be confused with Hypergraphia.
Not to be confused with Hypergraphia.
GrammeS - Ultra Lettrist hypergraphics.jpg

Hypergraphy, also called hypergraphics and metagraphics, is a method, central to the Lettrist movement of the 1950s, which encompasses a synthesis of writing and other modalities.[1] Isidore Isou, the founder of Lettrism, said that "Metagraphics or post-writing, encompassing all the means of ideographic, lexical and phonetic notation, supplements the means of expression based on sound by adding a specifically plastic dimension, a visual facet which is irreducible and escapes oral labelling..."[2]

Hypergraphy merges poetry (text) with more visual (graphic) ways of communication such as painting, illustration or signs. The technique was first known as 'metagraphics', but later became known as 'hypergraphics'. Maurice Lemaître, a Lettrist theorist, defined it as communicating through the union of various forms of communication, as an "ensemble of signs capable of transmitting the reality served by the consciousness more exactly than all the former fragmentary and partial practices (phonetic alphabets, algebra, geometry, painting, music, and so forth)."[3]

The technique was used in Lettrist painting and cinema, in which letters were drawn directly onto the film. As the Lettrists became more experimental in their use of media, the technique was applied more to everyday life in critiquing urbanism and architecture in the Lettrist field of psychogeography.

See also


  1. Isou, Isidore (1964). "The Force Fields of Letterist Painting". 'Les Champs de Force de la Peinture Lettriste. Paris: Avant-Garde. If one places an abstract composition - which is simply a fragmentary purification of the former object - in (or alongside) a figurative structure, this second composition digests the first one - transformed into a decorative motif - and then the whole work becomes figurative. However if one places a letterist notation on (or beside) a realist "form," it is the first one which assimilates the second to change the whole thing into a work of hypergraphics or super-writing. 
  2. Isou, Isidore (1964). Les Champs de Force de la Peinture Lettriste. Paris: Avant-Garde.  Excerpt found at Selections from the Manifestosof Isidore Isou, ed. and trans.by David W. Seaman
  3. Foster, Stephen C. (2005). "Lettrism: A Point of Views". In Ford, Simon. The Situationist International. London: Black Dog Publishing. p. 20. 

Further reading

  • Curtay, Jean-Paul: Letterism and Hypergraphics: The Unknown Avant-Garde 1945-1985, Franklin Furnace, New York, 1985
  • Bohn, From Hieroglyphics to Hypergraphics" in Experimental - Visual - Concrete Avant-Garde Poetry Since the 1960s, 1996
  • Acquaviva, Frédéric & Buzatu, Simona (eds): Isidore Isou: Hypergraphic Novels – 1950-1984, Romanian Cultural Institute, Stockholm, 2012.

How To Read

This applies whether you are using these or not.

On the page you'll see a bunch of letters in various combinations but if it's English, they will be largely composed of these guys like this: a / b / c / d / e / fa / etc. All of these are part of reading. The letters and letter combinations stand for the meanings somehow. For example, /music/ (the word) is for music. /Fashion/ (the word) is for fashion. Read on one of these letters cand combine it with the other ones and let your mind to go to the corresponding meaning. If you don't know what the letters stand for, try a different language or source the word-combination elsewhere.

When you get to a new word, you will see the new word on the page with a bunch of other words which are its 'contect'. You will see the first word followed by the other words, unless it is the last word also. Best to read them in a row. This opens up the entire meaning for you. You can make words mean other things by using them creatively. You can see responses to words by thinking about the other words, and the 'context'. by clicking on the little numbers within comments.

There are around a million different book combinations of all the words going, but it is not enough. When a thread gets published in the world, it gets bumped to the first position on the front of the book list of the world. It will then fall back as other books are bumped. However, you can publish without bumping a book by putting it directly in the sea, or burying it in a forest. This is called rublishing. You can also put rublished books in tanks of oil, or simply burn them, or soak them in oil first, and then burn them.

To see other books,just look out of your window, they are everywhere, even on your road.

This is what I do. Perdurabo (talk) 06:53, 5 November 2017 (MST)