This article discusses the phenomenon of Visual poetry in its semiotic aspects. The material from Graeco-Latin poets to the Avant-garde experiments (with a special emphasis on Japanese examples) is grooped typologically: visualizatioon of initials; acro- and telestics; carmina figurata etc. The author offers the principal features of the visual poetry, such as simultaneous perception of the whole text and the textual density which potentially leads to the Black Square. 

The article explores the attempts of artists, West and East alike, to infuse real movement and temporality in their creations. The history of these attempts and various devices used is researched on the broad material from the Romanticism to Impressionism to psychedelic art and computer animation. The text is enhanced with the numerous links to little-known videos.