A concrete poetry is one that does not have to rhyme and can be about anything, but the words take on the shape of the poem's topic. Many concrete poets also work in other media besides concrete poetry, so they are not limited to using up-down or light-heavy pairs.
Concrete poetry uses typography to create images instead of writing words. It is most commonly associated with American poet Lee Ann Kowalski who first coined the term in 1970. However, concrete poetry has been used by artists before her including British artist Louis Zukofsky and German artist Max Ernst.
In addition to being a writer, Kowalski was also an influential teacher who helped many young artists develop their own styles. She taught at several universities including Cornell University where she met her husband Donald Allen. They married in 1972 and had two children together. In between raising a family, Kowalski continued creating art working on projects such as Project Room Materia (1974-1977) which consisted of posters designed to be hung in a room rather than put in a gallery. This project involved cutting up old phone books and handpicking the words she wanted to use in each piece.
Another notable work from Kowalski is The Alphabet (1971).
Concrete poetry, also known as shape poetry, is a genre of poetry that employs some form of visual display to increase the poem's impact on the reader. While the words, writing style, and literary techniques all have an influence on the content of the poem, the physical shape of the poem is as important. The term "concrete" was originally used by Canadian poet Leonard Cohen to describe his own work, but it has since become popular among poets who write about their experiences.
Shape poems are often made up of three parts: a title, which is usually displayed at the top; one or more columns of text; and a final image or series of images. The image or images should be relevant to the subject matter of the poem and should leave an impression on the reader. For example, if the poem is about love, then the image could be that of a heart.
The columns of text in a concrete poem should lead the reader down a path of discovery, allowing him or her to find the poem's ending by reading between the lines. For example, a poem with only one column of text can still make an impression because the reader knows that there is more information to be found somewhere within the piece. Concrete poetry is not limited to three equal parts, however. Any combination of long, short, single, or multiple columns of text can be used to create a unique experience for the reader.
"Concrete Cat" is a concrete poetry since it was created for our eyes rather than for the message. This is a poetry in pictures. In other words, the physical look of the poetry is more important than the ideas, emotions, and language. It does not have a common language. It cannot be read by anyone else but us. Although most concrete poets work with type, ink, and paper like traditional poets, some use phonograph records or tapes as well as photographs.
In conclusion, concrete poetry is a group of poems that present images instead of meaning. They are usually written in blocks of typed letters, with some added device to identify them as poems. Some examples are: "Concrete Cat," "The Concrete Poetry Center Library Catalog," and "A Guide to Concrete Poetry." Many different techniques have been used over time to create concrete poems; however, they all share this basic form: imagery combined with poetic devices.
At first, concrete poetry appear illegible. They appear to isolate you from the sentiments elicited by the words. They force you to examine the poetry in complete stillness. This may be eye-catching, strange, unsettling, and even unpleasant. But it's important not to let yourself be distracted by these effects; instead, use them as motivation to continue reading.
Concrete poetry is not writing intended for reading aloud. It is not poetry that aims to be read slowly, thoughtfully, and with enjoyment. Rather, its aim is to make a direct, explicit connection with the reader, who must participate fully in order to understand the message being conveyed. Writing that relies on visual perception rather than verbal expression is therefore more appropriate for this kind of communication.
In addition to being isolating, concrete poetry can also seem trivial or meaningless. There are many different techniques used by contemporary poets to create concrete images, and they can be applied to words that would otherwise be ordinary sentences. For example, you could change the meaning of every third word in this article by removing those words from the sentence, so that "a cat sat on the mat" becomes "mat sat cat". You could do the same thing with any of the articles in this list: "a book is read", "a tree is seen", "a window is closed".
Concrete poems aren't necessarily free verse, but they could be. A free verse poem is one that does not follow a set pattern for its rhyme scheme or other formal elements. Concrete poetry is exactly what it sounds like: concrete objects such as stones, pebbles, or bones on which the poet writes (or prints) his/her words.
Many concrete poets also use found objects in their work. The object might contain the first letter of the poet's last name, for example. Others write with scraps of paper taken from the newspaper. Still others use their own blood, urine, or feces as part of their work.
Some concrete poets claim to receive images and words from outside sources while writing. These messages can appear in dreams or during seizures, for example. Many concrete poets say they create works to discover meanings behind the messages they receive.
Concrete poetry was popular in the 1960s and 1970s. Today, many artists use concrete poetry in order to express themselves through form without relying on content.