The poet and artist Oyvind Fahlstrom (1928–1976) was the leader of the Scandinavian avant-garde during the fifties and the beginning of the sixties. He wrote his only collection of poetry Bord [ Tables ] in 1952–1955, but it was not published until 1966. In this book he applies the aesthetic ideas of his two manifestos – signification is what matters in poetry but signification emanates out of the visual materiality of letters and the sounds of speech. Bord contains advanced visual poetry as well as sound poetry. We may notice that the same tools for description and analysis can be utilized for both these modalities, something that can be explained with the help of gestalt psychology and the image schemas of cognitive poetics. Fahlstrom’s poem “Den svara resan” [“The hard journey”] is a three-pages score for speech choir and a beautiful visual poem as well. A harmonious, strict picture contrasts to the turbulent sounds. What you see and what you hear express different moods and supply different significations. The printed picture of elder free verse typically has a straight left margin and a wavering right one. After Fahlstrom, poets more and more tended to pattern the whole page. With time, Fahlstroms ideas met with American language poetry, creating a special quality we recognize in contemporary poetry.

中文翻译：

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ÖyvindFahlström的无聊：诗歌中的视觉装置

诗人和艺术家Oyvind Fahlstrom（1928–1976）在50年代和60年代初是斯堪的纳维亚前卫艺术的领袖。他在1952年至1955年间写下了他唯一的诗歌集Bord [Tables]，但直到1966年才出版。在这本书中，他运用了他的两个宣言的美学思想–意涵是诗歌中重要的内容，但意涵则源于视觉信件和语音的重要性。鲍德（Bord）包含高级视觉诗歌和声音诗歌。我们可能会注意到，用于这些模态的描述和分析工具相同，可以在格式塔心理学和认知诗学的图像模式的帮助下进行解释。Fahlstrom的诗歌“ Den svara resan”（“艰难的旅程”）是一部三页的语音合唱乐谱，也是一本优美的视觉诗。和谐，严谨的画面与湍流的声音形成对比。您所看到的和所听到的表达不同的心情并提供不同的含义。较老的自由诗歌的印刷图片通常具有直的左页边距和摇摆的右页边距。在Fahlstrom之后，越来越多的诗人开始在整个页面上进行图案化。随着时间的流逝，法斯特伦的思想与美国语言诗歌相遇，创造了我们在当代诗歌中认可的特殊品质。在Fahlstrom之后，越来越多的诗人倾向于在整个页面上使用图案。随着时间的流逝，法斯特伦的思想与美国语言诗歌相遇，创造了我们在当代诗歌中认可的特殊品质。在Fahlstrom之后，越来越多的诗人倾向于在整个页面上使用图案。随着时间的流逝，法斯特伦的思想与美国语言诗歌相遇，创造了我们在当代诗歌中认可的特殊品质。