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Abstract

Concrete poetry was a poetry movement which arose simultaneouly in Europe and Latin america during 1950s and it was influenced by Concrete art, the abstract art movement at the beginning of the 20th century. The term Concrete art was coined to draw attention to the inherent beauty and power of basic plastic elements such as a line, a plane and a color which comprise the Abstract art and to emphasize their capability of expressing the spiritual. Concrete poetry as such, used language in reductive manner leaving only a word or a few words as basic linguistic unit and used words not as a tool to express ideas and feelings but themselves as the form and the content of the poem. The pioneers of Concrete poetry were Eugen Gomringer in Germany and the Noigandres Group in Brazil and both were influenced by Max Bill, the pivotal figure of Concrete Art movement. In Concrete poetry the words were liberated from its conventional linear structure and interacted with graphic space to produce the meaning as a whole. Concrete poets preferred to use types instead of handwriting believing that the precision of the mechanical letters can add another value to the poem. The concept and attributes of Concrete poetry interfaces with typography which is the core language of visual communication design. The introduction of Concrete poetry can be an important subject of learing in basic typography education in that it leads to an understanding that the letters are signs which have the dimension of meaning and it is possible to make the meaning visualized through the organic interlocking of type and space.