Concrete Poetry
TeXTArt
A Hypertext Notebook by
Michael P. Garofalo

 

Concrete Poems, Text Graphics, Calligrams, Graffiti, Lettrisme, Calligraphy, Info-graphics, Posters, Shape/Pattern Poems, Ads, TextArt

Interactive and Hypertext Poetry, Ambigrams, Comics, Typographic Arts, Signs, Visual Poetry, Web Text Effects, Digital Graphics

Communicating with Text and Images
 

 

Directory, Guide, Index, Bibliography
Websites, Books, Journals, Pamphlets, Articles,
Quotations, History, Exhibits, How To, Artists, Related, and TextArt

March 21, 2021
 


A    B    C    D    E    F    G    H    I    J    K    L    M   

N    O    P    Q    R    S    T    U    V    W    X    Y    Z

  

 

Quotations     Preface     Exhibits     Home

ASCII     Calligraphy     Colors     Comics     Graphic Design     How To     Typography     Vector Graphics

Cloud Hands Blog     Green Way Research      Photography          

 


 

 

 

 

 

 

 

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Adobe  Industry standard graphic arts software. 


Adobe Illustrator     Books   Industry standard vector graphics software.  


Adobe Photoshop     Books  Industry standard photographic images software.     


The Aesthetics of Visual Poetry, 1914-1928.  By Willard Bohn.  Cambridge University Press, 1986, 240 pages.  VSCL


Aethel.  By Donato Mancini.  New Star Books, 2007, 96 pages. 


Alphabet Books for Children


Alphabetic Labyrinth: The Letters in History and Imagination.  By Johanna Drucker.  Thames and Hudson, 1995, 320 pages. 


Alphabets to Order     By Alastair Johnston.   Oak Knoll Press, The British Library, 2000.   Review   


Altar Poem


Alt-X Online Network   


Ambigrams - Wikipedia 


Ambigrams Revealed: A Graphic Designer's Guide To Creating Typographic Art Using Optical Illusions, Symmetry, and Visual Perception. 
     By Nikita Prokhorov.  New Riders, 2013, 168 pages. 


Anagrams - Wikipedia


Anatol


Animisms    Jim Andrews    Graphic images by Jim Andrews. 


An Anthology of Concrete Poetry.    Edited by Emmett Williams.    New York, Something Else Press, 1967, 342 pages.   Info  


Anthology of Concretism.   Edited by Eugene Wildman.   2nd. edition.  Chicago : Swallow Press, Inc., 1969.   


April Poems         


Archae Editions.    By Richard Kostelanetz


Art and Human Consciousness.  By Gottfried Richter and Burley Channer.  Steiner Books, 2nd Edition, 1985, 298 pages. 


Art and Poetry of Holly Crawford    Graphic images by Holly Crawford.


Art and Visual Perception: A Psychology of the Creative Eye.  By Rudolf Arnheim.  University of California Press, 2005, 518 pages.  First published in 1955. 


Art as Illumination.  A Blog by Jason Rowan Studios.  Graphic images by Jason Rowan. 


Art Crimes: The Writing on the Wall    Images, information, resources, links, interviews.  Graffiti photographs.    


Art Center of Visual Poetry    By J.  Santos.       


Arte Postal, Arte Correo, Arte Postale, Mail Art, Correspondence Art  


The-Artists.Org    Major 20th century and contemporary visual artists.   


Art Electronics and Other Writings    Archives / Videotheque / Rome.  By Caterina Davinio.   


Artists and Poets: A List of Concrete and Visual Poets - Wikipedia  


Hans Carl Artmann (Ib Hansen)  (1921-2000) 
 Austrian-born poet and writer.


The Art of Kazmier Maslanka


Art Revolution: Alternative Approaches for Fine Artists and Illustrators.  By Lisa L. Cyr.  North Lights Books, 2009, 160 pages. 


The Art of Xu Bing: Words Without Meaning, Meaning Without Words.  By Britta Erickson, Bing Xu, and Arthur M. Sackler
     Gallery (Smithsonian Institution).  University of Washington Press, 2001, 84 pages. 

 

 

ASCII TEXT ART


ASCII Art and More     Marc Schmitz 


The ASCII Art Archive


The ASCII Art Assimilation Lab


ASCII Art Collection of Christopher Johnson


ASCII Art Dictionary.  By Andreas Freise from 1997-2004.  Directory, Collections, Information, Definitions. 


ASCII Art FAQ.  FAQ: New to ASCII Art.  By C.J. Randall.  May 2003.  "Version 3.0.3.18."  FAQ = Frequently Asked Questions.  1990's Internet collegiate humor. 


ASCII Art Farts "Guess I Was Wrong"


ASCII Art Gallery      A comprehensive and well organized website, presented by the noteworthy artist Joan G. Stark. 


ASCII Art Images in Bing  


ASCII Art Images in Google


ASCII-art newsgroups:     alt.ascii-art      alt.ascii-art.animation 


ASCII Art.  The Surprisingly Rich History of ASCII Art.  by David Cassel, 2018. 


ASCII Art Wikipedia


ASCII Art World


ASCIIMoji  ASCII Emoticons for the Web

 


ASCII Art artists often favored  Monospaced Fonts
The text of poetry or messages can be worked into some interesting visual forms and aligned better with monospaced fonts.  Monospaced fonts or Fixed Width Fonts include the OCR Series like OCR-A BT, Courier New, Lucida Sands Typewriter, Monaco, Consolas, Inconsolata, Adobe Caslon, Pragmata, Gotham Book, Gotham 8 Weights.

courier     lucidia    ocr-abit    Some Kind of Font               verdana      timesnewroman
COURIER     LUCIDIA 
   OVR-ABIT       SOME KIND OF FONT                         VERDANA         TIMESNEWROMAN

 

List of Monospaced Fonts - Wikipedia       Typography Fonts

"A monospaced font, also called a fixed-pitch, fixed-width, or non-proportional font, is a font whose letters and characters each occupy the same amount of horizontal space. This contrasts with variable-width fonts, where the letters and spacings have different widths.  Monospaced fonts are customary on typewriters and for typesetting computer code.  Multiple art forms have developed within computers' and typewriters' monospaced typographic settings in which the nth character of every line align vertically with each other. (Such a group of characters is sometimes called a column.) A proportional and monospaced font's reproduction of an element of ANSI art, line drawing, is illustrated below.  The failure of a proportional font to reproduce the desired boxes above motivates monospaced fonts' use in the creation and viewing of ASCII and ANSI art. Some poetry composed monospaced on typewriters or computers also depends on the vertical alignment of character columns. E. E. Cummings' poetry is often set in monospaced type for this reason. Some classic video games (e.g. Nethack) and those imitating their style (e.g. Dwarf Fortress) use a monospaced grid of characters to render their state for the player."
-  Wikipedia,
Monospaced Fonts

 

 

 

 

 

Asemic Writing   Bibliography, links, definitions, history.


Asemic Art Exibit in Russia 2010


Assembling.  Compiled by Richard Kostelanetz and Henry Korn.   1st Assemblying, Brilbmessa, Inc., 1970.  2nd.  3rd. 
     4th, Assemblying Press, 1973.  A collaborative anthology of the unpublished and unpublishable - selected and printed by the contributors.  


Assemblage: The Women's New Media Gallery    Edited by Carolyn Quertin. 


Australian Visual Poets   

 

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Creative Commons License
This webpage work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Created by Michael P. Garofalo, Green Way Research, Vancouver, Washington  © 2020 CCA 4.0

 

 

 

                                                                                           

 

 

 

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Konrad Bayer  (1932-1964)


Before Ascii_Art Mail List   


The Best American Infographics, 2013.  Edited by Garreth Cook.  Introduction by David Byrne.  Mariner Books, 2013, 184 pages. 


The Best American Infographics, 2016.  Edited by Gareth Cook and Robert Krulwich.  Mariner Books, 2016, 176 pages. 


Charles Bernstein   


Beyond Words: Experimental Poetry and the Avant-Garde


Bibliography - Concrete and Visual Poetry
           


Big Bang Faerie   The e-theatre of Big Bang Art Inner Mouvement.   Magic Lights by Sophie Charrier. 
     Scriptural Phantasmagorias by Joėlle Dautricourt.  Text in French and English.     


Simon Biggs   


Max Bill  (1908-1994)  A Swiss architect, artist, painter, typeface designer, industrial designer, and graphic designer. 


William Blake (1757-1827)  English poet, painter, and printmaker.


Blog   A Concrete-Visual Poetry Weblog by Michael P. Garofalo   


Blue Lipstick: Concrete Poems.  By John Grandits.  Clarion Books, 2007, 48 pages. 


Book from the Ground: From Point to Point.  By Bing Xu.  MIT Press, 2018, Reprint edition, 128 pages. 


A Book of the Book: Some Works and Projections about the Book and Writing.  
    
Edited by Jerome Rothenberg and Steven Clay.   New York, Granary Books, 2000.  Chapter 2   


Booktryst: Interesting and Curious Rare and Antiquarian Books


BPNichol   Barrie Philip Nichol (1944-1988)  Canadian poet, writer, sound poet, editor, and publisher. 


The Birdhouse   


Bitmap Images, Raster Graphics: jpeg, gif 


Blog with Water Color and Pen      Jerry Dreesen   


Blogger - Free Blog Hosting by Google.  I have used Blogger since 2005.  You can insert photos, .jpg, .gif and  ArtTeXt  into posts.


Blogs - Graphic Design


The Book of Forms: A Handbook of Poetics, Including Odd and Invented Forms.  By Lewis Putnam Turco.  Dartmough College, 2011, 456 pages.


Border Blurs: Concrete Poetry in England and Scotland.  By Greg Thomas.  Liverpool University Press, 2019, 320 pages. 


A Brief Guide to Concrete Poetry by Poets.Org


British Electronic Poetry Center  A joint venture by Southampton University, Birkbeck and Royal Holloway Colleges, London University. 

 

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John Cage  (1912-1992)  American composer, music theorist, artist, and philosopher. 


Caligramas, Letras Universales, Spanish Edition.  By Guillaume Apollinaire and J. Ignacio Velazquez.  Catedra Ediciones, 2007, 283 pages. 


Calligram: Essays in New Art History from France.  By Norman Bryson.  Cambridge University Press, 1988, 224 pages. 


Calligrams and Text Art by Michael P. Garofalo   


Calligrammes: Poems of Peace and War (1913-1916). By Guillaume Apollinaire. 
     Berkeley, University of California Press, 1980. Translated by Ann Hyde Greet.  

 

 

 

Calligraphy, Penmanship, Handwriting, Lettering, Scripts   


Arabic Calligraphy Images


Calligraphy: A Comprehensive Guide to Beautiful Writing.  By Jane Sullivan.  Peter Pauper Press, 2016, 120 pages.


Calligraphy: A Complete Guide.  By Julien Chazal.  Stackpole Books, 2013, 224 pages. 


Calligraphy Books


Calligraphy's Flowering, Decay and Restoration: With Hints for Its Wider Use Today.  By Paul Standard.  Kessinger, 2010, 50 pages.


Calligraphy History Books


Calligraphy Software


Chinese Calligraphy Dictionary.  Chinese Calligraphy Dictionary Editorial Board.  Commercial Press, 2015, 1578 pages. 


Chinese Calligraphy: The Culture and Civilization of China.  By Zhongshi Ouyang and Wen C. Fong.  Yale University Press, 2008, 511 pages. 


Chinese Calligraphy Images


Hand Lettering 101: An Introduction to the Art of Creative Lettering.  By Chalkfulloflove and Page Tate.  Blue Star Press, 2016, 126 pages.


Handstyle Lettering: From Calligraphy to Typography.  Edited by Viction Workshop.  Victionary, 2017, 240 pages. 


Handwriting Books


Handwriting for Adults


Heart of the Brush: The Splendor of East Asian Calligraphy.  By Kazuaki Tanahashi.  Shambhala, 2016, 400 pages. 


Islamic Calligraphy Images


Japanese Calligraphy Images


Learn Calligraphy: The Complete Book of Lettering and Design.  By Margaret Shepherd.  Watson Guptill, 2001, 168 pages. 


Lettering and Modern Calligraphy: A Beginner's Guide to Learning Hand Lettering and Brush Lettering.  By Paper Peony Press, 2017, 112 pages.


Lettering Books


Penmanship Books


Penmanship for Adults


Role of the Scroll: An Illustrated Introduction to Scrolls in the Middle Ages.  By Thomas Forrest Kelly.  W.W. Norton & Co., 2019, 208 pages. 


The World Encyclopedia of Calligraphy: The Ultimate Compendium of the Art of Fine Writing: History, Craft, and Technique. 
     Edited by Christopher Calderhead and Holly Cohen.  Sterling, 2011, 320 pages.

 

 

 

 

 

 


 

Agusto De Campos (1931-)   Brazilian writer who (with his brother Haroldo de Campos) was a founder of the Concrete poetry movement in Brazil.
     He is also a translator, music critic and visual artist.


Haroldo De Campos  (1929-2003)  Brazilian poet, critic, professor and translator.


Canada - Concrete Poets List


Carmen Figuratum


Lewis Carroll (Charles Lutwidge Dodgson)  (1832-1898)


Cartoons


The Century of Artist's Books.  By Johanna Drucker.  Granary Books, 2nd Edition, 2004, 378 pages. 


The Chicago Review Anthology of Concretism.   By Eugene Wildman.   Chicago, Swallow Press, 1967. 


Children's Alphabet Books


Citations for Images or Art Works in Bibliography, Cataloging, Publications


Click Poetry:  Words in Space    By David Knoebel.   Complex animated word art with sounds.


Chinese Calligraphy Exhibits   


Cloud Hands Blog by Michael P. Garofalo   


Coach House Books   


Bob Cobbing (1920-2002)


College Town:  Gallery of Collage and Photomontage


Collage - Photos - Bicycle


Cool Infographics:  Effective Communication with Data Visualization and Design.  By Randy Krum.  Wiley, 2013, 368 pages. 


The Color of Three       By Carol Stetser.   

 

 


Colors

 

Color: A Natural History of the Palette.  By Victoria Finlay.  Random House, 2004, 448 pages. 


Color Combinations, Swatches, Theory - Books


Color Index XL: More that 1,100 New Palettes with CMYK and RGB Formulas for Designers and Artists.  By Jim Krause. 
    Watson-Guptill, 2017, 304 pages.  VSCL


Color Inspirations: More than 3,000 Innovative Palettes from the Colourlovers.Com Community.  By Darius A. Monsef IV.  Spiral Bound,
     includes CD with Palettes using RGB, CMYK, Hex.  HOW Books, 2011, 256 pages. 


Color Theory Books


Color Wheels  VSCL


Coloring Books for Adults


Coloring Books for Children


Colors and Art Books


Colors in Vector Graphics Software Programs


Digital Color Swatches, Samples, Theory


Interaction of Color.  By Josef Albers.  Yale University Press, 1963, 2013, 208 pages. 


On Color.  By David Kastan and Stephen Farthing.  Yale University Press, 2018, 272 pages.  FVRL


Pantone


Pantone: The Twentieth Century in Color.  By Leatrice Eiseman and Keith Recker.  Chronicle Books, 2011, 204 pages. 


Practical Color Combinations: A Resource Book with Over 2,500 Color Schemes.  By Naomi Kuno.  Gives CMYK and RGB values.   Nippan, 2018, 304 pages. 


Secret Language of Color: Science, Nature, History, Culture; (The Beauty of Red, Orange, Yellow, Green Blue and Violet). 
     By Joann Eckstut and Anelle Eckstut.  Black Dog and Leventhal, 2013, 240 pages. 


Secret Lives of Color.  By Kassia St. Clair.  Penguin Books, 2017, 320 pages.


