Scope and Contents

Each of three Haikus are printed one to a page along side of calligraphic markings. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The first part of this book amounting to 133 pages consists of Haiku poems in Portuguese and notes to the poems. The next section of 55 pages consists of concrete poems. The final section depicts logographs. Xisto's signature near the title page is printed (silkscreen?) as discerned from examination of the two copies held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Usually published in an edition of 400 copies. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents There is an introductory manifesto on communication as follows: Free Information & Communication( meaning. reading. etc.) Any reference (see epigraphs for example) may ad libitum integrate the context of virtualities & correalities: the text of the poem being proposed as an (aesthetic) information already. All together, an approach by the way of analogy to a semiotic process within a probabilistic space-time of permutations & combinations of signs. The signs "” in our case the vowels "” correlate freely, even at random, one another, with the referent. and with the participant observer. Variables of creative reading. and other concrete means of communicating the poem; different languages: vertical, horizontal, transversal, circular sequences (divided. alternate, reiterated, aleatory, etc.); open, close, nasal, stressed (principal & secondary accents), unstressed sounds: staccato, legato, diphthongs, triphthongs, hiatuses, pauses, etc.: vocal timbres & registers:...

Scope and Contents There is an introductory manifesto on communication as follows: Free Information & Communication( meaning. reading. etc.) Any reference (see epigraphs for example) may ad libitum integrate the context of virtualities & correalities: the text of the poem being proposed as an (aesthetic) information already. All together, an approach by the way of analogy to a semiotic process within a probabilistic space-time of permutations & combinations of signs. The signs "” in our case the vowels "” correlate freely, even at random, one another, with the referent. and with the participant observer. Variables of creative reading. and other concrete means of communicating the poem; different languages: vertical, horizontal, transversal, circular sequences (divided. alternate, reiterated, aleatory, etc.); open, close, nasal, stressed (principal & secondary accents), unstressed sounds: staccato, legato, diphthongs, triphthongs, hiatuses, pauses, etc.: vocal timbres & registers:...

Scope and Contents

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Cluver analyzes the following Concrete Poems: Saroyan's "MM," Gomringer's "Silencio," Xisto's "Epithalamium II," Herrmann's "K8," Pignatari's "LIFE," Plaza's "Organismo Aureo," DeCampos' "Eis Os Amantes," Cage's "Chance: Change," and DeBarrios' "Lingua." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Betty Leirner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This exhibition was curated by Betty Leirner and Fulvia, her mother. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This card was removed from John J Sharkey's Scrapbook. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This a reprint of a text originally published in Folha da Manha in 1957 in Sao Paolo, Brazil. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The exhibition was curated by Philadelpho Menezes. -- Source of annotation: Marvin or Ruth Sackner.