A, No A - Jeremy Adler
Goods are dripping/ feeding down into 'consumer' This is emphasized by the use of white space. Huge amount of goods at the bottom of the page - piling like a sand-timer.
The 'consumer' is broken in half, like a mouth = a comment for societies need for materialistic things. 'mer' is a very strong syllable - why broken off?
Goods growth = greed, showing how greedier we get the more we have the more we want. More and more 'goods' are fed to consumers and the more we 'eat' the more that is pumped into us.
Goods can mean ANYTHING.
The 'goods' overlap - we don't even care what we consume as long as we consume it!! Emphasized by type size, all the same, but could relate to any type of good.
FEEDING THE SYSTEM - TAKING OVER, CREEPS ONTO PAGE, GREED CREEPING IN.
Portuguese audiovisual adaptation of five concrete poems ” Cinco” (by Jose Lino Grunewald, 1964), ” Velocidade” (by Ronald Azeredo, 1957), ” Cidade” (by Augustus De Campos, 1963), ” Pêndulo” (by E.M of Melo and Castro, 1961/62) and ” The Organismo” (by Décio Pignatari, 1960). Direction: Christian Caselli.
Taking five STILL/STATIC poems and animating.
INTERACTIVE POEMS BY MARKO NIEMI
Little Mermaid
A never-ending kinetic hay(na)ku.
Ariadne Calling - Some poems featured on minimalist concrete poetry including this one, again its interactive and features another way to view poetry.
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