Concrete poetry 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 visual poetry, 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.
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👉 Concrete poetry in the context of Bruno Tolentino
Bruno Lúcio de Carvalho Tolentino (November 12, 1940 – June 27, 2007) was a Brazilian poet and intellectual, known for his opposition towards the more blatant avant-garde elements of Brazilian modernism, his advocacy of classical forms and subjects in poetry, his loathing of popular culture and concrete poetry, and by his being hailed as one of the most important and influential intellectuals of his generation. His work was awarded the Prêmio Jabuti three times, in 1994, 2000 and 2007.
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Concrete poetry in the context of Digital poetry
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
According to Saum-Pascual (2019), digital poetry is the artistic heir to the avant-garde movements of the second half of the 20th century, including Lettrism, concrete poetry, and conceptual poetry.
Concrete poetry in the context of Fluxus
Fluxus was an international, interdisciplinary community of artists, composers, designers, and poets during the 1960s and 1970s who, inspired by John Cage, engaged in experimental art performances which emphasized the artistic tradition of chance-based process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins; conceptual art, first developed by Henry Flynt, an artist contentiously associated with Fluxus; and video art, first pioneered by Nam June Paik and Wolf Vostell. Dutch gallerist and art critic Harry Ruhé describes Fluxus as "the most radical and experimental art movement of the sixties".
They produced performance "events", which included enactments of scores, "Neo-Dada" noise music, and time-based works, as well as concrete poetry, visual art, urban planning, architecture, design, literature, and publishing. Many Fluxus artists share anti-commercial and anti-art sensibilities. Fluxus is sometimes described as "intermedia". The ideas and practices of composer John Cage heavily influenced Fluxus, especially his notions that one should embark on an artwork without a conception of its end, and his understanding of the work as a site of interaction between artist and audience. The process of creating was privileged over the finished product. Another notable influence were the readymades of Marcel Duchamp, a French artist who was active in Dada (1916 – c. 1922). George Maciunas, largely considered to be the founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine.