Passionately Cool: Concrete Poetry in Denmark
Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
Standard
Passionately Cool : Concrete Poetry in Denmark. / Ørum, Tania.
Exploring Nordic Cool in Literary History. ed. / Gunilla Hermansson; Jens Lohfert Jørgensen. Vol. 15 Amsterdam : John Benjamins Publishing Company, 2020. p. 303-318 19 (F I L L M Studies in Languages and Literatures).Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review
Harvard
APA
Vancouver
Author
Bibtex
}
RIS
TY - CHAP
T1 - Passionately Cool
T2 - Concrete Poetry in Denmark
AU - Ørum, Tania
PY - 2020/11
Y1 - 2020/11
N2 - The cool minimalism of the 1960s and 1970s was an attempt to democratise art and open the work to the audience. From a general socio-political perspective it was part of the struggle to overturn hierarchies and create a shared activism that would bring about a new society and world order. The cool media of the art scene were thus part of a passionate political movement. Concrete poetry wanted to foster a new corporeal sensibility that would involve readers in the performative completion of the work, as an erotic act of reading as well as a personal act of imagination. But readers were not necessarily willing to step into the “open work” and provide the bodily warmth and mental energy needed to see the “undramatic emptiness” of concrete poetry as “attractive or even beautiful” and to imagine “what sense of life is implied” (Nielsen). Although both writers and theorists imagined the “new cycle of relations between the artist and his audience”, the “new mechanics of aesthetic perception”, and the resulting “different status for the artistic product in contemporary society” (Eco) would happen spontaneously as part of the ongoing social and technological changes, more time and training was needed for such avant-garde practices to become sufficiently familiar for readers to recognise the warmth beneath the cool surface.
AB - The cool minimalism of the 1960s and 1970s was an attempt to democratise art and open the work to the audience. From a general socio-political perspective it was part of the struggle to overturn hierarchies and create a shared activism that would bring about a new society and world order. The cool media of the art scene were thus part of a passionate political movement. Concrete poetry wanted to foster a new corporeal sensibility that would involve readers in the performative completion of the work, as an erotic act of reading as well as a personal act of imagination. But readers were not necessarily willing to step into the “open work” and provide the bodily warmth and mental energy needed to see the “undramatic emptiness” of concrete poetry as “attractive or even beautiful” and to imagine “what sense of life is implied” (Nielsen). Although both writers and theorists imagined the “new cycle of relations between the artist and his audience”, the “new mechanics of aesthetic perception”, and the resulting “different status for the artistic product in contemporary society” (Eco) would happen spontaneously as part of the ongoing social and technological changes, more time and training was needed for such avant-garde practices to become sufficiently familiar for readers to recognise the warmth beneath the cool surface.
KW - Faculty of Humanities
KW - cool
KW - nordic
KW - concrete poetry
KW - Vagn Steen
KW - Hans-Jørgen Nielsen
KW - Per Højholt
UR - http://doi.org/10.1075/fillm.15.19oru
M3 - Book chapter
SN - 9789027207890
VL - 15
T3 - F I L L M Studies in Languages and Literatures
SP - 303
EP - 318
BT - Exploring Nordic Cool in Literary History
A2 - Hermansson, Gunilla
A2 - Lohfert Jørgensen, Jens
PB - John Benjamins Publishing Company
CY - Amsterdam
ER -
ID: 212507076