Art-O-Gram-concrete poetry: the old and the new word word art for language-nerds

In the article about the artist Dieter Roth , which was an important part of the art for the language juggling , the art and literary actions "concrete poetry" mentioned.

Time and reason to take a closer look at what the concrete poetics produced in a kind of degree of degrees between art and literature - also because "concrete poetry" can be set as a counterpoint to linguistic overstimulation, certainly not uninteresting for our present and future:

Senseless game with poetry?

Specific poetry is poetry in its most concrete form: The word as a symbol and meaning carrier is not processed with the intention of presenting a work of artistic value, but the language itself becomes a "star of the performance".

The concrete poet does not indulge in the particularly successful symbol, which it creates through the rushing of word -of -word words, but approaches the construct "language" directly.

Language arises from words, words are written down as words, words are composed of letters, letters consist of repeatedly different lines.

Words are written down as words?

Yes, and that would be in the middle of the "craft" of the concrete poetry, for which the distinction between words and words is essential.

All words are words, but not all words words, or how the German Academy of Language and Poetry explains:

That was the beginning of the explanation that the difference is illuminated around 30 more sentences to read at: Deutscheakademie.de/ .

This can be expressed scarcer and obvious, such as: B. in Magazin Spiegel, onion fish ABC: words/words ( Spiegel.de ):

Words consist of letters, words consist of thoughts.

The concrete poetry is interested in words and letters and punctuation marks, very specific in their graphic form ; It is the real object of the poem.

A lot can be started with this graphic figure, for example describing a thunderstorm with a few words:

Wolke Wolke
Wolkewolkewolke
Wolkewolkewolkewolke
Wolkewolkewolke
Wolke Wolke
BB
L LB
II Litz
TT I
ZZ TZ

The concrete poets rarely worry about the words and their meaning, and if so, then these thoughts are often very concrete.

For example, it can be about aligning the line distances between two or more rows of "poetic signs" in a way that optical perfection is achieved in pressure and lecture.

What we arrived directly with one of the most important works of art in concrete poetry (which has a lot of people, only not in this assignment):

Deeper songs

of the non-word poems has written the king of the really superficial poetry:
"Fish night singing" by Christian Morgenstern, also known as "deepest German poem" .

"Fish night singing" has employed many, many lecture artists and brought some of them to despair; Nothing but strokes and arches require high art , creativity , flexibility.

Examples of the recitation of the deepest German poem are to be seen enough:

1. A proposal for the correct lecture at school, presumably from a work -fed educator:

2. How to make more of it, Burg actor Hans Dieter Knebel in 2005 at the Vienna Burgtheater :

3. "Fish night singing" as spherical musically stored black and white performance:

4. Opulent night chants for synestheticians:

5. Very big orchestra for a non -singing fish:

6. Fish night singing 2004 live in Hangö, the southernmost city of Finland:

7. The fish animated by Aeffchenyoko sings:

8. From Dipl.-Ing. Martin Evanzin (Institute for Sensor and Aktors Systems, Technical University of Vienna) set to music, presented by the Unichor of the Heinrich Heine University Düsseldorf:

9. This video places ancient anonymously on the Internet without further processing. Quote Antianonym: "Just take it as it is and do not look for the deeper meaning ... I didn't find it, so you won't.":::::::

10. "Fish night singing" as chamber music:

11. Dirty anxes/Ickemaanders could not make friends with the original text:

12. Finely thrown night singing at the foreplay with students of the MS Carlzeller:

The absolutely worth seeing original, "Christian Morgenstern: Morgenstern in the evening. Gert Fröbe recites Christian Morgenstern" , is unfortunately only available on a CD buying ... As a consolation, you can listen to Gert Fröbe at the visually beautiful lecture by Morgenstern's wind tongue:

Whiring attitude to life in 20 words

If a poem of concrete poetry has a meaning and purpose that goes beyond visual perception (content to be conveyed about language, from the description of a mood to the request), this is often presented surprisingly precisely and yet completely by the shortage of the means.

So Eugen Gomringer's poem "Avenidas".

Eugen Gomringer was the writer under a number of artists (e.g. painter, architect and sculptor Theo van Doesburg, engineer and composer Pierre Schaeffer), who tried to find the idea of ​​a "concrete art" , which understood the elements of art and the respective way of presenting as their own reality wanted.

