Marvin Sackner heard Basinski perform this poem at a symposium held in conjunction with the exhibition, "An American Avant Garde: Second Wave" at Ohio State University in 2002. Basinski read from the poem and commented on the images while turning the drawing side to side and upside down. After he completed this very droll performance, Sackner came up from the audience to ask him if he had ever recorded it. Basinski replied "no, because it is never the same each time that I do it." -- Source of annotation: Marvin or Ruth Sackner.

The title page reads - Gnostic: the nome of she are words of power, unspeakable and dwelling in forrest shadow in the midst of insect song. -- Source of annotation: Marvin or Ruth Sackner.

This article describes how "Michael Basinski's visual poetry flourishes in and beyond the Internet world of Webzines." -- Source of annotation: Marvin or Ruth Sackner.

Subtitled "Visual poetry and personal experience" this massive notebook contains writings and interviews on poetic and personal experiences of Huth. In diary-like form from his blog, Huth contributes concrete and visual poems. This work is an example of Huth's brilliance as a poet, writer, archivist, critic and publisher. A visit by Huth to the Sackner Archive on April 13, 2004 titled "Home Sweet Museum" is described. In an illuminating essay dated June 15, 2004 Huth describes how he writes and how he creates fidgetglyphs. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this poem is mushrooms. -- Source of annotation: Marvin or Ruth Sackner.

The drawing is done on a page from a book on mushrooms and includes printed drawings of mushrooms and a caption. One of the mushrooms in the drawing is titled, "Scleroderma verrucosum." The title and subject of Sackner's first published medical book was "Scleroderma," a disease of humans and unrelated to the mushroom. -- Source of annotation: Marvin or Ruth Sackner.

Marvin Sackner presented the opening night address entitled "jw curry's Exemplary Archive" for the symposium that also included a performance by a group of Canadian sound poets. Many of the works in this exhibition were lent from the collection of McCaffery and MacCormack. -- Source of annotation: Marvin or Ruth Sackner.

Marvin Sackner heard Basinski perform this poem at a symposium held in conjunction with the exhibition, "An American Avant Garde: Second Wave" at Ohio State University in 2002. Basinski read from the poem and commented on the images while turning the drawing side to side and upside down. After he completed this very droll performance, Sackner came up from the audience to ask him if he had ever recorded it. Basinski replied "no, because it is never the same each time that I do it." Lastly, Basinski indicated that the template for the layout of the poem was an opened Cheerios cereal box. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts the vowels, a e o in different calligraphic styles scattered throughout the image. -- Source of annotation: Marvin or Ruth Sackner.

The image on the cover of a drawing/collage was part of the SoundVision/VisionSound III exhibition. -- Source of annotation: Marvin or Ruth Sackner.

According to Basinski, this prepared tube is an example of an "opem," which is a poem for improvisational performance. He indicates that one should perform the opems in ensemble via improvisational interpretation by "reading" and voicing the textual elements through the tubes (or not) and around them. These opems are instruments and should be treated as such and they are scores and, again, should be engaged as such. Use silents and sound. Play. Orchestrate. Duration is variable. This work was displayed in the Gallery's exhibition entitled, Object Poems (2011). -- Source of annotation: Marvin or Ruth Sackner.

According to Basinski, this prepared tube is an example of an "opem," which is a poem for improvisational performance. He indicates that one should perform the opems in ensemble via improvisational interpretation by "reading" and voicing the textual elements through the tubes (or not) and around them. These opems are instruments and should be treated as such and they are scores and, again, should be engaged as such. Use silents and sound. Play. Orchestrate. Duration is variable. This work was displayed in the Gallery's exhibition entitled, Object Poems (2011). -- Source of annotation: Marvin or Ruth Sackner.

This first edition book was printed in October 2002 to celebrate Xexoxial's reimergence into publishing & electronic networking. The collection was inspired by the gathering of more than 20 visual poets who attended the Second Wave festival at Ohio State University, Summer 2002. The book was dedicated to the life and art of David Cole and Bob Cobbing. It also appeared on And's website - downloaded by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.