Extracts from this work were published in Art and Artist Vol 1, No.5, a periodical held by the Sackner Archive. This work includes a discussion among Gustav Metzger, Dom Sylvester Houedard, Mark Boyle and Ivor Davies, held at Ravensbourne College of Art and Design on May 23, 1966. -- Source of annotation: Marvin or Ruth Sackner.

The number 9 is substituted for all the letters "n" of the words in this text. Curt Cloninger in his Master of Fine Arts in Studio Arts thesis wrote about (Maine College of Arts 2008) "Apophatic Art: Enacting Exhaustive Language / Exhausting Enacted Language." He defined Apophatic Writiing: Apophatic writing in the Christian tradition is a way of talking about God that seeks to properly revere him by not overly delimiting him. "Apophasis' is negation and "kataphasis' is affirmation. Since God is beyond all we can affirm about him, in order to more accurately describe him, we must balance our affirmations with reverent negations. Theologian Bruce Ellis Benson (2002) explains, "One affirms something but denies it, because to affirm it too strongly would be heretical and to deny it completely would also be heretical." -- Source of annotation: Marvin or Ruth Sackner.

Cobbing called the photocopied print process, "monoduplicator prints." This work and others by Cobbing was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. This work was composed by crumpling unrecognizable images and printing them in black and white on a monoduplicator device as a single copy. These prints were then collaged onto a raised block of masonite then fixed as a grid onto a painted black panel. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing called the photocopied print process, "monoduplicator prints." This work and others by Cobbing was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. This work was composed by crumpling unrecognizable images and printing them in black and white on a monoduplicator device as a single copy. These prints were then collaged onto a raised block of masonite then fixed as a grid onto a painted black panel. -- Source of annotation: Marvin or Ruth Sackner.

Mentions the Destruction in Art Symposium and comments about the book he currently is writing. -- Source of annotation: Marvin or Ruth Sackner.

This is a transcription by Houedard of the discussion held at Ravensbourne College of Art and Design May 23, 1966 relating to the Destruction in Art Symposium. The printed text is titled "Aesthetics of the Death Wish," and is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Influenced by the Holocaust, Metzger created "an art that aimed at introducing destruction as a means of transforming peoples' thoughts and feelings, not only about art, but to use art to change peoples' relation to themselves and society." Metzger is best known for organizing the Destruction in Art Symposium (DIAS) in London in September 1966. The main object was to focus attention on the element of destruction in Happenings and other art forms including the Viennese Actionists. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing called the photocopied print process, "monoduplicator prints." This work and others by Cobbing was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. This work was composed by crumpling overtyped printed texts and printing them in black and white on a monoduplicator device as a single copy. These prints were then collaged onto a raised block of masonite then fixed as a grid onto a painted black panel. -- Source of annotation: Marvin or Ruth Sackner.