SwatchBooker 


 

 

 

Comics, Cartoons, Strips, Manga, Graphic Novels, Comic Books                                                                      

 

                                                                             

 

Comics, Cartoons, Strips, Manga, Graphic Novels, Comic Books, Newspaper Cartoons, Underground Comics


Comics and Art


Comics - Disney


Comics - Doonesbury by Gary Trudeau


Comics - Drawing


Comics - Garfield by Jim Davis


Comics - History


Comics - Calvin and Hobbes by Bill Waterson


Comics - Comic Strip   Information, Wikipedia


Comics - Dagwood by Chic Young


Cartoons - Images of Cartoon Strips


Cartoons - Lists of Newspaper Comic Strips


Comics - History of Comics - Wikipedia


Comics - Manga, Graphic Novels, Japanese Illustrated Fiction


Comics - Marvel Comics


Comics - Peanuts by Charles M. Schultz 


Comics - Philosophy


Comics - Sunday Comics


Comics - Superman


Comics - Underground Comics


Comics - Wikipedia


Comics - Zits by Jerry Scott and Jim Borgman

 

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Concerning Concrete Poetry.   London, Writers Forum, 1978.  Slimline 2014.   


Concrete and Visual Poetry, Calligrams: Bribliograph.  Texts, Artwork, Criticism, Theory, Commentary.  
     Is it a Book?   By Emily Jane Dawson.     


Concrete and Visual Poetry Links
.   Omniseek.   


Concrete Poem Generator   Lots of variables to choose from. 


Concrete Poems and Text Art by Michael P. Garofalo


Concrete Poetry.  Essay by R. P. Draper, 1971.        


Concrete Poetry: An Annotated International Bibliography    With an Index of Poets and Poems.  
     By Kathleen McCullough.   Troy, New York, Whitston Pub., 1989,  1028 pages.   


Concrete Poetry and Other Postmodernist Styles.   


Concrete Poetry and TextArt Exhibits


Concrete Poetry and Text Art Title Index.  By Michael P. Garofalo.  2020.             


Concrete Poetry: An International Anthology.    Compiled by Stephen Bann.  London, London Magazine, 1967.   


Concrete Poetry: A World View.  By Mary Ellen Solt.  Indiana University Press, 1970, 311 pages.   


Concrete Poetry: A World View     Edited by Mary Ellen Solt.   Bloomington: Indiana University 
     Press, 1968, 1980.    22 Chapers on-line!!   


Concrete Poetry: A World View      An long essay by Mary Ellen Solt, divided by countries.   On-line   


Concrete Poetry: A World View
    Willis Barnstone.   Indiana University Press, 1953.
 


Concrete Poetry and Text Art Index, 2001-2005.  Indexed by Michael P. Garofalo. 


Concrete Poetry:  Bibliography, Index, Links, References and Some Poems    By Michael P. Garofalo.     


Concrete Poetry Directory

 
Concrete Poetry from East and West Germany; The Language of Exemplarism and Experimentalism.  
     By Liselotte Gumpel.   New Haven, Yale University Press, 1976, 268 pages.
   


Concrete Poetry - Google Search


Concrete Poetry Images at Google


Concrete Poetry in France.   By David Seaman.   Michigan, Ann Arbor, University of Michigan, 1981, 356 pages.   


Concrete Poetry, Journal of Typographic Research.    By M. Weaver.   1966, pp. 293-326.
 


Concrete Poetry Lesson Plans for Teachers


Concrete Poetry on EBay


Concrete Poetry: Post-War Modernist Public Art.  By Simon Phipps.  September Pub., 2019, 192 pages.


Concrete Poetry Templates


Concrete Poetry - Wikipedia   


Concrete to Computer: The Future of Visual Poetry    By Paul Kloppenborg.  Mirror site.   


Concrete II.   Edited by Richard Mathews.   Konglomerati Press, FL, 1976.  


Concrete scribblings, concrete jottings, concrete messages, not concrete poetry  -  Paul Hurt, Designing with Words


Concrete/Visual/Collage Bibliography.   By Susan Tichy.      


A Concrete-Visual Poetry Weblog    By Michael P. Garofalo 


CorelDRAW X8 2016:  Books, Video Training, Lessons, Projects.  Vector graphic arts program. 


Corel PaintShop Pro 2020: Books, Information, Lessons, Projects.


Joseph Cornell - Collage Art   


Correspondence Art of Ray Johnson (1927-1995)   Biography, links, bibliography, essays.   


Correspondence Art: Source Book for the Network of International Postal Art Activity. 
     Edited by Michael Crane and Mary Stofflet.   San Francisco: Contemporary Arts Press, 1984, 522 pages.   


Corrosive Signs: Essays on Experimental Poetry (Visual, Concrete, Alternative)
     By Cesar Espinosa and Harry Polkinhom.  Maisonneuve Press, 1990, 135 pages.   


Courier: An Anthology of Concrete and Visual Poetry.   Edited by D. A. Beaulieu. 
     Clagary, Alberta, Canada, Housepress, 1999. 


Court's Concrete Creations     Seven concrete poems by Court Smith.
  

 

'Crete 'oems: Directory, Index ....        

 

'crete'oems:mpgarofalo    Concrete-Visual poems by Michael P. Garofalo. 


Cuneiform     Ancient writing system of the Sumerians in Mesopotamia


CVCBiblio: Concrete/Visual/Collage Bibliography.   By Susan Tichy.    


Cyberpunk    

 

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DaDa Online  


D.A. Levy and the Mimeograph Revolution.  Edited by Larry Smith and Ingrid Swanberg.  Bottom Dog Press, 2007. 


Data Visualization: A Handbook for Data Driven Design.  By Andy Kirk.  SAGE Pubs., Second Edition, 2019, 328 pages.

 

Guy Louis Debord  (1931 – 1994)   A French Marxist theorist, philosopher, filmmaker, member of the Letterist International, founder of a Letterist faction,
     and founding member of the Situationist International.


Deep Cleveland Junkmail Oracle    (d. a. levy)


Definitions, Desriptions: Concrete poetry, concretism, graphic arts, pattern poems, spatialism, technopaegnia, TextArt, visual poetry, visual arts. 


Design and the Concrete Poem.  By Colin Herd.       


Designing With Words:  PHD in Concrete Poetry.  By Paul Hurt, 2019. 


Designed Words for a Designed World: The Internaional Concrete Poetry Movement, 1955-1971. 
     By Jamie Hilder, PhD.  McGill-Queen's University Press, 2016, 296 pages.   


Detritus Books   Concrete poetry titles.


Diagrams, Mind Maps, Infographics, Charts, Knowledge Representations, Flow-Process Charts, Presentation Tools, Visual-Text Models


Digital Alchemy: Printmaking Techniques for Fine Art, Photography, and Mixed Media.  By Bonnie Pierce Lhotka.  New Riders, 2010, 320 pages. 


Digital Painting, Drawing, Editing, Manipulating


Digital Painting Books


Digital Painting - Google


Digital Photography Books and Software


Digital Photography Complete Course.  By David Taylor.  DK, 2015, 360 pages.  VSCL


Digital Photography - Editing


Digital Photography Essentials.  By Tom Ang.  DK, 2016, 360 pages.


Digital Poetics: The Making of E-Poetries     Featuring Loss Pequeńo Glazier.   

 

 

Digital Souls   


Digital Studies   


Directory of Concrete Poetry, Shape/Visual Poetry


Discourse and Creativity.  Edited by Rodney H. Jones. 


Discovering Patterns in Mathematics and Poetry.  By Marcia Birken and Anne C. Coon.  Dodopi, 2008, 216 pages. 


Walter Elias "Walt" Disney (1901-1966)


Doctor Seuss, Theodor Seuss Geisel (1904-1991)


Doodle Dandies: Poems That Take Shape    By J. Patrick Lewis.  Graphic design by Lisa Desimini.   Atheneum, 1998.   32 pages.  Ages 4-8   


Drawing and Ideas


Drawing: A 'Philosophy' for Art by Jason Rowan Studios


Drawing on the Right Side of the Brain.  By Betty Edwards.  Tarcher/Perigree, 4th edition, 2012, 284 pages.  VSCL


DrawPad Vector Drawing and Graphics Editor


Drawing School Fundamentals for the Beginner.  By Jim Dowdolls.  Quarto Pub., 2018, 240 pages. 


Stanislaw Drozdz (1939-2009)


Johanna Drucker (1952-)  American author, book artist, visual theorist, and cultural critic. 


Dudley Literary Arts   Harvard University. 


Rowena Dugdale    

 

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Earthquakes and Explorations: Language and Painting from Cubism to Concrete Poetry
     By Stephen Scobie.   Toronto, University of Toronto Press, 1997, 288 pages.   


Eastgate Systems:  Hypertext
      esources, links, software.   


Editing and Digital Painting


e. e. cummings  (Edward Estin "E. E." Cummings)  (1894-1962)  


Egyptian Hieroglyphics    Information, History, Images, Links


Electronic Poetry Center     An outstanding website!   Superb galleries featuring selections from the best concrete-visual poetry artists.  
     Excellent information!   A well organized and deep website.  Originally organized and published on the web by the Department of Media Study, 
     Poetics Program at the State University of New York, Buffalo, New York.   This website is now at the University of Pennsylvania. 
     Links 
  Readers should visit this excellent website.     


Electronic Poetry Center, EPC Author Pages


Timothy C. Ely (1949-)  American painter, graphic artist, and bookbinder, known for creating single-copy handmade books as art objects.


England - Concrete Poets List


Envisioning Information.  By Edward R. Tufte.  Graphics Press, 1990, 126 pages. 


EPC Gallery        


E-Poetry: An International Digital Poetry Festival, Festival Archive 


Eratio Post-Modern Poetry     Edited by Gregory Vincent St. Thomasino.   


M. C. Escher:  Maurits Cornelis Escher (1898 – 1972) was a Dutch graphic artist who made mathematically-inspired woodcutslithographs, and mezzotints Images


Eternal Network: A Mail Art Anthology.   Edited by Chuck Welch.  Calgary: University of Calgary Press, 1995, 304 pages.   


Exhibits of Text Art, Lettrisme, and Visual Poems on Sundays at Cloud Hands


Exhibits at the Cyber Garden Gazebo   Concrete Poems by Michael P. Garofalo 


Exhibition Art - Graphics and Space Design.  By Wang Shaogiang.  Promopress, 2016, 240 pages. 


Exhibits of TextArt, Concrete Poetry, Lettrisme, and Graphic Arts.  Sunday exhibits at the Cloud Hands Blog.   


EX-Poems!     Experimental, visual, and concrete poetry.


Experimental Poetry


Experimental-Visual-Concrete: Avant-Garde Poetry since the 1960s.   Edited by Johanna Drucker, K. David Jackson, Eric Vos. 
     Atlanta, Georgia, Rodopi Press, 1996, 442 pages.  


Eye for Words - Getty Museum      


Eye Magazine - Concrete Poems Just Are

 

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Oyvind Axel Christian Fahlstrom (1928-1976)


Raymond Federman (1928-2009) French-American novelist, academic, poet, essayist, translator, and critic. 


Jose Ribmar Ferreira (Gullar) (1930-2016)


Figuring the Word: Essays on Books, Writing, and Visual Poetics.  By Johanna Drucker.   New York, Granary Books, 1998, 312 pages.   


Finlay, Ian Hamilton (1925-2006)   Scottish poet, writer, artist, and gardener. 


Flicker Flash       Poems by Joan Bransfield Graham.  Graphic design by Nancy Davis.  Houghton Mifflin Co., 1999.   32 pages.  For ages 4-8.     


The Floating World of Ukiyo-E: Shadows, Dreams and Substance   


Flow-Process Charts, Mind Maps, Infographics, Charts, Knowledge Representations, Diagrams, Presentation Tools, Visual-Text Models


Fonts, Type, Typography


Found and Lost: Found Poetry and Visual Poetry.  By George McKim.  Silver Birch Press, 2015, 52 pages.


A Further Note on Concrete Haiku 


FVLR = Fort Vancouver Regional Libraries Collection.  Vancouver, Clark County, Washington.  I frequently use the Three Creeks and Firstenburg community libraries.  

 

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Michael P. Garofalo (1946-)    TextArt, Concrete and Visual Poems, Lettrisme        


The Gates of Paradise.   By David Daniel.          


Glyph   Definition, History, Printing


Go    From the series by Gregory Vincent St. Thomasino.  New York, Wet Motorcycle Press, 1995.


Eugen Gomringer  (1925-)   Archives  Bolivian-born German concrete poet, professor.  .


Google Search: Images + Concrete + Poetry


Graffiti Alphabets: Street Fonts from Around the World.  By Claudia Walde.  Thames and Hudson, 2018, 320 pages. 


Graffiti Art Exhibits 


Graffiti World: Street Art from Five Continents.  By Nicholas Ganz.  Harry N. Abrams, 2009, 392 pages. 


Grammatron     By Mark Amerika


Graphesis: Visual Forms of Knowledge Production.  By Johanna Drucker.  Harvard University Press, 2014, 216 pages.  


Graphical User Interface with Computers


Graphic Arts Exhibits


Graphic Arts, TextArt, Pattern Poems, Lettrisme

 

 

Graphic Design


Graphic Design Books


Graphic Design Blogs


Graphic Design for Everyone: Understand the Building Blocks So You Can Do It Yourself.  Edited by Cath Caldwell.  DK, 2019, 224 pages.  FVRL


Graphic Design History: A Critical Guide.  By Johanna Drucker and Emily McVarish.  Pearson, 2008, 416 pages.  VSCL


Graphic Design Portfolio Strategies for Print and Digital Media.  By Robert Rowe, Gary Will, and Harold Linton.   Pearson, 2009, 136 pages. 


Graphic Design School:  The Principles and Practice of Graphic Design.  By David Dabner, Sandra Stewart, and Abbie Vickress.
     Wiley, 6th Edition, 2017, 208 pages.  


The History of Graphic Design, Volume 1, 1890-1959.  By Jens Muller and Julius Wiedemann.  Multi-lingual edition.  TASCHEN, 2019, 480 pages. 


The History of Graphic Design, Volume 2, 1960 - .  By Jens Muller and Julius Wiedemann.  Multi-lingual edition.  TASCHEN, 2019, 480 pages. 


The Story of Graphic Design: From the Invention of Writing to the Birth of Digital Design.  By Patrick Cramsie.  Abrams, 2010, 352 pages.  VSCL. 


The Story of Writing: Alphabets, Hieroglyphs, and Pictograms.  By Andrew Robinson.  Thames and Hudson, 2nd Edition, 2007, 232 pages. 


Vector Graphics Software

 



 

Graphic Witness:  Visual Arts and Social Commentary   


Green Way Research, Vancouver, Washington  


Guide to Concrete Poetry, Shape/Visual Poems


Matthew Abraham Groening (1954-)    Simpson's cartoonist. 

 

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Haiku Poetry: Links, References, Resources    The word and line spacing, word length, punctuation, and open space around text all contribute to the
     visual  effect of a haiku poem using Western typography.  In the Japanese Haiku also featured the artwork of calligraphy to present the poem. 
     The haiku poetry webpages have not be updated since 2005. 


Haiku Poet's Hut     By Gary Barnes (Sogi).   Haiku and art combined.   


Handwriting


Heart to Heart: New Poems Inspired by Twentieth Century American Art    Edited by Jan Greenberg.   Abrams, Harry N. Inc., 2001, 80 pages.  


George Herbert's Pattern Poems - In Their Tradition.   By Dick Higgins.  West Glover, Vermont, Unpublished Editions, 1977.   


History of Writing - Wikipedia 


Dom Pierre Syslvester Houédard (1924-1992)  [dsh]  A British Benedictine priest, theologian, and concrete poet. 
     A Biography of dsh: Notes from the Cosmic Typewriter

 

 


How To:

Create Concrete Poems, Create Pattern/Visual Poems, Create Text/Image Messages, Create TextArt Works

 
You can use a piece of paper and a pencil to create a concrete poem. There are many lessons plans from
   elementary and middle school teachers on making concrete poetry. 

