Reproductions of examples of concrete poetry; one copy printed on white and the other on yellow stock. -- 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 manuscript 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.

Ray Gosling wrote the introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

Designated page 34 on verso, presumably in reference to a publication. -- Source of annotation: Marvin or Ruth Sackner.

All the large calligraphic markings are formed from the letter "e." -- Source of annotation: Marvin or Ruth Sackner.

The prints of these collages, also held by the Sackner Archive, were published by Writers Forum in 1982. -- Source of annotation: Marvin or Ruth Sackner.

This the cover design for the book of the same title which was published by Vertigo Productions, London in 1970; the book is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The introduction by Dom Sylvester Houedard critiques the sound poems by Cobbing reproduced in this issue. -- Source of annotation: Marvin or Ruth Sackner.