404:, who was also a sound poet, had been experimenting with typewriter and duplicator since 1942. Of its possibilities in suggesting the physical dimension of the auditory process, he declared that "One can get the measure of a poem with the typewriter's accurate left/right & up & down movements; but superimposition by means of stencil and duplicator enable one to dance to this measure." Houédard's entirely different work was also produced principally on the typewriter but approximates more to painterly and sculptural procedures. So too does that of the American
137:
343:
31:
58:, a term that has now developed a distinct meaning of its own. Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped or patterned poems in which the words are arranged in such a way as to depict their subject.
339:(from line to constellation), in which he declared that a poem should be "a reality in itself" rather than a statement about reality, and "as easily understood as signs in airports and traffic signs". The difficulty in defining such a style is admitted by Houédard's statement that "a printed concrete poem is ambiguously both typographic-poetry and poetic-typography".
125:, a technique for creating visual images used by Hebrew artists, which involves organizing small arrangements of Biblical texts such that they form images which illustrate the subject of the text. Micrography allowed the creation of images of natural objects by Jews without directly breaking the prohibition of creating "graven images" that might be interpreted as
423:
Edwin Morgan's experiments with concrete poetry covered several other aspects of it, including elements of found poetry 'discovered' by misreading and isolating elements from printed sources. "Most people have probably had the experience of scanning a newspaper page quickly and taking a message from
435:
Despite such blurring of artistic boundaries, concrete poetry can be viewed as taking its place in a predominantly visual tradition stretching over more than two millennia that seeks to draw attention to the word in the space of the page, and to the spaces between words, as an aid to emphasising
121:, "did away with the more-or-less arbitrary appearance of the text, turned the incidental fact of writing into an essential facet of composition, and thereby…created a union of poetry with the visual arts". There were already precedents for this in
424:
it quite different from the intended one. I began looking deliberately for such hidden messages…preferably with the visual or typographical element part of the point." Another aspect of the search for unintended concordances of meaning emerges in
374:(1927–68) was a kinetic artist "interested in the linear, serial aspects of visual experience but particularly in the process of change," whose revolving machines transcended the static page in being able to express this.
230:(1912) is expressed through pictorial means. Similarly in Germany, Raoul Hausmann claimed that the typographic style of his "Phonemes" allowed the reader to recognize what sound was intended. In Russia the Futurist poet
448:
encompasses the many aspects of subtle visual significance that are held, for instance, by typeface or in the textures of repeated letters, as well as the more overt visual signals generated by the poem's layout.
208:, with poems in the shape of a necktie, a fountain, and raindrops running down a window, among other examples. In that era also there were typographical experiments by members of avant-garde movements such as
957:"Bottle by Charles François Panard, translated by Glenn Todd, plate 10 in the portfolio Shaped Poetry (San Francisco: Arion Press, 1981) - Andrew Hoyem, Glenn Todd, Arion Press | FAMSF Explore the Art"
255:' "ZA (elementary)" has the alphabet in reverse, and the Catalan writer Josep Maria Junoy (1885-1955) placed just the letters Z and A at the top and bottom of the page under the title "Ars Poetica".
812:
778:"Français : Calligrame Les Ailes de Simmias de Rhodes, publié dans le livre Ad alas amoris divini a Simmia Rhodio compacta de Fortunio Liceti qui est consacré à ce caligramme"
1272:
54:
is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance. It is sometimes referred to as
271:
who began to treat language in an equally abstract way. Their work was termed "concrete poetry" after they exhibited along with the artists in the
National Exhibition of
354:
Another difficulty of definition is caused by the way such works cross artistic boundaries into the areas of music and sculpture, or can alternatively be defined as
323:
to the possibilities of
Concrete Poetry. However, there were by this time other European writers producing similar work. In 1954 the Swedish poet and visual artist
66:
Though the term 'concrete poetry' is modern, the idea of using letter arrangements to enhance the meaning of a poem is old. Such shaped poetry was popular in Greek
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During the early 1950s two
Brazilian artistic groups producing severely abstract and impersonal work were joined by poets linked to the
742:"The essence of a poem is inferred through a simple language pattern without necessarily having to 'read' it." John Sharkey, 1971, p.9
1544:
667:
659:
247:
A further move away from overt meaning occurred where "poems" were simplified to a simple arrangement of the letters of the alphabet.
