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This is a reprint of an article on the contemporaneous state of concrete poetry in the UK. -- Source of annotation: Marvin or Ruth Sackner.

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Listings on the pages are taken from the names, port registration letters, and code numbers of Olsen's Fisherman Nautical Almanack. The spelling of Olsen with an "e" rather than with an "o" as in the name of the American poet is deliberate. Olson drew much of his poetic material from Boston fisheries. Images in this book on pages facing the listings are photographs of fishing boats. According to Finlay (flyer), this juxtaposition is a "found collage" in the style of Schwitters. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition of Finlay's works is based upon the painting by Puvis de Chavannes entitled "The Poor Fisherman." -- Source of annotation: Marvin or Ruth Sackner.

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Ths publication of the book coincided with an exhibition of Finlay's printed works at the Marfa Book Company in Marfa, Texas. It was entitled "Ian Hamilton Finlay: A Selelection of Printed Works." All the works displayed in this exhibition are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This card folded twice has three leaves. -- Source of annotation: Marvin or Ruth Sackner.

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Consisits of a line of black staggered letters ending in the word Revolution printed in red. -- Source of annotation: Marvin or Ruth Sackner.

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In this article, Vos states that he is a follower of the linguistic theories of Nelson Goodman. -- Source of annotation: Marvin or Ruth Sackner.

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Finlay defines concrete poetry as follows, "There is a difference between a poem which is 'about' a thing and a poem which IS a thing - its own thing, but not necessarily without reference to something else." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents On the back cover and internet, it is stated that nick-e melville is a scottish poet who does visual stuff and found stuff. his first collection of visual poetry, selections and dissections, was published by otoliths press in 2010. he also does shellsuit massacre (cf. poem 7) with rodney relax: found poetry social commentary to guitar techno. some of these poems, all now in colour, appeared in these places: blazevox, one less magazine, otoliths and sleeping fish; the 10th poem appears on the poet's left forearm, underside. nick-e says: "these are basically all the pieces i've done in colour, and, curiously, there's a higher usage of mixixed media than in my other visual work, including handwriting (poem 12) and skin. some were made using tippex (whiteout) on papers and credit card junk mail (snow pake is an archaic term, from the 70s and 80s). others were created using circles from bags of blue circle cement. i'd always admired the targetesque design, and the blue-on-buff bags, so...

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Book Depository WEB 2014: "This is an extensive primer to modern poetics, focusing especially on the Concrete poets. The problem is not only to transform poetry into something new compared to poetic tradition, but above all that through this transformation poetry becomes a total art. New experimental poetry is no longer exclusively interpretable as a force modifying the usual instruments of poetic creation, or as the necessity of overcoming national linguistic barriers to an explicitly international poetry. Today it seeks to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins - from the back." -- Source of annotation: Marvin or Ruth Sackner.

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The text was written by Prudence Carlson. -- Source of annotation: Marvin or Ruth Sackner.

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This was included in the Grant U. Roman Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Cover depicts "Artchive" painting by Tom Phillips, which is held by Sackner Archive. Introdutory essay by Clive Phillpot. Exhibition curated by Michael Prebble. -- Source of annotation: Marvin or Ruth Sackner.

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This book includes reproductions of "Book 14 T that consisted of abstract markings rendered on the mimeograph machine. The book reproduces 'The Para-Concrete Manifesto (1996)' is from the original mimeograph printing. Some of the pages inside 'untitled (1964)' also reproduced in the book were based upon images used for levy's '6 cleveland prints' (renegade press, 1964). There were 5 copies published; probably each one different from the other. Here, copy #2. is reprinted. The pages are colored abstract markings with some containing letter pictures. -- Source of annotation: Marvin or Ruth Sackner.

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This book was also designated as Frozen Waffles #2 - Special Issue. -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was designed by Ian Hamilton Finlay and Pia Simig and took place at Tate St. Ives from March 23 to June 30, 2002. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue was designed by Ron Costley. It includes a long critical introduction by Stephen Bann focusing on Finlay's contributions to concrete poetry and his swing toward neo- classicism in the picture poems carried out by inscriptions on stone plaques in the garden. The catalogue also has a reprinting of Finlay's "A Wartime Garden." The illustrations depict several unique stone, neon, and glass sculptures. -- Source of annotation: Marvin or Ruth Sackner.