Scope and Contents Cobbing describes the first time he used words in a non-semantic way (1959). Now does no belive that there are any distinction beween music and art and poetry and dance. He indicates that he does not notate his sound poems because "every shape one sees on a page, conjures up a sound - any sound one hears conjures up a pattern, a mark on the page. Ross asks Cobbing about his sound scores [abstract markings] and how he reads these marks. He cites Norman McLaren who drew a sound track on film. McLaren stated that "a thin line will give you a high sound, a thicker line will give you a lower sound. If you make a little tiny point it'll give you a high 'ping,' if you make it a rounder blob, a biggr blob, it'll give you a 'boom'..." Cobbing indicates than when he makes marks on paper, he writes in sound. Cobbing tells about a painting he made that was exhibited in a library entitled "Integration alone is not enough" (1962/1963) in which Margaret Thatcher, then a local representative saw...

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This anthology Includes reprints of a selection of curry's publishing activities focusing on his rubberstampings of minimalistic and concrete poems of his own and his circle of poets. Dean comments: this making precious of the single poem was the result of necessity as much as esthetic deliberation; curry published within a finite small budget. This could have caused poor-quality production, i.e. Gestetner, offset or xerox. Instead it resulted in hand-stamp, hand-set rubber type, as his chosen (& unique) means of publication. His scaled down book remained both anarchic and typographically refined. -- Source of annotation: Marvin or Ruth Sackner.

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The poem was first published by Writers Forum, London, 1981 in the book "A Game to be Played." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Notes from the authors on the process of making this book. "In "Go-Between Between," Anne Waldman writes: "Language does more than merely communicate and 'express.' It arrives, it manifests, it is a relationship."' This book enacts language as arrival and manifestation, composed as it was in the go-between of an email exchange. Both of us were (and are) interested in a poetics of constraint, of resistance, of inventiveness, and in the process of homolinguistic (English to English) translation. To while away a few winter months with some fun and a challenge, we devised a translation exercise. In "Alphabetic Jitterbug," Steven supplied the first text based on an alphabetic accumulation, and Hilary determined a first method of translation of that section: For each word, find in the dictionary the first (or a nearby) word of the same kind (for example, a noun for a noun), and do a replacement. This method was used a few times to produce successive texts; then in "Can a Paddy Sweat?"...