Essay - For an Autonomous Poetic Vocabulary: Interdisciplinary Perspectives on the Construction of Ideal Objects for Poetic Needs

1 Introduction

The relationship between poetic language and common language constitutes one of the central issues in literary theory. Traditionally, poetic language is conceived as an elaboration, deformation, or intensification of ordinary language, operating through figures of speech, metaphors, and sonic games that transform preexisting linguistic material. This view, often derived from an instrumental conception of language, neglects the intrinsic ability of poetic discourse to forge new realities and meanings, rather than merely reconfiguring existing ones.

This essay proposes to examine a radical perspective: the possibility of constructing a truly autonomous poetic vocabulary, composed of "ideal objects created by a convention and essentially intended for poetic needs." Such a vocabulary would not be parasitic on common language but would represent an independent semiotic system, governed by its own rules and aesthetic purposes. The originality of the proposal lies in the postulation of a category of signs that does not aim at the representation of the world but at its constitution in the poetic act, reverberating Adorno's (1970) critique of the autonomy of art [1].

2 Theoretical Foundation

2.1 Poetic Language as an Autonomous System

The conception of an autonomous poetic language finds its roots in Russian formalism and French structuralism. Jakobson (2010) [2], when defining the poetic function as the projection of the equivalence principle of the selection axis onto the combination axis, already pointed to the irreducible specificity of poetic communication, shifting attention from the referential function to the message itself. However, this perspective still operates within the framework of common language, reorganizing its elements.

Our proposal goes beyond mere functional reorganization of language, or a deviation from the norm as expressed by Mukarovsky (1964)[3]. It proposes the creation of lexical units that do not maintain a direct referential relationship with common language, but that constitute true "ideal objects" in the Husserlian sense—intentional entities whose existence is exhausted in their poetic function. This radical autonomy aligns with conceptions that see poetry as an alternative form of cognition, capable of configuring the real in unprecedented ways, as argued by Bachelard (1960) [4] on "material imagination."

2.2 The Notion of Ideal Object: Husserlian Expansion and Philosophical Dialogues

Husserl (2007) [5], in his Logical Investigations, defines ideal objects as entities that do not exist in the empirical world but possess objective validity within the realm of intentional consciousness. These are, for example, mathematical or logical concepts, whose existence is purely formal and timeless. The transposition of this notion to the poetic domain requires a profound reinterpretation.

Applied to the poetic domain, an ideal object would be a linguistic unit that does not designate or describe extralinguistic realities, but creates its own semantic reality through poetic convention. They are constitutive of a "poetic world" that does not reduce to the "lifeworld." [5]

These ideal objects differ fundamentally from:

• Ordinary linguistic signs: which maintain a referential relationship with the world and operate under the logic of correspondence (cf. Saussure, 2006 [6]).

• Traditional figures of speech: which operate by analogy, contrast, or displacement of meaning within a given linguistic system (such as metaphor, studied by Ricoeur, 1975 [7]).

• Neologisms: which usually derive from preexisting roots and aim to fill gaps in common language or expand its lexicon gradually (Ullmann, 1962 [8]).

The proposition of poetic ideal objects refers to discussions about the ontology of fictional objects and intentionality in analytic and continental philosophy. While Meinong (1904) [9] postulated "objects outside being" that could be intended, a step further is proposed: that these objects, in the poetic domain, are not only intended but constitute a new mode of being, validated by aesthetic experience. The poetic ideal object is not a mere concept, but a form-content intrinsically linked to its manifestation and reception.

2.3 Poetic Convention as Foundation: Between Agreement and Constitutionality

The creation of poetic ideal objects presupposes the establishment of a specific convention—an implicit agreement between poet and reader regarding the validity and functioning of this autonomous vocabulary. This convention is not based on correspondence with empirical reality but on adequacy to the expressive needs of poetic experience.

The notion of "convention" in the philosophy of language is complex. Lewis, in Convention: A Philosophical Study (1969) [10], defines conventions as regularities of behavior that arise from a common interest in coordination. In the poetic context, this coordination is not merely pragmatic but aesthetic and ontological. It is an agreement on how new meanings and modes of being will be established and recognized. This convention, therefore, is not a mere fait accompli, but a continuous act of validation and co-creation.

Poetic convention functions as an implicit contract that establishes a particular discourse universe, a "language game" in Wittgenstein's (2001) [11] sense, for whom the rules for the use and signification of ideal objects are internally generated and validated by practice. The effectiveness of this convention lies in its ability to sustain the autonomy of the vocabulary, making it intelligible to those who agree to participate in the game

3 Historical and Literary Precedents

This section is rich in examples, showing the historical nature of the search for poetic autonomy.

3.1 The Symbolist Experiments: Toward the "Pure Language"

The 19th-century Symbolist movement already foreshadowed the autonomization of poetic vocabulary. Mallarmé (2010) [12], in particular, conceived of poetry as the creation of a "pure language," where words would not refer to things, but to the ideas of things. His project of an absolute "Book" presupposed a completely autonomous poetic vocabulary, a verbal architecture that would exist for itself, echoing the search for a "music of words" that would escape the tyranny of representation. This desire for purity and autonomy can be interpreted as an initial attempt to forge ideal objects, detaching the sign from its external referent.

3.2 The 20th-Century Avant-Gardes: The Unveiling of the Sign

The historical avant-gardes took this tendency to its extreme consequences:

• Dadaism: The creation of words devoid of referential meaning, such as Hugo Ball's sound poems, pointed to the possibility of a pure poetic vocabulary. The dadaist ready-made, for example, transfers the object from the common world to the realm of art, granting it a new "ideal" aesthetic, disfunctionalized and autonomous.

• Futurism: Marinetti's "words in freedom" sought to break with traditional semantic conventions, creating autonomous expressive units. The syntactic disarticulation and emphasis on the phonetic materiality of words represented an assault on common vocabulary, aiming to liberate the sign for new configurations.

