Each poem is enclosed within the outline of a found leaf. This copy differs from the limited edition of 25 copies in that the folder is photocopied paper rather than papercard collaged. -- Source of annotation: Marvin or Ruth Sackner.

Ruth Sackner delivered this lecture at the opening of Bob Cobbing's Exhibition "Make Perhaps this Out Sense Of Can You." It focused on the relation of Mathew Abess, the curator of the exhibition and the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.

This is also designated No.1 of the series "fonemi plastici 1967." -- Source of annotation: Marvin or Ruth Sackner.

The word leiden is typed lower case with a white ribbon giving the appearance of embossed words. The lower case i is added in red. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of examples of Ovcacek's typewriter, letraset, and stencilled letter works done between 1962-1993 along with critical essays in the Czech language. Jiri Valoch contributed an introductory essay. Ovacek's typewriter poetry marks him as one of the foremost contributors to this style of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

The number 84 was typed repetitively to achieve the desired visual effect. -- Source of annotation: Marvin or Ruth Sackner.

This poem was first composed in 1962. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions underneath each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Gruenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions above each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Guenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The author varies typography and adds images to enhance the meanings of words. He also provides brief dictionary definitions underneath each of the word-images. The word poem serves as the image and the definition as the caption for these picture poems. The poems resemble those composed by Peignot in "Le Petit Peignot" (1996) & "Toutes les Pommes se Croqent" (1996). However, Guenoun's poems differ from Peignot's poems in that line drawings are often added and more varied fonts are employed. -- Source of annotation: Marvin or Ruth Sackner.

The book design and illustrations were done by Karl Gerstner. -- Source of annotation: Marvin or Ruth Sackner.

This publication depicts Beaulieu's letraset collages including Untitled (2010), a work held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.