 
You can use a piece of paper and a pencil to create drawings, graphic artworks, concrete poems,
   visual messages, pattern/visual poems, etc. Do some calligraphy, lettering, sketching to combine
   text with images or shape text into an image to communicate some idea or express a feeling. 
   Keep a sketchbook handy for jotting down ideas, drawing, lettering, and sketching out new concrete poems. 


Learn more about calligraphy, hand lettering, drawing letters, and penmanship. 
Use small shape stencils for letters or geometrical shapes to make working with paper and pencils a bit faster.  
Use color wheels, books with color palettes, and other resources to help with color combinations and selection. 
Experiment with, play with, learn with pencils, inks, charcoals, crayons, watercolors, acrylics, oil paints, etc. 

 
Use computer software programs for graphic arts play and work.
Learn to use
vector graphics software and raster/bitmap graphics software.   
Learn how to select different fonts, font sizes, colors, bold, italic, shadow, shade, textures, kerning,
    angles, etc., using your graphic arts software.
Learn how to manipulate and modify text in your graphic arts software. 

  
Hundreds of books, instructional videos and
webpages can help you learn more about graphic arts and poetry/communication. 
Use free local public or college library books. 
There are many UTube instructional lessons online on drawing, graphic arts, creativity, how to, etc. 
Use the vast informational resources available on the Internet. 
Local art classes and art studios can help teach you more, answer your questions,
  challenge you, and help you meet people interested in art. 

Read, read, read, read, and more reading. 
 

Look around your neighborhood at the signs, billboards, neon glowing signs, advertising, directional signs, posters, etc.
   What colors are used in signs, what font styles, what font sizes, what messages, images and content. 
Social groups studying graphic are online and in larger cities.  Craft and painting groups are everywhere. 
Visit some online text art, calligraphy, and graphic arts exhibits.
You can find thousands of examples of concrete poems and text art and graphics on the Internet.
Maybe you can make some new friends to share your art interests together. 
Visit exhibits at museums, graphic design centers, colleges, arts and crafts stores, etc.
Study art books, design magazines, CDs, videos, etc.

Use Guides and Directories, like this one, to explore concrete poetry and text art books, websites, and documents. 
 

Daily practice will help you improve your skills. 
How many minutes a day do you work on your graphic arts skills, craft, creative endeavors?  More time increases improvements. 
Read and Learn, Listen and Learn, View and Learn, Do and Learn.
Have confidence in yourself, be patient, and put more effort into work and practice.  
Challenge yourself to improve, try something new, and be more open-minded.  

Show other people your concrete/visual/cartoon TextArt work.
Display and distribute your work on the Internet, e.g., Google Blogger is free. 
Develop a portfolio of your work. 

Experiment with pencils, inks, charcoals, crayons, watercolors, acrylics, oil paints, etc. 
Learn how to effectively use computer resources and tools.
Learn to take advantage of the features of your cell phone. 
Use free GNU digital editing software if you need to do so. 
Learn how to copy, trace, duplicate, and transfer on paper and computer. 
Keep detailed notes on the graphic arts software you use each day, e.g., keyboard shortcuts,
  tips, techniques, facts, tools, steps, etc.

Imagine: Words/Letters used to form Shapes, and Shapes/Images used to support Words/Letters.    
 

 DON'T BE
"Boxedin42" by Michael P. Garofalo

 

 

Paul Hurt  Links, Linkagenet, multi-column newspaper layouts, hyperlinked documents on a wide range of topics.   

 

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Icon - Computing     Definitions, History, Information, Brands, Badges, Navigation Tools on Screen


Ideogram     Definition, History, Information,


In Between: The Poetry Comics of Mita Mahato.  Part of the Visual Poetry Series.  LSU Press, 2017, 80 pages. 


Icontext    ASCII art.     


Illuminated Manuscripts of the Bible.    James  G. Pepper.   Includes good links.  


The Illuminated Alphabet: An Inspirational Introduction to Creating Decorative Calligraphy.  By Patricia Seligman. 
     Illustrated by Timothy Noad.  Sterling, 2nd Edition, 2001, 160 pages. 


Imaged Words and Worded Images.   By Richard Kostelanetz.   New York, Outerbridge and Dienstfrey, 1970, 96 pages.  Edited, with an
     introduction and contributions.


Imagining Language: An Anthology.  By Jed Rasula and Steve McCaffery.  The MIT Press, 2001. 


Imagism 
  A movement in early-20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language.


Imediata: Brazilian Visual Poetry   Curated by Regina Vater.   An excellent collection of visual poets presented at a very stylish website.    
     Excellent collection of texts about concrete poetry.    


Infographics, Charts, Mind Maps, Diagrams, Tables, Flow-Process Charts, Knowledge Representations, Presentation Tools, Visual-Text Models


Interactive Works (Hypertext)     By Jim Rosenberg.         


International Anthology of Concrete Poetry.    Edited by John Jessop. Toronto, Missing Link Press, 1978.


International Association of Word and Image Studies   


International Calligraphy Exhibits


International Dada Archive   


In the Eye of The Beholder.  A Study of Concrete Poetry And Selected Works Of Ian Hamilton Finlay.    By Jacquelyn Arnold.   Includes bibliography.   


An Introduction to German Concrete Poetry.  By Joseph Anthony Michaud.  Forgotten Books, 2017, 106 pages. 


Isidore Isou (1925-2007) 
Romanian-born French poet, dramaturge, novelist, film director, and visual artist. 


Isidore Isou      Selections from the Manifestors of Isidore Isou.  Edited and translated by David W. Seaman.   Excerpts from
     Introduction
ą une Nouvelle Poésie et une Nouvelle Musique.  (Paris: Gallimard, 1947.)   Includes translation of the
     Manifesto of Letterist Poetry: A Commonplaces about Words, by Isidore Isou, 1942.
   


Islamic Calligraphy


Islamic Calligraphy Exhibits


Italy - Concrete Poets List


Italy's Newest Poetic Avant-Garde: Inismo.    David W. Seaman.   

 

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Ernst Jandl (1925-2000)

Japanese Calligraphy Exhibits    

Jasper Johns (1930-) American painter, sculptor and printmaker whose work is associated with abstract expressionismNeo-Dada, and pop art.

JDC-Concrete Poems         

Ronald Johnson      A critical biography by Eric Murphy Selinger.   

 

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Eduardo Kac.   


Kaldron
     Web home for North America's longest running visual poetry magazine, founded in 1974.  On-Line Version Edited by Karl Kempton, Harry
     Polkinhorn, and Karl Young.   A website with poems, essays, links, commentary, and pointers.  The collections of poems by various noted
     poet-artists are an outstanding on-line resource.  The Kaldron is Hot!   Readers must visit this excellent website!!!   


Kaldron Lettriste Pages
   Edited by Karl Young and and Karl Kempton.   Alain Satié and David W. Seaman, Associate Curators.   Includes
     selected poems from and essays about the poetic creations of Isidore Isou, Alain Satie, Catherine James, Frédérique Devaux, 
     Michel Amarger, Roland Sabatier, Woodie Roehmer,  Gabriel Pomerand,  Virginie Caraven.  A informative collection of essays, 
     criticism, catalogs, and manifestos.   The website features French poets and artists.   An example of just one fine subsection of  Kaldron.      


Karenina.IT Experimental   A complex and full featured site.  A web project by Caterina Davinio that has been on-line since 1998.  
     Italian language website.  


Karl Kempton    Books     Google     Images


Keyboard - Computer


kinetext:  Concrete Programming Paradigm for Kinetic Typography.    Chloe M. Chao and John Maeda.


Knowledge Representations, Mind Maps, Infographics, Charts, Diagrams, Tables, Flow-Process Charts, Presentation Tools, Visual-Text Models


Jiri Kolar (1914-2002)


Henry James Korn  Author, Arts Curator, and dark analyst of contemporary culture. 


Richard Cory Kostelanetz  (1940-) 


Richard Kostelanetz  


Richard Kostelanetz - Text Art, Images, Posters     


Kudos and Positive Reviews of the Poetry Notebooks of Mike Garofalo


Kurzweil CyberArt Technologies   

 

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"A superb online directory compiled by Michael P. Garofalo featuring 
all the best concrete poetry sites on the WWW."

-   Christina Conrad,  Performance Poetry Websites,  10 March 2002

1,935,600  Webpages served to readers around the world from March 2000 - December 2004
From the Poetry Notebooks of Michael P. Garofalo


Reviews and Feedback

 

 

 

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The Last Vispo Anthology: Visual Poetry, 1998-2008.  Edited by Nico Vasillakis and Crag Hill.  Fantagraphics Books, 2012, 336 pages. 


Layout Essentials: 100 Design Principles for Using Grids.  By Beth Tondreau.  Rockport Pub., 2019, 208 pages. 


Stan Lee (1922-2018) 


Maurice Lemaitre (1926-2018)  French Lettrist painter.   Archived papers.


Learning How to Create Concrete Poetry, Text Messages, Pattern Poems


Lesson Plans for Teaching Concrete Poetry


Lettering


Letter Perfect: The Marvelous History of Our Alphabet From A to Z.  By David Sacks.  Broadway Books, 2004, 416 pages. 


Letterist International  A Paris based collective of radical artists and cultural theorists from 1952-1957. 


Lettrism - Books


Lettrism on Pinterest 


Lettrisme and Hypergraphie


Lettrisme and Text Art by Michael P. Garofalo   


Lettrisme - Books in French     


Lettrisme: Into the Present.  By Stephen C. Foster.  University of Iowa Museum of Art, 1983, 112 pages.   


Le Lettrisme et Son Temps


Lettrisme, Letterism - Images on Google 


Lettrisme -Pinterest.  Collection by Jack Maquat.  


Lettrisme, Letterism - Wikipedia Article 


Lettriste Pages - Kaldron   


Lettrisme.  Poésie Sonore.  Poésie Graphique     


Ligatures.  By Donato Mancini.  New Star Books, 2005, 112 pages. 


Light and Dust Anthology of Modern Poetry    Carl Young, Curator.  Visual poems by over 100 poets.   


Links: Concrete and Visual Poetry    Ominseek. 


List of Concrete and Visual Poets - Wikipedia


Logogram     Definition, History, Information, Links


Logo Modernism.  By Jens Muller and R. Roger Remington.  TASCHEN, 2019, 432 pages.


Lucid Mapping and Codex Transformissions in the Z-Buffer    By John Kirschenbaum.    

 

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Mail Art: Fe, Mail, Art.  By Annina Van Sebroeck and Luc Fierens.      


Mail Art: A Pathfinder    Compiled by Christina Spurgin.   An excellent guide to resources about mail art.   


Stéphane Mallarmé  (1842-1898)  


Donato Mancini     Aethel


Manga, Graphic Novels


Manifesto of Letterist Poetry by of Isidore Isou
.   


Flippo Tommaso Emilio Marinetti (1876-1944)  Italian poet, editor, art theorist, and founder of the Futurist movement.    


Mathematical Poetry by Kaz Maslanka.


Friederike Mayrocker  (1924-)


Media Literacy   Curriculum 21: Mapping the Global Classroom of the Future


Philadelpho Menezes
   


Meow Ruff: A Story in Concrete Poetry.  By Joyce Sidman.  Illustrated by Michelle Berg.  HMH Books for Young Readers, 2006, 32 pages. 
     For students in grades 1-3.   


Mind Maps, Infographics, Charts, Diagrams, Tables, Flow-Process Charts, Knowledge Representations, Presentation Tools, Visual-Text Models


Mindplay: An Anthology of British Concrete Poetry.   Edited by John Sharkey.  London, Lorimer, 1971 96 pages.   


Mirror Writing - Wikipedia   


Modern and Contemporary American Poetry


Modern Calligraphy: A Beginner's Guide to Pointed Pen and Brush Pen Lettering.  By Leslie Tieu.  2018, 109 pages. 


Modern Calligraphy Exhibits


Moderne HTML Art       Marc Schmitz.


Modern Visual Poetry.   By Willard Bohn.   Newark, University of Delaware Press, 2001, 321pages. 


Mukon Ohmori   

 

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National Collage Society        


The New Concrete: Visual Poetry in the 21st Century.  By Kenneth Goldsmith.  Edited by Victoria Bean and Chris McCabe. 
     Hayward Gallery Publishing, 2015, 240 pages. 


New Media Literature: From Antiquity to the 21 Century\


Barrie Philip Nichol (1944-1988)    BPNichol  
Canadian poet, writer, sound poet, concrete poet, editor and grOnk/Ganglia Press publisher. 


The Noigandres Poets and Concrete Art   By Claus Cluver 


The Non-Designer's Design Book.  By Robin Williams.  Peachtree Press, 4th Edition, 2014, 240 pages. 


Notpoems: Concrete Poetry.  By Adele Aldridge.  CreateSpace Independent Pub., 2016, 56 pages. 

 

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Object 10     Edited by William Goldsmith.    UBU hosted papers.    Winter 2002.   


Ode to a Commode: Concrete Poems.  By Brian P. Cleary and Andy Rowland.  Millbrook Press, 2014, 32 pages.  For Children ages 7-11. 


Of Tonezharl.  By Rea Nikonova.  CreateSpace Independent Pub., 2008, 56 pages. 


The Order of Things: An Anthology of Scottish Visual, Pattern and Concrete Poetry.  Edited by Ken  Cockburn.  Edinburgh:  Polygon, 2001.  
     "Concrete Poetry has been called the last great episode in Modernism.  It was a worldwide movement, born in Switzerland and Brazil
     in the 1950s, which continued the dynamic experiments of Futurism, Dada and Constructivism in poetry."  


Outside the Lines: Poetry at PlayBy Brad Burg.  Illustrated by Rebecca Gibbon.  Putnam Pub Group Juv, 2002.  32 pages.  Concrete
     poetry for children, grades 4-8.  22 poems in a delightful "rolling, swinging, skipping, bouncing book of poetry at play." Visit the
     author's website:  Brad Burg - Poems and Songs.  


Rochelle Owens 

 

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Creative Commons License
This webpage work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Created by Michael P. Garofalo, Green Way Research, Vancouver, Washington  © 2020 CCA 4.0

 

 

 

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Clemente Padin    Selections from Visual Poems 1967-1970.


Painting - Digital Painting, Drawing, Editing, Manipulating


Paper Stores:  Blick   


Pattern Poems of the Ancient Greeks   


Pattern Poetry: A Historical Critique from the Alexandrian Greeks to Dylan Thomas.  By Kenneth B. Newell.   Boston,
     Marlborough House, 1976, 162 pages.   


Pattern Poetry: Guide to an Unknown Literature
.   By Dick Higgins.  New York, State University of New York Press, 1987, 284 pages.  
     "Pattern poetry (another name for  'concrete poetry') is visual poetry in which the text and visual form interact." 


PDF Perfect PDF 10   1999  VSCL 


PDF Adobe Acrobat PRO DC PDF  2020 


Penmanship

 

 

 

Philosophy: Reasoning, Logic, Science, Ethics, Aesthetics, Knowledge, Wisdom, Metaphysics
Philosophy in Graphic Arts, Comics, Posters, Text Art

 

The Cartoon Introduction to Philosophy.  By Michael F. Patton and Kevin Cannon.  Hill and Wang, 2015, 176 pages.  VSCL


Philosophy: A Discovery in Comics.  By Margreet de Heer.  NBM Pub., 2012, 120 pages.


Philographics: Big Ideas in Simple Shapes.  By Genis Carreras.  BIS Publishers, 2014, 208 pages.  VSCL


The Philosophy Book: Big Ideas Simply Explained.  By Will Buckingham, Douglas Burnham, Peter J. King, Clive Hill, Marcus Weeks, and John Marenbon.  DK, 2011, 352 pages. 


Science: A Discovery in Comics.  By Margreet de Heer.  NBM Pub., 2013, 192 pages. 