• Lettrism: Isidore Isou and the Lettrist movement explicitly proposed the creation of a poetic language based on minimal elements (letters and sounds) independent of common language. Lettrist art focused on the spelling and sonority of phonemes, transforming them into aesthetic objects in themselves, stripped of their communicative referential function.

3.3 Contemporary Experiments: Reinventing the Poetic Lexicon

In contemporary literature, we find several attempts to construct autonomous poetic vocabularies:

• Herberto Helder's "language of the night", which creates lexical and symbolic density through unexpected associations, and a vocabulary that becomes almost an initiatory glossary.

• E.E. Cummings' verbal ideograms, which explore the visual and spatial dimension of words in the poem, transforming them into a graphic object with its own internal logic.

• Experiences of concrete visual poetry, where the word becomes an image and form, and its meaning emerges from its spatial configuration, not just from its lexical semantics.

• Digital poetry and its generative algorithms, which can create textual sequences that, although constructed from existing data, produce unusual combinations, approaching the notion of "ideal object" in its algorithmic and non-human nature, as we will see later.

4 Analysis of Possibilities and Limitations

4.1 Theoretical Advantages

An autonomous poetic vocabulary would offer:

• Expressive Precision: Ideal objects created specifically for poetic needs would allow expressive precision that is impossible with common vocabulary, which is always generalist and polysemous.

• Semantic Independence: It would free poetry from referential servitude, allowing for the creation of completely autonomous poetic worlds, not tied to extralinguistic reality.

• Aesthetic Renewal: It would enable radically new aesthetic experiences, not conditioned by the limitations of ordinary language, expanding the realm of what is thinkable and feelable through art.

4.2 Practical Challenges

• Problem of Communicability: How to ensure the transmission of meaning if ideal objects have no relation to common experience? The absence of a shared code could lead to complete opacity.

• Convention Issue: How to establish and maintain poetic conventions that are stable enough to allow for the creation and reception of the work? Convention requires learning and acceptance, which may be costly.

• Risk of Hermetism: Complete autonomization could result in absolute incomprehensibility, limiting the poetic experience to an extremely restricted circle of "initiates."

4.3 Mediation Strategies

To overcome these limitations, we propose mediation strategies:

• Gradual Autonomy: A progressive process of autonomization, initially maintaining links with common language, allowing ideal objects to be "anchored" in some familiarity.

• Contextual Convention: Establishing specific conventions within each work or set of works, creating semantic universes that self-justify within their own context.

• Poetic Isotopies: Creation of internal semantic networks that provide coherence to the autonomous vocabulary. Isotopies, in the sense of Greimasian semiotics (Greimas; Courtés, 1982) [13], would be the recurrence of semantic traits that create a unit of meaning, even if abstract, in the text.

5 Proposed Constructive Methodology

5.1 Fundamental Principles

• Principle of Necessity: Each ideal object must respond to a specific expressive need that is not satisfied by common vocabulary. Creation must be motivated by an "ontological gap" in common language.

• Principle of Coherence: The ideal objects must form a coherent system, governed by consistent internal rules, even if these rules are radically different from usual grammar or semantics.

• Principle of Effectiveness: The established convention must be sufficient to ensure the poetic functionality of the created objects, that is, their ability to generate an aesthetic experience.

5.2 Technical Procedures

• Gap Analysis: Systematic identification of the expressive limitations of common language in the poetic context, mapping the "zones of silence" in ordinary language.

• Morphological Creation: Development of lexical creation processes independent of traditional etymology. This may involve combining unusual morphemes, sounds, or even graphic symbols, drawing inspiration from the avant-gardes.

• Contextual Validation: Testing the effectiveness of ideal objects in specific poetic contexts, observing their resonance and evocativeness in the reader-co-creator.

5.3 Practical Example

Consider the need to express the state of anticipated nostalgia – the present sadness for the future loss of a moment still being lived. Common language does not offer a precise term for this experience. We can create the ideal object "prelúgio" (from pre- + lúgio, as in "prelúdio," but with its own non-derivative semantic value), conventionally establishing its specific poetic meaning. This "prelúgio" is neither a musical prelude nor an initial event, but a unique ontological sensation, whose meaning is established and validated within the poetic system that employs it.

6 Philosophical Implications: An Ontological and Epistemological Deepening

The proposal for an autonomous poetic vocabulary is not merely linguistic or aesthetic; it challenges the deepest questions of philosophy: the nature of being, the possibility of knowledge, and the limits of language.

6.1 Ontology of Poetic Language

6.1.1 The Ontological Status of Poetic Ideal Objects

The creation of poetic ideal objects implies a radical revision of the ontology of language. While common language operates through signs that refer to preexisting empirical or conceptual referents, poetic ideal objects constitute a third ontological category: entities that have specific reality without reducing themselves to either the physical world or the world of logical idealities.

Following Husserl's phenomenology, but expanding it to the aesthetic domain and confronting it with other thinkers of existence, we can distinguish three modes of being for linguistic objects:

• Real Being (Reales Sein): The mode of being of signs that designate empirical objects. The word "table" has real being as it refers to physical objects in the world. This is the domain of reference and empiricism.

• Ideal Being (Ideales Sein): The mode of being of logical-mathematical concepts. The number "two" has ideal being: it does not exist empirically, but it has universal objective validity. It is the domain of formality and necessity.

• Poetic Being (Poetisches Sein): The specific mode of being of ideal objects created by poetic convention. They do not refer to the empirical nor possess universal logical validity, but create their own ontological region through aesthetic experience. This poetic being is not merely fictional or imaginary; it constitutes a mode of presentation, an "opening of being" that manifests in the encounter with the work. As Heidegger (1977) [14] suggests, art "brings to light" being, revealing it in its openness. The poetic ideal object, therefore, is not an entity in the world, but creates a horizon of intelligibility.

6.1.2 The Specific Temporality of Poetic Being: The Kairos of Creation

Poetic ideal objects have their own temporality, different from both the timeless permanence of logical idealities and the empirical duration of physical objects. Their being is actualized in the moment of the poetic experience – neither before (as logical possibility) nor after (as empirical memory), but in the instant of creative reading.

