Deleuze's philosophy of the concept — concepts as events, as tools for thought, as creative acts rather than representations — has influenced experimental poets who treat the poem as a machine for producing new concepts rather than expressing pre-existing ideas; Hegel's "Phenomenology of Spirit" traces the development of the concept (Begriff) through its concrete historical manifestations, and poets engaged with dialectical thinking (Brecht, Neruda) treat poetic imagery as the sensuous embodiment of conceptual thought; A poet writing about scientific ideas — relativity, entropy, emergence — might reflect philosophically on whether poetic language can adequately conceptualize what mathematics expresses, or whether the poem offers a different kind of conceptual grasp; Conceptual poetry (as practiced by Kenneth Goldsmith and others) takes the concept literally — the idea or procedure that generates the poem is the poem's primary locus of meaning, enacting the philosophical view that concepts precede and determine their instantiation; Wallace Stevens's long poem "Notes Toward a Supreme Fiction" is explicitly philosophical in its use of concepts — the three imperatives (It Must Be Abstract, It Must Change, It Must Give Pleasure) function as conceptual scaffolding for the poem's exploration of imaginative truth; Aristotle's view that poetry is more philosophical than history (because it deals with the universal rather than the particular) makes the concept central to poetic meaning — the poem's particular story or image is always the vehicle for a more general conceptual truth