143:'s "Easter Wings" (1633), printed sideways on facing pages so that the lines would call to mind angels flying with outstretched wings
1441:
615:
468:
848:
Adler, Jeremy (1982). "Technopaigneia, carmina figurata and Bilder-Reime: 17th century figured poetry in historical perspective".
1280:
587:
Cahiers de la
Nouvelle Europe: Transfers, Appropriations and Functions of Avant-Garde in Central and Northern Europe, 1909–1989
1361:
311:
378:'s concrete poetry began on the page but then moved increasingly towards three dimensional figuration and afterwards to
1121:
504:(1982). "Technopaignia, Carmina Figurata and Bilder-Reime. Seventeenth¬Century Figured Poetry in Historical Context".
444:. Starting from the observation that poetry can usually be told from prose simply by looking at it, this reading of
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176:
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in which layout moved from an auxiliary expression of meaning to artistic primacy. Thus the significance of the
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129:. The technique is now used by both religious and secular artists and is similar to the use of Arabic texts in
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to suggest that the "extreme example" of concrete poetry can be seen as nested within the larger concept of
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of a letter from the
Portuguese E.M. de Melo e Castro that awakened British writers such as himself,
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during the 3rd and 2nd centuries BCE, although only the handful which were collected together in the
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416:(1941–88) developed the artistic fragmentation of language using various visual techniques in his
171:(1647). Secular examples include poems on the subject of drinking in the shape of wine flagons by
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412:, beginning from about 1958 and in parallel with his changing artistic procedures. And in Italy
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758:. FAMSF Explore the Art. Vol. 124. Translated by W. R. Paton. San Francisco: Arion Press
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943:"Français : Illustration se trouvant à la fin du Cinquième livre de François Rabelais"
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236:
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44:
36:
752:
Hoyem, Andrew; Todd, Glenn (1981). "Egg by Simias of Rhodes (plate 1 in the portfolio)".
531:
110:
1089:
811:
Hoyem, Andrew; Todd, Glenn (1981). "Pan Pipes by
Theocritus, plate 1 in the portfolio".
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303:. In 1958 a Brazilian concrete poetry manifesto was published and an anthology in 1962.
251:, for example, exhibited the sequence from A to Z and titled it "Suicide" (1926), while
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1273:"The Shape of Poetry /2 : Dom Sylvester Houédard's 'Typestracts' – SOCKS"
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67:
1331:"Adriano Spatola e la poesia concreta: Zeroglifico (Sampietro, Bologna 1966)"
17:
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432:, who uses painterly and decorative procedures to isolate them on the page.
395:
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350:(ship) is carved in reverse and can only be decoded when reflected on water
198:
The approach reappeared at the start of the 20th century, initially in the
1411:, National Association of Writers in Education, issue 40 (2006), pp.37-40.
535:
209:
172:
167:'s "This crosstree here", which is set in the shape of a cross, from his
126:
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experiments (1964/1965) were also transitional, preluding his move into
1122:
A reference to an episode in the
Swedish translation of Winnie-the-Pooh
639:
114:
1485:
Warnock, Robert G.; Folter, Roland (1970). "The German
Pattern Poem".
1138:"'Hätila Ragulpr På Fåtskliaben' och diktarkonferensen i Sigtuna 1953"
548:"'Hätila Ragulpr På Fåtskliaben' och diktarkonferensen i Sigtuna 1953"
102:
87:
The post-Classical revival of shaped poetry seems to begin with the
1514:
341:
135:
29:
213:
1521:, which hosts a large amount of concrete poetry (Visual Poetry)
625:
Dencker, Klaus Peter (2000). "From
Concrete to Visual poetry".
524:
Text as
Character. Visual Poetry from Antiquity to Modern Times
520:
Text als Figur. Visuelle Poesie von der Antike bis zur Moderne
106:
1170:"From Line to Constellation", 1954, trans. by Mike Weaver in
147:
Early religious examples of shaped poems in English include "
113:. But the heyday of the revival of shaped poetry came in the
817:. Vol. 124. San Francisco: Arion Press. Archived from
436:
their significance. In recent years, this approach has led
346:
Ian Hamilton Finlay sculpture in Stuttgart, 1975; the word
370:'s work was related to his musical treatment of the word.