This specific temporality approximates what Heidegger (2005) [15] calls the "opportune moment" (Augenblick) – the time proper to authentic existence, where past, present, and future are articulated in an original synthesis. The poetic ideal object exists in this kairological time of aesthetic experience, a time of eruption and revelation. It does not preexist its actualization in intentional consciousness, nor survive as an immutable given; it is co-constituted in the relationship between the object and the consciousness that apprehends it, becoming an event. The duration of "poetic being" is the duration of the aesthetic experience itself.

6.1.3 The Question of Individuation: The Singularity of Convention

How does one individuate a poetic ideal object? Not through matter (as physical objects) nor through logical form (as mathematical concepts), but through the singularity of the aesthetic convention that constitutes it. Each poetic ideal object is irreducible, even when it uses similar linguistic material. Its individuation lies in the precision of its poetic function and in the network of relations it establishes within a given poetic system.

The individuation of a poetic ideal object is, therefore, relational and contextually determined by the "contextual convention" mentioned earlier. It is unique because the expressive need that generated it and the system of relations that validate it are also unique. This singularity challenges the seriality and reproducibility of common language, bringing the poetic work closer to an "aura" in the Benjaminian sense (Benjamin, 1987) [16], even though it is artificially constructed.

6.2 Epistemology of Poetic Experience: A Knowledge of the Non-Conceptual

6.2.1 Poetic Knowledge as a Specific Form of Knowing

If poetic ideal objects do not refer to the empirical world nor possess universal logical validity, what kind of knowledge do they provide? We argue that they constitute a specific and irreducible form of knowledge: poetic knowledge. This does not translate into verifiable propositions or logical deductions but into a form of existential and affective understanding.

This poetic knowledge differs from:

• Scientific knowledge: It does not seek universality nor empirical verifiability, but singularity and experiential intensity. Its goal is not to describe the world, but to reconfigure it subjectively.

• Philosophical (conceptual) knowledge: It does not operate through abstract concepts, but through concrete intuitions embodied in specific ideal objects. It is knowledge that does not articulate in categories, but in manifestations. We could compare it to Polanyi's "tacit knowledge" (Polanyi, 1966) [17] or Russell's "knowledge as familiarity" (Russell, 2018) [18].

• Practical knowledge: It does not aim at effective action in the world, but at the transformation of subjective experience. Its value is not utilitarian, but existential and contemplative.

6.2.2 The Intentional Structure of Poetic Consciousness: Beyond Reference

Poetic consciousness, when apprehending autonomous ideal objects, develops a specific intentional structure. It is not consciousness "of something" (common referential consciousness) nor consciousness "that something" (judicative consciousness), but creative consciousness that constitutes its own intentional objects. This form of intentionality is closer to Wittgenstein's "seeing as" (2001) [11] than to "seeing that," implying active participation in the construction of meaning.

This poetic consciousness operates through what we can call "aesthetic categorical intuition": the ability to directly apprehend ideal objects that do not appear either in sensory perception or in conceptual understanding, but in pure aesthetic experience. This intuition is not passive; it is an active openness to the constitution of the unusual, a kind of phenomenological epoché applied to the referential use of language.

6.2.3 The Problem of Poetic Truth: A Truth of Opening and Illumination

What is the criterion of truth for statements using poetic ideal objects? It cannot be correspondence with empirical facts (adaequatio rei et intellectus) nor formal logical coherence (cohaerentia). We propose the concept of "aesthetic truth": the adequacy between the ideal object and the expressive need that motivated it.

An ideal poetic object is "true" when it fully realizes its function of expressing aspects of human experience that would remain inexpressible through ordinary linguistic means. Its truth is measured by the intensity and precision of the illumination it provides. This "truth" is not a representation, but a revelation, an unveiling of being that common discourse hides. It resonates with the idea that art is a way of bringing to light the truth (Heidegger, 1977) [14], not as a factual proposition, but as an ontological event. The criterion of truth here is aletheia, the unveiling, the manifestation of what was previously hidden.

6.2.4 The Hermeneutics of Ideal Objects: Co-Creation of Meaning

How should we interpret texts that employ autonomous poetic vocabularies? Traditional hermeneutics, based on the understanding of preexisting meanings and the reconstruction of the author's intention (Schleiermacher, 1998) [19], proves inadequate. We need creative hermeneutics: an interpretive process that does not decode given meanings, but co-creates the conventions that make meaning possible.

The interpreter of poetic ideal objects is not a discoverer of hidden meanings, but a co-author of semantic conventions. Interpretation becomes a creative act analogous to poetic creation itself. This dialogical conception of hermeneutics echoes Gadamer (2004) [20], for whom understanding is a "fusion of horizons," where the meaning of the work emerges in the dialogue between the text and the interpreter, rather than being a mere reproduction. Ricoeur (1986) [21] also points to the capacity of the text to open new worlds, requiring the reader to engage in creative appropriation.

6.3 Philosophy of Language and Poetic Ideal Objects: Challenges to Tradition

6.3.1 Critique of the Representational Conception of Language: The Poietic Power

The possibility of poetic ideal objects fundamentally questions the representational conception of language, according to which words "represent" or "designate" preexisting extralinguistic realities. This critique aligns with various strands of 20th-century philosophy, such as the second Wittgenstein (2011) [11], who emphasizes the use of language in various "language games," or Derrida's deconstruction, which reveals the inherent instability of the sign and the primacy of difference (Derrida, 1995) [22].

Poetic ideal objects do not represent: they create. They do not designate: they constitute. Their function is not referential but poiética (from the Greek poiesis = creation). Through them, language reveals its fundamental ontological capacity: not only to speak about being but to create unprecedented modalities of being. Language, in this sense, is a making, a way of intervening in the real, not just reflecting it.

