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The book is bound as two sequential sections with cloth wallpaper with a floral pattern covering the cardboard of the front and back covers. The spine is a continuation of the soft cloth that overlays the covers with the two sections of the book comprising heavy stock paper sewn separately into the cloth spine. The book appears to be an homage to A. Kruchynchk, the founder of Zaum, with a stylized visual/verbal portrait of the poet on the first page. Almost all pages have been designed as collaged, varied shaped, fragments of paper, cloth and other materials that must be lifted up by the reader to reveal the Russian writings by Segay beneath them. This format is a fairly unique design among the artist books in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The drawings of rebuses, poems, formulas, and diagrams, one each to a page, that constitute this book were done in 1969 through 1982. The calligraphy is highly stylized. -- Source of annotation: Marvin or Ruth Sackner.

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Pages are collaged with abstract paper shapes that are meant to be lifted up for reading. -- Source of annotation: Marvin or Ruth Sackner.

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The earliest work in this sampling of Segay's visual poems is dated 1973 and the latest 1997. Most pages of the soft cover book consist of black paper with stylized cut out letters that form a text which is collaged to the white pages. One collage in the book was done as a collaboration among Segay, Nikonova, and Scherstjanoi. The material is enclosed within a handmade portfolio, held together by thick black laces with gold foil at the tips. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.

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The frottage word id concerto. -- Source of annotation: Marvin or Ruth Sackner.

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This was a scaled down version of the exhibition, The Book Garden, which toured in England. Included is the assembling, 'Waggon' published by Editions Augenweide, a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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According to Jerry Janecek, the theme of this issue is expressed in two sections: 1) violation of all poetic forms and 2) use of existing poetic forms with innovation. There are several multimedia poems that include handcoloring, collage, drawing, flaps and other moving components) by the several poets contributing to this issue. A section includes a chronicle of poetry readings by Transfuturists and others. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This issue has a preface by Segay and poems by Nikanova (drawing, handcoloring, cutouts), A. Nik, Segay (stencilling, cards in an insert), Konstrictor (tipped-in manuscript on index card), Bakhterev (1930), Gnedov (1972) and Unksova. Konstrictor and Nikanova, contribute theoretical statements. A story is contributed by A. Nik. Nikanova reviews a book by Vladamir Erl. The black ink of the drawings appear to have been mixed with sand. -- Source of annotation: Marvin or Ruth Sackner.

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According to Jerry Janecek, this copy is a reissue composed mainly of carbon copy typescript in 1983 from the first issue released in 1979; it has a stencilled cover. The text consists of statements by Nikonova (1979) and Segay (1969) regarding new principles of art and poetry creation, including adding to older texts, e.g., by Khlebnikov, as well as "emancipation of the pause " and other devices of composition with examples. There are four examples of handwritten texts by Segay. There are brief reviews of books by Vladimir Erl and Boris Vantalov (aka Boris Konstrictor). This reissue includes a Table of Contents for issues No.2 (1979) - No.16 (1983). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Gerald Janecek (http://www.thing.net/~grist/l&d/janecek/janecek2.htm) issued a report on Transfuturism. He notes that a small group of Neo-Futurists or, as they call themselves, "transpoety" or "transfuristy," has appeared on the scene in the Soviet Union and has produced a body of individual and collective works that are, while acknowledgedly in the spirit and tradition of the original movement, of sufficient quality, quantity, and originality to merit critical attention. They have been mentioned briefy in "Samizdat Art," by R. and V. Gerlovin (1986:157), and there are some important materials on them in Kuzminsky's Blue Lagoon Anthology 5B (1986:508-65), but the present study will evidently be the first extensive survey of their works. The core of the group consists of Ry Nikonova [Anna Tarshis] and Sergei Sigei [Sigov], who lived in Ejsk on the Asov Sea until 1998, and Boris M. Konstriktor [real surname: Aksel'rod] from Leningrad. Sigei and Nikonova, who are married,...

Scope and Contents

In this issue, Nikonova writes under Anna Tarshis and Boris Konstrictor under Boris Vantalov. -- Source of annotation: Marvin or Ruth Sackner.

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In this issue, Nikonova writes under her given name, Anna Tarshis. -- Source of annotation: Marvin or Ruth Sackner.

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Rea Nikonova contibutes text as Anna Tarshis and Boris Konstrictor as Boris Vantalov. The illustrations were done by Vevgeny Arbenyev, Aleksandr Glamaga, Rea Nikonova and Serge Segay. -- Source of annotation: Marvin or Ruth Sackner.

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According to Jerry Janecek, this copy is a mainly an typescript original with cover stencil by Nikanova and frontpiece original drawing by Boris Konstrictor. The "noneo" text is written by Nikanova, with fragments by Konstrictor.The first manifesto of "Transfutur" is included on collective creativity as well as an essay on "system esthetics" by Nikonova. The issue includes poems by Konstrictor, Evg. Arbinev, Aleksandr Galamaga, A. Nik, Nikanova, and Erland as well as a long poem by Oberiut Bakhterev from 1935. Segay contributed a handwritten poem with flaps collaged to the page. Aigi's poems are reviewed. There are two statements by Konstrictor and an analysis by Segay in their relationship to Fluxus. Note that Tim Klaehn [tim.klaehn@gmail.com] refers to Bakhterev as Igor' Bakhterev while Jerry Janecek refers to him as Oberiut Bakhterev -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents According to Jerry Janecek, this copy is a mainly a carbon copy typescript with texts by Nikanova, Segay, Konstrictor, and A. Nik. It includes a section of Nikonova's system of poetic devices with examples. Three pages of poetry that are handwritten in ink are contributed by Konstrictor and Segay. Konstrictor comments on Nikanova's system followed by counter-responses. There is a section that consists of lines of poetry by various poets beginning with the word "kak" carrying on Kruchenykh 's "revelation" of the anal-erotic nature of much Russian poetry. Nikonova wrote under the name Anna Tarshis and Konstrictor under the name of Boris Vantalov. NOTE THAT ISSUE NO.9 THAT INCLUDED WORK BY REA NIKONOVA, SERGE SEGAY, VLADAMIR ERL' AND VASILISK GNEDOV and ISSUE NO.11 THAT INCLUDED WORKS BY REA NIKONOVA, IGOR' BAKHTEREV, SERGE SEGAY, BORIS KUDRYAKOV, VLADIMIR ERL', BORIS KONSTRICTOR, KARI UNKSOVA, AND VASILISK GNEDOV WERE NEVER OFFERED TO THE SACKNER ARCHIVE (the missing issues and...

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The cover photograph was made by Boris Kudriakov. This issue includes a section on correspondence (pp34-36) between Dimitri Prigov and Rea Nikonova. -- Source of annotation: Marvin or Ruth Sackner.

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Page 7 that has a work by Yuri Marr and apparently torn out of a papercard page is missing for this issue (noted by Tim Klaehn). -- Source of annotation: Marvin or Ruth Sackner.