791:
Guichard, Luis Arturo (2006). "Simmias' pattern poems".
80:
in the shape of an egg, wings and a hatchet, as well as
1302:"The Shape of Poetry: Carl Andre's Typed Works – SOCKS"
1518:
1430:
Medium-Art, Selection of Hungarian Experimental Poetry
1478:
Border Blurs: Concrete Poetry in England and Scotland
183:(1660), the playful "A Toast" (Zdravljica, 1844) by
187:, with stanzas in the shape of wine-glasses, and "
1010:"Relations between sound poetry and visual poetry"
629:. Translated by Harry Polkinhorn. Kaldron On-line.
244:), long before the name became current elsewhere.
723:Mindplay, an Anthology of British Concrete Poetry
580:"Words as things. Concrete Poetry in Scandinavia"
179:(1750), supplemented by the elaborate goblet of
995:"The Manuscript of Zdravica by France Prešeren"
34:"Constantinople", a 'ferro-concrete poem' from
656:Pattern Poetry: Guide to an Unknown Literature
27:Genre of poetry with lines arranged as a shape
240:, published in 1914, "ferro-concrete poems" (
234:went so far as to term the typography of his
8:
309:claimed that it was the 1962 publication in
1238:"Maurizio NANNUCCI : more information"
382:in the creation of his sculpture garden at
1499:: CS1 maint: location missing publisher (
1047:: CS1 maint: location missing publisher (
800:. Hellenistica Groningana 11. p. 103.
1155:
565:
1192:Peter Mayer, "Concrete poems just are",
109:and created in 1510 by master carpenter
1090:"The Noigandres Poets and Concrete Art"
735:
714:Anthology of concrete and visual poetry
287:, who were joined in the exhibition by
76:now survive. Examples include poems by
1492:
1040:
725:. London: Lorrimer Publishing Limited.
191:", a shaped poem published in 1865 by
101:. The text is carved in the form of a
97:of a poem at the pilgrimage church of
776:Rhodes, Simmias de (1 January 1640).
7:
1150:(1). Stockholm: Fahlström stannade.
917:"Robert Herrick. Noble Numbers. 268"
627:Light & Dust Anthology of Poetry
560:(1). Stockholm: Fahlström stannade.
526:] (in German) (Third ed.).
428:, the lifework of the visual artist
117:period when poets, in the words of
1372:"Reading space in visual poetry",
1157:10.18261/issn.1500-1989-2019-01-04
893:"George Herbert: The Altar (1633)"
660:State University of New York Press
567:10.18261/issn.1500-1989-2019-01-04
105:on the front of one of the church
25:
1356:The section Newspoems 1965-71 in
469:List of concrete and visual poets
1457:Imagining Language: An Anthology
854:. Vol. 4. CUP. p. 107.
684:. Vol. I:12, Spatial Form.
1208:Alan Riddell's 1975 anthology
945:– via Wikimedia Commons.
780:– via Wikimedia Commons.
275:(1956/57). The poets included
1:
1515:Concrete Poetry: A World View
1480:. Liverpool University Press.
1469:Concrete Poetry: A World View
329:Hätila Ragulpr på Fåtskliaben
312:The Times Literary Supplement
682:The Portable Poetry Workshop
327:had published the manifesto
1525:Ancient Greek pattern poems
1487:Festschrift Detlev Schumann
1471:. Indiana University Press.
1338:Archiviomauriziospatola.com
1035:Alphabetic and Letter Poems
721:Sharkey, John, ed. (1971).
1566:
1008:Scholz, Christian (2001).
828:– via Art.famsf.org.
765:– via Art.famsf.org.
646:/Second Aeon Publications.
634:Finch, Peter, ed. (1972).
598:Cobbing, Bob, ed. (1974).
337:vom vers zur konstellation
1545:Latin American literature
1489:. Munich. pp. 40–73.
1037:. London. pp. 51–52.
528:Herzog August Bibliothek
518:; Ernst, Ulrich (1990).
335:published his manifesto
259:Post-war concrete poetry
941:Unknown (20 May 2014).
538:: Acta Humaniora / VCH.
331:. Similarly in Germany
177:Charles-François Panard
93:(spiral of justice), a
1517:by Mary Ellen Solt on
997:– via Wikimedia.