6.3.2 The Issue of the Arbitrariness of the Sign: Creativity and Necessity

Saussure (2006) [6] established the principle of the arbitrariness of the linguistic sign: the relationship between signifier and signified would be conventional, not natural. Poetic ideal objects radicalize this principle: the relationship between the signifier and poetic function is not merely arbitrary but creative – established by the specific aesthetic convention.

However, this arbitrariness does not imply randomness. The creation of ideal objects follows an internal aesthetic necessity: each ideal object arises to satisfy an expressive demand that existing linguistic conventions cannot meet. It is a motivated arbitrariness, a free choice that becomes necessary because of the insufficiency of common language. It is a movement that Benveniste (1966) [23] could describe as a "signification" that precedes "reference," where meaning is actively constructed.

6.3.3 Ordinary Language and Poetic Language: Inverted Foundational Relationship

What is the ontological relationship between common language and autonomous poetic language? We defend a paradoxical thesis: although genetically later (historically arising after common language), poetic language is ontologically prior – it reveals possibilities of language that remain latent in ordinary use.

Poetic language is not derived from common language but a realization of original potentials that common language keeps repressed due to the need for effective communication. Poetic ideal objects manifest the creative essence of language in its purest state, unveiling a fundamental dimension of language that pragmatic use routines and hides. Poetry, therefore, is not a byproduct of language but one of its most authentic and original manifestations.

6.4 Philosophical Aesthetics and Linguistic Creation: Art as Unveiling

6.4.1 Aesthetic Experience as Ontological Revelation

The creation and reception of poetic ideal objects constitutes a strong aesthetic experience: not mere subjective delight, but the revelation of dimensions of the real that are inaccessible through other cognitive means.

Following Heideggerian intuitions about art as the unveiling of being (Heidegger, 1997) [14], we propose that poetic ideal objects operate as genuine ontological openings: creating new regions of meaning, expanding the horizon of the experiencable. The work of art does not represent the truth, but is the event of truth, allowing the emergence of a world. In this sense, poetic ideal objects, by creating new units of meaning, also create new "worlds" of experience and understanding.

6.4.2 The Linguistic Sublime: Confronting Creative Power

The experience of completely autonomous ideal objects may evoke a specific feeling: the linguistic sublime. Unlike the natural sublime (sensible infinity, as in Burke, 1757) or the mathematical sublime (intelligible infinity, as in Kant, 2002) [25], the linguistic sublime arises from confronting the creative infinity of language – its inexhaustible ability to generate new worlds of meaning, beyond any limit of conceptual representation.

The linguistic sublime is not a matter of perfect form or the representation of something vast but of a sense of vertigo in the face of the power of language to transcend its own conventional limits, to create what previously did not exist, evoking awe and admiration for its capacity for innovation and self-overcoming. It is an experience that challenges categorization and total comprehension, pointing to the unlimited nature of the poetic.

6.4.3 Ethics of Linguistic Creation: Responsibility and Transformation

The creation of autonomous vocabularies raises fundamental ethical questions:

• Ontological Responsibility: The poet who creates ideal objects takes responsibility for the new modes of being introduced into the world. This responsibility is analogous to that of the legislator: creating not just works but unprecedented possibilities of existence. Language, by constituting the world, invests the creator with responsibility over how this world manifests and is inhabited (Levinas, 1993) [26].

• Communicability Issue: To what extent is it legitimate to create languages that may exclude uninitiated interpretive communities? How to balance radical innovation and cultural democratization? This tension between the need for innovation and the imperative of accessibility is a central ethical dilemma.

• Transmission Problem: How to ensure that autonomous poetic vocabularies are passed on to future generations without losing their original creative force? The durability of the convention and the vitality of the interpretive community are crucial.

6.4.4 The Political Dimension of Ideal Objects: Resistance and Emancipation

Autonomous poetic vocabularies have an implicit political dimension: they contest the monopoly of established linguistic conventions, creating spaces of semantic freedom. Each ideal object is a micro-revolution: the establishment of a new expressive possibility that escapes the control of dominant linguistic norms. This poetic practice destabilizes hegemonic symbolic orders, functioning as a critique of language as an instrument of power and domination (Foucault, 1996) [27].

However, this liberatory dimension coexists with an elitist risk: extreme autonomization may result in hermeticism that excludes broad communities from access to the poetic experience. The politics of ideal objects, therefore, resides both in their ability to liberate language and in the challenge of sharing this freedom.

7 Reception and Horizons of Expectation: The Creative Dialogue

7.1 The Reader as Co-Creator: The Hermeneutic Experience

An autonomous poetic vocabulary demands active participation from the reader in constructing meaning. The reader becomes a co-creator of the conventions that govern the ideal objects, not merely a decoder. This perspective strongly resonates with reception hermeneutics, which emphasizes the active role of the reader in constituting the meaning of the work. The "horizon of expectation" of the reader, a key concept in Gadamer (2004) [20] and in Reception Aesthetics (Jauss, 1982) [28], is fundamentally transformed by the need to forge new understandings.

7.2 Interpretative Communities: Collective Validation

The validation of an autonomous poetic vocabulary depends on the formation of interpretative communities capable of recognizing and applying the established conventions. These communities function as spaces for "meaning negotiation," where the viability and relevance of the ideal objects are tested and consolidated through reading and discussion practices.

7.3 Institutionalization Perspectives: Challenges and Possibilities

How could autonomous poetic vocabularies gain institutional recognition? What mechanisms of transmission and preservation would be necessary? Institutionalization would involve the creation of glossaries, critical studies, and perhaps inclusion in academic curricula, ensuring their permanence and the formation of new reader-co-creators.

8 Contemporary Applications and Case Studies: Poetics at the Edge of Technology and Experience

8.1 Digital Poetry and Artificial Intelligence: New Frontiers of Creation

8.1.1 Generative Algorithms and the Creation of Ideal Objects

The development of text-generating algorithms based on deep neural networks (such as GPT, BERT, and variants) offers unprecedented tools for the systematic creation of poetic ideal objects. These systems can be trained not to reproduce existing linguistic patterns but to generate elements that maximize specific aesthetic criteria, often through the unexpected combination of elements (Goldberg, 2017) [29].

