The fact that Brazilian Concrete Poetry had established itself artistic and historically as nascent in the early 1950s, and today knowing its affirmation in the national scene as a reference to rupture with the classic verse, its creative root: Haroldo de Campos, Augusto de Campos and Décio Pignatari - provided a consistent backbone to the movement, can one attribute such development and consistency to the fact that its actors are semioticians?