The paper examines the complex phenomenon of intermediality, "multimedial transgression", and "culturally agitating hybridity" resonating and flashing over ages and cultures. It reviews concrete poetry, which may be considered as a real multimedial text with linguistic and pictorial coded aesthetic message, the poetic intention evolving from the mixture of verb and picture. Examining from the aesthetic of reception, code-switching of concrete poetry comes into the focus of the research. We may

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... eel that for a recipient knowing both languages (for the recipient of concrete poetry), it is more advantageous for the speaker combining the expressions of the two languages since one with a mixed language always relates what he would like to say in the language he can express his thoughts more properly. In fact, this is such a code-switching that the recipient may perceive as a single code on the basis of simultaneity of text and picture. The study highlights reading alternatives that concrete poetry offers us as well as the travel it takes us on. By analysing the mode of interpretation, we can observe how visual poems overbalance the conventional linearity of writing, how figurativity becomes equivalent to the text in the course of creating meaning, while reading is guided by the sight of picture, which confirms the sight as well. Thus, language and picture are practically trapped by the calligram. Text (concrete poetry) understanding is described as integrative by the paper, coming into existence as a result of the constant correction and supplement of situational and ephemeral understandings. It considers the hermeneutical circle/spiral of understanding as a travel, which is always unique and not to be repeated.