I Think, Therefore I Draw: Understanding Philosophy Through Cartoons.  By Thomas Cathcart and Daniel Klein.  Penguin Books, 2018, 320 pages.  VSCL

 

 

                            
 

 

 

 

Photography - Digital

Photo Editing, Digital Painting, Photographic Manipulation Software,
Raster/Bitmap File Editing, Photographic Arts

 

We own and use the following digital photography software:  Photoshop Elements, Corel Paint Shop Pro, and Corel Draw.  Our digital cameras are a Canon T7, and a Canon PowerShot SX120IS.  We also both use our Samsung cell phones to take photographs and video.  I use Microsoft FrontPage 2003 and Blogger for web publishing.  

 

Cannon EOS Rebel T7 DSLR Camera.  Digital single lens reflex camera, 18-55 mm lens, 55-300 mm lens, batteries, and stuff for $450.00 in 2020.  Canon  Rebel T7 EOS 1500D,
     Basic Instruction Manual, Canon, 150 pages.  VSCL


Canon EOS Rebel T3 /1100D, DSLR Camera with 18-55 mm lens we purchased in 2012.  VSCL   


Canon EOS Rebel T7 for Dummies.  By Julie Adair King.  For Dummies, 2018, 320 pages.  VSCL


Canon EOS Rebel T7 1500 D Digital Camera User's Instruction Manual, Advanced User Guide.  BM Premium, 2019, 324 pages.  VSCL


Colors for Designers and Artists


Corel:  Corel PaintShop Pro 2020    $60.00 One time.  Google     Books    VSCL


Corel:  Photo Restoration and Retouching Using Corel PaintShop Pro X5.  By Robert Correll.  Cengage Learning PTR, 2013, 384 pages. 


Corel:  Picture Yourself Learning PaintShop Pro X5.  By Diane Koers.  Cengtage Learning PTR, 2013, 3rd Edition, 448 pages.  VSCL. 


Corel:  Tips and Tricks for PaintShop Pro.  By Carolel Asselin.  Independently Published, 2019, 199 pages. 


Creative Black and White: Digital Photography Tips and Techniques.  By Harold Davis.  Rocky Nook, 2nd edition, 2019, 320 pages. 


Digital DSLR Camera Selections


Digital Collage and Painting.  By Susan Ruddick Bloom.  Focal Press, 2nd Edition, 2010, 583 pages. 


Digital Painting Books


Digital Painting for the Complete Beginner.  By Carlynb Beccia.  Watson Guptill, 2012, 160 pages.


Digital Painting - Google


Digital Photographer's Handbook.  By Tom Ang.  DK, 2016, 408 pages.  VSCL 


Digital Photography Books


Digital Photography Complete Course.  By David Taylor.  DK, 2015, 360 pages.  VSCL


Digital Photography Essentials.  By Tom Ang.  DK, 2016, 360 pages.


Flickr  Photo and Images Sharing Social Media


Gimp 2.10  Free GNU Image Editing Software


How to Create Stunning Digital Photography.  By Tony Northrup and Chelsea Northrup.  Mason Press, 2nd edition, 2012, 241 pages.


Instagram  Photo and Image Sharing Social Media


Nikon Digital Camera Selections


Vector Graphics Software


Painter 2020 from Corel


Adobe Photoshop Elements Books  


Adobe Photoshop Elements 2020 and Premiere Elements 2020 Software.  $115.00.  VSCL  I own this software, but favor using  Corel PaintShop Pro 2020.


Adobe Photoshop Elements 2020 Book for Digital Photographers.  By Scott Kelby.  New Riders, 2020, 408 pages. 


Adobe Photoshop Elements 2020 for Dummies.  By Barbara Obermeier and Ted Padova.  For Dummies, 2019, 448 pages.  VSCL


Adobe Photoshop     Books     Industry standard software for handling photographs, raster images, bitmap editing,
     digital painting, etc.  $220 per year for online subscription. 

 

 

 

 

 

 

 

 

 

 

 

 

Pi


Francis Picabia


Picture Poems: Some Cognitive and Aesthetic Principles     By Reuven Tsur. 


Pictogram     History, Definition, Information        


Picture This: How Pictures Work (Art Books, Graphic Design Books, How To Books, Visual Arts Books, Design Theory Books). 
     By Molly Bang.  Chronicle Books, 2016, 152 pages. 


The Pictured Word: Word & Image Interactions 2
    
Editors: Martin Heusser, Claus Clüver, Leo Hoek, Lauren Weingarden.  
     Published by Editions Rodopi (Amsterdam/Atlanta), 1998.
 


Decio Pignatari  (1927-2012)  A Brazilian poet, essayist, and translator.  ]


"Pilot Plan for Concrete Poetry."
  Translated by
Agusto De Campos, Decio Pignatari and Haroldo de Campos.  Noigandres 4 (1958).  


Plants: 2400 Copyright-Free Illustrations of Flowers, Trees, Fruits and Vegetables.  By Jim Harter.  Dover, 1998, 384 pages.   


Poems for April      A collection of visual poems presented by the Electronic Poetry Center.   


La Poesia Concreta Brasilena.  By Gonzalo Aguilar.  The Brazilian Concrete Poetry: Las vanguardias en la encrucijada modernista
     (Ensayos criticos/ Critical Essays) (Spanish Edition). Beatriz Vierbo Editora, 2003, 453 pages.


Poetic Architecture of the Avant-Guarde    By David W. Seaman.


Poetry Foundation - Concrete Poetry   


Poetry - New Media.   Links and notes compiled by Jim Andrews.  Vispo.     


A Poke in the I     A collection of concrete poems.   Edited by Paul B. Janeczko.  Graphic design by Christopher Raschka. 
    Candlewick Press, 2001.  48 pages.    Review.   


Gabriel Pomerand (1926-1972)  
French poet, artist and a co-founder of lettrism.


Portland Oregon Art Museum, Graphic Arts Collection Online (10,500 items)


Ezra Weston Loomis Pound (1885-1972)   An American poet, critic, publisher and a major figure in the early Modernist poetry movement. 


Pourquoi le lettrisme?  by Guy Ernest Deborg.  In French.


Printing Fonts, Typefaces, Typography


P=R=O=C=A=T=A=L=O=G=U=E  Indra's Net :or: Holography.  Machine modulated poetry.   

 

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Quotations

TeXTArt      Concrete/Visual Poetry     Shape/Pattern Poetry     Posters/Flyers     Graphic Arts     Calligrams     Lettrisme     Hypertext    
 

 

"Concrete Poetry is a certain poetry practice formulated in the 50's from Brazil and from Switzerland, with the following basic characteristics: .... b) "verbivocovisual" texts, which means the organization of a poem according to graphic criteria in order to bring out the material aspect of the word, its plasticity and sound - poetry to be seen and to be heard (for eye and ear); c) partial or total elimination of ties with speech, for a direct connection between words and phrases; d) integration between verbal and non-verbal, word and image. Such practices concentrate and expand previous proposals that were part of the avant-garde movements of the early twentieth century (futurism, dada, simultaneous, etc.) reclaimed in the 50's with a constructivist rigor."
- Regina Vater,
Imediata

 

"Visual forms- lines, colours, proportions, etc., are just as capable of articulation,  i.e. of complex combination, as words.  But the laws that govern this sort of articulation are altogether different from the laws of syntax that govern language.   The most radical difference is that visual forms are not discursive.  They do not present their constituents successively, but simultaneously, so that relations determining a visual structure are grasped in one act of vision."
-   Suzanne Langer, Philosophy in a New Key, 1942

 

"The term "concrete," in reference to a poetic form, implies that there is something tangible or solid for the reader to observe.  Concrete poetry is considered a work of graphic art because it relies upon a visual, more than a traditional auditory, mode of presentation.  The meaning of a concrete poem is difficult to grasp without viewing its arrangement on paper because concrete poems are a hybrid of literary and visual art." 
-  
Teacher's Guide to Concrete Poems 

 

"Apollinaria Signa:   Poetry is not necessarily a written page.  Poetry can also be seen or heard.  Poetry is also scent and gesture.  A sonnet can be hypergraphic and rhyme with a drawing... A poet can use at his whim the pen or the brush, computer or mallet, tape or film...  Every word, even the oldest, will be heard for the first time." 
David Seaman

 

 

"Concrete poetry is an experimental form of verse in which the poem’s shape on the page conveys an important part of its meaning. Concrete poets may arrange words to form a shape or even to suggest an image. This shape often reinforces the poem’s theme in some way. A concrete poem about flight or freedom, for example, may be shaped like wings. Concrete poetry is part of a larger movement in art and literature intended to challenge an audience’s established notions about language and images.

Although earlier poets had experimented with form and shape, the term “concrete poetry” was not coined until the mid-20th century. During this time, changes in society were reflected in daring new artworks that re-examined the fundamental tools of art as well as the idea of art itself. Novelists like James Joyce and William Faulkner altered language to suit their own purposes, and poets like e.e. cummings arranged words on the page with equal disregard for earlier forms. Concrete poetry was the ultimate outgrowth of this movement in verse. The importance of the poem’s shape brought the form closer to visual arts, in which the image provides the meaning.

The period following World War II was a time of experimentation in many art forms, including poetry. The new form was employed by British and German poets alike. A 1956 exhibition in Sao Paulo, Brazil focused on concrete art, meaning both poetry and similar experiments in various art forms. By its nature, concrete poetry must be seen by the audience; it is sometimes called visual poetry. A variation, called phonetic poetry, depends on the sounds created by the verse and is meant to be read aloud.

A famous concrete poem is George Herbert’s “Easter Wings,” with its words arranged to look like birds. In Herbert’s time, such constructions were known as pattern poems. One of the most famous concrete poets was Guilliame Appollinaire, a French champion of new experimental forms in the 1920s and ‘30s. In addition to his poetry, Appollinaire wrote about daring new visual artists such as Picasso. He was deeply involved in the Surrealist art movement; in fact, he is credited with inventing the word “surrealism.”

Concrete poetry is similar to the posters created by the Surrealist movement, in which words took unusual shapes on the page. It also preceded later trends in marketing and publishing, where the placement of words on a page or screen is carefully arranged for maximum impact. A company logo, for example, can convey important information to potential customers through the choice of font, color, and placement. In comics, artists like Chris Ware employ creative typography as part of their overall design, giving the words a role in the art that is similar to concrete poetry."
What is Concrete Poetry 

 

 

"Against perspectivistic syntactic organization where words sit like "corpses at a banquet," concrete poetry offers a new sense of structure, capable of capturing without loss or regression the contemporaneous essence of poeticizable experience.  The poetic nucleus is no longer placed in evidence by the successive and linear chaining of verses, but by a system of relationships and equilibriums between all parts of the poem.  Graphic-phonetic functions-relations ("factors of proximity and likeness") and the substantive use of space as an element of composition maintain a simultaneous dialectic of eye and voice, which, allied with the ideogrammic synthesis of meaning, creates a sentient "verbivocovisual" totality. In this way words and experience are juxtaposed in a tight phenomenological unit impossible before."
Ad - Arquitetura     Decoraēćo, n. 20, November/December 1956, Sćo Paulo, Brazil.
 

 

"Concrete poetry got its name at the beginning of the 1950s.  It is a language art form that is closed, international, and non-mimetic, proceeding from the material qualities of language: from the verbal, sound, and visual materiality of words. The graphic forms of single letters, the white space of the book page, the constellation of letters vis-ą-vis one another, the change of reading habits, the combinatory possibilities of letters and words on a surface, the ignoring of syntax and metaphor, the free play with language material that simultaneously goes against the literalness of language-this calls for a wholly new reception attitude on the reader's part.  No customary left-right reading will work, no usual sentences, no given sequencing, not even words that had once been complete-the reader must himself become productive, discover constellations, determine double meanings of words, develop his own history with the language material being offered."
-  Klaus Peter Dencker,
From Concrete to Visual Poetry, With a Glance into the Electronic Future

 

"We've already claimed that pattern in a poem is "The artistic arrangement and use of the material (aural and visual) aspects of words into particular repetitive and/or serial forms as a means to structure a poem." The combination of sound and visual elements provides a poem's structure, the resultant sum of all sound and visual form in a poem. The craft of poetry has traditionally concerned itself only with the sounds of the words, but as a written thing, we cannot deny that there is also a certain "paginess" to a poem, and that the patterns developed in that visual field can't be overlooked if we are to concern ourselves with the full potential of the poem's structure.

Whereas the aural patterns of a poem are concerned largely with the rhythm and tone of the words (the horizontal and vertical axis on the musical scale, respectively), visual pattern and variation are geared more toward the poem's placement on the page than in the way it sounds when read. Where the aural aspects of the words are more concerned with how the words sound when read in time, the visual aspects are more concerned with how the words look when revealed in space. Like a painter at a canvas, the poet whose concern is the visual patterning of the poem looks at how the thing sits on the white canvas of the blank page and how that visual structure creates patterns that can be used to create a richer poem."
-  Purdue University Online Writing Lab, Eye Training: Visual Patterning

 

"During the sixties, concrete poetry had a tendency to be pictorial, trivially self-referential, and static. Works like the tiny masterpieces of Emmett Williams tended to get lost in the juggernaut of poems made up of the word "pine" typed over and over in the shape of a Christmas tree. The tendency of visual poetry now, however, is away from pictorial and mimetic representations in favor of gesture, motor stimulus, gestalt, and abstract archetype. Visual poetry, whether complex or minimalist, has become deeper, more capable of reaching more levels of thought, perception, and action, and, at the same time, more oriented toward performance, public or private. This can lead to multimedia performance, incorporating other arts, sometimes interacting with work produced by a number of people in a cooperative or collective effort."
-  Karl Young,
Notation and the Art of Reading 

 

"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."
-  Wikipedia,
Concrete Poetry, 2019

 

"Ever since early humans scratched the first signs onto cave walls, we've had something like concrete poetry. Pictographs, petroglyphs, hieroglyphs, ideograms, logographic writing of various kinds—all are relatives of the concrete poem."
New Media Literature

 

"Experimental poetry is not easily categorized, but some forms do conform to the aims of Postmodernism, as will be seen most readily in concrete poetry. By being no more than simple letters on the page, the previous cultural standards are decanonized (iconoclasm), the images have no reference beyond themselves (groundlessness), and there is little attempt at harmonious arrangement (formlessness). Even the words are simple and everyday (populism).  Concrete poetry is one in which the typographical arrangement of words is as important in conveying the intended effect as the meaning of words, rhythm, rhyme and so on. Yes, but what's the point: what do the arrangements convey? Only what the words do in the little jokes they play on our conceptions or expectations, the way they open up connections or new possibilities in the most ordinary things. There is no further significance: it's a form of minimalism."
-  C. John Holcombe,
Experimental Poetry, 2019

 

"The visual and semantic elements constituting the form as well as the content of a poem define its structure so that the poem can be a "reality in itself and not a poem about something or other."  Their principles are that concrete language structures do not follow tradional verse forms and are largely visual. As such, the content is strongly related to the question of attitudes towards life in which art is effectively incorporated and hence concrete or visual language is parly reflected and partly unreflected information which often uses sign schemes. Importantly, visual language is reduced language; this is achieved primarily through an acute awareness of graphic space as a structural agent within the composition of the piece. Finally, visual poetry aims at the least common multiple of language. It is simple mind presentation and uses a word arrangement and linguistic means (such as sounds, syllables, words) which are independent of and not representative of objects extrinsic to language."
-  Paul Kloppenborg, Concrete to Computer

 

