Designated fours number fifteen. Cover names are printed as lawrence cobton & bob upbing. -- Source of annotation: Marvin or Ruth Sackner.

Designated fours number fifteen. Cover names are printed as lawrence cobton & bob upbing. -- Source of annotation: Marvin or Ruth Sackner.

Designated fours number fifteen and is the first edition. Cover names are printed as lawrence cobton & bob upbing. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.22. This is the documentation of the collaboration between Claire and Paul San Casciani, a stained glass artist for an exhibition during Oxford Week 1988. -- Source of annotation: Marvin or Ruth Sackner.

The constellations presented in this broadside are mostly based on the theme of colors. -- Source of annotation: Marvin or Ruth Sackner.

Finlay supplies notes that provide his interpretation of each of the six poems in this broadside. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

In notes to the poems, Smith states, "form determines meaning - better still - form is meaning, the cart before the horse or rather the cart becoming the horse, etc." -- Source of annotation: Marvin or Ruth Sackner.

The only copies of this issue are in futura sammelband. -- Source of annotation: Marvin or Ruth Sackner.

This poem is printed with several different font sizes in a chaotic, albeit as a horizontal structure. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

The title of the broadside is The Golden Message. Twelve poems using the Spanish word "oro," which means gold, are printed in futura typeface. The letters o, r and o are printed repetitively in different permutations. This work was loaned to the Museum of Modern Art NYC for their exhibition, "Eye on Europe: prints, books & mutiples 1960 to now." -- Source of annotation: Marvin or Ruth Sackner.

Each of the six poems uses a single line (e.g., I am the resurrection and the life, and Il faut etre absolument moderne). A varying number of letters in different positions in the line are eliminated to create a spatial, incomprehensible, letter picture-like appearance. The complete line is printed at the bottom of the poem. Morgen calls the texts "emergent poems" and notes that they are taken from St. John, Burns, Brecht, Rimbaud, Dante, and the Communist Manifesto. -- Source of annotation: Marvin or Ruth Sackner.

One long poem has the phrase in German, "strings always in that remains" repeated in a long vertical column about 100 times. -- Source of annotation: Marvin or Ruth Sackner.

De Campos provides notes that explain the poem. The word LIXO (garbage) is formed by repeated printing of the word luxo (luxury). "The typographical display wants to operate in a direct impact - the metamorphosis of the opposite doublet - a concrete antiadvertisement unpoetical poem - a clean ode to garbage by the poet letter collector - an opop poem." -- Source of annotation: Marvin or Ruth Sackner.

Williams notes, "These Polycotyledonous poems are the response to a call by Ian Hamilton Finlay for a one word poem anthology issue of his magazine Poor Old Tired Horse. Being a mountaineer I have a garrulous landscape nature that feeds on Brucknerian lengths, but also being a mountaineer, I have an exactly contrary nature that yearns to be as laconic as Webern or a pebble. Here the titles work as hinges to spring what follows loose. There are no pictures here in the pure concrete way of, for instance Ian Hamilton Finlay. But the ear is on the prowl, prying into the substance of words and finding there in the syllables, while one eye watches and one wanders a bit bemused. The dedication to Francis Poulenc is homage for his beautiful simplicities. He teaches that the common is not common at all. Man your dictionaries accordingly." -- Source of annotation: Marvin or Ruth Sackner.

The title of this poem in English is up and down a steep river bank. The poem includes the Spanish word 'rio' for river as well as oro meaning gold with permutations of these letters shaped to suggest the river lapping against the bank that also contains gold. -- Source of annotation: Marvin or Ruth Sackner.

The shape of this poem depicts Boccioni's sculpture, Forms in Space. -- Source of annotation: Marvin or Ruth Sackner.

The cards reproduce covers and pagewges from Russian Avant Garde books. -- Source of annotation: Marvin or Ruth Sackner.