Most of the visual poems in this issue were exhibited at VISUALOG at the Julian A. Mcphee gallery, California Polytechnic State University, San Luis Obispo, March 1979. Kempton also provided an insightful essay on the place of Kenneth Patchen in the origins of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This issue includes several reproductions of Hebrew and Latin pattern poems as well as Yantras and Mantras. A portion of Xenakis' imaginary newspaper, a work that is held by the Sackner Archive, is reproduced on the cover. -- Source of annotation: Marvin or Ruth Sackner.

Depicts Peter Mayer's collage "Under Capitalism..." that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Taken from Archiveof O!!Zone 1996. -- Source of annotation: Marvin or Ruth Sackner.

Taken from Archiveof O!!Zone 1996. -- Source of annotation: Marvin or Ruth Sackner.

This is the definitive biography of Kassak in English. -- Source of annotation: Marvin or Ruth Sackner.

Kay Rosen contributes an introductory essay in which she writes that "In the 1970's, I had made the transition from an academic approach to languages to a visual one because to me the most interesting things about language were not what was included in its formal rules, but rather what I stumbled upon accidentally...These most mundane and undervalued bits of speech were distinguished not only by their rejection of normal doctrine, but also by their potential to convey meaning non-linguistically. They needed to be expressed visually to be realized." -- Source of annotation: Marvin or Ruth Sackner.

The artist described the original work, a 30" x 30" acrylic on canvas, on the verso as a painting poem. -- Source of annotation: Marvin or Ruth Sackner.

The shape of the poem is in the form of a silhouetted suit with Goldsmith's head depicted by the title of the poem. -- Source of annotation: Marvin or Ruth Sackner.

Publisher's note: Proposed as a collection of imaginary logos for the corporate sponsors of Borges' Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning's reach. Using dry-transfer lettering, derek beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. -- Source of annotation: Marvin or Ruth Sackner.

This depicts working ideas for Frog Pond Plop, later realized in a different form as Opening Number No.6, 1965 and is stofred in the drawing binder. The typing of this work is stored in the typing binder. -- Source of annotation: Marvin or Ruth Sackner.

Dom Sylvester Houedard's introduction to the catalogue is printed directly from his typescript with handwritten additions as it "arrived too late to typeset due to unreliable postmonk at the abbey." Cox's "Suncycle," in the motorised edition, was displayed in this exhibition. A non-motorised version is held by the Sackner Archive. Stored with Kenelm Cox's portfolio "A Memorial Folder." One copy is stored in with Houedard manuscripts. -- Source of annotation: Marvin or Ruth Sackner.

Many works held by Sackner Archive are reproduced in this catalogue including "Yellow Nailbox," ABC 123" and several prints. -- Source of annotation: Marvin or Ruth Sackner.