This work is also designated as Card 26 from "Stories from the Flats." Tom Kryss conributed the envelope and cover. -- 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.

An abstract form is filled with black ink letters and abstract markings typical of Basinski's style. -- 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.

The cover was designed by Mike Schaefer. The mimeographed pages were originally planned to be part of Sctatch 3 (1981) that was not published. -- 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 is the deluxe edition. The prints and collaged pages are also presented as printed material within the periodical. -- 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.

Huth tells how he began The Subtle Journal of Raw Coinage and why he writes minimalist poetry. -- 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.