As described by William Allen, this is a printed card folio with a printed tipped-in pocket containing 5 four pages of folded illustrated essays together with a Gomringer blue type print of "Silencio" on white paper. The essays are illustrated and informative and consist of the following: 1) Eugen Gomringer in the UK, 2011 Concept as Concrete Form: Visual Poetry, Texts and Typography; 2) Eugen Gomringer in the UK "father of concrete poetry" by Roger Brown; 3) The Conz Donation at De Montford University - Eugen Gomringer and Nicholas Zurbrugg by Robert Richardson; 4) Stuart Mills; 5) Concept as Concrete Form List of Works. Allen writes that this is a beautifully produced catalogue published at the time of Gomringer's UK tour in 2011 with useful reference information and also a section on the English concrete poet Stuart Mills.The cover is silkscreen with eg. -- Source of annotation: Marvin or Ruth Sackner.

The word "European' is printed in yellow and the word "Heads" in red. The latter is printed upside down. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue in an edition of 100 consists of 75 copies with biographical information and 25 copies with biographical information plus photographic reproductions of the artists. Houedard provided autobiographical details and prices for his typewriter poems. Stored in Houedard box. -- Source of annotation: Marvin or Ruth Sackner.

In a personal communication to the Sackners, Cameron states that is a sort of love mandala for the eve mentioned in several of the dsh poems you have, typed originally with red & black ribbons and blue and black carbons on an Olivetti 22 in 1964, photocopied years later, transferred to an internet paint program, and not yet by any means restored to its original beauty. I'm including it to give you an idea of where I would start from, in an attempt to derive new variants on this work using the best of contemporary graphical tools. Compared to the original -- which may be hiding somewhere in my storage unit -- it is very very far from the beautiful poem I originally produced, or from whatever satisfactory variants I may yet provide. -- Source of annotation: Marvin or Ruth Sackner.

The shape of this poem is a goblet. -- Source of annotation: Marvin or Ruth Sackner.

The poem consists of a single line, 'and every hair on your head shall be numbered repetitively overtyped.' This line is modified from Matthew 10:29-31 29 Are not two sparrows sold for a penny? Yet not one of them will fall to the ground apart from the will of your Father. 30 And even the very hairs of your head are all numbered. 31 So don?t be afraid; you are worth more than many sparrows. -- Source of annotation: Marvin or Ruth Sackner.

Each word is printed in a different typeface and typography usually relating to the meaning of the word. For example, "light" is printed in yellow, "responsibility" in a substantial appearing font, and "abundance" in a large, warm colored typeface. A smaller card is printed "inner peace" on the recto and "outer peace" on the verso. -- Source of annotation: Marvin or Ruth Sackner.

The shape of the image on this book plate was created by overlapping all the letters of the Latin alphabet, capitals and small letters. The dot is due to the 'i' and the triangle at the bottom, the letter 'Q'. -- Source of annotation: Marvin or Ruth Sackner.

Internet: Valeri Scherstjanoi (b. 1950) -- poet, sound-performer, graphic artist-scribentist. Author of a number of poetry books, and since 1983 he has been writing theoretical texts (original poet's theory and practice of Ars Scribendi) and articles on the history of the Russian futurism in magazines, collections, literary miscellanies and anthologies. From 1994 to 1998 he was the art director of the International festival "bobeobi" (Berlin). In 1998 he published an anthology of sound poetry: Tango mit Kuehen. Anthologie der russischen Lautpoesie des 20. Jahrhunderts, where in the printed form he united and commented on the works of the Russian poets of the beginning of the century. He is acting as a free author of experimental radio performances, and also as a sound-performer, as a scribentist in the field of graphic art -- Source of annotation: Marvin or Ruth Sackner.

The contributions are mostly conventional poetry. -- Source of annotation: Marvin or Ruth Sackner.

This essay is an excellent critique and analysis of selected poems that Grumman ties together. -- Source of annotation: Marvin or Ruth Sackner.

In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for th e qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.

In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for the qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet provides an illustrating listing of silkscreened prints and books published by the press. The card is the price list; one of the copies is missing it. -- Source of annotation: Marvin or Ruth Sackner.