351:
307:Dom Sylvester Houédard
144:
99:St. Valentin, Kiedrich
48:
1476:Thomas, Greg (2019).
1358:Themes on a Variation
1033:Mayer, Peter (1978).
851:Comparative Criticism
507:Comparative Criticism
345:
242:zhelezobetonnye poemy
206:Guillaume Apollinaire
139:
90:Gerechtigkeitsspirale
33:
1409:Writing In Education
1374:Writing Technologies
873:Arabicalligraphy.com
866:"Arabic Calligraphy"
644:Something Else Press
479:Something Else Press
366:and typewriter art.
181:Quirinus Moscherosch
1360:, Manchester 1988,
376:Ian Hamilton Finlay
317:Ian Hamilton Finlay
131:Islamic calligraphy
710:Nannucci, Maurizio
352:
297:Wlademir Dias Pino
145:
49:
1242:Mam-st-etienne.fr
1070:1.bp.blogspot.com
704:978-1-137-60596-2
696:978-1-137-60703-4
678:McLoughlin, Nigel
388:Maurizio Nannucci
380:site-specific art
281:Haroldo de Campos
277:Augusto de Campos
78:Simmias of Rhodes
16:(Redirected from
1557:
1550:Poetry movements
1504:
1498:
1490:
1481:
1472:
1465:Solt, Mary Ellen
1460:
1459:. The MIT Press.
1453:McCaffery, Steve
1447:
1424:Frater, Zoltan;
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1308:. Archived from
1306:Socks-studio.com
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1279:. Archived from
1277:Socks-studio.com
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1226:GLOUP & WOUP
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794:Beyond the Canon
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636:Typewriter Poems
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608:Arc Publications
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464:Carmen figuratum
325:Öyvind Fahlström
189:The Mouse's Tale
111:Erhart Falckener
42:Russian Futurist
21:
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414:Adriano Spatola
333:Eugen Gomringer
293:Ronaldo Azeredo
289:Ferreira Gullar
285:DĂ©cio Pignatari
261:
253:Kurt Schwitters
237:Tango with Cows
232:Vasily Kamensky
224:in Marinetti's
185:France Prešeren
73:Greek Anthology
64:
52:Concrete poetry
45:Vasily Kamensky
37:Tango with Cows
28:
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1509:External links
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1426:Petőcz, András
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1390:"Spatial Form"
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1376:, Vol.4 2012,
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1261:Finch, pp.45-6
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1210:Typewriter Art
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1172:Image Magazine
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1146:(in Swedish).
1134:Bäckström, Per
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600:Gloup and Woup
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576:Bäckström, Per
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556:(in Swedish).
544:Bäckström, Per
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510:(IV): 107–147.
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438:Mario Petrucci
392:Dattilogrammmi
386:. The Italian
301:Rio de Janeiro
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227:Zang Tumb Tumb
165:Robert Herrick
157:George Herbert
141:George Herbert
95:relief carving
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821:on 2018-01-07
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1432:. Budapes:
716:. Florence.
591:L'Harmattan
418:Zeroglifico
402:Bob Cobbing
163:(1633) and
123:Micrography
62:Development
1534:Categories
1395:2021-04-30
1343:2017-04-03
1316:2017-04-03
1287:2017-04-03
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825:2017-04-03
762:2017-04-03
731:References
604:Gillingham
426:A Humument
420:(1965/6).
410:Carl Andre
406:Minimalist
372:Kenelm Cox
269:Noigandres
218:Surrealism
204:(1918) of
161:The Temple
82:Theocritus
68:Alexandria
1495:cite book
1378:pp.75-106
1362:pp.63-112
1224:Cobbing,
1043:cite book
589:. Paris:
489:ASCII Art
459:Calligram
396:light art
267:magazine
265:SĂŁo Paulo
153:The Altar
1467:(1970).
1455:(2001).
1136:(2019).
1022:(1): 94.
897:Ccel.org
712:(1970).
690:; print
686:Palgrave
654:(1987).
578:(2012).
546:(2019).
536:Weinheim
474:Lyco art
453:See also
210:Futurism
173:Rabelais
127:idolatry
1434:Magvető
640:Cardiff
408:artist
151:" and "
115:Baroque
40:by the
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982:p. 117
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216:, and
103:spiral
47:, 1914
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1501:link
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