This study explores the polyphonic diversity of technopoetry and sound poetry, tracing their evolution within the expanded field of contemporary art. The 20th century was notably characterized by avant-garde movements—such as Dadaism, Surrealism, Russian Constructivism, Situationism, and Futurism—that influenced the poetic techno-scene. Some notable movements include Fluxus, the happening, and post-punk. These were movements that set powerful trends, finding new avenues of expression—hybridization, transgression, rupture, and the liminal space between the body and the artistic medium—within a constant flow that takes on a philosophical, aesthetic-political-social, and visual construct. Through the incorporation of diverse media and the use of technology, the work acquires a new symbolic dimension, one that originates in poetry and music. This essay briefly explores the symbolic nature of technopoetry and its relationship to related subgenres: experimental, concrete, sound, electronic, and semiotic poetry, as well as videopoetry, holopoetry, and performance poetry. Thereby prompting an examination of the future of poetry and the arts within the context of the 4.0 revolution and the technological convergence involving artificial intelligence and big data.

The present article concerns the neutrality of a researcher in human and social sciences through objectivity and axiological neutrality. PhD student with disabilities, working on a study about handicap, I will deal with the interaction between the various forms of knowledge ; the proximity with the purpose of the study and the objectivity ; and finally my manner of investigation. Varied thoughts will be suggested for an objective research, keeping in mind that the neutrality of the research cannot be complete.