"A comic strip is a sequence of drawings arranged in interrelated panels to display brief humor or form a narrative, often serialized, with text in balloons and captions. Traditionally, throughout the 20th century and into the 21st, these have been published in newspapers and magazines, with horizontal strips printed in black-and-white in daily newspapers, while Sunday newspapers offered longer sequences in special color comics sections. With the development of the internet, they began to appear online as webcomics. There were more than 200 different comic strips and daily cartoon panels in American newspapers alone each day for most of the 20th century, for a total of at least 7,300,000 episodes.  Strips are written and drawn by a comics artist/cartoonist.  As the name implies, comic strips can be humorous (for example, "gag-a-day" strips such as BlondieBringing Up FatherMarmaduke, and Pearls Before Swine).  Starting in the late 1920s, comic strips expanded from their mirthful origins to feature adventure stories, as seen in PopeyeCaptain EasyBuck RogersTarzan, and Terry and the Pirates. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s. All are called, generically, comic strips, though cartoonist Will Eisner has suggested that "sequential art" would be a better genre-neutral name.  In the UK and the rest of Europe, comic strips are also serialized in comic book magazines, with a strip's story sometimes continuing over three pages or more. Comic strips have appeared in American magazines such as Liberty and Boys' Life and also on the front covers of magazines, such as the Flossy Frills series on The American Weekly Sunday newspaper supplement."
Comic Strip, Wikipedia, 2019

 

"The essence of a poem is inferred through a simple language pattern without necessarily having to 'read" it."
-  John Sharkey, 1971 

 

"A mesostic is a poem or other text arranged so that a vertical phrase intersects lines of horizontal text. It is similar to an acrostic, but with the vertical phrase intersecting somewhere in the midst of the line, as opposed to the beginning of each line.  The practice of using index words to select pieces from a preexisting text was developed by Jackson Mac Low as "diastics". It was used extensively by the experimental composer John Cage (Walsh 2001)."
- Mesostic, Wikipedia

 

"Like acrostics, mesotics are written in the conventional way horizontally, but at the same time they follow a vertical rule, down the middle not down the edge as in an acrostic, a string spells a word or name, not necessarily connected with what is being written, though it may be. This vertical rule is lettristic and in my practice the letters are capitalized. Between two capitals in a perfect or 100% mesostic neither letter may appear in lower case. .... In the writing of the wing words, the horizontal text, the letters of the vertical string help me out of sentimentality. I have something to do, a puzzle to solve. This way of responding makes me feel in this respect one with the Japanese people, who formerly, I once learned, turned their letter writing into the writing of poems. In taking the next step in my work, the exploration of nonintention, I don't solve the puzzle that the mesostic string presents. Instead I write or find a source text which is then used as an oracle. I ask it what word shall I use for this letter and what one for the next, etc. This frees me from memory, taste, likes, and dislikes, By means of Mesolist, a program by Jim Rosenberg, all words that satisfy the mesostic rule are listed. IC [a program that generates the I Ching numbers, available for downloading on the Net] then chooses which words in the lists are to be used and gives me all the central words, the position of each in the source material identified by page, line, and column. I then add all the wing words from the source text following of course the rule Mesolist does within the limit of forty-five characters to the right and the same to the left. Then I take out the words I don't want. With respect to the source material, I am in a global situation. Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas."
John Cage

 

"Once time and space, action and thought, became captured in writing, literature inevitably became involved with material substances: ink, pen, papyrus, stone, paper, etc.  Literature remains a communication of the logical and expressive power of language, but to varying degrees it is also a vehicle for the communication of uniquely visual qualities.

Printed literature is becoming electronic literature: nonphysical, alpha-numeric symbols mixed with other images that are displayed as light and can be stored, distributed, and enjoyed anywhere at any time.

To even the casual observer it would be clear that no satisfactory definition could embrace all the forms of visual poetry, variously identified as technopaegnia, pattern-poems, concretism, spatialism, and so forth.  Yet what hold true for all of visual poetry is that to achieve its full effect, language must be visually perceived

In the case of visual poems which are primarily visual and only lesserly textual─ the verbally poetic visual piece─ a similar metamorphosis occurs: the verbal aspect becomes transcendent to its visual embodiment, and a kinetic thrust becomes possible in a way that very few visual art works can have."
-  Richard Kostelanetz, Visual Literature Criticism, 1979, Introduction


 

"The 'Pattern Poems' are ancient Greek poems composed in the "bucolic" tradition with verses designed to form a specific shape--such as a pipe, an egg, wings, altar, etc.--and with complimentary theme. The few surviving examples of the genre date mainly from the Hellenistic era (C3rd to 2nd B.C.) and are preserved in a section of the Greek Anthology texts."
Greek Texts

 

"A calligram is text arranged in such a way that it forms a thematically related image. It can be a poem, a phrase, a portion of scripture, or a single word; the visual arrangement can rely on certain use of the typefacecalligraphy or handwriting, for instance along non-parallel and curved text lines, or in shaped paragraphs. The image created by the words illustrates the text by expressing visually what it says, or something closely associated; it can also, on purpose, show something contradictory with the text or otherwise misleading.  Guillaume Apollinaire was a famous calligram writer and author of a book of poems called Calligrammes."
-  Wikipedia

 

"The term was coined in the 1950s. In 1956 an international exhibition of concrete poetry was shown in Sćo PauloBrazil, by the group Noigandres (Augusto and Haroldo de Campos, Décio Pignatari and Ronaldo Azeredo) with poets Ferreira Gullar and Wlademir Dias Pino. 2 years later, a Brazilian concrete poetry manifesto was published. An early Brazilian pioneers in the field, Augusto de Campos, has assembled a Web site of old and new work, including the manifesto. Its principal tenet is that using words as part of a specifically visual work allows for the words themselves to become part of the poetry, rather than just unseen vehicles for ideas. The original manifesto says: Concrete poetry begins by assuming a total responsibility before language: accepting the premise of the historical idiom as the indispensable nucleus of communication, it refuses to absorb words as mere indifferent vehicles, without life, without personality without history — taboo-tombs in which convention insists on burying the idea." 
Penny's Poetry Page, 2019

 

"The core idea of this form of poetry can be summarized in this way: the visual form of the poem is an integral and essential part of its interpretation. The form of the poem is the poem. Its content is revealed through its form."   
- Thomas Muller

 

"A cartoon is a type of illustration, possibly animated, typically in a non-realistic or semi-realistic style. The specific meaning has evolved over time, but the modern usage usually refers to either: an image or series of images intended for satirecaricature, or humor; or a motion picture that relies on a sequence of illustrations for its animation. Someone who creates cartoons in the first sense is called a cartoonist, and in the second sense they are usually called an animator.

The concept originated in the Middle Ages, and first described a preparatory drawing for a piece of art, such as a painting, frescotapestry, or stained glass window. In the 19th century, beginning in Punch magazine in 1843, cartoon came to refer – ironically at first – to humorous illustrations in magazines and newspapers. In the early 20th century, it began to refer to animated films which resembled print cartoons.

A cartoon (from Italiancartone and Dutchkarton—words describing strong, heavy paper or pasteboard) is a full-size drawing made on sturdy paper as a study or modello for a paintingstained glass, or tapestry.  Cartoons were typically used in the production of frescoes, to accurately link the component parts of the composition when painted on damp plaster over a series of days (giornate)."
Cartoon, Wikipedia, 2019

 

"Reading has become an active, participant-directed process rather than passive, author-directed ... the rational-visual act of reading has become an experience of sight, sounds, and colours." 
- Paul Kloppenborg

 

"While many readers now associate the term "concrete poetry" with poems whose outlines depict a recognizable shape—John Hollander's collection Types of Shape, for example—the ideas behind concrete poetry are much broader. In essence, works of concrete poetry are as much pieces of visual art made with words as they are poems. Were one to hear a piece of concrete poetry read aloud, a substantial amount of its effect would be lost.

European artists Max Bill and Öyving Fahlström originated the term in the early 1950s, and its early methods were described in the Brazilian group Noigandres' manifesto "Pilot Plan for Concrete Poetry." During this period, concrete poems were intended to be abstract and without allusion to an existing poem or identifiable shape. An interest in ideograms—and the notion that words themselves could be ideograms—accompanied the typographical innovations developed by these artists and by such visual writers as E. E. Cummings and Ezra Pound.

As the movement spread across the continents, reaching the height of its popularity in the 1960s, concrete poetry became less abstract and was adopted by many conventional poets as a specific poetic form rather than a combination of literature and visual art. In response, some artists adopted the term "poesia visiva" to describe more experimental fusions of word and image. As with much visual art, concrete poetry and poesia visiva now use photography, film, and even soundscapes in combination with letters and words to achieve new and startling effects."
-  Poets.Org, A Brief Guide to Concrete Poetry, 2019

 

"Among his literary contemporaries, Richard Kostelanetz has also produced literature in audio, video, holographyprints, book-art, computer-based installations, among other new media. Though he coined the term "polyartist" to characterize people who excel at two or more nonadjacent arts, he considers that, since nearly all his creative work incorporates language or literary forms, it represents Writing reflecting polyartistry. "Wordsand" (1978–81) was a traveling early retrospective of his work in several media."
Wikipedia: Richard Kostelanetz

 

"Just as concrete is poured into a frame and then properly dried and cured to take some shape; concrete poems are letters and words poured into the frame of the poem to make some image-shape appear that visually amplifies the meaning and interpretations."
Mike Garofalo, 2002

 

"Concrete poetry was so diverse in its expression that it branched into other forms, such as emergent poetry (cryptographic tricks with letters, such as the first letters of each line spelling out the title and theme of a poem), semiotic poetry (the exclusive use of symbols and images, such as Maurice Lemaitre’s 1950 masterpiece, "Riff Raff"), and kinetic poetry (showing movement typographically, through stretched-out or narrowed lettering). Out of Germany emerged a school specifically dedicated to concrete poetry, Das Konkretisten. British poets Simon Cutts, Stuart Mills, and especially Ian Hamilton Finlay took concrete poetry into realms beyond syntax and grammar. Poets also created works that mixed visual, sound, and written poetry, most specifically France’s Lettrist movement, from which a 1950 masterpiece emerged – Pierre Albert-Birot’s Poesie de mot inconnus (Poetry of Unknown Words), which featured an engraving from Picasso.

Over the past four decades, visual and experimental poetry have drawn from pop and conceptual art as much as from literary or visual poetics. They have also fed the ever-increasing desire for new expressions while contributing to the use of poetics in mass media and advertising. Participants have combined a broad field of poetic sources with an understanding of the ways in which the use of material in visual and verbal form can extend concretism. Their works have included posters, broadsides, performance art pieces, artists’ books, and chapbooks. Cultural changes, ideological squabbles, and politics fed the genesis of this new movement in the 1970s, while one of its adherents, Johanna Drucker, chronicled visual poetics masterfully in books like Figuring the Word and The Alphabetic Labyrinth. A 21st century expression has come from a synthesis of the computer and mathematics – the Fibonacci poem, with word or syllable counts based on the Fibonacci sequence of prime numbers."
Visual Expressions and Concrete Poetry: Seeing More Than Words

 

 

"This holy trinity of essential characteristics - word and pictures, two dimensions and reproduction - is exemplified by a particular graphic artifact, the poster.  No other kind of object embodies these characteristics so completely.  The poster's singular rectangular surface and generous size (exemplified by its offshoot, the advertising hoarding) make it uniquely suited to communicating simple ideas with words and pictures.  Because the poster can produce self-contained graphic statements, few of its qualities are lost in reproduction.  Other items, such as book covers or web pages, say, are preludes or adjuncts to other bits of graphic information, but the poster relies on none other than its single solitary surface.  It exists as a single flat plane rather than several planes bound together, as books or magazines are, or linked pages of information as in a screen based display.  It can be reproduced in other formats (as in a book like this, for example) without much loss of graphic power. Its completeness allows it to survive more or less intact."
-  Patrick Cramsie, The Story of Graphic Design, p. 11

 

"The letters of the alphabet have been the object of speculation since their invention almost 4000 years ago. The symbols represent sounds, yet they exist in their own right, often invested with quasi-magical power. This book examines the many imaginative, often idiosyncratic ways in which the letters of the alphabet have been assigned value in political, spiritual, or religious belief systems over two millennia. The birth of writing was linked to religion and cosmology and was endowed with semi-divine status. Plato saw letter-forms as reflecting ideas, while the Pythagoreans assimilated them to number-theory. The Greeks employed letters for occult and divinatory purposes, while the Romans used them in more practical ways, such as the invention of shorthand. The Middle Ages saw the rise of further theories about letters in Christian philosophy, alchemy and Kabbalah. Theories of their divine origin and mystical significance continued into the 18th and 19th centuries, becoming involved with nationalism and revolutionary political theory. In our own day letters of the alphabet are the subject of scholarly research, and inspiration to graphic artists and a fertile field for mystical speculation. This book explores this realm, and should be of interest to cultural
historians, art historians, and anyone interested in the history of typography."
-  Joanna Drucker,
Alphabetic Labyrinth, 1995

 

 

"That process involves “visualization” for “graphic documentation.” These purely graphic poems avoid both the structure of linguistics (no words) and the aura of author (non-expressive of emotion). Dias-Pino concludes that the “process poem is anti-literature in the sense that true mechanics seeks motion without friction or electricity seeks a perfect isolator.” If that explanation strikes some as stiff and not perfectly clear, then the poems of invented symbols and montages of symbols and images will also 18 Networking Artists & Poets. “Process poetry builds on the advances of Concrete Poetry and moves that tendency toward visual conceptual games, scores, and activities.”  Although these poems are not yet scores, they do suggest a secret code system waiting for a reader to interpret or play. The “process” can refer to the process of interpretation; the reader as writer-performer has to try out these strange code systems.

The Letterists’ manifestoes advocate the destruction of all artworld systems and even language itself down to the letter (a kind of joke on traditional rhetoric — breaking down language into its parts). Their artwork uses carefully constructed printed materials best described in the tradition of beauty and aesthetics rather than the antiaesthetics or neo-dada sensibility that they explicitly advocate. The assemblings reject an “anything goes” attitude; instead, they introduce the concept of an (alternative) aesthetic beauty born from the shattering of worn-out forms of communication."
Notes for an Exhibition at the Poetry Center in London

 

"Discard words for a moment and contemplate facts more directly than images ... the highest philosophical capacity requires a cobination of vision with abstract words."
-  Bertran Russell, The Analysis of Mind

 


"Asemic writing is a 
wordless open semantic form of writing. The word asemic means "having no specific semantic content", or "without the smallest unit of meaning". With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. Where asemic writing distinguishes itself among traditions of abstract art is in the asemic author's use of gestural constraint, and the retention of physical characteristics of writing such as lines and symbols. Asemic writing is a hybrid art form that fuses text and image into a unity, and then sets it free to arbitrary subjective interpretations. It may be compared to free writing or writing for its own sake, instead of writing to produce verbal context. The open nature of asemic works allows for meaning to occur across linguistic understanding; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work, that is, asemic writing can be polysemantic or have zero meaning, infinite meanings, or its meaning can evolve over time. Asemic works leave for the reader to decide how to translate and explore an asemic text; in this sense, the reader becomes co-creator of the asemic work."
Asemic Writing, Wikipedia, 2019

 

"Concrete poetry, whether as visual poetry, sound poetry, or verbivocovisual poetry, embodied the striving for intermediality encountered in all of the arts, responding to and simultaneously shaping a contemporary sensibility that has come to thrive on the interplay of various sign systems in art and life, and for which the attempts at distinguishing between art and non-art are increasingly losing their relevance."
-   Claus Cluver, Indiana University

 

"The concrete poetry movement of the 1950s and 1960s is one of the 20th century’s most influential and dynamic of cultural avant-gardes, moving across the spheres of poetry, visual arts, sound art, graphic design and typography. Emerging from remarkably diverse traditions and truly international in nature, the different strands of work produced under, in response to and in some cases in opposition to, the banner of concrete poetry constitute works that are alternately playful, abstract and experimental, but always challenging and provocative. As influential and radical concrete poet Bob Cobbing put it in Concerning Concrete Poetry, “one can, by empathy, enter into the spatial rhythm of a visual poem or one can give it full muscular response.

