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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.
Un coup de dés jamais n'abolira le hasard (A Throw of the Dice will Never Abolish Chance) is a poem by the French Symbolist poet Stéphane Mallarmé. Its intimate combination of free verse and unusual typographic layout anticipated the 20th-century interest in graphic design and concrete poetry .
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
The two are also interdependent and "without concrete poetry the current forms of visual poetry would be unthinkable". [10] The academic Willard Bohn, however, prefers to categorize the whole gamut of literary and artistic experiment in this area since the late 19th century under the label of visual poetry and has done so in a number of books ...
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Mary Ellen Solt, née Bottom (July 8, 1920 in Gilmore City, Iowa – June 21, 2007) was an American concrete poet, essayist, translator, editor, and professor. Her work was most notably poems in the shape of flowers such as "Forsythia", "Lilac", and "Geranium". They were collected in Flowers in Concrete (1966).
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П. O. was inspired to start writing poetry in 1973 when he heard Johnny Cash reciting (religious) poetry while tuning his guitar. П. O. thought he could do as well or better. His work ranges from standup-type rants to 'conceptual' page poetry and concrete poetry, with a heavy emphasis on wordplay and capturing the vitality of everyday speech ...