Experiments with adversarial training in computational poetry demonstrate the possibility of creating vocabularies that simultaneously respect formal constraints (metrics, rhymes, alliterations) and innovate semantically through unexpected lexical combinations. The ideal objects generated algorithmically have an interesting property: they are created through a completely objective (computational) process but are destined for subjective (aesthetic) experiences, raising questions about authorship and intentionality.

8.1.2 Human-Machine Hybridization in Poetic Creation: The Creative Symbiosis

The collaboration between human poets and AI systems in creating autonomous vocabularies represents a privileged laboratory for testing our hypotheses. The poet provides aesthetic intuitions and expressive needs; the machine generates systematic variations and checks formal coherence. This creative symbiosis can exponentially accelerate the development of autonomous poetic vocabularies, questioning the boundary between human and artificial creativity.

Experimental projects such as the digital Oulipo (inspired by Oulipo, Ouvroir de littérature potentielle) demonstrate how algorithmic restrictions can paradoxically free linguistic creativity, forcing the discovery of expressive solutions that would remain inaccessible to purely intuitive creation.

8.2 Case Studies in Contemporary Literature: Examples of Poetic Radicality

8.2.1 Anne Carson and Archaeological Language: Re-signifying Terms

Canadian poet Anne Carson develops a vocabulary that fuses archaeological terminology with erotic experience, creating ideal objects that are neither scientific descriptions nor conventional lyrical expressions (Carson, 1998) [30]. Words like stratigraphy acquire autonomous poetic weight, designating temporal layers of loving experience irreducible to both geology and common psychology. Carson uses the lexicon of one discipline to express the interiority of another, creating a hybrid and singular semantic field.

8.2.2 Christian Bök and Xenolinguistic Poetry: The Posthuman in the Poem

Christian Bök's "Xenotext" project represents a radical experiment in creating biologically encoded poetic vocabulary. Bök develops a poem that can be translated into a genetic sequence and implanted into bacteria, creating literature that exists simultaneously as text and as a living organism (Bök, 2011) [31].

This project exemplifies the creation of ideal objects that completely transcend common human language, existing on multiple ontological levels (textual, genetic, biological) through conventions that articulate heterogeneous semiotic systems. It explores the "life" of the text beyond its purely symbolic dimension, entering into dialogue with posthumanism (Haraway, 1991) [32].

8.2.3 Theresa Hak Kyung Cha and Multilingual Poetics: The Language of Interstices

In Dictee, Cha creates a poetic vocabulary that operates through interferences between different languages (English, French, Korean), generating ideal objects that do not fully belong to any national linguistic system (Cha, 1982) [33]. These "inter-words" exist in the interstices between languages, creating expressive experiences accessible only through this specific multilingual poetics. Cha's work is a testament to language's capacity to forge meaning in diaspora and cultural hybridity.

8.3 Emerging Technologies and Poetic Vocabularies: Materialized Words

8.3.1 Virtual Reality and Immersive Linguistic Experience

Virtual and augmented reality technologies open unprecedented possibilities for creating ideal poetic objects. Words can acquire three-dimensional spatial existence, synesthetic colors, and simulated physical properties. The poetic vocabulary literally becomes a "virtual body" that can be manipulated.

Experiments with cave automatic virtual environments (CAVEs) for poetry demonstrate how ideal objects can gain simulated physical presence, creating aesthetic experiences that involve the entire sensory-motor apparatus of the receiver, moving poetry from the purely symbolic to the embodied.

8.3.2 Brain-Computer Interfaces and Direct Linguistic Creation

Developments in brain-computer interfaces suggest a future possibility of linguistic creation that bypasses completely vocal articulation or writing. Poetic thoughts could be translated directly into digital ideal objects, eliminating traditional technical mediations.

This perspective raises fascinating philosophical questions: Would ideal objects created directly by thought, without mediation by common language, represent pure forms of poetic expression or mere neurological projections? This challenges the very nature of authorship and the materiality of the text.

9 Anthropological and Sociolinguistic Dimensions: Poetry as a Social Phenomenon

9.1 Creation and Transmission Rituals: Poetry as Initiation

9.1.1 Poetic Communities as Initiatory Groups

The creation and maintenance of autonomous poetic vocabularies require the formation of interpretative communities that function as initiatory groups. Similarly to traditional secret societies, these communities develop specific rituals for transmitting poetic knowledge.

Anthropological studies on ritual languages (such as Vedic Sanskrit or Pentecostal glossolalia) provide models for understanding how specialized vocabularies remain alive through specific communal practices (Tambiah, 1968) [34]. Recitation, memorization, and collective interpretation act as mechanisms for the preservation and renewal of ideal objects, ensuring their vitality beyond the original creator’s intention.

9.1.2 Cultural Hybridization and Lexical Creation: Language in Contact

In contexts of intense cultural contact, hybrid vocabularies often emerge that do not fully belong to any of the contact traditions. These "poetic pidgins" serve as natural laboratories for observing the creation of ideal objects: linguistic elements that gain meaning through emerging conventions, not derivable from the original languages.

Post-colonial literature offers abundant examples of this linguistic creativity: writers such as Édouard Glissant (Creole) (Glissant, 1981) [35] or Juan Gelman (Yiddish-Spanish) create vocabularies that are both cultural memory and expressive innovation, forging identities and realities through linguistic hybridity.

9.2 Sociolinguistic Variation and Poetic Innovation: Style as Dialect

9.2.1 Poetic Register as Social Dialect

Autonomous poetic vocabularies can be analyzed as extreme forms of sociolinguistic variation – specific "dialects" of defined cultural communities, not by geography or social class, but by participation in particular aesthetic traditions. This connects to the sociology of language, which studies how linguistic varieties are used and valued in different social groups (Labov, 1972) [36].