Gomringer's manifest "From the verse to the constellation. Purpose and form of a new poetry" (1954 appeared in the "Neue Zürcher Zeitung" and later in several revised print versions) became the founding manifesto of the specific poetry, shortly after the artist, art theorist and writer Öyvind Fahlström with the work "Hätila Ragulpr På fåtskliaben: Manifest Poesi ” the term “ concrete poetry ” (here in northwestern space, in Brazil there was a movement of concrete art and poetry at the same time).

"Avenidas" won the Alice Salomon Poetics Prize 2011 and was given by Gomringer of the pricing Alice Salomon University of Berlin (University of Applied Sciences for Social Work, Health, Education and Education) for the design of the university external wall.

This is what it looks like today: Idw-online.de/de/Newsimage?id=154590&size=screen , more beautiful and, above all, shorter, so far hardly any admirable (admirer) has been the seductive urban summer life around the Avenidas, Flores (flowers) and mujeres ...

Suning of free democracy in 29 lines

The "concrete poetry" is occasionally accused of political indifference, because poetry always has the task of drawing attention to social grievances in a society.

This is certainly true, but the concrete poetry can also keep up in this regard-the "shortening to graphic" can even make statements clear, as in the "freedom-democratic basic order" by graphic designer and photography artist Wolfgang Lauter (1978):

Almost four decades old, and yet again brand new. Let us experience terrorist threats in which the (security) order (in some places threatens to devour freedom and democracy.

A single sheet of paper, it only takes 29 lines for order to eat freedom and democracy. And yet in the loudly staged line by line in as little steps as well as unstoppable, the most important basic values ​​of peaceful societies are named all dangers that the overweight of "order and security" entails "freedom and democracy" :

Threat of the individual freedom of the individual by the increased level of order that is due to the resistance of terror - whereby governance with dictatorial approaches regularly exploences this "need to create order" to restrict the freedom of its citizens uninhibitedly and excessively.

Freedom threats of entire societies, because anxious and frightened small spirits always tend to follow up on right-wing populists or other political Egoists with simple answers. Who usually act stupidly in their longing for power, certainly do not cope with the complexity of the world, make at least everything worse and at the latest in the event of maintenance and destroy long -term equilibrium structures.

Threat of democracy by this terror and precisely these right -wing populists.

Threat of creative people in society by the equilibrium effect of the orders.

In 1978, when the "freedom-democratic basic order" was created, and in front of it, concrete poetry was not operated by it exclusively homely artists, but was a more minor "art game" for a lot of artists with completely different ideas and work designs.

The famous French poet and writer Guillaume Apollinaire has novels and stories such as "The Murdered Poet" (stories. Verlag Wolke, Hofheim 1985, ISBN 3-92397-08-6) and non-fiction such as "The painters of Cubism." (Verlag die Arche, Zurich 1973), but also used with gonne concrete poetry in the truest sense of the word (Apollinaire, Guillaume. Calligrammes. Foreword by Michel Butor. Éditions Gallimard 1995, ISBN 2-07-030008-0).

The Canadian poet and action artist Bill Bissett was and is well employed as a painter, editor of the literary magazine Blewointment , writer and author of politically ingenious collections of poems and yet left us immortal concrete poetry:

EarthearHearHeartHearHeartharth

There itch language junckies in the brain and key fingers, except "Hear" "The" "Art" and "Hear the Art (!)" You should still be found a few words and words ... (Bill Bissett, Liberating Skies, 1968).

The Catalan poet, writer, playwright, graphic and plastic artist Joan Brossa I Cuervo is "full-time" the most representative Catalan avant-garde author of the 20th century and has also brought the concrete poetry a decisive piece:

He honored the written language large and physically [1], also really put an "eternal A" into the world [2] and finally created a poem through which one can simply go through (in three lines) [3].

