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Three columns of newsprint were cancelled with white ink by handmarking. The text becomes impossible to read and the work appears like fabric. -- Source of annotation: Marvin or Ruth Sackner.

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The Hebrew title translates into "There Is No End." This book includes the following reproductions of drawings and collages held by the Sackner Archive, viz., Transparente Zeit(ung), Konsonanten-Chaos, and Durch-Streichung (No.2). -- Source of annotation: Marvin or Ruth Sackner.

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Several works depicted in this book are held by the Sackner Archive. These include Transparente Zeit(ung), two Durch-Streichung drawings, and Konsonanten-Akkumulation, -- Source of annotation: Marvin or Ruth Sackner.

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This card is combined with others from Edition Splitter and stored as a card set. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reproduction of a work that consists of styrofoam Hebrew letters Gimel - Lamed - Mem placed vertically in a glass pyramid. This card is combined with others from Edition Splitter and stored as a card set. -- Source of annotation: Marvin or Ruth Sackner.

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The cover illustration depicts the tetragram JHWH in Hebrew letters as designed by Daniel. Several concrete poems in this book are based on permutations of these four letters. Another section deals with permutations and combinations of the words, picture, drawing, writing, and text among others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a collection of Austrian Jewish poetry. Peter Daniel contributes four poems, one titled "the Victims of the Victims" which reads, "At the 50th anniversary of the Anschlussan Austrian politician proclaimed; "Austria was the first victim of Nazi Germany,and the Jews were the victims of the victims."In other words:The Germans were the perpetratorsand the Austrians - who were "victims"-were called upon to sacrificethe Jews.But the politicianfailed to mentionhow willinglythat "sacrifice" was made.The afterward states that the current Jewish population of Austria is 15,000 from a pre WWII total of 200,000. "Before the Holocaust, Jews were in the forefront of Austrian culture. Those Austrian artists and intellectuals who survived continued to make a cultural contribution in the United States, Great Britain and elsewhere. However, after the war, no invitation to return to Austria was extended, and those emigres who came back were not awarded Austrian citizenship. They had to apply...

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Daniel randomly cut Hebrew letters of various styles and sizes and collaged them onto paper. -- Source of annotation: Marvin or Ruth Sackner.

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The original work is a collage of cut Hebrew letters. This card is combined with others from Edition Splitter and stored as a card set. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue demonstrates the varied styles of Hebrew concrete poetry composed by Peter Daniel. The Sackner Archive holds the print depicted in the book, Ein offenes Manifest. It also holds the following drawings and collages: Der Buchstabe als Weltenformel, Vernetzung, Buchstaben-Fragmentation, and Durch-Streichung. -- Source of annotation: Marvin or Ruth Sackner.

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The duplicates are not inscribed. -- Source of annotation: Marvin or Ruth Sackner.

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A red form of a Golem is the background for the text Golem - Genom - GenGolem - LabGolem. In Jewish folklore a Golem is a man-made figure constructed in the form of a human being and endowed with life or an automaton. The name derives from the Hebrew word for a shapeless thing. -- Source of annotation: Marvin or Ruth Sackner.

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Peter Daniel wrote his name, Daniel, on 16 lines horizontally and 11 lines vertically along with calligraphic embellishments. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition dealt with concrete poems installed in public places. There are also critical texts about concrete poetry by Gomringer and Valoch in the catalogue. Peter Daniel lists his work in exhibition in the Sackner Archive's "Hebrew Concrete Poetry" in 1997. -- Source of annotation: Marvin or Ruth Sackner.

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The first Hebrew word, ohel (tent) is changed in five stages to the final word in the column, ruach (wind, spirit). The letter forms are drawn in black ink. The concrete poem suggests how easily a tent can be transformed by wind. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reproduction of a work that consists of an Aleph under shattered glass. This card is combined with others from Edition Splitter and stored as a card set. -- Source of annotation: Marvin or Ruth Sackner.

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The title translates to "Structure-Break/Structure-Framework." The image consists of two groups of densely placed Hebrew letters divided by a river-like blank space. On the left and right sides are several letters that are randomly, less densely placed. This could be a metaphor for the Red Sea, of the political schism of religious and non-religious Jews, or history's attemmpt to divide the Jews. Or it could be simplly a beautiful abstract, typographic poem! -- Source of annotation: Marvin or Ruth Sackner.

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The black sculpture consists of the Hebrew letter Taw (T). The numerical value of this letter is 400. -- Source of annotation: Marvin or Ruth Sackner.