The thesis is an attempt to explore ways of investigating the poetic word that allowed their release of strict formats, such as the process initiated by: Un Coup de Dés Jamais N Abolira Le Hasard from Mallarmé; the notion that Harold of Campos rescues from the poet-calligrapher, from the thought of the total book, the book as an object; and the aesthetic of ruins identified by Walter Benjamin in the german baroque. The field of investigation is that of poetic-visual experiences that interrupt, create displacements or obstructions in the language: stains, infiltrations, joints, traces, ruins, scars, collages and erasures –– poetic procedures to permeate the unprecedented, the tacit, layers and gaps in the poem object. Analysis of three cases that balance on the threshold of poetic and plastic –– Waly Salomão and his Babilaques; Edgard Braga and his visual poems; and Mira Schendel and her monotipes. The writing of the dissertation was worked in the form of essays and fragments, bringing photos and imagesremnants of notebooks and works done by me throughout the master s process. They are images that seek to activate other senses, without explanatory, expository or informative obligation, but with a direct and risomatic relation with this research.