This collaboration consisted of reproductions of layers of text, handwriting, gauze and block letters printed on green paper. -- Source of annotation: Marvin or Ruth Sackner.

The drawings of rebuses, poems, formulas, and diagrams, one each to a page, that constitute this book were done in 1969 through 1982. The calligraphy is highly stylized. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this book relates to the Christian religion and the clocks depicted in it represent different times of the day as a metaphor for the Stations of the Cross. -- Source of annotation: Marvin or Ruth Sackner.

This book features Segay's sound poem scores after other poets in semiotic rather than verbal terms. -- Source of annotation: Marvin or Ruth Sackner.

Segay appropriated Chopin's typewriter poems and overlaid them with his own markings. Pages from this book are reproduced in the exhibiton catalogue held by the Sackner Archive, "Die Verwandlung" (2013). -- Source of annotation: Marvin or Ruth Sackner.

Pages are collaged with abstract paper shapes that are meant to be lifted up for reading. -- Source of annotation: Marvin or Ruth Sackner.

The earliest work in this sampling of Segay's visual poems is dated 1973 and the latest 1997. Most pages of the soft cover book consist of black paper with stylized cut out letters that form a text which is collaged to the white pages. One collage in the book was done as a collaboration among Segay, Nikonova, and Scherstjanoi. The material is enclosed within a handmade portfolio, held together by thick black laces with gold foil at the tips. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

The frottage word id concerto. -- Source of annotation: Marvin or Ruth Sackner.

This was a scaled down version of the exhibition, The Book Garden, which toured in England. Included is the assembling, 'Waggon' published by Editions Augenweide, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

According to Jerry Janecek, the theme of this issue is expressed in two sections: 1) violation of all poetic forms and 2) use of existing poetic forms with innovation. There are several multimedia poems that include handcoloring, collage, drawing, flaps and other moving components) by the several poets contributing to this issue. A section includes a chronicle of poetry readings by Transfuturists and others. -- Source of annotation: Marvin or Ruth Sackner.