Ratchanon

https://www.ubu.com/papers/solt/index.html The term "concrete poetry" is now being used to refer to a variety of innovations and experiments following World War II which are revolutionizing the art of the poem on a global scale and enlarging its possibilities for expression and communication. There are now so many kinds of experimental poetry being labeled "concrete" that it is difficult to say what the word means. In an article in THE LUGANO REVIEW (1966), the English critic Mike Weaver, who organized The First International Exhibition of Concrete and Kinetic Poetry in Cambridge in 1964, distinguishes three types of concrete poetry: visual (or optic), phonetic (or sound) and kinetic (moving in a visual succession). And he sees individual poems within these three classifications as related to either the constructivist or the expressionist tradition in art. The constructivist poem results from an arrangement of materials according to a scheme or system set up by the poet which must be adhered to on its own terms (permutational poems). In the expressionist poem the poet arranges his material according to an intuitive structure. Weaver's definitions and classifications are most clarifying when applied generally; but when we are confronted with the particular text or poem, we often find that it is both visual and phonetic, or that it is expressionistic as well as constructivist. It is easier to classify the kinetic poem because it incorporates movement, usually a succession of pages; but it is essentially a visual poem, and its words are, of course, made up of sounds. We need only to look at Emmett Williams kinetic book SWEETHEARTS to see that it is possible to incorporate everything we have said about concrete poetry in this paragraph in one poem. Often concrete poems can only be classified in terms of their predominating characteristics.

Badianus Herbal Manuscript A page of the Libellus de Medicinalibus Indorum Herbis, composed in 1552 by Martín de la Cruz and translated into Latin by Juan Badianus, illustrating the tlahçolteoçacatl, tlayapaloni, axocotl and chicomacatl plants used to make a remedy for a wounded body https://en.wikipedia.org/wiki/Aztec_codices#/media/File:Badianus.jpg

Menhart Manuscript & Italika There are five family members: Manscript Regular, Italika, Bold, and Regular Drawn and Italika Drawn. The last two are more accurate representations of the printed samples from which these digital revivals were crafted and address the concerns of the judges as described below. Alexander W White https://alexanderwwhite.com/designer/typography/fonts/

Variations of 'sign 4'; such variation makes distinguishing signs from allographical variants difficult, and scholars have proposed different ways to classify elements of the Indus script. Mahadevan, Iravatham (1977). The Indus Script: Text, Concordance And Tables. New Delhi: Archaeological Survey of India. https://upload.wikimedia.org/wikipedia/commons/0/0a/Indus_script_sign_4.png

“Asking what it means to be an American artist in Germany during the Iraq and Afghanistan wars of the Bush years, Mehretu’s canvases meditate on the idea of the modern ruin,” in “maplike networks” of lines evoking trade routes and shapes drawn from architectural plans, city plans, and aerial imagery. The show is accompanied by a richly illustrated catalogue. https://makingmaps.net/category/09-map-symbolization/page/3/