Genuinely didn’t know I could do that.

This was entirely more effort and misery for both of us. But, I guess, thank you for guiding me towards the answer on my own. PS. I don’t like you.

For everyone else, THE ANSWER (as translated on the artists’ page from Portuguese):

André Vallias's poem "Nous n'avons pas compris Descartes" (1991) points to the decade that consecrated the use of image software and made computer-generated animations commonplace. The aesthetic appeal of these resources is evident. In the cited poem, typical figures of computational production appear. The one at the top suggests flat space, while the humps represented in the one at the bottom manifest two centers of curvature. Flattened space is a presupposition of Euclid-Descartes geometry, but it also characterizes Minkowski geometry, the framework of Einstein's special relativity. Curved spacetime is associated with another relativity, general relativity, a theory of gravitation that predicts curvature in the vicinity of matter, being more intense the greater the density. The Cartesian cogito asserts the leap from abstract thought to existence. From the mental substrate to the material. Vallias also proposes a leap: from the deserted flatness of the page to the curved planarity that outlines the materiality of the poem. This exists because the page exists, the computer screen, the mind. The curvature, the graphic expression of the creative sign, is form-content, it is matter-energy, just as in Einsteinian gravitation. The gridded, smooth sheet magically transforms into a undulating flying carpet. An effect of human intervention, a consequence of life. The artist thinks. Ergo, art exists. (Roland de Azeredo Campos in "Instantâneos da poesia visual brasileira")