A new exhibition at the Lighthouse Gallery as part of Outside-in / Inside-out Festival, supported by AHRC Digital Transformations Theme Leader Fellow, Design & the Concrete Poem, explores the centrality of design and typography to the movement. Curator Bronac Ferran has compiled a remarkable survey of the different directions and trajectories on which concrete poets embarked. Brazilian poet and member of the Noigandres group, Décio Pignatari, declared  that “the poet is a language designer”, and Ferran focuses on concrete poets who take that definition of poetry to heart, emphasising the connections between the physical act of writing and typography."
-  Colin Herd,
Design and the Concrete Poem.

 

"If you were creating text art in the 1950's, you could be using a typewriter, or letters drawn or painted on paper or canvas, letters cut out of paper for collage, or working in a printer's workshop (stencil, lithography, printing). By the 1990's, we have improving graphic arts software, home computers, decent printers, and people making ASCII art works on computers and sharing on the Internet.  (I was online at home on a UNIX system in Pasadena in 1992.)  In 2020 we now have inexpensive high end graphic arts programs and sophisticated cameras on cell phones, and Instagram and Facebook and blogs and messaging and emailing on the Internet. The desire to create art is the same as in 1850 or 1950.  We now have more tools at our disposal in our home workshops, if you can afford to spend money on this sort of hobby."
Mike Garofalo, Random Notes on Text Art, Concrete Poetry, Graphic Arts, Etc.  

 

 

"In 2006 we celebrated the fiftieth anniversary of two interconnected events. The first was the trans-Atlantic baptism of a new kind of poetry produced in Brazil by the “Noigandres” group of poets and in Europe, as the Brazilians had recently found out, by Eugen Gomringer and others, and which Gomringer in 1956 agreed to label “poesia concreta / konkrete poesie / concrete poetry,” a label that Augusto de Campos had first proposed for their own production a year before. The second event was the opening of the “I Exposiēćo Nacional de Arte Concreta” in the Museu de Arte Moderna of Sćo Paulo, where it was shown from the Fourth to the Eighteenth of December 1956 without attracting unusual attention. When it was transferred to Rio de Janeiro in February 1957, it caused excitement and derision and unleashed a critical debate in the newspapers that was to last for months. (We were also, incidentally, celebrating 75 years of the life of Augusto de Campos.)

The first event established the international presence of the Brazilians in a movement that was found rather than founded as its members gradually discovered each other, and that culminated (and ended) in the publication of several international anthologies in the late sixties and in a number of exhibitions, including a month-long “expose: concrete poetry” at Indiana University in 1970.(1) The second event had no international repercussions but turned out to be of considerable significance for the Brazilian cultural scene of the day. It established the label “Concrete Art,” and with it “Concrete Poetry,” in the public mind. It was apparently the first exhibition in Brazil where paintings, sculptures, and poster poems were exhibited side by side. It thus gave visitors an opportunity to explore the features that prompted visual artists as well as poets to use the same label for their work – a challenge that has gone largely unheeded, even though many of these works were reunited in memorial exhibitions in 1977,(2) in 1996, (3) in 2002, (4) and in 2006. It was the first – and for a number of years the only – time when artists belonging to two groups, one from Sćo Paulo, the other from Rio, all of them engaged in developing a constructivist, abstract-geometric art which they now decided to call “Concrete” (as opposed to “Abstract”[5]), exhibited their work together, ten artists from each camp.(6) The three Noigandres poets from Sćo Paulo, Décio Pignatari and Haroldo and Augusto de Campos, were joined by three “Cariocas”, Wlademir Dias Pino, Ferreira Gullar, and Ronaldo Azeredo. Not long after, the artists and poets from Rio decided to break with the Paulistas for ideological reasons and declared themselves to be “Neoconcretos”, except for Ronaldo Azeredo who had already joined the Noigandres group (and was followed a little later by another Carioca, José Lino Grünewald). The exhibition was, finally, also the place to reaffirm the claims by all involved to represent the avant-garde in poetry and the visual arts, a claim already announced by the titles which the groups of artists had chosen for themselves at their foundation in 1952: “Ruptura” and “Frente”."
-  Claus Cluver, The Noigandres Poets and Concrete Art

 

 

"Comics is a medium used to express ideas through images, often combined with text or other visual information. Frequently, comics takes the form of sequences of panels of images. Often textual devices such as speech balloonscaptions, and onomatopoeia indicate dialogue, narration, sound effects, or other information. The size and arrangement of panels contribute to narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics; fumetti is a form which uses photographic images. Common forms include comic stripseditorial and gag cartoons, and comic books. Since the late 20th century, bound volumes such as graphic novelscomic albums, and tankōbon have become increasingly common, while online webcomics have proliferated in the 21st century with the advent of the internet.

The history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings in France. By the mid-20th century, comics flourished, particularly in the United States, western Europe (especially France and Belgium), and Japan. The history of European comics is often traced to Rodolphe Töpffer's cartoon strips of the 1830s, but the medium truly became popular in the 1930s following the success of strips and books such as The Adventures of TintinAmerican comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips; magazine-style comic books followed in the 1930s, in which the superhero genre became prominent after Superman appeared in 1938. Histories of Japanese comics and cartooning (manga) propose origins as early as the 12th century. Modern comic strips emerged in Japan in the early 20th century, and the output of comics magazines and books rapidly expanded in the post-World War II era (1945–) with the popularity of cartoonists such as Osamu Tezuka (Astro Boy, et al.). Comics has had a lowbrow reputation for much of its history, but towards the end of the 20th century began to find greater acceptance with the public and academics.

The term comics is used as a singular noun when it refers to the medium, but becomes plural when referring to particular instances, such as individual strips or comic books. Though the term derives from the humorous (comic) work that predominated in early American newspaper comic strips, it has become standard for non-humorous works too. In English, it is common to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language comics.

There is no consensus amongst theorists and historians on a definition of comics; some emphasize the combination of images and text, some sequentiality or other image relations, and others historical aspects, such as mass reproduction or the use of recurring characters. The increasing cross-pollination of concepts from different comics cultures and eras has only made definition more difficult."
Comics, Wikipedia, 2019

 

 

"Typography is what language looks like."
Thinking with Type

 

"I had gained an appreciation of the beauty inherent- in the forms of letters and recognized the decorative potential of language m pattern and design during the seventies when I saw the magnificent Islamic calligraphy adorning, the mosques Of Turkey and Iran. In the same decade the study of meditation with a Tibetan Buddhist teacher and the resultant exposure to mantras introduced me to the link between language and metaphysical truths. Eventually I realized that a letter of the alphabet, for example the letter "A", could be as potent a symbol as a circle or a cross. I began collecting symbols - sacred symbols - from art and anthropology books, from newspapers, magazines, catalogs, and junk mail, to use in the collages I call "Hierograms".

Life without symbols is inconceivable. It is the act of symbolizing that distinguishes us from other animals. Without symbols there can be no thought. We think in a particular language, and our language consists of symbols. "Since we constantly think we really dwell within language." (James Powell)

Spoken words are symbols of objects and thoughts; written words are symbols of our speech, or symbols of symbols. Language is all-pervasive; every dealing we have with others involves language. We use language as a tool of communication; it is the repository of our knowledge, of the cultures of those who lived before us, and the means by which our accumulated experience will be passed on to the generations that follow. The history, culture, and traditions of a people are contained in their language. The study of a language reveals a people's characteristics, how they regard life, what is important to them.

Language is important not only because it conveys our thoughts, but also because it shapes them. Our view of the universe is inherent in the structure of our language. Our grammar and vocabulary determine whether phenomena are seen as continuous events or as objects. The rigid sense of time intrinsic to Western culture is directly related to and enforced by the structure of our verbs. Naming a thing gives it a birth certificate; without a name there is no existence. Language sets the boundaries of our lives. We are duped by our symbols.

Now we are, bombarded daily with symbols, not only from the printed page but from radio, television, and computers. Mass media present us with forceful new languages that should be studied to understand how they work to affect our perceptions. We must become aware of the tremendous influence that language has on us, and also understand the relation between words and what they stand for.

The role of today's visual poet is to carry on in the tradition of the Indian Vedic poets, the Zen Buddhists, poets Chuang Tzu and William Blake, and the philosopher Ludwig Wittgenstein, who each attempted to explode our familiar language patterns so we can see clearly and directly. Only then can we recognize the limits imposed by language. We artists must expose the falsity of the analytical, linear worldview that our language enforces. Visual poetry can provide the jolt necessary for us to cut through the conceptualizations of language and to experience the transcendence of The Word."
-  Carol Stester, The Color of Three, 1991

 

"For years, many years, poets have intensively and efficiently exploited the spatial possibilities of poetry.  Verses ending halfway on the page, verses have a wider or narrower margin, verses being separated fro the following one by a bigger or smaller space─ al this is exploitation of space.  But only the so-called concrete, or, later visual poetry, has openly declared this.  A book of 500 pages, or of 100 pages, or even of 25, wherein all the pages are similar, is a boring book, as a book, no matter how thrilling the content of the words of the text printed on the pages might be."
-  Ulises Carrion, "The New Art of Making Books," 1975

 

"Musique concrčte, (French: “concrete music”), experimental technique of musical composition using recorded sounds as raw material. The technique was developed about 1948 by the French composer Pierre Schaeffer and his associates at the Studio d’Essai (“Experimental Studio”) of the French radio system. The fundamental principle of musique concrčte lies in the assemblage of various natural sounds recorded on tape (or, originally, on disks) to produce a montage of sound. During the preparation of such a composition, the sounds selected and recorded may be modified in any way desired—played backward, cut short or extended, subjected to echo-chamber effects, varied in pitch and intensity, and so on. The finished composition thus represents the combination of varied auditory experiences into an artistic unity."
Encyclopedia Britannica

 

"The word is not dead; it is changing its skin."
-  Dick Higgins

 

"Observe, contemplate, understand, then see anew; to interpret is to transform.  The work of artist Lisa L. Cyr is a synthesis of multiple impressions that collectively create a new reality with a more expressive, symbolic arrangement, transforming the ordinary into the extraordinary.

A multidisciplinary artist with a content driven approach, Cyr is always looking toward the abstract rather than the literal.  Her highly poetic, imaginative compositions employ typographic elements, ideograms and ephemera that are taken out their ordinary context and reorganized, overlapped and juxtaposed to illuminate a central subject, creating relationships that challenge the viewer to find alternative connections.  "I like the way the abstract realm can alter the reading of a piece," says the artist.  "Disparate and fragmented elements come together to create visual metaphors that impose the power of suggestion, extending the image beyond the sum of its parts."  Cyr's lyrical, multilayered works detach conventional meanings to establish new associations, stimulating curiosity, provoking thought and encouraging the viewer to spend time with the work ─ always looking deeper to discover anew."
- Lisa L. Cyr and Visual Poetry, In Art Revolution, 2009, p. 82

 

"Although the language element of concrete poetry hasn't been evaluated at all adequately, it has probably been evaluated to a greater extent than the design element. There are comments on the general inadequacy of the language of 'concrete poetry,' for example Roberto Simanowski's comment that 'experimental poetry - which concrete poetry is part of - has been accused of being an autistic language...' In his lecture, Concrete Poetry in Digital Media he quotes one of the 'selves' which have very different attitudes to the digital media: 'There are many spectacular effects people program in digital media. If they only would find some meaning to hook on to it! But they can't think of any because they are programmers not poets. They have an idea of how to make an action happen on the screen but no idea of what this action could mean. They flex their technical muscles ... But they have nothing significant to say.' This is a general difficulty, with a vast range of examples, not confined to the {separation} between the technical and the emotional. To give just one example, the {separation} between the skills of growing and cooking. People who have the skills to grow crops of superb quality may not have the skills to cook them in anything but an unimaginative way - or the time and energy needed to grow these crops may not leave enough time and energy to cook them well.

The 'poetry' of 'concrete poetry' isn't usually poetry at all. A more truthful description of the writing would sometimes be 'concrete jottings' or 'concrete scribblings.'

Even so, the design of concrete jottings or scribblings  may well be very successful, an artistic achievement. As for myself, more often than not, I'm very impressed by the design element of 'concrete poetry.' It's rare that I find a design which I think is abysmal.

A very good case could be made for considering the design element of 'concrete poetry' as more important than the language element, for the inequality of the elements, although I think that the majority of creators (or 'practitioners') wouldn't agree. Because I place the emphasized element second, my own view is that 'concrete poetry' is generally a words-design form, not a design-words form."
-  Paul Hurt, Designing with Words

 

"Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing, and letter-spacing, and adjusting the space between pairs of letters."
Wikipedia

 

"I don't create with any intention of meaning."
Tatiana Roumelioti

 

"The Italian Futurist enthusiasm for the modern accompanies the movements they engendered, but in Dada and Surrealism, the closest relatives, there is not much evidence of the same tectonic interest. This can be explained by the ethereal imagery, the air of imaginary rather than concrete constructions, that dominated the Surrealist esthetics.

To this point we have been examining two basic kinds of architectural relationships with poetry: One is the discovery in letters and pages of text that references to constructions and architectural principles exist, with a corresponding temptation to pull that into the repertoire of poetic techniques. This harks back to the figured verse of the Greek anthology and the Renaissance and later, where poetic meter was used to build columns, altars, temples, and other structures--such as George Herbert's "Church Floor"--out of lines of poetry. The collection assembled by Dick Higgins in Pattern Poetry: Guide to an Unknown Literature identifies many examples of these. The second sort of relationship is where the poet looks at the architectural landscape and sees text. This is the reverse of Hugo's formula, and it is what happened to Soffici when wandering around modern cities.

The next step is for poets to make these perceptions of the city into poetry, and that occurs in the Concrete Poetry movement of the era after World War II. The Paris concrete poet Julien Blaine demonstrates this with texts like his "Julien Blaine the i-constructor," where he puts a dot on a photograph of the column in Place Vendōme in order to make the letter i out of it. The Concrete poets make ready use of photographs to discover letters and alphabets in unconventional places -- body parts, for example, mirroring the suggestions made by some illuminated alphabets from the Middle Ages, the Renaissance and later. Alexander Nesbitt's volume of Decorative Alphabets and Initials is full of illustrations that show medieval illuminated initials where a group of monks could inhabit an 0, and handsome Renaissance initials on which cherubic infants swing and play like modern children on a jungle jim."
-  David Seaman, The Poetic Structure of the Avant-Garde

 

 

"The word exists and has the right to perpetuate itself. 
ISOU IS CALLING ATTENTION TO ITS EXISTENCE.
It is up to the Letterist to develop Letterism. 
Letterism is offering a DIFFERENT poetry. 
LETTERISM imposes a NEW POETRY. 
THE LETTERIC AVALANCHE IS ANNOUNCED." 
-   Manifesto of Letterist Poetry, Isidore Isou, 1942

 

"Therefore, and in a certain measure, philosophers are painters; poets are painters and philosophers; painters are philosophers and poets.  He who is not a poet and a painter is no philosopher.  We say rightly that to understand is to see imaginary forms and figures; and understanding is fancy, at least it is not deprived of fancy.  He is no painter who is not is some degree a poet and thinker, and there can be no poet without a certain measure of thought and representation."
-  Giordano Bruno, De Imaginum, Signorum et Idearum Compositione, 1591

 

"Haiku is by its very nature imagistic to begin with; Couple that with an aesthetic of conciseness, brevity and suggestion, haiku have a particular appeal when they take form as concrete poetry. The possibilities are numerous. At this point concrete haiku has been around long enough that it's time to pause in the fun and take stock. As Robert Spiess once said in an interview with Michael Dylan Welch (Modern Haiku 2002), many are not genuine haiku. On the other hand, some are. Richard Gilbert's "Disjunctive Dragonfly" (World Haiku Review December 2003) includes "concrete disjunction", analyzing how orthography, punctuation and placement intensify meaning in examples by Jane Reichhold, Gary Hotham and David Steele. I like how the editors of Under the Basho put it: that the poem should to embrace deeper meaning (in other words, be a haiku) while the visual realization structures the reader's experience through space and the placement of words."
- A Further Note on Concrete Haiku

 

"In its simplest definition concrete poetry is the creation of verbal artefacts which exploit the possibilities, not only of sound, sense and rhythm—the traditional fields of poetry—but also of space, whether it be the flat, two-dimensional space of letters on the printed page, or the three-dimensional space of words in relief and sculptured ideograms.  Taking advantage of the extra impact which can be given to words by visual lay-out is, of course, a common device in journalism and advertising. This is one of the skills of the graphic designer and the newspaper compositor, the literary equivalent of which is to be found in such devices of visual presentation as are used by George Herbert in "Easter- wings," by Lewis Carroll in the mouse's tail poem from Alice in Wonderland, and by Apollinaire in his Calligrammes. All of these have been widely cited as precursors, along with Mallarmé, the Futurists, Joyce, cummings, and others, of the more recent concrete poetry movement."
-  R. P. Draper, Concrete Poetry, 1971 

 

"In a shape poem, a poet uses the lines of his text to form the silhouette of an identifiable visual image—generally, an image that represents or comments upon the subject of the poem. 

