Indeed, neither the weight of modernist forebears nor the intellectual milieu of Brazil's cultural capitals intimidated the young poet from the poor and distant state of Maranhao: In the years following Gullar's move to Rio in 1951, he initially joined forces with Concretist
artists and poets from Sao Paulo, then quarreled with them; became arts editor of a vibrant literary supplement; and eventually became the leading theorist of Rio's Concretist--later neo-Concretist--group.
(37) Would it be a concretist
metaphor of its present time?
These factors highlight the strong influence of concretist
hermeneutics in the debates that have been made in the Supreme Federal Court.
These reader-dialogue works thus operate with modernist, concretist
and documentary poetics.
The poet has thus become united with his poem (...) so much so that the concretist
asks his 'reader' to stand on his head if necessary to read it' (kyk ook die uitsprake van Kostelanetz aangehaal in Van der Elst (1992:230-231) en (Boshoff aangehaal in Marais & Kleyn 2007).
One poem's utopia is another's dystopia; a sonneteer's euphonia is a concretist
Starting from an analysis of the self-legitimating discourse of Brazilian Concretist
poetry as, paradoxically, both the historically specific manifestation and teleology of a literary poetics for the industrial age of mass communications, Franchetti pits the possibilities of contemporary digital technology to expose the contradictions created by tying the Modernist content to the built-in obsolescence of a technological industrial modernity.
"The trend in colored concrete as a floor installation, be it residential or commercial, is becoming one of an extended color palette, with richer, earthier tones replacing the pastel grays," said Cathy Richardson, an art associate for The Concretist
, Benicia, CA, whose clients include organic food chain Whole Foods.
Under the influence of distinct sources, such as the poetry of the Beat generation, the Oriental haikai form, and the productions of the mass media as well as the concretist
movement and Brazilian popular music, this new generation virtually abandoned the concept of mineiridade (with its regional, rural identity), preferring to focus on urban life, colloquial language, and the machinery of the modern world.
Analogique B (1958-59) marks a departure from the concretist
approach of pieces like Concret PH and Bohor (this latter, however, was composed later, in 1962).
While Mari Carmen Ramirez, in her catalogue essay, suggests that these diverse practices are united by a "concretist
impulse," such phrases do not banish the specter of pseudomorphology.