“Concrete Poetry isn't really one sort yet a cluster of percentages, all falling within the Intermedium among semantic poetry, calligraphic and typographic poetry, and sound poetry.
It first crystalized out of those past modes within the early Fifties within the works of such humans as Eugen Gomringer (CH), Carlo Belloli (IT), Dieter Rot (IS), Öyvind Fahlström (SW), the Noigandres workforce (Haroldo and Augusto de Campos, Décio Pignatari and others, BR), Carlfriedrich Claus (GDR), Gerhard Rühm, Friedrich Achleitner and H.C. Artmann (AT), Daniel Spoerri and Claus Bremer (DE), and Emmett Williams (US, then dwelling in DE). in recent times a moment iteration of significant figures have extra to the circulation, together with such humans as Hansjörg Mayer (DE), Ladislav Novák and Jiří Kolář (CZ), Edwin Morgan and Ian Hamilton Finlay (SC), Bob Cobbing (EN), bp Nichol (CA), Mary Ellen Solt and Jonathan Williams (US), Pierre and Ilse Garnier (FR), Seiichi Niikuni and Kitasono Katue (JP) and lots of others.
The actual fact of the looks of parallel paintings roughly independently in such a lot of nations and languages shows one of many certain elements of the circulation, particularly its resource being within the improvement of a brand new mentality within which values turn into fused and inter-relationships confirmed on a extra advanced simple than used to be the case within the purer, past modes of poetry.”
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Extra resources for An Anthology of Concrete Poetry
1" , 1"\:; In itself '. me previous cn apter, 1 have translated 'le corps propre ' as -'the body 48 49 a to-and-fro mov em ent of an as-yet anonym ou s existence which is . the living body and which comes into bein g as a bod y only in th is very movement. Thus the living body is first of all an orga nic unity of sens ibilities wh ich already point beyond th em selves in so far as the y imply that whi ch can be sensed and are alrea d y drawn towards it. Merleau-Ponty speaks of a 'fo rce', ' momentum' or ' mo tivation' here.
Exist en ce can' absor b itself to a grea ter or lesser degree in thebody, as shown by Merleau -Ponty's example of th e pati ent wh o lost her voi ce when forbidden to see her lover, or as sho wn in attempts to mak e oneself into a fasci na ti ng object in order to en tice and ens nare the othe r's freedom . How ever, th e body can never shut its elf off from the world altogethe r, or becom e completely reduced ,1,0 an object. iect in which existence, body j and world are inseEarable. a \'Orpse l OnlybeCa~se' e~;S'ten cc anima tes it and conve rsely, exis tence must incarnate itse lf and in 50 doi ng it already brin gs about an incarnate meaning.
As the se lling of actua l and potential tas ks to be accomplish ed , th e world canno t be left out of account; it is the hori zon always already outline d in the very man ner in which the body exis ts. i ng:i n : the~world . The latter gives my part icular persona l projects th eir sty le and they in tum pla y th eir part in shapi ng it. Th e body image pr ovides me with a ; pre:reflective knowle~ge of th e locati on of my limbs, but this locati on is not a positi on in objective space. Rath er, it is a location with reference to th e way in which my limbs en ter in to my projects ; th us it is not ' a spatiality of position but a sp atiality of si tuatio n'.