Concrete poetry has been posited as the only truly international poetic movement of the 20th Century, with Conceptual writing receiving the same cultural location for the 21st-Century. Both forms are dedicated to a materiality of textual production, a poetic investigation into how language occupies space. My dissertation, Text Without Text: Concrete Poetry and Conceptual Writing consists of three chapters: “Dirty”, “Clean” and Conceptual.” Chapter One outlines how degenerated text features in Canadian avant-garde poetics and how my own work builds upon traditions formulated by Canadian poets bpNichol, bill bissett and Steve McCaffery, and can be formulated as an “inarticulate mark,” embodying what American theorist Sianna Ngai refers to as a “poetics of disgust.” Chapter Two, “Clean,” situates my later work around the theories of Eugen Gomringer, the Noigandres Group and Mary Ellen Solt; the clean affectless use of the particles of language in a means which echoes modern advertising and graphic design to create universally understood poetry embracing logos, trademarks and way-finding signage. Chapter Three, “Conceptual,” bridges my concrete poetry with my work in Conceptual writing—especially my novels Local Colour and Flatland. Conceptual writing, as theorized by Kenneth Goldsmith, Vanessa Place and others, works to interrogate a poetics of “uncreativity,” plagiarism, digitally aleatory writing and procedurality. Text Without Text: Concrete Poetry and Conceptual Writing also includes three appendices that outline my poetic oeuvre to date.