This sociolinguistic perspective reveals that the creation of ideal objects does not occur in a vacuum but within social systems that regulate, legitimize, and transmit linguistic innovations. The "success" of a poetic vocabulary depends on its acceptance by interpretive communities capable of recognizing its aesthetic validity.

9.2.2 Cultural Prestige and Diffusion of Innovations: The Role of Authority

The theory of diffusion of innovations, applied to the linguistic field, suggests that autonomous poetic vocabularies follow specific sociological patterns: they are created by "innovators" (experimental poets), adopted by "early adopters" (critics and specialized readers), and eventually spread to the "early majority" (expanded literary communities).

The cultural prestige of creators decisively influences the speed and scope of this diffusion (Bourdieu, 1996) [37]. Poetic vocabularies created by prestigious figures (such as Mallarmé or Joyce) are more likely to achieve institutionalization than innovations by marginal authors, demonstrating the intersection between aesthetic autonomy and symbolic power dynamics.

10 Ecological and Environmental Perspectives: Language in Crisis and Renewal

10.1 Linguistic Ecology and Expressive Diversity: The Niches of the Word

10.1.1 Poetic Vocabularies as Ecological Niches

The ecological metaphor can be productively applied to the linguistic field: different registers and vocabularies occupy specific "niches" in the communicative ecosystem (Mühlhäusler, 2003) [38]. Autonomous poetic vocabularies would create new expressive niches, increasing linguistic biodiversity.

This ecological perspective suggests that the creation of ideal objects does not represent a dispensable cultural luxury but an evolutionary necessity: linguistic systems that do not renew themselves through expressive innovations tend toward entropy and extinction, losing the capacity to name and understand the ever-changing world.

10.1.2 Sustainability of Autonomous Vocabularies: Vitality and Adaptation

How can the sustainability of poetic vocabularies without referential support in common experience be guaranteed? Ecological theory suggests that linguistic niches remain viable when they:

• Address real expressive needs of communities;

• Maintain connections (even tenuous) with other linguistic registers, avoiding total isolation;

• Develop effective mechanisms for cultural reproduction, such as education and criticism;

• Adapt to changes in the general communicative environment.

10.2 Environmental Crisis and Renewal of Poetic Language: Naming the Anthropocene

10.2.1 Poetic Vocabularies for the Anthropocentric Era

The contemporary environmental crisis demands a radical renewal of human expressive resources. Common language, shaped by anthropocentric and developmentalist paradigms, proves inadequate for expressing complex ecological experiences: climate change, species extinction, microplastic pollution, ocean acidification (Haraway, 2016) [39].

The creation of ideal objects specifically intended to express contemporary environmental experience represents a concrete cultural urgency. We need words that express, for example, the experience of living knowing we are responsible for the climate collapse or the nostalgia for landscapes that will never exist again. It is a search for a language capable of encompassing the trauma and responsibility of the Anthropocene.

10.2.2 Ecological Temporalities and Language: Non-Human Time

The ecological crisis reveals temporalities that exceed individual human experience: geological time, evolutionary time, climatic time. These temporalities demand specific vocabularies—ideal objects capable of linguistically embodying transhuman temporal experiences that do not fit within the scales of everyday life.

11 Ethical and Bioethical Issues in Linguistic Creation: The Power of Nomenclature

11.1 Ontological Responsibility of the Creator: The Act of Bringing Forth

11.1.1 Linguistic Creation and Alteration of Reality

If language not only describes but constitutes aspects of human reality (Wittgenstein, 2001) [11]; Whorf, 1956) [40], the creation of new vocabularies represents a form of modification of the real. The creator of ideal objects assumes ontological responsibility: their linguistic creations alter the possibilities for experience available to their cultural community.

This responsibility is analogous to that of a genetic engineer or urban planner: intervening in complex systems whose long-term consequences are unpredictable. The ethics of linguistic creation must consider the unintended effects of the vocabularies created, including the reconfiguration of perception and cognition.

11.1.2 Informed Consent and Linguistic Innovation: Awareness of Impact

How can bioethical principles be applied to linguistic creation? The concept of "informed consent" can be adapted: interpretive communities must understand the cognitive and cultural implications of adopting autonomous poetic vocabularies.

The creation of ideal objects is not a neutral act: it modifies the cognitive structures of the receivers, influences thought processes, alters patterns of mental association. These modifications must be the subject of explicit ethical reflection, given the profound influence of language on the formation of the subject and the world.

11.2 Linguistic Diversity and Cultural Justice: Innovation as Inclusion

11.2.1 Democratization vs. Elitization: Access to Creativity

The creation of autonomous poetic vocabularies can contribute to cultural democratization (offering new expressive tools to marginalized communities) or elitization (creating additional barriers to cultural access). This tension requires specific ethical care.

Collective creation projects of poetic vocabularies—engaging diverse communities in the creation of ideal objects—can represent forms of democratizing linguistic innovation, countering the traditional model of individual creation by "isolated geniuses," promoting "language as social practice" (Bourdieu, 1991) [41].

11.2.2 Preservation and Innovation: Balancing Tradition and the New

How to balance the preservation of existing linguistic traditions with innovation through autonomous vocabularies? The creation of ideal objects should not imply devaluing traditional linguistic heritage but expanding the expressive repertoire available.

"Creative conservation" strategies can integrate elements of endangered languages into contemporary poetic vocabularies, offering new contexts for use of linguistic elements that have lost their everyday communicative function, thus promoting a richer and fairer linguistic ecology.

12 Final Considerations: Interdisciplinary Synthesis and Future Perspectives

12.1 Interdisciplinary Convergence: Language as a Complex Phenomenon

The interdisciplinary investigation into the possibility of constructing autonomous poetic vocabularies reveals remarkable convergences between seemingly disparate fields of contemporary knowledge.

From psychoanalysis, we incorporate the understanding that linguistic creation operates through sophisticated unconscious mechanisms (condensation, displacement, sublimation), as analyzed by Freud in The Interpretation of Dreams (Freud, 2019) [42], and establishes complex transferential relationships with receivers. Poetic language, therefore, mobilizes not only the conscious but also deep layers of the psyche.

