The book begins with a timeline of the history of sound poetry tracing the literature, instruments, playing and treatises. It contains a descriptive analysis of the works of the major European sound poets with minimal attention to the works of non-European poets. -- Source of annotation: Marvin or Ruth Sackner.

The book begins with a timeline of the history of sound poetry tracing the literature, instruments, playing and treatises. It contains a descriptive analysis of the works of the major European sound poets with minimal attention to the works of non-Europeans. -- Source of annotation: Marvin or Ruth Sackner.

Issued in conjunction with Chopin's book of the same title, a work also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Issued in conjunction with Chopin's book of the same title, a work also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The cover of the card depicts Emmett Williams' poem "SolDIEer." -- Source of annotation: Marvin or Ruth Sackner.

The book consists of chapters written on the field of Sound Poetry; these include essays and interviews. There are only two typewriter art pieces in this book, both by Henri Chopin. -- Source of annotation: Marvin or Ruth Sackner.

Wikipedia: Poi refers to both a style of performing art and the equipment used for engaging in poi performance. Poi originated from the Māori people of New Zealand as a performance art that involves swinging tethered weights through a variety of rhythmical and geometric patterns. Poi artists may also sing or dance while swinging their poi. Poi can be made from various materials with different handles, weights, and effects (such as fire). Poi originated with the Māori people of New Zealand, where it is still practiced today. Poi has also gained a following in many other countries. The expansion of poi culture has led to a significant evolution of the styles practiced, the tools used, and the definition of the word "poi." Poi is not a French word. -- Source of annotation: Marvin or Ruth Sackner.

Also published in Collection Ou No.0. This is a spoof of Chairman Mao stating that he wants to invent a woman with 100,000 vaginas as depicted in the central image of this print. -- Source of annotation: Marvin or Ruth Sackner.

This is the second edition with reproductions from the original photographs and postage stamp of the first edition published in 1976 (25 copies). The images on the stamps include William Burroughs, Brion Gysin, Francoise Janicot, Henri Chopin and Rodney Grey. Each artist stamp or stamps is affixed to a papercard sheet. -- Source of annotation: Marvin or Ruth Sackner.

The photographs depict postal stamps altered with images of mostly William Burroughs. Other writers and politicians also appear. The stamp collage by Cozette de Charmoy depicts William Burroughs. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition and catalogue were organized as a memorial to Dufrene who died in 1982. -- Source of annotation: Marvin or Ruth Sackner.

This calligraphic text was included as a folded print in Portfolio Chopin. It is a linear extract of letters by Henri and Bernard to each other from 1962 - 1977. The two are identified by heavy printed letters, BH and HC. The maquette drawing for this print is also held by the Sackner Archive. The prints are stored in the Heidsieck drawer. -- Source of annotation: Marvin or Ruth Sackner.

This is a retraction for a claim made by the exhibitors about Chopin's work in the show, Concrete Poetry Exhibition, St Pancras Library, July 1972. -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by Dianne Fogwell. -- Source of annotation: Marvin or Ruth Sackner.