The sculpture that was assembled from different dimensional, wooden typeface forms is stylistically typical of works done by Gette in this period. -- Source of annotation: Marvin or Ruth Sackner.

This issue was a supplement to Jornal Cataguases, Oct 1976. -- Source of annotation: Marvin or Ruth Sackner.

This political poem dealing with the influence of the soft drink "Coca Cola" was written by Pignatari in 1975 and rendered into this print by Bonvicino in 1979. -- Source of annotation: Marvin or Ruth Sackner.

The printed Hebrew text collaged onto this sculpture was taken from the text of Chronicles in the bible. The object onto which the paper was collaged is an old wine press. -- Source of annotation: Marvin or Ruth Sackner.

Peignot provides examples of picture poems using concrete poems as the image with captions underneath, one to a page. The concrete poems are composed by varying letter spacing, alterating boldness of the typeface, mixing typefaces, repeating letters, printing anagrams, presenting different arrangement of letters, mirror imaging, and adding punctuation marks. The poems relate to Peignot's other book, Le Petit Peignot, published the same year as this book. Both books are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Gorman discusses the visualization of Haiku poems through the substitution of concrete poetics including the punctuation poem (parentheses, commas, + signs, etc.). -- Source of annotation: Marvin or Ruth Sackner.

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.

This pamphlet explores the state of the arts and the "intermedia" at the end of the 1960's and beginning of the 1970's. Higgins presents a very pessimistic view on the future monetary value of paintings by mainstreet artists which time has proven him wrong. -- Source of annotation: Marvin or Ruth Sackner.

In a letter to Marvin Sackner, Depew explained that he counts each sheet as two pages even if the sides are blank. This copy of the book as do most has a green paper cover. One of the Sackner copies has a light gray cover. It is likely that the pages were created by rubberstamping followed by photocopying them for the edition. The sole word used in this book is "toxic." The frontpiece depicts an abstract image. -- Source of annotation: Marvin or Ruth Sackner.

In a letter to Marvin Sackner, Depew explained that he counts each sheet as two pages even if the sides are blank. This copy of the book and another have a beige cover in contrast to the usual green cover. It is likely that the pages were created by rubberstamping followed for photocopying them for the edition. The sole word used in this book is "toxic." The frontpiece depicts an abstract image. -- Source of annotation: Marvin or Ruth Sackner.

Fallon considers his writings not to be poetry, but a form he calls chartengs, which he defines as "anti(poetry), prose(poetry), concrete(poetry), sound(poetry) and intermedia(poetry)." Among the writers of chartengs, he includes Porter, Higgins, J. Williams and Kostelanetz. The theme of this book is focused on the abuse and murders of black children in Atlanta through racial discrimination. -- Source of annotation: Marvin or Ruth Sackner.