100:. Her definition was extended by Marvin A. Sackner in his introduction to the Ohio State University 2008 collection of visual poetry: "I define concrete poems as those in which only letters and/or words are utilized to form a visual image, whereas visual poems constitute those in which images are integrated into the text of the poem". He also separated out artist-generated picture poems and artists' books as an allied category, citing the work of
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Some forms of visual poetry may retain their narrative structure, but this is not a requirement of visual poetry. Some visual poets create more abstract works that steer away from linguistic meaning and instead focus heavily on the composition of words and letters to create a visually pleasing piece.
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Klaus Peter
Dencker also stresses the continuity of the new genre in his theoretical paper "From Concrete to Visual Poetry" (2000), pointing out its "intermedial and interdisciplinary" nature. The two are also interdependent and "without concrete poetry the current forms of visual poetry would be
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were tending towards a "new visual poetry". Its chief characteristic is that it leaves behind the old poetic function of orality and is therefore distinct from the ancient tradition of shaped poetry from which concrete poetry claimed to have derived. Visual poetry, on the other hand, is to be
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described in 1965 as 'Intermedia', it became apparent that such creations were further and further divorced from the representational language with which poetry had hitherto been associated and that they needed to be categorized as a separate phenomenon.
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Visual poetry focuses on playing with form, which means it often takes on various art styles. These styles can range from altering the structure of the words on the page to adding other kinds of media to change the poem itself.
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is a style of poetry that incorporates graphic and visual design elements to convey its meaning. This style combines visual art and written expression to create new ways of presenting and interpreting poetry.
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and has done so in a number of books since 1986. From his reductionist point of view, "Visual poetry can be defined as poetry that is meant to be seen – poetry that presupposes a viewer as well as a reader".
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unthinkable". The academic
Willard Bohn, however, prefers to categorize the whole gamut of literary and artistic experiment in this area since the late 19th century under the label of
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As the literary and artistic experiments of the 1950s that were at first loosely grouped together as concrete poetry extended further into the ambiguous sphere which
149:), using not just letters but also purely linear elements. Created during the 1920s, they anticipated the intermediary 'typestracts' of the concrete poet
358:"Joan Miro (1893-1983): Painting-Poem ('le corps de ma brune puisque je l'aime comme ma chatte habillée en vert salade comme de la grêle c'est pareil')"
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using elements of typography. The last also used the typewriter to create abstract patterns (which he called
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In the light of these assertions, a new genealogy of forerunners to visual poetry emerges that includes
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525:"From Concrete to Visual Poetry, with a Glance into the Electronic Future"
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The Line
Forward: A Survey of Modern Dutch Poetry in English Translation
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in which non-representational language and visual elements predominate.
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Sackner, Marvin A. (2008). "Introduction". In
Bennett, John M. (ed.).
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114:, as well as an assortment of handwritten but non-linguistic texts.
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Poetry style that incorporates graphic and visual design elements
232:. Vol. 1. Princeton University Press. pp. 1523–1525.
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during the 1960s that would equally qualify as visual poetry.
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observed that certain trends included under the label
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Solt included in her proposed new genre the work of
548:Horizons, the Poetics and Theory of the Intermedia
53:have identified visual poetry as a development of
607:The Sackner Archive of Concrete and Visual Poetry
558:The Last Vispo Anthology: Visual Poetry 1998-2008
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229:The Princeton Encyclopedia of Poetry and Poetics
603:, which hosts a large amount of concrete poetry
85:distinguished by its deployment of typography.
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340:Visual Poetry in the Avant Writing Collection
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555:Hill, Crag; Vassilakis, Nico, eds. (2012).
362:PROPERTY FROM A PRIVATE NEW YORK COLLECTION
493:The Aesthetics of Visual Poetry, 1914-1928
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529:Light and Dust Mobile Anthology of Poetry
442:. Amsterdam: Riverrun Press. p. 37.
539:Synesthesia and Intersenses: Intermedia"
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380:"Piet Mondrian: Textual (Textuel): 1928"
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266:"Visual Poetry Today by Geof Huth"
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518:. Fairleigh Dickinson University.
264:Foundation, Poetry (2023-12-13).
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544:Also published as a chapter in
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586:Concrete Poetry: A World View
523:Dencker, Klaus Peter (2000).
289:McAllister, Brian J. (2014).
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74:Concrete Poetry: A World View
226:Greene, Roland, ed. (2017).
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536:Higgins, Dick (1965–1981).
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407:Werkman, Hendrik Nicolaas
546:Higgins, Dick (1984).
512:Bohn, Willard (2010).
501:Bohn, Willard (2001).
490:Bohn, Willard (1986).
151:Dom Sylvester Houédard
589:. Indiana University.
515:Reading Visual Poetry
411:"Werken > tiksels"
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504:Modern Visual Poetry
385:Museum of Modern Art
197:Something Else Press
137:(1928), and prints (
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531:. Kaldron On-Line.
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133:'s text in
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213:References
111:A Humument
59:intermedia
612:thing.net
315:1538-974X
295:Narrative
177:Calligram
119:Joan Miró
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583:(1968).
438:(1984).
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