The shape poem goes back to Greek Alexandria of the third century B.C., when poems were written to be presented on objects such as an ax handle, a statue’s wings, an altar—even an egg. English poet George Herbert (1593-1633) led an Elizabethan movement using shape poems strictly for the page: two examples are “Easter Wings” and “The Altar,” written in the shape of, yes, wings and an altar. Lewis Carroll toyed with the notion in Alice’s Adventures in Wonderland, presenting “The Mouse’s Tale” in the shape of a mouse’s tail. The form continued into the 20th century through the typographical experiments of F.T. Marinetti and his anarchistic Futurism movement, Guillaume Apollinaire’s 1918 Calligrammes collection, the playful tinkering of e.e. cummings, the Chinese ideograms used by Ezra Pound, and various works by members of the Dadaist movement. 

In the 1950s, a group of Brazilian poets led by Carlos Drummond de Andrade and Augusto de Campos sought to fully integrate the dual role of words as carriers of language and visual art. Using a phrase coined by European artists Max Bill and Öyvind Fahlström, the Brazilian group declared themselves the “concrete poetry” movement. In 1958, they issued a fiery manifesto lamenting the use of “words as mere indifferent vehicles, without life, without personality, without history—taboo-tombs in which convention insists on burying the idea."

Concrete poetry was originally aimed at using words in an abstract manner, without an allusion to identifiable shapes. But as the movement reached the height of its popularity in the 1960s, it became less abstract and was adopted by conventional poets as a specific poetic form rather than a full visual/literary fusion. Many of them returned to the shape-based forms popular in the third century B.C.

Among the best of the ’60s shape poets was John Hollander, who created his works with a typewriter. As a scholar, editor and accomplished poet—working in many different forms—Hollander also provided a thorough explication of the process in his 1969 collection Types of Shape. Hollander described his process in a 2003 interview with the St. John’s University Humanities Review:

'I would think of the representation of some object in silhouette—a silhouette which wouldn’t have any holes in it—and then draw the outlines, fill in the outlines with typewriter type … and then contemplate the resulting image for anywhere from an hour to several months. The number of characters per line of typing would then give me a metrical form for the lines of verse, not syllabic but graphematic (as a linguist might put it). These numbers, plus the number of indents from flush left, determined the form of each line of the poem.'"
-  Michael J. Vaughn, Concrete Poetry, 2008 

 

"The most highly relational feelings are the visual, and these are of all the feelings the most easily reproduced in thought."
-  Hebert Spencer, Psychology

 

"Some of the difficulty in staking a permanent place for concrete poetry in the cultural lexicon may have come from defining what it is. ‘Concrete poetry begins by being aware of graphic space as its structural agent, as the cosmos in which it moves,’ wrote one of its finest and most tireless British exponents, Dom Sylvester Houédard, in 1963. ‘A printed concrete poem is ambiguously both typographic-poetry and poetic-typography – not just a poem in this layout, but a poem that is its own type arrangement.’ But a concrete poem does not have to be linguistic, or even typographic at all; it can be made out of anything from a collection of right-angles to a pyramid of eyes, mouths and car headlights clipped from magazines. Lying somewhere ‘Between Poetry and Painting’ – as an influential 1965 exhibition at the Institute of Contemporary Art was titled – it can, like painting, be either figurative or abstract. Put simply, it could be defined as a tendency for a ‘text’ of any kind to illustrate itself within that text. Put even more simply, as Houédard expressed it in the same article: ‘concrete poems just ARE’.

Concrete poetry was initially disseminated by practitioners such as Houédard and Ian Hamilton Finlay by mail, and the volume of international correspondence of such figures is prodigious. The next stage was the publication of small-circulation magazines, totalling as many as 50, which were distributed internationally either on a commercial basis through specialist avant-garde art bookshops or on an exchanges basis among practitioners. Some of these magazines, for instance Cavan Macarthy’s Tlaloc, were originated by typewriter and produced by a duplicator (known as mimeographs in the US). The typewriter always played an important role in concrete poetry, some of its practitioners (such as Houédard) being highly skilled and innovative. Two anthologies of typewriter works were published, edited by Alan Riddell and Peer Finch, and an American concrete poetry magazine Typewriter was devoted solely to this form. At the other extreme was Rhinozeros, edited by the Dienst brothers in West Berlin and devoted to concrete poetry in calligraphy or handlettering.

Concrete poetry was distributed via small press magazines and exhibitions because the established literary presses of most demoncratic countries rarely paid it any attention except occasionally to vilefy it. This explains the lack of entries under the heading ‘concrete poetry’ in most reference books and why there is practically nothing on the subject to be found in bookshops, although over 20 anthologies of concrete poetry have been published in different countries. In Britain these were a long-running, intermittent and acrimonious dialogue between the proponents of concrete poetry and the traditionalists of the Poetry Society, which from time to time erupted into the national press. Concrete poetry’s development as an international phenomenon was better aided by the innumerable exhibitions including ‘Poesie Concreta’ at the 1969 Venice Biennale, the ‘Exposicion de Poesia novissima’ which opened in Buenos Aires in 1969 and subsequently toured South America, and ‘Concrete Poetry’ at the Stedelijk Museum in Amsterdam in 1970, which toured Europe. Art magazines have shown more interest in concrete poetry than literary ones, and Scottish artist and concrete poet Ian Hamilton Finlay has continued to exhibit in establishment art galleries and has received accolades in mainstream colour supplements. But Finlay is the exception."
Concrete Poems Just Are, Peter Mayer
 

 

"Concrete Poetry, a movement developed in the 1950s that reached its peak in the 1960s, emphasized the visual aspects of words and examined the relationship between visual form and literary content. Art critic William Feaver described it as a "blend of words used for their literal meanings and words used for their face value or visual appearance." It traces its origins to the traditions of visual poetry, found in the experimental works of Stephane Mallarmé, Lewis Carroll, and Ezra Pound. Adopted by members of the literary avant-garde of the mid-twentieth century, Concrete Poetry became the first truly international poetry movement."
Concrete Poetry, Online Archive of California

 

"The publishing industry has remained virtually unchanged since 1455 when Guttenberg first printed the Bible. Not only the publishing industry, but also the act of reading, unchanged for several centuries, is now being altered. In the case of computer CD-ROMs, reading has become an active, participant-directed process rather than passive, author-directed: turning pages in a book has been transformed into hypertext links. The rational-visual act of reading has become an experience of sight, sounds, and colours. As would seem obvious, writing techniques are also being profoundly altered. The poet of the future will have to be a more complete and unspecialized artist who will need to blend his writing skills with oral and artistic abilities and even more so with technological-computer knowledge. This, together with computer software that allows active participatory reading and even the introduction of modifications made by the reader in the work of art, will perhaps help to rehumanize literature and achieve the Surrealist, Cubists and Dada poets and writers's unfulfilled dream of merging art and life."
-  Paul Kloppenborg, Concrete to Computer

 

"Haroldo de Campos and Agusto de Campos are best known as the prime movers in the creation of Brazilian concrete poetry in the 1950s.  Together with the poets Décio Pignatari and Ferreira Gullar, the Campos brothers launched the first exposition of concrete poetry in 1956 and published the avant-garde art and poetry magazines Noigandres and Invenēćo. Concrete poetry attempts to move away from a purely verbal concept of verse toward what its proponents call “verbivocovisual expression,” incorporating geometric and graphic elements into the poetic act or process. Their experiments have included the use of ideograms as a substitute for verbal forms, the concept of a poem as a “layout” of black on white (or vice versa), and the attempt to create poems as objects to be seen and handled as well as heard or read."
Concrete Poetry in Brazil

 

"To start with: The page, like the windowed computer screen, can encourage a looking through or a looking at approach —  Looking through: as a transparent, dematerialized virtuality, cinema-style), or a looking at (as an opaque, action-oriented, control-panelled material reality)." 
-  Bruce Andrews  

 

"The origins of concrete poetry are roughly contemporary with those of musique concrčte, an experimental technique of musical compositionMax Bill and Eugen Gomringer were among the early practitioners of concrete poetry. The Vienna Group of Hans Carl Artmann, Gerhard Rühm, and Konrad Bayer also promoted concrete poetry, as did Ernst Jandl and Friederike Mayröcker. The movement drew inspiration from DadaSurrealism, and other nonrational 20th-century movements. Concrete poetry has an extreme visual bias and in this way is usually distinguished from pattern poetry. It attempts to move away from a purely verbal concept of verse toward what its proponents call “verbivocovisual expression,” incorporating geometric and graphic elements into the poetic act or process. It often cannot be read aloud to any effect, and its essence lies in its appearance on the page, not in the words or typographic units that form it. At the turn of the 20th century, concrete poetry continued to be produced in many countries. Notable contemporary concrete poets include the brothers Haroldo de Campos and Augusto de Campos. Many contemporary examples of animated concrete poetry can be found on the Internet."
Concrete Poetry, Britannica Encyclopedia, 2019

 

               
             

 

 

 

 

 

 

 

 

 

 

 

 

                                                                                

 

 

 

 

 

R    RRrRRRRRRrrrrrrrrrrrrrrrrrrrrrrrr

 

Radical Artifice: Writing Poetry in the Age of Media.  By Marjorie Perloff.  University of Chicago Press, 1994, 264 pages. 


Raster Graphics, Bitmap Images: jpeg, gif.  


Raster Graphics - Google


Raster Graphics - Wikipedia


Ray Rasmussen     Nature photography, artwork and haiku.       


Reading Visual Poetry after Futurism: Marinetti, Apollinaire, Schwitters, Cummings
.  By Michael Webster. 
    New York, Peter Lang, 1995, 239 pages.     


Read, Recite, and Write Concrete Poems.  By Joann Early Macken.  Crabtree Pub., 2015, 32 pages. 


Retro Junkies


RGB, CMYK, Hex Color Codes     Colors


Riding the Meridian    Edited by Jennifer Ley.  An intriguing collection of work by various artists/poets, theory and criticism, interviews, archives,
     hypertext, women's studies, and special features.   


Tatiana Roumelioti


Jim Rosenberg's  Poetics     Poetics and Other Prose   Hypertext poems and theory.     


Gerhard Rühm (1930-)

 

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S sSsSsSssSsSsSssSsSsSs

 

Roland Sabatier (1942-)  A French artist "et auteur pluridisciplinaire franēais appartenant au groupe lettriste."    Images     Publications


Roland Sabatier:  Places & Statues 1988 Lettrisme Catalog,  Art exhibition catalog, Lettriste

 


Sackner Archive of Concrete and Visual Poetry    The outstanding Ruth and Marvin Sackner Archive of Visual and Concrete Poetry is housed at the
     University of Iowa Librariers Special Collections.  This is a very large collection of over 75,00 items that is well indexed and offers full bibliographic/descriptive
     citations.  A variety of search techniques can be used to access the collection.  Thumbnails and larger images of works in the collection are
     provided to the reader/viewer. 
  News from University of Iowa     Beyond Words     Website

"Founded by Ruth and Marvin Sackner [Photo] in 1979 in Miami Beach, Florida, the Sackner Archive is the largest collection of concrete and visual poetry in the world. The archive includes over 75,000 annotated books, periodicals, typewritings, drawings, letters, print portfolios, ephemera, and rare and out of print artist’s books and manuscripts representing twentieth century art movements such as Italian Futurism, Russian and Eastern European Avant Garde, Dada, Surrealism, Bauhaus, De Stijl, Ultra, Tabu-Dada, Lettrisme, and Ultra-Lettrisme.

Ruth Sackner passed away in October 2015, and the family reached the decision that the archive needs to be placed in a world-class educational institution. Due to structural damage their building sustained during Hurricane Irma, the entire collection was moved in October 2017 to temporary housing in Long Island City.

We are pleased to announce that the Sackner Archive has moved to the University of Iowa Libraries Special Collections! The Sackner family chose the University of Iowa Libraries as the new home for the archive due to the Libraries’ reputation as a center for the study of Dadaism, with its substantial holdings in the International Dada Archive. In addition, the Libraries’ world-class conservation program, the UI’s nationally recognized Center for the Book and the Writers’ Workshop, collections in the University of Iowa Stanley Museum of Art, and location in Iowa City (a UNESCO City of Literature) were also factors influencing their decision. The Sackners’ first encounter with Iowa was to loan work for the 1983 exhibition Lettrisme: Into the Present and those Lettriste works have finally returned to Iowa!"

 


Saint Ghetto of the Loans: Grimoire.  By Gabriel Pomerand.  Ugly Duckling Press, Bilingual, 1950, 2006, 120 pages. 


Antoine Schmitt    


Charles M. Schultz  (1922-200)  Peanuts cartoonist. 


Scribus  Free GNU desktop publishing software. 


A Sea Street Anthology.   By Ian Hamilton Finlay and Gloria Wilson.   Dunsyre, Lanark, Wild Hawthorn Press, 1971.  


Sequence Nu    By Nico Vassilakis.  Tragico Finales.   


Doctor Seuss, Theodor Seuss Geisel (1904-1991)


73 Poems    By Kenneth Goldsmith and Joan La Barbara.   Permanent Press, 1994, 80 pages.


Shades Color Swatches.  Default Adobe Illustrator Swatches.  CMYK values, RGB values, hex value. 


Shape Poems


Shape Poems for Kids


Sidewalk Poem.  By Ester M. Sternberg, M.D. 


Walter Silveira      Sćo Paulo, Brazil.   


Sketch Noting.  10 Tips to Get Started with Sketchnoting.  By Silvia Rosenthal Tolisano. 


Software for Digital Painting, Drawing, Editing, Manipulating


Mary Ellen Solt  (1920-2007)  American concrete poet, essayist, translator, editor, and professor. 


Spirale (1953-1964):  Concrete Poetry


Splish, Splash!    By Jane Bransfield Graham.  Graphic design by Steve Scott.   Ticknor and Fields Books, Houghton Mifflin, 1994, 40pages.  Ages 4-8.     


Carol Stetser Survey 


Carol Stetser  (1948-)


Strings  Flash poems project by Dan Waber.         


Structure of the Visual Book.   By Keith Smith.  Fourth Edition.  Cayuga, New York, Visual Studies Workshop Press, Keith Smith Books, 1994, 432 pages.   


Studies in Criticism: Text and Image.   By Michael Hancher.   


The Stuff of Literature: Physical Apects of Texts and Their Relation to Literary Meaning.   By E. A. Levenston.  New York, N.Y. U. Press, 1992.


Sunday Exhibits of Text Art, Lettrisme, and Visual Poems at Cloud Hands


Gunnar Swanson   

 

 

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Tao Te Ching by Lao Tzu, 500 BCE   


Tea-Leaves And Fishes.   By Hamilton I. Finlay.  Wild Hawthorn Press, 1966.


