Therefore very well, made this digresso for the campoeditorial of books of scientific spreading, whose intention is to demonstrate comoa modern science if has become a fertile field of quarrels on nossapercepo of world and of as it is relatively easy to make contact with taisdiscusses nowadays, we can dare a little, and try to find if taisconceitos can be being used for the art, literature, poetry If istorepresenta some modification in the structural conception of the workmanship and that reflected emodificaes have caused. I believe that the poetry of Haroldo De Campos is exemplarpara this demonstration. Haroldo De Campos, in the related interview the RicardoArajo, observes that the version of the poem in video, resulted of the work conjuntocom the interviewer, allows to see the poem as ' ' a species of hole negro' ' emque ' ' a flower-space-temporal' is born; ' that he is ' ' ' crisantempo': flower that noexiste in no book of botany, but that brasileira.' starts to now exist in imaginrioda poetry; ' More ahead, the poet speaks of its concern in terconseguido to place in the poem the severity ' ' of Engineering, the Fsica' '. ' ' Parafsica' ' it is a visual poem, is on aosconceitos of the poetical concretista. A verbovocovisual poem in best acepoda is word, of that Concretismo that when verse decreed to the end of the cycle histricodo the page of the fossebidimensional book. Let us remember the experiences of Augustus De Campos and Julio Square emPoembiles, where the words jumped of the infantile book pages as aquelescastelinhos. One of the workmanships more cited by the physicists to paraexplicar as it would be a universe that had more dimensions of what three deespao and one of time are a obscure book of literature: Flatland: The Romanceof Many Dimensions by the Square, of the clergyman Edwin Abbot, 1884, then diretordo City of London School. .