From neuroscience, we learn that the human brain possesses sufficient plasticity to process and create radically innovative linguistic elements, activating neural networks associated with creativity and non-literal processing. Research on neuroplasticity (Davidson; Lutz, 2008) [43] and the processing of figurative language (Beeman; Bowden, 2000) [44] supports the brain's capacity to adapt to new symbolic conventions.

From information theory, we extract models to understand how ideal objects maximize informational content and function as "creative noise" that renovates communicative systems, challenging semantic entropy (Shannon, 1948) [45]; Kolmogorov, 1965) [46].

From cognitive sciences, we obtain evidence that autonomous vocabularies can emerge from complex connectionist processes and open unprecedented possibilities for embodied cognition (Barsalou, 2008) [47], where meaning is not abstract but intrinsically linked to sensory-motor experience.

This convergence suggests that the proposal for autonomous poetic vocabularies is not an isolated aesthetic speculation but responds to fundamental needs of human cognition—the need for symbolic innovation, expansion of expressive capacities, and continuous renewal of available linguistic resources.

12.2 Implications for Literary Theory: Redefining Paradigms

The possibility of poetic ideal objects requires a profound revision of central concepts in traditional literary theory:

• Literariness: No longer definable as a deviation from linguistic norms, but as the creation of new expressive norms and the constitution of new symbolic worlds.

• Poeticness: Not reducible to the reorganization of preexisting elements, but the capacity to generate new linguistic elements and inaugurate new modes of being.

• Interpretation: No longer the discovery of hidden meanings, but the co-creation of emerging semantic conventions in an active, participatory hermeneutic process.

• Tradition: Not only the transmission of inherited forms, but the continuous creation of new expressive possibilities, in a dynamic dialogue between the past and the future.

12.3 Research Horizons: Towards an Experimental Poetics

12.3.1 Experimental Research Program

The empirical validation of the hypotheses presented requires a research program that combines methods from multiple disciplines:

• Neurological experiments: Functional neuroimaging during the creation and reception of poetic ideal objects, comparing activation patterns with common and figurative language processing, seeking the neural bases of semantic innovation.

• Psycholinguistic studies: Analysis of the cognitive processes involved in understanding autonomous vocabularies, measuring processing time, error patterns, interpretive strategies, and the emergence of new mental associations.

• Ethnographic research: Participant observation of communities that create and use specific poetic vocabularies, documenting processes of cultural transmission and evolution of conventions, as well as social dynamics of adherence.

• Computational modeling: Development of algorithms capable of generating poetic ideal objects, testing hypotheses about the underlying mechanisms of linguistic creativity and the optimization of new semantic conventions.

12.3.2 Therapeutic and Educational Applications: Language as a Tool for Transformation

The creation of poetic vocabularies may have significant therapeutic applications:

• Language therapy: Patients with aphasia or expressive difficulties could benefit from the creation of personalized ideal objects, circumventing limitations of common vocabulary and exploring alternative expression pathways.

• Creative education: Teaching the creation of ideal objects could develop metacognitive abilities, linguistic awareness, and mental flexibility in students, stimulating divergent thinking and innovation.

• Psychological therapy: The collaborative creation of poetic vocabularies can serve as a therapeutic technique, allowing the expression of traumatic or complex experiences through specific symbolic mediations, offering a safe space for trauma reconfiguration.

12.4 Challenges and Limitations: The Complexity of the Unprecedented

12.4.1 The Problem of Empirical Verification: Measuring the Immeasurable

How can the effectiveness of ideal objects, which by definition do not have external validation criteria, be empirically verified? This fundamental methodological issue requires the development of specific metrics to assess "aesthetic success"—perhaps based on neurological criteria (activation of creative networks), psychological criteria (expressive satisfaction), or sociological criteria (community adoption). The nature of the poetic ideal object resists quantification, requiring qualitative and phenomenological approaches.

12.4.2 Tension Between Universality and Singularity: The Dilemma of Theory

Scientific research seeks universalizable results, whereas poetic ideal objects are, by nature, singular and unrepeatable. How to reconcile this epistemological tension? Perhaps by investigating not the specific ideal objects but the general processes of their creation and reception, or through a "science of singularities" that values the unique case as a source of knowledge.

12.5 Conclusion: Poetic Language as Humanity's Laboratory

The interdisciplinary investigation of autonomous poetic vocabularies reveals that poetic language functions as a privileged laboratory for exploring the fundamental creative capacities of the human species. In this laboratory, the limits of neural plasticity, symbolic innovation, intersubjective communication, and cultural creation are tested.

Poetic ideal objects represent not only aesthetic resources but tools for investigating the nature of consciousness, creativity, and human communication. Their creation and study contribute to our understanding of central questions: How does novelty emerge in human culture? What are the limits of linguistic innovation? How do individual creativity and cultural transmission relate?

The interdisciplinary convergence demonstrated in this monograph suggests that poetic language, far from being a marginal or decorative phenomenon, constitutes a fundamental dimension of human experience—a space where cognitive, expressive, and creative capacities that define our species manifest and develop.

The project of autonomous poetic vocabularies thus represents not only a horizon of aesthetic experimentation but a contribution to the broader project of scientific and philosophical understanding of human nature. Poetry reveals itself not as an ornament of language, but as humanity's laboratory.

References

1. ADORNO, Theodor W. Teoria estética. Tradução de Artur Morão. Lisboa: Edições 70, 1970.

2. JAKOBSON, Roman. "Linguística e Poética". In: JAKOBSON, Roman. Linguística e Comunicação. São Paulo: Cultrix, 2010.

3. MUKAROVSKY, Jan. Standard Language and Poetic Language. In: GARVIN, Paul L. (Ed.). A Prague School Reader on Esthetics, Literary Structure, and Style. Washington, DC: Georgetown University Press, 1964. p. 17-30.