Technically, It's Not My Fault, Concrete Poems.  By John Grandits.  Clarion, 2004, 48 pages.  For students in grades 5-7.   


Text Etc  By C. John Holcombe, 2019. 


Text and Image: Selective Annotated Bibliography   


Text Art and Concrete Poems by Michael P. Garofalo


Text Art Archive  Articles, interviews, studies, classes, information. 


TeXTArt   Exhibits
 

thalia: a survey  

 

 

 

 

 

 

 

 


Thought Generator     H-Ray Heine.


ThunderHammer3000


Title Index to Text Art and Concrete Poetry, 2020.  By Michael P. Garofalo.    


Title Index to Text Art and Concrete Poetry, 2001-2005.  By Michael P. Garofalo.    


Title Index to Specific Concrete-Visual Poems        


Train Graffitti


The Translation and Transmission of Concrete Poetry.  By John Corbett and Ting Huang.  Routledge Advances in Translation and Interpreting Studies. 
     Routledge, 2019, 244 pages. 


Typebox by Michael Kohnke


Type me, type me not      By Peter Cho.   Experiments in computational typography.


Type In Art.   By J. Reichardt.  The Penrose Annual, 1965,   Vol 58. P205-228.


Types of Shape.  By John Hollander.  Yale University Press, 1991, Expanded Edition, 96 pages. 


Typewriter Art: A Modern Anthology.  By Barrie Tullett.  Laurence King Pub., 2014, 176 pages.


Typewriter: A Celebration of the Ultimate Writing Machine.  By Paul Robert and Peter Weil.  Sterling, 2016, 224 pages. 

 

 

Typography     Fonts     Type     Typesetting    Printing

 

Anatomy of Type: A Graphic Guide to 100 Typefaces.  By Stephen Coles.  Harper Design, 2012, 256 pages. 


Elements of Typographic Style.  By Robert Bringhurst.  Hartley and Marks Pub., Fourth Edition, 2013, 382 pages.  


Frontspace  Free fonts 


Lessons in Typography:  Must-know typographic principles.  By Jim Krause.  New Riders, 2015, 240 pages.


Letterpress:  General Printing: An Illustrated Guide to Letterpress Printing.  By Glen U. Cleeton, Charles W. Pitkin, and Raymond L. Cornwell. 
     Liber Apertus Press, 2006, 224 pages.


Letterpress Now: A DIY Guide to New and Old Printing Methods.  By Jessica C. White.  Lark Crafts, 2013, 176 pages. 


Letterpress Printing Images


Letterpress Printing Books


Printing in 1900


Thinking with Type: A Critical Guide for Designers, Writers, Editors and Students.  By Ellen Lupton.  Princeton Architectural Press,
     2nd Edition, 2010, 224 pages.  VSCL


Typographic Art.  By Thomas F. Adams.  Wentworth Press, 2019, 288 pages. 


Typographic Art Exhibits


Typographic Arts Images


Typographical Poems    Gallery at the Poetry Center in London.   PDF format.     

  
Typographic Design.  By Rob Carter.  Adams Media, 6th Edition, 2014, 368 pages. 


Typography and Calligraphy Alphabets


Typography: Bibliography and Links.    By Emily Jane Dawson.


Typography Books


Typography Essentials: 100 Design Principles for Working with Type.  By Ina Saltz.  Rockport Pub., 2019, Revised edition, 208 pages. 


Typography Introduction


Typophile


The Visible Word: Experimental Typography and Modern Art, 1909-1923.     By Johanna Drucker.  Chicago, University of Chicago Press, 1994, 306 pages.  Review 

 

 

 

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U  uuUUuuUUuuuU

 

UBUWeb: Visual, Concrete and Sound Poetry     An extensive collection of recorded poems (.MP3), art and poetry creations, concrete poems, and
quality essays about these topics.      Includes both contemporary and historical sections.   A must visit website!!!   Dozens of artists listed for visual poetry, contemporary, conceptual writing, and more.  Fairly detailed biographies of hundreds of artists, writers, avant-garde, historical figures.  Also includes: film, video, sound, dance, resources, electronic music, etc.  Images are informatively catalogued.  A very nicely organized website. 

 


United States - Concrete Poets List


U Who Understand

 

 

 

                                                                                

 

 

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v vvvvvVVVvvvvvvvvVVVVVVVVVVVVVVVVVVVV

 

 

 

Vector Graphics Software    


A computer vector graphics software program is an essential computer tool for creating graphic arts products, and for making TextArt & Concrete Poem artifacts. 
 

Adobe Illustrator   Vector Graphics Software Industry Standard:   Books    $252 per year for an online subscription.


Corel Draw 2019 Professional Graphics Suite  A $490 one time fee.   Books


CorelDRAW X8  Vector Graphics Software, Corel, 2016.  A $100.00 one time fee.  Home and Student Suite.  X8 Books


Draw Pad  Free 


GIMP 2.10  Free GNU image processing software. 


Inkscape  Free GNU vector drawing software.


Inkscape: Guide to a Vector Drawing Program.  By Tavmjong Bah.  Prentice Hall, 2011, 504 pages. 


Raster Graphics Software, Bitmap Images: jpeg, gif


Using SVG with CSS3 and HTML5: Vector Graphics for Web Design.  By Amelia Bellamy-Royds, Kurt Cagle, and Dudley Storey.  O'Reilly Media, 2017, 844 pages. 


Vector Basic Training: A Systematic Creative Process for Building Precision Vector Artwork.  By Von Glitschka.  New Riders, 2011, 272 pages. 


Vector Graphics and Illustration: A Master Class in Digital Image-Making.  By Jack Harris and Steven Withrow.  Rotovision, 2008, 176 pages.  VSCL


Vector Graphics Books and CD's of Vector Images


   

 

 

 

Valentine Files


Vintage Botanical Illustration.  By James Kale.  Copyright-Free Images for Artists, Designers, and Plant Lovers. 
     Access to all images online.  Avenue House Press, 2019, 88 pages. 


Visible Language    Scholarly journal published in the 1960's.  


Visual and Neo-Concrete Poetry Collection.  By Binayak Dutta.  In English and Bengali.  Kindle, 2018, 21 pages. 


Visual Poetry and Text Art Title Index.  By Michael P. Garofalo.  2020.  N       


Visible Language 34.2, Words in Space, Part Two, 2000.  By Sharon Helmer Poggenpohl.   120 pages. 


VISPO: Langu (im) age      Experimental visual poetry and essays on new media.   By Jim Andrews, Anna Maria Uribe. 


Visual-Concrete Poems by Michael P. Garofalo   


Visual Expressions and Concrete Poetry: Seeing More Than Words    Poetry Through the Ages. 


Visual Literature Criticism.     By Richard Kostelanetz.   Carbondale: Southern Illinois University Press, 1980, 192 pages.  Edited, with a preface and a contribution.
  VSCL. 


Visual Poems, 1967-1970      By Clemente Padin


Visual Poets List 


Visual Poetry Anthology.   Edited by G. J. De Rook.    Utrecht, Bert Bakker Den Haag, 1975.  A collection of 133 poets from 25 countries.


Visual Poetry - A Web Guide


Visual Poetry by Ruth Cowen


The Visual Poetry of BPNichol   By Karl Young


Visual Spots: Concrete-Visual Poetry Exhibit.   By Michael P. Garofalo.


VSCL = Valley Spirit Center Library of Mike Garofalo, my personal library and research and study collection. 

 

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W  WWWwwwWWWWw

Ted Warnell


William Boyd Watterson II (1958 -)   Calvin and Hobbes cartoonist. 


Web Del Sol   Outstanding poetry website.  


WebGraphics   A collaborative blog.  


Web Hypertexts: Hypertext Kitchen   Web Hypertext, Net Art, Web Art.   
 


Hendrik Nicolaas Werkman (1882-1945)   Werkmaniana in British Museum   Google


Wet Cemet: A Mix of Concrete Poems.  By Bob Raczka.    oaring Book, 2016.  48 pages.  For students in grades 3-5. 


What are "Not Poems?"     Adele Aldridge.    


What is Concrete Poetry.  Article at Wise Geek. 


What is Concrete Poetry: Getty Museum Research Institute Exhibit, 2017


Emmett Williams (1925-2007)  American poet and visual artist. 


Wis Arts: Painting, Poetry, Digital Artworks      By Wieslaw Sadurski.


Women of Visual Poetry.  By Jessica Smith. 


Women in Concrete, Visual, and Sound Poetry


Word & Image:  International Association of Word and Image Studies


Word and Image    Third International Conference on Word and Image.  Carleton University, Ottawa, 1993.  


Word Circuits      Edited by Robert Kendall.  


The Word is Art.  By Michael Petry.   Thames & Hudson, 2018, 288 pages. 


Word Play - Wikipedia   


Word Press - Web Publishing, Graphic Arts Online.  Free, $4, $8 and up hosting plans. 


Wordplay: The Philosophy, Art and Science of Ambigrams.  By John Langdon.  Three Rivers Press, 2005, 240 pages. 


Words into Shapes: The Graphic Art of Calligram.  By Daniele Tozzi.  Monsa Pubs., 2019, 144 pages. 


Word Space Multiplicities, Openings, Andings
.  Collected Essays and Papers in Digital Poetics, Hypertext, and New Media.  Edited by Sandy Baldwin. 
     Center for Literary Computing, West Virginia University Press, 2015, 240 pages. 


Workshop with Hungarian Visual Poets


Workshop of the Scripturality    The artwork of Joėlle Dautricourt on writing, Hebrew and Latin letters.  In French and English.  


World Atlas of Street Art and Graffiti.  By Rachel Schacter.  Yale University Press, 2013, 400 pages. 


Wordworks: Poems Selected and New     American Poets Continuum, Vol.  27.    By Richard Kostelanetz.    Boa Editions, 1993, 206 pages.  VSCL. 


Writing Systems of the World.  By Akira Nakanishi.  Charles E. Tuttle, 3rd Edition, 1990, 122 pages. 

 

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"We make for ourselves pictures of facts."
-  Ludwig Wittgenstein

 

 

 

 

X XxXxXxXXXXXxXx

 

Xu Bing: Book from the Sky to Book from the Ground.  By Xu Bing.  ACC Art Books, 2020, Reprint edition, 208 pages. 


XXX  Xfiles  Xrated  X's  O's


X Factors, Xplicated, X Rays, X'd Out, Xplained, Xponential

 

 

 

 

                     


ASCII Text Art

 

 

 

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Y YyyyYYyyyYYYYyyyYYyy

 

 

Karl Young Home Page    Visual poetry, mail art, book art, bibliography, criticism and essays. 


YY       TeXTArt messages

 

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z  ZZZZzzzzZZzzzZZzz

 

Zippity Do Da, Zippity Day

 

 

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Creative Commons License
This webpage work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Created by Michael P. Garofalo, Green Way Research, Vancouver, Washington  © 2020 CCA 4.0

 

 

 

    

 

 

 

 

 

 

 

 

 

 

 

                                                            

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

Preface

 

Version 1 of this hypertext document [webpage.html] was first distributed on the Internet on January 16, 2000.

Version 2 was updated sporadically until February 18, 2005; and then not updated, but left online, from 2005-2019.

Version 3 was completely updated by January 3, 2020. 

This webpage (Version 3) was last updated, modified, improved, revised, supplemented, reformatted or otherwise
changed on April 7, 2020.   

Mirrored as:  "Concrete/Visual Poetry and Graphic Arts: Directory, Guide, Bibliography, Links, History, Index, How To, Exhibits, and Information; Edited by Michael P. Garofalo", February 15, 2020, online

Home Base: "Text Art, Concrete Poetry, Lettrisme, Graphic Arts: Index, Information, Directory, Exhibits, and Bibliography by Michael P. Garofalo," January 5, 2020, online

Home Base (1/16/2020) Mirrored as:  Graphic Arts, TextArt, Pattern Poems, Lettrisme

 

This webpage is my personal hypertext notebook.  It records my web research into the topic and related topics of: concrete poetry, concretism, computer graphics software, graphic arts, lettrisme, pattern poems, shape poems, spatialism, technopaegnia, TextArt, Vispo, visual poetry, and visual arts. 

This document includes resources and software I am using at home in 2020 to learn about this subject, and to create concrete/visual and TextArt poems.  In this document, all the book cover graphics, text art, and other images are all hyperlinked. The document includes used books in my home library, or public or college library books I have used. 

As personal notebooks usually go, this document includes random and disconnected notes, jottings, fun (for me) discoveries, scribblings of sorts, and jottings about semi-related stuff.  I try to keep the advertising focused on the subject and related topics. 

Others may find this hypertext notebook useful in their studies of concrete poetry, computer graphic arts, text+image communications, lettrisme, visual poetry, art history, text graphics, TextArt, etc. 

I used Microsoft Front Page to create this webpage in 2000.  I was using FrontPage at work at that time to develop simple informative websites for the five schools and district office of the Corning Union Elementary School District that I worked for part-time (1999-2016) as the either the District Librarian or Technology and Media Services Supervisor. In 2011, I used the Drupal content management system to upgrade all district websites.  I helped many teachers creating webpages, blogs, Power Point presentations, preparing reports, using District instructional software, posters, etc.  I was the webmaster for the District for many years from 1999-2014, and trained and encouraged others to get into publishing on the Internet.  I was mostly interested in the information distribution function of the Internet.  I created my own Cloud Hands Blog in 2005. 

Don't ask me why I did not, for this document, use a CSS document format, eliminate boldfaced type, or change fonts back in 1999.  Those were different times, and I was an html amateur back then.  ! Just more dust under the keyboard ! 

For me, creating this document was a form of playing.  It is like playing a computer game of cards (Spades) or a game of chess.  Just some fun.  I really have enjoyed looking at all this TextArt online and in books. 

Many teachers increased my enthusiasm for the role of fine arts in education and life enhancement.  For a few years (2000-2005), I tried to create some of this type of computer text+image art using Macromedia Fireworks. 

In December of 2019, now retired, age 74, I began again creating TextArt and concrete/visual poems.  I am a computer graphic arts hobbyist.  Retirees have more time for hobbies, interests, and indoor creative projects during the colder months.  I am learning more about how to learn

A few of my own new TextArt and concrete poems will be exhibited in the future.  Amateurish ... but you have to start somewhere, learn more, stay positive, and show your work. 

 

 

May everyone enjoy a healthy, peaceful, productive, prosperous,
and happy New Year in 2020 and Beyond! 

Make us all proud of the Past we will create this year in 2020. 

Sincerely,

Michael P. Garofalo 

 

 

I Welcome Your Comments, Ideas, Contributions, and Suggestions

E-mail Mike Garofalo in Vancouver, Washington

 

 

 

Creative Commons License
This webpage work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Created by Michael P. Garofalo, Green Way Research, Vancouver, Washington  © 2000-2020 CCA 4.0      

 

 

 

 

 

flow2.gif (27433 bytes)

 

Short Poems and Haiku: Links, Guides, References, Poems

 


Zen Poetry: Links, Guides, References, Studies, Poems

 

Quotes for Gardeners

Quotes, Sayings, Proverbs, Poetry, Maxims, Quips, Cliches, Adages, Wisdom
A Collection Growing to Over 2,700 Quotes, Arranged by 135 Topics
Many of the Documents Include Recommended Readings and Internet Links.
Compiled by Michael P. Garofalo

 

 

 

 

 

 

 

 

Mike Garofalo at the Klickitat River in Southwest Washington, 2019

 

 

 

Cloud Hands Blog of Michael P. Garofalo       

Facebook of Michael P. Garofalo    

 

 

 

Return to the Alphabetical Index of Mike Garofalo's Hypertext Documents
 

Green Way Research

 

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This  Text Art and Concrete Poetry  (Version 3) webpage was last updated, modified, improved, revised, supplemented, reformatted or otherwise changed on April 7,  2020.

This webpage work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Created by Michael P. Garofalo, Green Way Research, Vancouver, Washington  © 2000-2020 CCA 4.0