However, exactly that the visitor does not make use of this type of information, it will be able to explore its sensations and perceptions, for visualizaes offered for poems in set. In certain way, the decurrent reflections of such interactions could be directed in other more immediate directions or not. Of a feeling of a poetry where if it steps on, it is given to the visitor this power, to a feeling to have entered in arenaceous land (conferred for the video), and therefore, demanding in the cares, it is the body of ' ' estrangeiro' ' , almost intruder (it will not be for being able to recognize the linguistic code, exactly that of it does not have knowledge, the Portuguese language as reference), that the stiletto becomes, or pencil, or still, brush, and who knows, in the tips of the fingers of its feet, winged, without disrespecting the touch of a musical keyboard or not, /paciente agent of the displacements of and for airs of the corpus ' ' in exposio' '. III? Poetry, exposition and degustations Would say that the space of the edges would be the not-place of the ticket of the contents; temporary place, of where a provisory dimension emerges between contents that do not stop of if transforming, and where these will be captured, provisorily, of form to be read in its interseces, becoming fluid itself, after that, to assume a new nature. (Carlos Enrique Axe) In an apparent jib in the time, the slap-up meal ' ' exposto' ' for the workmanships in question, to the wait of the visitor, he survives to the time of the absence, giving to the poetry of Ver, the Being, Ler, and ' ' estar' ' , the condition of onipotncia, capable to still explore powers suggested for the letters and in state of latencies at least visualized.