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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.
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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 ...
David UU (pronounced David W.), or David W. Harris, (1948–1994) was an accomplished concrete and experimental poet and an important small press publisher. Along with Bill Bissett and bpNichol, he was a pioneer of the concrete poetry movement in Canada, and perhaps the first Canadian poet to explore visual collage embodying literary, philosophical and language references.
In his "ferro-concrete" (reinforced concrete) poems, Vasily Kamensky replaced grammar and syntax with a spatial arrangement of words that celebrates concrete as a dynamic force in the invention of the modern city. The artists discarded customary book materials and printed Tango on cheap wallpaper as a parody of urban bourgeois taste.
Calligrammes: Poems of Peace and War 1913-1916, is a collection of poems by Guillaume Apollinaire which was first published in 1918. Calligrammes is noted for how the typeface and spatial arrangement of the words on a page plays just as much of a role in the meaning of each poem as the words themselves – a form called a calligram .
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He has been a poetry editor for The Fiddlehead, and he plays several musical instruments. In fall 2009, Freehand Books published his first full-length poetry collection, Harmonics . [ 4 ] His second full-length book, consisting entirely of visual (concrete) poetry is Dirty Semiotics [ 5 ] (Broken Jaw Press, 2011).