In "Avant-Garde: Product of Communication," Alvaro de Sá details four clearly discernible elements in the process/poem: 1) "Process: nucleus of creation: where there are changes and evolution it is said that there are processes. They are the relations of becoming inherent in a given structure. A dialectical interrelation exists such that the structure is always subordinated to the process. The correlation of the process with time is not linear; the beginning or end of a process is never appreciated; it always occurs in different directions, creating at each instant new connections that realize themselves simultaneously developing themselves in all the possible forms and occurrences." The process/poem tries to call attention to these aspects of the real. In all works there occur processes, only many artists on creating a process or procedure repeat it with slight variations, "these procedures consisting in the redundance of the process" (Moacy Cirne). There arrives the situation of conferring creative valos on one same structure that is repeated with minimal differences in different works, contributing to the immobility and retrocession by exhaustion of the information level of the structure.

For the process/poem the important thing is to "found creative probabilities" (Moacy Cirne), and the new is only that which inaugurates new processes. "There is no process poetry. What there is is Process Poems because what closes off the process is the poem" (Dias-Pino). "In the poem reality no longer informs contents but its own dynamic process of actualization" (Alvaro de Sé). Thus the spectator ceases to be passive in order to turn into an explorer of the probabilities of process. In the hands of the consumer, each poem is a matrix that is unleashed in series that in their turn can change the original matrix leading to new processes and developments.

The second block of premises evoked by Alvaro de Sá is "Versions: a solution for consumption." The unique object maintains the fundamental characteristics of privilege and reaffirms the social structure that generates it and needs these privileges. On the other hand, large sectors of the population achieve levels of comprehension and knowledge that permit them to accede to any imformational complexity, for which the unique object is manifest as inconsistent with achieving a mass communication. This contradiction had already been treated by Walter Benjamin who proposed as a solution the technical reproduction of works, with which privileged consumption would indeed stop. This made possible, even more than before, the cult of the artist as genius, "ahistorical," before whom the spectator has to "bow." The process/poem believes itself to have arrived at an adequate solution making every consumer/ participant/creator a new projector of these processes by himself creating his own versions of the project that is presented to him, in accord with his own level of knowledge and the techniques in his repertory, with which he can generate his own processes and matrices in an endless development, just like changing reality and constant movement.

The third block is "Project: from the individual to the collective." Just like an architect, the artist creates the project of his work, the execution of which remains entrusted to the consumer in accord not only with the materials that he possesses but also, and this is the most important, in accord with his repertory as much individual as social which do not allow themselves to be modified in any way. For everyone it will be distinct, also the valorization and realization of the project, just as technological advances are different for each time and place as well. The project liberates the artist from the material limitations just as now it is, without doubt, impossible to avail oneself of all existing resources without the help of others." Communication achieves social character; the realization of the project becomes a work of society.

Finally Alvaro de Sá  signals the discovery of "Counter-style: strategy of solutions." This is opposed to the individual extroversion of the creator that the system proclaims as supreme manifestation of language. What is important is not aesthetic functionality that style materializes, based on concepts of the "beautiful" and the "ugly," but informational functionality of processes. This functionality is not situated in the intellectual power of "understanding" the work, marking off its contents, but in the power to discover process in the conquest of information.

To finish with the contributions of this current of concretism, we cite Moacy Cirne in relation to his contributions: "the separation between poetry (speech, word, translation, style) and poem (language, project, version, counterstyle); the taking advantage and exploration of the physical potentialities of each material worked in accord with social and aesthetic-semiological necessities of the poet; the use of the verbal sign only when it is independently necessary for semantic encoding previously established; the breaking with typographic poetry (concrete poetry: last stage of modernism). In sum: the process/poem consolidated itself as semiological practice through a production and a materialist reading, engendered by the social and by the real."