Designated pamphlet seven. Although the title page of this publication announces a debate, the pages consist of photocopied reproductions of concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

This manuscript documents the exhibition of Bob Cobbing & Writers Forum at Sunderland Arts Centre, published as Ceolfrith No.3. -- Source of annotation: Marvin or Ruth Sackner.

Designated Studies in Concrete Poetry No.4 and is a reprinting of the lecture delivered by Cobbing at the Text as Figure exhibition in Wolfenbuttel 1987 with the following topics: 1) typewriter dirty clean, 2) typewriter, 3) calligraphy hand writing drawn letters, 4) press-on lettering, 5) press-on letters & other means, 6) mimeo misuse, 7) found materials, 8) more found materials, 9) photo-copying, 10) photo-copier, 11) computer, and 12) back to the beginning. The 69 examples in this book include mostly Cobbing's poems but a few examples of other poets as well. -- Source of annotation: Marvin or Ruth Sackner.

Designated Studies in Concrete Poetry No.4 and is a reprinting of the lecture delivered by Cobbing at the Text als Figur exhibition in Wolfenbuttel 1987 with the following topics: 1) typewriter dirty clean, 2) typewriter, 3) calligraphy hand writing drawn letters, 4) press-on lettering, 5) press-on letters & other means, 6) mimeo misuse, 7) found materials, 8) more found materials, 9) photo-copying, 10) photo-copier, 11) computer, and 12) back to the beginning. The 69 examples in this book include mostly Cobbing's poems but a few examples of other poets as well. -- Source of annotation: Marvin or Ruth Sackner.

Image was taken from Kris Kringles...; the original is held by the Sackner Archive. The author is also known as Jennifer Pike. -- Source of annotation: Marvin or Ruth Sackner.

The author is also known as Jennifer Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

The writer describes the scene at the London Artists' Book Fair at the Barbican Centre in November 1997. He stresses the increased appreciated value of artist books, particularly those done by Ian Hamilton Finlay and Bob Cobbing. Writing about Cobbing, he mentions that "His Domestic Ambient Noise" series, in collaboration with the visual poet Lawrence Upton, has run to 157 editions in the past three years. Their cost is 1 pound each or four for 5 pounds. Winsor states that "A rich collector in Miami [Marvin Sackner not identified!] and two assiduous London collectors have all 157." -- Source of annotation: Marvin or Ruth Sackner.

Girlie poems are works or poems dedicated to 'girls' whose names, at the very least, have fascinated Cobbing. The poems are constructed as permutations, palindromes, and visual scores by overprinting. As noted by Griffiths, the simpler the score, the greater the performance potential because it allows Cobbing wider improvisation. The book reprints a large number of these poems. One copy of this book has an orange color and another a blue color. -- Source of annotation: Marvin or Ruth Sackner.

Richard Truhlar writes "Cobbing uses the writer's tools (typewriter, various duplicating machines, ink, etc.) to explore the word and/or letter as hieroglyph, as phonetic symbol, and as concrete graphic interaction of language image with eye and body rhythms." This volume mainly depicts typewriter poems. -- Source of annotation: Marvin or Ruth Sackner.

Designated Studies in Concrete Poetry No.3. Includes sections on definitions, historical statements & manifestos, as well as chronologies of concrete and sound poetry. The book was first compiled in 1971 to coincide with the Stedelijk Museum's exhibition "?Concrete Poetry" but funding could not be obtained for publication. Additions to the book were continued until its publication in 1978. This is the first edition. The chronolgy was written by Dom Sylvester Houedard, Jeremy Adler and Dick Higgins. -- Source of annotation: Marvin or Ruth Sackner.

This is also designated Writers Forum Series Studies in Concrete Poetry Number 3. In addition to examples from international concrete poets, the anthology cites chronologies of visual poetry and sound poetry from 1700 BC to 1978. Includes sections on definitions, historical statements and manifestos, concrete aspects of poetry, sound poetry, semantic poetry, myths of concrete poetry. Examples of poems from about 350 authors are reproduced. This is the third printing of the first edition.This reprinting under guidance by William Cobbing, Bob Cobbing's grandso, has an added introduction -- Source of annotation: Marvin or Ruth Sackner.

This is also designated Writers Forum Series Studies in Concrete Poetry Number 3. In addition to examples from international concrete poets, the anthology cites chronologies of visual poetry and sound poetry from 1700 BC to 1978. Includes sections on definitions, historical statements and manifestos, concrete aspects of poetry, sound poetry, semantic poetry, myths of concrete poetry. Examples of poems from about 350 authors are reproduced. This is the third printing of the first edition. -- Source of annotation: Marvin or Ruth Sackner.

Reprinting of favorite poems. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember. This is Cobbing's essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

The prints making up this catalogue were those that were displayed as the exhibition. They were reproduced from prior publications. Several originals by Dom Sylvester Houedard, Peter Mayer, Jeff Nuttall, and Tom Phillips from this exhibition are held by the Sackner Archive. There was no bound catalogue published on this exhibition. Therefore, the totality of this catalogue is unique. The work is an excellent reference for the examples of concrete and poetry done in the 60's and 70's. Edith Kalman did three micrographic calligraphic prints that have been scanned into this citation. The pamphlet lists the location of the works displayed. The prints comprising the exhibition are stored in their own box withing the cobbing matrial. -- Source of annotation: Marvin or Ruth Sackner.