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Marvin Tayor contributes an essay "I'll Be Your Mirror, Reflect What You Are : Postmodern Documentation and the Downtown New York Scene from 1975 to the Present." -- Source of annotation: Marvin or Ruth Sackner.

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David Carr contributes an inciteful essay, "In the Contexts of the Possible: Libraries and Museums as Incendiary Cultural Institutions." In it he challenges the thoughtful person to reimagine our cultural collections and programs which have to do as much for the future as for the past. -- Source of annotation: Marvin or Ruth Sackner.

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Stephen Ennis contributes an essay entitled, "In the Author's hand: Artifacts of Origin and Twentieth-Century Reading Practice," in which he comments on the importance of original manuscripts as a source of literary artistic inspiration. -- Source of annotation: Marvin or Ruth Sackner.

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The book of the same title initially was published by Pulp Press in 1975. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Phillips provided an introductory essay and David Lodge a foreward. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprint of the 1931 edition of the book that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Schwartzburg provides a very intelligent analysis of Tom Phillips' "A Humument" in Chapter 3. She mentions the following. Stanford's single copy of 'A Human Document' "has lain motionless on the shelves for so long that it has no circulation history prior to three times it was checked out since 1997, when the latest edition of 'A Humument" was taught in a graduate seminar. Phillips' very recovery of Mallock's text demonstrates its loss, for it is only being read now as an extension of 'A Humument.. It is entirely dependent on 'A Humument' - not prior to it." Three major sections of Schwartburg's book deal with works held by the Sackner Archive, Tom Phillips' "A Humument," Susan Barron's unique book, "Twisting Silence," and Ian Hamilton Finlay's "Two Poems." A great deal of research for this thesis was done by Schwartzberg in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Huston Paschal prepared this gallery guide for the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents It should be noted that Bohn does not differentiate concrete poetry (words only in Sackner's definition) from visual poetry (integrated words and images in Sackner's definitions). Bohn also includes a chapter on digital poetry. The back cover reads the following. "Visual poetry can be defined as poetry that is meant to be seen. Combining painting and poetry, it attempts to synthesize the principles underlying each discipline. Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art. Although they continue to provide visual cues that aid in deciphering the text, they function simultaneously as visual compositions. Whether the visual elements form a rudimentary pattern or whether they constitute a highly sophisticated design, they transform the poem into a picture. Reading Visual Poetry examines...

Scope and Contents Colin Fulcher aka Barney Bubbles (30 July 1942 - 14 November 1983 death by suicide) was a radical English graphic artist, whose work primarily encompassed the disciplines of graphic design, painting and music video direction. He is most renowned for his distinctive contribution to the graphic design associated with the British independent music scene during the 1970s and early 1980s. His symbol-laden and riddle-laden record sleeves were his most visible output.Hellorinis "Hellorinis" Amazon.com writes: "I was not at all familiar with Barney Bubbles the designer. I knew some of the images by Bubbles but the story and the context of his work is incredibly interesting. I was not prepared for the superb quality of both the book's design and the quality of scholarship and research put into it. This is a hardcover book with lots of text combined with images, and filled with stories from those who were part of the various scenes Barney had participated in. Printed in excellent paper....

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Published in conjunction with Afrika's 1995 exhibition at the Osterreichisches Museum fur angewandte Kunst in Vienna. The folded sheets, placed in the bound-in envelope, contain eight rebuses each. The soft cover book is also bound into the folder. The brown paper used throughout is reminiscent of the paper in Russian Avant Garde books from 1910-1930. This book describes and depicts the copper engraved work of Afrika. It serves as an introduction to Afrika's copper book of engraved rebuses that is held by the Sackner Archive. There were 500 other copies not held by the Sackner Archive that included one copper plate. -- Source of annotation: Marvin or Ruth Sackner.

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Kac comments on "Adrift," a holographic poem commissioned for the Sackner Archive. It is composed of 7 words that dissolve into space along the Z axis as the viewer reads them back and forth. The letters that make up the words are floating freely along the Z axis except for the word "breathe," which is somewhere integrated into the overall light field. This word blows life to the other words as its letters actually move away from their original position to dissolve again into the light field. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of a review of DeCampos book "Anticritico". -- Source of annotation: Marvin or Ruth Sackner.