Now a days, no one. Well, no one except for those studying Literary Theory, Media Poetics, Creative Writing, Avantgard Literature or Word Artists. Though this sounds like a large group, those who dwell on this movement long enough to write, let alone read about it, are scarce. Research proved difficult in finding up to date or relevant sources on this material because not only has the movement itself come and gone but so have the people who write about it. Since this form is not taught in schools or to those who do not peruse academia in this field, works commenting on Concretism has diminished, causing the intended audiences for their works to become incredibly acute.
The intended audience or discourse community has narrowed itself to students in higher education. This is apparent because not only are they the only ones who have been illuminated to the fact that this kind of poetry even exists, but the rhetoric in this field targets and is inclusive only to those of a higher education, such as college Graduate or Undergraduate students in English Literary Discipline and other scholars/professors because of the high language or complex diction and essay structure.
In his, “Narrative in Concrete / Concrete in Narrative: Visual Poetry and Narrative Theory,” author Brian J. McAllister perfectly exemplifies the advanced rhetoric in this field even in his opening line, “This essay situates itself at the intersection of two recent trends in narrative: the study of intermedial narrative and the study of narrative in poetry.” (Narrative in Concrete / Concrete in Narrative: Visual Poetry and Narrative Theory). It is clear that the intended audience for this piece would have to be literary scholars to even understand his high language but also, what the concepts he is arguing about are.
Concrete Poetry? 