4. BACHELARD, Gaston. La Poétique de la Rêverie. Paris: Presses Universitaires de France, 1960.

5. HUSSERL, Edmund. Investigações Lógicas. Lisboa: Centro de Filosofia da Universidade de Lisboa, 2007.

6. SAUSSURE, Ferdinand de. Curso de Linguística Geral. Tradução de Antônio Chelini, José Paulo Paes e Izidoro Blikstein. São Paulo: Cultrix, 2006.

7. RICOEUR, Paul. A Metáfora Viva. Tradução de Marcelo Perine. São Paulo: Loyola, 1975.

8. ULLMANN, Stephen. Semantics: An Introduction to the Science of Meaning. Oxford: Basil Blackwell, 1962.

9. MEINONG, Alexius. On the Theory of Objects. In: CHISHOLM, Roderick M. (Org.). Realism and the Background of Phenomenology. New York: Free Press, 1960. (Originalmente publicado em 1904).

10. LEWIS, David K. Convention: A Philosophical Study. Cambridge, MA: Harvard University Press, 1969.

11. WITTGENSTEIN, Ludwig. Investigações Filosóficas. Tradução de José Carlos Bruni. Petrópolis: Vozes, 2001.

12. MALLARMÉ, Stéphane. Divagações. Florianópolis: Editora da UFSC, 2010.

13. GREIMAS, Algirdas Julien; COURTÉS, Joseph. Semiotics and Language: An Analytical Dictionary. Bloomington: Indiana University Press, 1982.

14. HEIDEGGER, Martin. A Origem da Obra de Arte. Lisboa: Edições 70, 1977.

15. HEIDEGGER, Martin. Ser e Tempo. Tradução de Márcia Sá Cavalcante Schuback. Petrópolis: Vozes, 2005.

16. BENJAMIN, Walter. "A Obra de Arte na Era de Sua Reprodutibilidade Técnica". In: BENJAMIN, Walter. Magia e Técnica, Arte e Política: Ensaios sobre Literatura e História da Cultura. 3. ed. São Paulo: Brasiliense, 1987. p. 165-196.

17. POLANYI, Michael. The Tacit Dimension. Chicago: University of Chicago Press, 1966.

18. RUSSELL, Bertrand. Os Problemas da Filosofia. Lisboa: Edições 70, 2018.

19. SCHLEIERMACHER, Friedrich. Hermeneutik und Kritik. Frankfurt am Main: Suhrkamp, 1998.

20. GADAMER, Hans-Georg. Verdade e Método I: Traços Fundamentais de uma Hermenêutica Filosófica. Tradução de Flávio Paulo Meurer. 4. ed. Petrópolis: Vozes, 2004.

21. RICOEUR, Paul. Do Texto à Ação: Ensaios de Hermenêutica II. Porto: Rés, 1986.

22. DERRIDA, Jacques. Gramatologia. São Paulo: Perspectiva, 1995.

23. BENVENISTE, Émile. Problèmes de linguistique générale. Paris: Gallimard, 1966.

24. BURKE, Edmund. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. London: R. and J. Dodsley, 1757.

25. KANT, Immanuel. Crítica da Faculdade do Juízo. Tradução de Valerio Rohden e António Marques. Rio de Janeiro: Forense Universitária, 2002.

26. LEVINAS, Emmanuel. Totalidade e Infinito: Ensaio sobre a Exterioridade. Lisboa: Edições 70, 1993.

27. FOUCAULT, Michel. A Ordem do Discurso. São Paulo: Loyola, 1996.

28. JAUSS, Hans Robert. Toward an Aesthetic of Reception. Translated by Timothy Bahti. Minneapolis: University of Minnesota Press, 1982.

29. GOLDBERG, Yoav. "Neural Network Methods for Natural Language Processing". Synthesis Lectures on Human Language Technologies, v. 10, n. 1, 2017.

30. CARSON, Anne. Eros the Bittersweet. Normal, IL: Dalkey Archive Press, 1998.

31. BÖK, Christian. The Xenotext: Book 1. Toronto: Coach House Books, 2011.

32. HARAWAY, Donna J. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.

33. CHA, Theresa Hak Kyung. Dictee. Berkeley: University of California Press, 1982.

34. TAMBIAH, Stanley J. "The Magical Power of Words". Man, v. 3, n. 2, 1968, p. 175-208.

35. GLISSANT, Édouard. Le Discours Antillais. Paris: Éditions du Seuil, 1981.

36. LABOV, William. Sociolinguistic Patterns. Philadelphia: University of Pennsylvania Press, 1972.

37. BOURDIEU, Pierre. As Regras da Arte: Gênese e Estrutura do Campo Literário. São Paulo: Companhia das Letras, 1996.

38. MÜHLHÄUSLER, Peter. Language of Paradise: An Introduction to Linguistics and Ecology. Oxford: Oxford University Press, 2003.

39. HARAWAY, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press, 2016.

40. WHORF, Benjamin Lee. Language, Thought, and Reality: Selected Writings of Benjamin Lee Whorf. Cambridge, MA: MIT Press, 1956.

41. BOURDIEU, Pierre. Language and Symbolic Power. Cambridge, MA: Harvard University Press, 1991.

42. FREUD, Sigmund. A Interpretação dos Sonhos. São Paulo: Companhia das Letras, 2019.

43. DAVIDSON, Richard; LUTZ, Antoine. "Buddha's Brain: Neuroplasticity and Meditation". IEEE Signal Processing Magazine, v. 25, 2008.

44. BEEMAN, Mark; BOWDEN, Edward. "The Right Hemisphere Maintains Solution-Related Activation for Yet-to-be-Solved Problems". Memory & Cognition, v. 28, 2000.

45. SHANNON, Claude. "A Mathematical Theory of Communication". Bell System Technical Journal, v. 27, 1948.

46. KOLMOGOROV, Andrey. "Three Approaches to the Quantitative Definition of Information". Problems of Information Transmission, v. 1, 1965.

47. BARSALOU, Lawrence. "Grounded Cognition". Annual Review of Psychology, v. 59, 2008.