This is Vos' doctoral thesis. He mentions that the Sackner and Sohm Archives are excellent sources for reseach on the international concrete poetry movement. He critically reviews definitions of concrete and visual poetry proposed in the past. He relies heavily on the material written by Siegfried J. Schmidt and Nelson Goodman. -- Source of annotation: Marvin or Ruth Sackner.

This work is made from concrete in the shape of a book. The front molded letters read "Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

This work is made from concrete in the shape of a book. The front molded letters read "Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

Exhibition was curated by S.J.Schmidt. -- Source of annotation: Marvin or Ruth Sackner.

This early artist book by Ulrichs is composed of the repeating phrase 'uber 50 mal!' printed in black on pink stock on each of 50 pages. -- Source of annotation: Marvin or Ruth Sackner.

Several editioned works in this catalogue are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The pages are ruled like graph paper and are blank except for the first page which is rubberstamped. -- Source of annotation: Marvin or Ruth Sackner.

The first half of this book consists of statements on mail art by several contributors. The second half reproduces rubberstampings and examples of mail art by the same contributors as well as others. Bottinelli, an art dealer, introduced the Sackners to Fluxus and Book Art at Documenta in 1977. -- Source of annotation: Marvin or Ruth Sackner.

The card reads Bitte Wenden! (Please Turn Over) on both recto and verso in the same location. One envelope is addressed to Franco Vaccari, the Italian visual poet but not mailed, the other is not addressed. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this book depicts a false advertisement from a German newspaper that contains Timm Ulrichs' name. The advertisements are depicted on pages 178-183 of Ulrichs' exhibition catalogue, "Die Druckgrafik," 2003. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Dr. Carl Vogel. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was dedicated to the 200 year memory of Georg Christoph Lichtenberg who was born in 1742 and died in 1799. He attended High School in Darmstadt and studied mathematics and natural sciences in Goettingen from 1763-1766. In 1770, he became an extraordinary professor of experimental physics. Lichtenberg was known for his spirit-rich aphorisms and scientific papers. These aphorisms include among others. 1) A half new invention with a completely new name. 2) Exceptions are not always confirmation of the old rule; they can be also the harbingers of a new rule. 3) It is strange that only extraordinary humans make the discoveries, which seem after so easy and simple; this presupposes that for the simplest project, conditions of the things to notice require very deep knowledge. -- Source of annotation: Marvin or Ruth Sackner.

The rubberstamping reads "LANDESTHEATER HANNOVER." This suggests that Ulrichs was unhappy about the productions in this locale and is using a visual metaphor for the slang expression "I really could care less for this shit, and shut the fuck up." -- Source of annotation: Marvin or Ruth Sackner.

The rubberstamping reads "LANDESTHEATER HANNOVER." This suggests that Ulrichs was unhappy about the productions in this locale and is using a visual metaphor for the slang expression "I really could care less for this shit, and shut the fuck up." -- Source of annotation: Marvin or Ruth Sackner.

In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for th e qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.

In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for the qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.