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Concrete poetry presents its viewers with a unique and frequently perplexing situation. In addition to utilizing vocabulary or parts of language in non-traditional ways, concrete poetry additionally utilizes elements that are more commonly related to visual art. However, concrete poetry is not visual art. It is still concerned, primarily, with using speech, normally to communicate some meaning into the reader in a way that's undeniably linguistic in nature. Concrete poetry is therefore an especially distinctive genre which draws upon and comprises many diverse notions from a number of disciplines in order to fill in the gaps left when conventional grammar and syntax are all eschewed. One especially useful cross-disciplinary element utilized in real poetry is that the use of space. The poetry of Emmett Williams, Seiichi Nikuni, along with Ilse and Pierre Garnier particularly, make use of spatial relationships in their own poetry. The use of distance can be employed in place of traditional grammar and syntax to convey meaning in concrete poetry, particularly when the spatial position of one element is considered with different elements of the poem. Another component that may come up from these types of spatial relationships is a temporal aspect that all poetry applies, however, that becomes uniquely significant in the context of the concrete poetry of the millennium. Without those relationships concrete writings might appear as primitive distortions of words onto a page, with no significant sense or significance to communicate. Therefore, the temporal/spatial connections between poetic elements become necessary instruments that the reader wants in order to fully understand the linguistically pushed meaning behind many tangible poems. Classic poetry does create.