1. Joan Brossa: Honor for the book, Passeig de Gràcia, Barcelona

2. Joan Brossa: Lying A with fish, town hall of Mollet del Vallès

3. Joan Brossa: Walkable visual poem in three times, Velòdrom, Barcelona

And so on and so on, a list of a good two dozen known artists and scientists is put together in no time, which are also concerned with concrete poetry:

Architect Friedrich Achleitner, Poetry HC Artmann, Philosopher Max Bense, Linguist Chris Bezzel, artist Ivar Breitenmoser, Dramaturg Claus Bremer, sound artist Henri Chopin, avant-garde artist Carlfriedrich Claus, artist Caterina Davinio, painter Paul de Vree, literature and media scientist Reinhard Döhl, artist Öyvind Fahlström, garden artist Ian Hamilton Finlay, poet Ferreira Gullar, critic Helmut Heißenbüttel, artist Jiří Kolář, composer Jackson Mac Low, literary scholar Kurt A. Mautz, printer and publisher Hansjörg Mayer, literary critic Edwin Morgan, action and object artist Dieter Roth , composer Gerhard Rühm, Psychiatrist Konrad Balder Schauffelen, philosopher Siegfried J. Schmidt, painter Kurt Schwitters, painter André Thomkins, artist Timm Ulrichs and performance artist Emmett Williams.

Or have employed, because:

Suning of concrete poetry in advertising

The old world and the Brazilian concrete poetry both took the same, obvious path into the future: concrete poetry, somewhat platter, is ideal, with viewer a) Attention and b) the emotions that prevent the decisions about considered - and therefore need to be generated by advertising so urgently.

Because if advertising would only show what we want to know (what distinguishes a product from others, what are its advantages and disadvantages), there are no large advertising agencies. The manufacturer could tell us that, he knows his product best. In order for a well -paid industry to be created, it had to create added value.

If this is not so easy to find in the product, the contracting entrepreneur pays his ingenious advertising agency for another added value: customer influence beyond the factual level = higher paragraph actually not better products.

A large part of what was once created in playful, artistic, artistic, extravagant -processed words, words and pictures in order to amuse the viewers, to put up with threats and grievances (and did that), have now been absorbed by advertising and instrumentalized for distant purposes.

And many artists just starting to be in such a way, it lives much better from the fat mission of an advertising agency than from the usually Kargen artists' wages in pre-Ruhmes times ...

The determined poets of concrete poetry have therefore become rare today, a few single representatives keep the flag of the pun. With bold designs and finally free of the once stubborn dogmas (concrete poetry only represents itself, etc.), the game with the word and letters goes into a new round, as a game with meanings, font dimensions (e.g. font sizes) and spatial arrangement. To a large extent in a completely new medium, as a representation on the screen ...

The times of the jewelry and magnificent volumes full of concrete poetry may be over (for the time being, books are too good to disappear), but the concrete poetry has the best future chances:

The future: more concrete poetry for everyone!

The concrete poetry was also classified as a "passion of the intellectuals among the poets" , and passions have the gratifying tendency to ultimately be preserved.

As the computer nerd dominates the computer on the inside, outside and between the program lines, the language nerd dominates a language to its meta level-and the way to such a secure mastery of language is everyday thinking training that will never go under in civilized societies.

When computer nerd and language nerd plunge together on the characters on a screen surface, concrete poetry is created at its finest.

And: Today this everyday training is open to all people , they can participate passively and extremely actively, i.e. an explosion of concrete poetry on our screens in the future ... We could expect an explosion of concrete poetry on our screens if people recapture the network from the corporations.

But as long as you usually use one of the programs that are suitable for creating craziest works of the concrete poetry to create all copyrights to the works of art created with this (free?) Program, you can make concrete poetry with the computer. To play with language, an empty Word side and, if necessary, even the notepad.

Only imagination is needed for the endless possibilities:

Wolfgang Lauter 's “ free-democratic basic order” can be re-enacted with many other terms. Perhaps in an algorithm for a long sentence, which then only "processed" in 50,732 lines ...

Learning vocabulary is a lot more fun when something exciting is to be translated:

Poèmes à Lou (Guillaume Apollinaire 1914)

Here is the completeness of the text that is not quite as good to decipher:

Or so, whoever writes not only stays, but above all learn best:

That was with the suggestions, the imagination should be stimulated and not flooded; Finally, once again language enjoyment by Gert Fröbe , with Christian Morgenstern's "conversation of a house snail with himself" :

... and here the completeness is the text that is not quite as easy to understand:

(The snail gets caught in its own thoughts or rather they go through with it so that she has to postpone the further decision of the question)