The book was edited by Piotr Rypson. -- Source of annotation: Marvin or Ruth Sackner.

The first 250 pagesof this 374 page book onsist of a wel illustrated discourse on ancient patern poetry. This is followed by a text with examples of concrete poetry and avant garde typography of the 20th century with an emphasis on Polish poets.The bibliography cites the Sackner Catalogue 1984 and a page from Sackner Archive book "Naked Among The Clad" by Kamensky is reproduced on page 261 of Rypson's book. This book could be classified as a reference to ancient concrete poetry as well as contemporary work and arbitralily it is stored on the reference shelf as concrete poetry international. Rypson has also included a discussion with examples of ancient Hebrew pattern poetry. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition dealt with concrete poems installed in public places. -- Source of annotation: Marvin or Ruth Sackner.

This second volume of the catalogue mainly documents the Congress held in conjunction with the exhibition. It includes a congress summary by Kornelia Roder. There are also essays by Geza Perneczky, Karol Sauerland, Piotr Rypson, Guy Schraenen, Karla Sachse, Joachim Blank, and Balint Szombathy on the political-cultural-artistic implications of Mail Art. The catalogue contains a transcription of a panel discussion on Mail Art. The participants included Ruth Wolf-Rehfeldt, Klaus Groh, Leonard Frank Duch, Joseph H. Huber, Thomas Schulz, Birger Jesch, Hans-Ruedi Fricker, and Uwe Warnke. The catalogue reprints reviews of the exhibition. Four pages of calligraphic concrete poetry, entitled "Mnemonic Scores" by Valeri Scherstjanoi begin this book. -- Source of annotation: Marvin or Ruth Sackner.

This manuscript was in the archive of Dick Higgins. -- Source of annotation: Marvin or Ruth Sackner.

Critical essays on Finlay's work and specific poems are provided by Piotr Rypson and Tadeusz Slawek, respectively. The illustrations in this catalogue depict prints and cards of Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.

The word "god" is printed repetitively in different layouts to form a poem on each page. -- Source of annotation: Marvin or Ruth Sackner.

The word "god" is printed repetitively in different layouts to form a poem on each page. -- Source of annotation: Marvin or Ruth Sackner.

Poetry was read by Rypson. -- Source of annotation: Marvin or Ruth Sackner.

Poetry was read by Rypson. -- Source of annotation: Marvin or Ruth Sackner.

This consists of letters, cards and messages on scraps of paper from the participants who sent rocks to Furnival's wall project. Furnival mounted most of them on cardboard backings. The rock wall was erected at the Furnival's house in Stroud. -- Source of annotation: Marvin or Ruth Sackner.

The pages consist of hand and finger prints in pink ink. -- Source of annotation: Marvin or Ruth Sackner.

The pages depict handprints and fingerprints in red ink. -- Source of annotation: Marvin or Ruth Sackner.

The pages depict handprints and fingerprints in red ink. -- Source of annotation: Marvin or Ruth Sackner.